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real aid want succeed therapidly growing role internal consultant bie de graeve director mba programs tias business school tilburg university netherlandsinside front coverhigh performance consulting skills internal consultants guide valueadded performance mark thomaspublished thorogood rivington street london eca du telephone fax email infothorogoodwsweb wwwthorogoodws thorogood publishing division acorn magazines mark thomas rights reserved part publication may reproduced stored aretrieval system transmitted formor means electronic photocopyingrecording otherwise without priorpermission publisher book sold subject condition shall way trade orotherwise lent resold hired orotherwise circulated without publishersprior consent form binding orcover publishedand without similar condition includingthis condition imposed upon thesubsequent purchaser responsibility loss occasioned person acting refraining action aresult material publication canbe accepted author publisher cip catalogue record book isavailable british library hb isbn pb isbn cover book designed driftdesignprinted india replika pressspecial discounts bulk quantities thorogood booksare available corporationsinstitutions associations andother organizations moreinformation contact thorogoodby telephone byfax email usinfothorogoodwsdedication love jan ben hannahspecial thanks dr sam elbeik great help cooperation orig inating developing terms reference templates andassistance project management area alf chattel continued support permission draft ing process approaches methodologies may continue thrive prospertracey norbury hsbc lending real life observations special thanks matthias behrens autodesk sharing considerable experiencecontents introduction symbols used book one managing change managing surprise support functions attack opportunity exactly consultancy difference expert process consulting difference internal external consultant characteristics internal consultancy use internal consultant become internal consultant time convert redirect two art client management understanding key stages internal consulting process implementation belbins team roles questionnaire three marketing internal consultancy getting contracting client developing marketing strategy conducting client demand analysis clients look beginning market recognising starting point marketing senior management sell senior management practical tips improve marketing effort internal consultancy case study four managing initial client meetings essential rules managing initial client meetings things avoid initial meetings convey respect openness understanding initial client meeting initial client meetings consultants template initial terms reference writing client proposals managing initial meetings checklist five understanding de\ufb01ning clients problem desk research interviewing clients managing client interview group interviews types interview questioning techniques providing nonverbal encouragement interviews using supportive statements counterproductive questions using questionnaires gather information designing questionnaire process mapping process analysis questions understanding de\ufb01ning clients problem client focused six managing change understanding organizational change individual reactions change change transition curve managing organizational change organizational change readiness assessment managing organizational change template change management template critical success factors stakeholder analysis managing organization change checklist key questions address critical questions ask change scenarios seven presenting client feedback introduction report writing different types client report getting report structure right typical report structure writing client report reviewing reports making client presentations presenting client feedback client focused eight implementing reviewing exiting projects project implementation project implementation client focused reviewing consultancy projects client focused evaluating consultancy projects summary nine internal consultants toolkit consultants toolkit organization capability effectiveness questionnaire organization audit internal consultant skills development needs checklist success factors managing change change management action planning sheet list illustrations figure page transition old new management expert process consulting bias expert process client management process belbins team types project team working roles belbins team types project team mapping customersclients marketing internal consultancy project terms reference information gathering techniques using swot analysis gather assess information force\ufb01eld analysis gathering information questionnaire process example likert scale questionnaire survey feedback displayed graphically process thinking value added process toolkit classify value added nonvalue added driving performance process maps look process thinking wider organizational analysis managing change organization change readiness assessment managing change template stakeholder analysis key strategies developing report structure presenting client options project master plan risk assessment projects risk analysis introduction book provide highly detailed prac tical understanding critical client management andhandling skills needed become high performance internal consultant approach practices detailedare based years corporate consulting experience major blue chip organizations across globeapply well enjoy extremely successfulclient relationships internal consultancy brings together complex range skills disciplines combines distinctive clientfocus purpose writing book provide youwith daily reference practical guidance action pointsand ideas managing clients projects everchanging shape global economy organizations clear internal consultant role isassuming greater importance expanding since \ufb01rstwriting trend internal consultancy continued break mainstream organization lifeand particular role support functions attendbusiness conferences read corporate job advertisements soon realise title internal consultantor adviser proliferating spans key supportfunctions believe internal consultancy model offers major step harnessing internal knowledge expertise improveorganizational performance approach verymuch tune \ufb02uid dynamic nature todaysbusiness world introduction written strong emphasis practical aspects internal consultancy dont set teachyou anything technical functional areas ofexpertise information technology \ufb01nance total quality human resources assumption probablyalready considerable specialist expertise setout provide clear process manageyour clients projects professional successfulmanner included many checklists templates foryou use adapt revise individual needs emphasis internal consultancy places moving colleague client perspective bring major bene \ufb01ts support function belong toindeed essence client centred consulting relationship involves providing level service exceedsthe controlling bureaucratic tendencies many traditional support functions consultancy model hasparticular relevance operate one followingroles information technology systems specialist finance internal audit professional human resources personnel specialist training development specialist business development specialist project manager administration manager facilities manager customer service support specialist total quality management specialist high performance consulting skills know many organizations continue outsource support functions result internal customers havethe choice buy external resources trend accelerating core support areas information technologyhuman resources training development facilitiesmanagement competition daily reality thoseof us work advisory roles support rolesare thrive prosper future organization willneed focus relentlessly providing value added servicesthe consultancy model offers major response thesechallenges time simply want harness bene\ufb01ts operating style internal consultancy enhance existing organizational role trustyou \ufb01nd much meet needs skills practices detailed book generic appliedto almost management role capacity wish success many years successful consultancy work mark thomas introduction high performance consulting skills insight helpful tipexample checklisttsymbols used bookchapter one managing change managing surpriseone managing change managing surprise book titled high performance consulting skills builds earlier work supercharge management role \ufb01rst published re\ufb02ected radical changes taking place organizations inparticular managerial roles support functions since thenthose trends accelerated beyond anyones imagination nearly four trillion euros worth corporate merger transactions implemented havewitnessed traumatic rise fall dot coms alongwith rise collapse global telecommunications sector literally billions euros appear havebeen overspent securing g licences currentlyexperiencing worst bear market since second worldwar added witnessed most\ufb02agrant abuses corporate power leadership ever seenat enron worldcom recently europe withahold set increasingly insecure politically unstable world witnessed theimmense tragedy september th continued volatility turbulence organizations striving ever achievenew capabilities \ufb02exibility responsiveness organization structures job roles constant state \ufb02uxold models organizing longer provide tomorrowsgrowth existing concepts management rely heavily notions planning checking controlling beingassigned dustbin high performance consulting skills future uncertain ever response organizations daily announcing major shiftsin strategies product lines service offerings technology promoting new forms organization structure andlocation becoming less issue work isorganized executed old assumptions todesign manage run organizations subject constant radical review fact involved ina period major upheaval transition simply doingmore done past sustain usin future today manage second handnot calendar increasingly question betterthis year last better today yesterday equally planning horizons seem beset terms weeks months rather years organizations pursue bene\ufb01ts rapid technological change new ideas managing people beingexplored implemented concepts empowermentseek place greater emphasis people accepting increasedresponsibility control work ideas gaining ground throughout competitive world knowledgemanagement become one buzzwords lates early millennium result becoming clearthat managers traditionally practised beingquestioned classic planning controlling reviewing functions management transferred thepeople actually execute real work race doit right \ufb01rst time means organizations longerafford large numbers managers controlling people selfmanagement philosophy approach manyorganizations want operate order win competitive world many middle management roles simply cumbersome expensive organizations compete fasterand innovative low cost competitors result one managing change managing surprise desire explore new radical approaches notions supervision means reducing costs andaccelerating competitive capabilities many existingorganizational concepts practices rootsin genre management real innovation hasbeen long time coming bigger budget headcount bigger \ufb01sh philosophy historically basis manysuccessful management careers built indeedsuch behaviours actively encouraged manyorganizational reward appraisal systems exampletraditional job evaluation techniques often rewardedjobs characterised size terms numbers staff reporting budget responsibility thesetypes approach often resulted management behaviours practices consisting internal politicking empirebuilding game playing none add value orservice customer also approach resultsin people becoming overly reliant managers tomake decisions take action many leading organizations traditional form management activity viewedas redundant organizations possess promotedependency cultures win new information andknowledge based era order organizations become innovative flexible customer responsive need devolvepower point customer contact requires peopleto highly trained also empowered take decisionsthat previously exclusive realm managers thuswe enter new world organizational working selfdirected teams rely collective motivation skills andcapabilities get things done rather like formula oneracing pit team comes real work notwant someone looking shoulder tell whetheryou done right reality already high performance consulting skills know time commitment skills ensures time delivering consequently management traditional sense becomes anirrelevance figure illustrates transition takingplace figure transition old new management therefore witnessing major shift world ofwork shift already immense implicationsin terms think organizations howthey need designed managed changes however continue bring pain well opportunities many people longer derive satisfactionfrom work indeed many managers arrive theirof\ufb01ces feel siege hundreds daily emails less less approachyesterdays perspective controli direct commandpeople come mei breed dependencystatus position important think functionallyi like clarity boundariestodays perspective serve othersi facilitatei go peoplei promote independencestatus position less important contribution think processesi like ambiguity change one managing change managing surprise managers desperately looking motivation security ever increasingly hostile corporate environment given radical shifts taking place corporateworld little doubt managers continue faceimmense pressures reassess roles pressure toincrease productivity demonstrate real added value isrelentless faced challenges consulting modelof operating capability provide hardpressedmanagers means move towards positiverole knowledge era support functions attack another aspect dramatic changes traditionalorganizational support functions severe attack inthe concepts business process reengineering emphasis eradicating nonvalue addedactivities resulted many critical appraisals conventionalsupport functions human resources \ufb01nance internal audit information technology pressure hascontinued ever functions make signi\ufb01cant changes methods operation faced withcompetitive pressures organizations longer preparedto fund activities add value organizationor support provision service quality customeroutsourcing become global business lots majororganizations loading many support activities thirdparty challenge simple dont add value thenyoull go subjected rigorous analysis question becomes clear many aspects thetraditional support functions work little support thecentral nature organization often support functions developed stage consumelarge amounts resource without necessarily contributing high performance consulting skills organizations fundamental goals many ways said replicated worst aspects oldmanagerial model controlling checking suchthey face similar challenges terms refocusing roleand contribution temptation support functionis turn inwards see primary customer inorganizational relationships thus loses sight central purpose begins become end oftengrowing excessively engaging blocking rather thansupporting activities rest organization opportunity fundamental shifts world ofwork organizations increasing use internalconsultants observed internal consultants achieveresults influence rather application offormal executive power whilst aware inherent political nature organizations internal consultantsavoid becoming involved complex negative interdepartmental rivalry politics using specialisttechnical knowledge in\ufb02uencing skills models organizational change internal consultants achieve performanceimprovements method operating enablepeople solve organizational problems without classic need claim credit success long beenthe driving force much managerial behaviour astrategic level see internal consultancy providing following bene\ufb01ts \ufb02exible responsive organizational role managers based contribution status assuch tune future direction winningorganization one managing change managing surprise overwhelming focus delivery value added service contribution opposed controlling interfering type contributions relationship based consultantclient con cept rather command control regime move process outcome based thinking resulting removal traditional loyalties andhostilities functional areas exactly consultancy de\ufb01ne consultancy work differentiate moreconventional forms management consultants workbegins part organizations strategy structureprocesses systems fail deliver necessary levels ofperformance consultants employed close performance gap contribution might involve totalsolution provision form specialist technical support agreed period time consultantsinvolvement project therefore short longterm nature consultants role assist clientwithout taking control problem good consultancy involves providing advice way itenhances clients ability solve future problemsand challenges effect leave something behind animproved capability key reason role muchpotential helping managers operating \ufb02atter structures empowered workforces invariably consultants work also involves management change whilst in\ufb02uence client situation get things done differently must achieve insuch way client becomes fully committed thesolution able in\ufb02uence clients without formalexecutive power one de\ufb01ning characteristics therole successful consultants rely overt authority high performance consulting skills control succeed instead rely high levels expertise in\ufb02uencing skills persuade people moveto action difference expert process consulting two quite distinct types consulting style involve expert process consultant havevery different characteristics methods working withclients figure highlights characteristics andadvantages disadvantages types youreading familiar expert consulting istypi\ufb01ed classic external consultant applies alltheir knowledge expertise diagnose solve theirclients problem directive often prescriptive mannerthis form consulting attractive clients canbe applied fast focused way information technology example traditionally area hasbeen dominated expert consulting major dif\ufb01culty expert consulting lack client ownership commitment results oftenthe recommendations expert consultants fail implementation stage insuf\ufb01cient emphasis beenplaced developing clients commitment outcomesof project expert consulting involves directive style andwhilst fast mean signi\ufb01cant issues likeclient involvement ownership overlooked expert consulting also prove ineffective developing longterm capability clients expert consultant completes work often leave theirexpertise client unable cope similar problems future expert consulting therefore theeffect breeding organizational dependency consultant clients unable operate without expertise one managing change managing surprise course great news consultant good client maybe paying fees process consulting helps build clients capability solve problem next time around extent seeks promoteindependence figure expert process consulting excessive use expert consultancy also lower themorale clients organization assumes knowledge capability deal problem withinthe scope clients team particularly demotivating people involved believe thecapability tackle problems defence expert consulting bene\ufb01t able address right problem right expertiseprocess use knowledge expertise advantages right solution high level client ownership builds clients commitment motivational client promotes client independence capability disadvantages slow may right expertiseexpert use clients knowledge expertise advantages fast focused response right expertise high impact disadvantages wrong solution lack real understanding poor client ownership client commitment client dependency reduces clients sense confidence high performance consulting skills organization cannot always sure necessary solution problem may well bea need bring expertise specialist \ufb01elds tacklechallenging issues extent expert consulting willalways place organizations remain credible approach despite limitations one managing change managing surprise expert process consulting de\ufb01nition highly available computing expert consultant use redundant components conjunction appro priate fallover restart mechanisms hardware andsoftware permit event noti\ufb01cation failure conditions coupled application andor database checkpointing androllbackrecover algorithms thus establishing reasonableassurance within predicted norms combination redundancies allow con\ufb01dence factor exist meantime repair shall small enough variable conjunction withsimultaneous mean time failure aforementioned redundant components overall system availabilitywill signi\ufb01cantly normal performance common sense translation process consultant computer system running hours day days week days year dont adapted advertisement placed data general econo mist november contrast process consulting works assumption client necessary capability address problem needs guidance advice ofaddressing problem emphasis therefore helping client think problem produce asolution high degree commitment ownership major dif\ufb01culty process consulting thatit much time consuming expertapproach developing commitment involvement anddiscussion always longer process frequently theurgency organizational life prevents time beingexpended problemsolving quick \ufb01x solutions sooften order day process consulting works assumption client necessary expertise tackle problem ofcourse may true may end wasting lotof time addressing problem wrong approach or\ufb01nd failed fully appreciate problemsinvolved whereas prompt application effective form focused expert consulting would solvedthe problem conversely works well process consulting added bene\ufb01t enhancing clients ability deal theproblem next time happens improves yourorganizations overall capability something thatcannot always said true expert consulting selecting form consulting expertise organizations frequently choose expert approach appearsto offer greater bene\ufb01ts terms speed focus practice benefits prove imaginary real andmuch book focus process skills needto accompany underlying technical expertise combining sets skills people develop trulyoutstanding internal consultants high performance consulting skills depending upon area functional expertise internal consultants need develop agility balance expert process continuum knowing tobe continuum one time art goodconsultant external consultants often underestimate thepower process management fail see power inboth developing clients capability generatingcommitment ownership solutions hence generalability recite horror stories involving external consultantswho didnt listen simply imposed solutions figure bias expert process one managing change managing surprise need use clients knowledge expertise use knowledge expertiseas internal consultant whilst apply tech nical expertise whether project managementsystems design training \ufb01nancial planning aware ofthe constant potential dangers assuming theexpert know answers thus forcing solution onto client regardless views processconsulting demands focus problem also client need able tojudge right time either end continuum reality organizational problems never one right answer solve problem alwaysseveral options might applied consequently success consulting process involves getting one thosesolutions importantly involves getting clientto solution feel committed comfortable achieve likely gain immensecredibility client recognising need tochallenge clients need step back arekey skills developed learn balance theexpert process role difference internal external consultant classic story external consultant borrows watch tell time charges thenkeeps watch perhaps little exaggerated realityseems suggest lot evidence caricature weare familiar problems associated externalconsultants enter organizations displaying hugeamounts arrogance frequently believe theyknow problem even asking questionsthis form behaviour characterises worst form ofconsulting frequently results enormous waste oftime effort resource course always good high performance consulting skills bad external consultants also seems likely always opportunities good external consultantsto thrive often solution problem alreadyexists organization way arrival external consultant probably experience organizations dysfunctional way managed listento people comes diagnosing problemsand developing solutions despite prevailing wisdom ofsome leaders people work organizations generally know problems also understandthe underlying issues ideas \ufb01x regretfully views ideas often ignored ordismissed one central themes book challenge depressing convention indeed might arguedthat often leadership organization wherethe problem really lies comes encompassing newideas approaches internal consultancy provides exciting alternative option classic highly frustrating situations consultancy operating style aligns demandsof \ufb02atter organizational structures highly skilled knowledge workers exploring nature internal consultancy per haps useful begin comparison externalconsultancy help highlight critical aspects ofthe role examining differences two notour intention set one group another simplyrecognise key differences internal consultant differences in\ufb02uence ultimatelymarket services see list thatsome differences used aggressively promotea case using internal consultancy opposed adopting external route time someissues require examine question one managing change managing surprise ability truly objective impartial carrying internal projects question objectivity often amajor reason clients may seek external consultancyassistance situations may well \ufb01nd competing external consultants project thereforeneed clear view relative advantages disadvantages either approach order shape yourbusiness case proposals external consultants employed \ufb01xed period work speci\ufb01c client problem potentially able get full attention senior managers easily clients tend value pay presented experts specialist expertise experience present organizationthis often combined extensive knowledgeof either speci\ufb01c different industries clients\ufb01nd attractive generally highly motivated committed people display high levels energy work andclients whilst many paid lots money fordoing motivation commitment oftento work clients \ufb01rst pay chequesecond always conversant clients business thus client may pay consultants tolearn business initial stages project expensive \ufb02exible resource organization burdened longterm costs work \ufb01nished theconsultants leave although organizations thisnever seems happen high performance consulting skills able learn clients use learn ing clients emotionally involved clients problems history investment situationand therefore objective critical inreviewing situations independent course debatable given someone going signing bill often investing new approaches method ologies something new offer clients always required live consequences work always entirely honest say weve done often mean wehavent really great people expertise really con\ufb01dent \ufb01nd solution capable developing sense dependency clients cannot function without business selling people time interested consultant utilisationand pro\ufb01t maximisation internal consultants employed full time organization likely understand overall business better external consultants sometimes knowledgeable external consultants know business industry extremely well may also developedan approach methodology ahead anyexternal consultancy group one managing change managing surprise normally part speci\ufb01c function information technology training development financebusiness development internal audit aware right language culture organization know things work get things done able identify organization ambitions employees big emotional commitment liable taken granted lacking credibility external consultants prone emotionally involved organization thus perhaps in\ufb02uencing ability truly objective required live consequences advice still around long external consultants left able spread knowledge experience throughout organization enhance organizations overall capability required rede\ufb01ne past organizational relation ships move colleague client requires period adjustment high performance consulting skills fundamentally internal consultancy promotes concept enabling people develop solutions organizational problems develop longtermcapability well organizations internal consultancyalso provides basis managers propel existingroles organization tomorrow one managing change managing surprise insight working external consultants experience external consultants highly moti vated committed people want succeed deliverhigh quality work however negative perception people organizations frequently externalconsultants tendency people hostiletowards external consultants often results dif\ufb01cult andstrained relationships joint projects work external consultants project seek work harness skills expertise ratherthan adopting negative antagonistic approach good external consultants always respond positive people andboth sides gain get closer dont distance seeit learning opportunity time make sureyour positive approach reciprocated dont allow people tosimply use youthe characteristics internal consultancy truly characterises internal consultant internal consulting independent service many organizations problems occur managers become involved problem close theirminds certain possibilities solutions need freshand independent thinking one main reasons whyexternal consultants used often although arguablewhether external consultants truly independent someone somewhere always paying bill alwaysin\ufb02uence reported recommended abilityof internal consultants provide independent perspective analysis one valued contributionshowever extremely dif\ufb01cult role play becauseas internal consultant paid organizationand part critical something youbelong also ensures \ufb01nancial wellbeingcan dif\ufb01cult may need frequently challengeyour client dif\ufb01cult contentious issues may involveconfronting managers senior status manyorganizations extremely challenging task foranyone yet providing independent perspective anessential requirement role clients frequently need tohave assumptions methods questioned simplyoperating rubber stamp con\ufb01rming positiveimage everything client may mean failingto carry effective consulting role challenge theclients objectives aims plans part daytodayrole effective internal consultant high performance consulting skills one managing change managing surprise internal consulting advisory service internal consultants employed take dif\ufb01cult deci sions behalf harassed overworked managers asadvisors internal consultants responsible quality integrity advice clients whoultimately carry responsibility implementation providing advice consulting terms range technicalinput provision counselling facilitation expertise providing right advice right manner andat right time critical skill effective consultant line manager using skills internal consultant objective empower team develop theirown solution rather impose one emphasis beingto consult enable direct control internal consulting application specialist knowledge skills experience internal consultants often employed work prob lem part organization either short ofspecialist skills lacks necessary expertise depending technical background contribution mayinvolve introduction new systems operationalmethods others problem may generalnature involve operating facilitator ratherthan technical expert facilitator seeking toprovide client framework process help themsolve problem rather provide direct technical orexpert input see facilitator role another change fromthe conventional line perspective says takeover yes internal consultant provideadvice direction must stop short taking overthe leadership mantel problemall internal consultants must keep knowledge base expertise uptodate ability comment talk aboutthe latest developments \ufb01eld expertise whatis best practice industry adds credibility powerto case consultant talk avery narrow limited range expertise experiencewe \ufb01nd dif\ufb01cult get clients listen us ultimatelyclients buying knowledge advise internal consultancy proactive role experience simply changing title department internal consultancy unit result immediateovernight transformation indeed organization hasa negative perception department support function need work hard changing imagesimply sitting of\ufb01ce waiting telephoneto ring might depending previous performance ofyour department mean waiting long time internal consultancy demands proactive approach lots ofpositive networking throughout organization needto explore identify problem areas look opportunities assist clients tackling business challengesis crucial need develop kind marketing planeither group part initiative isalso vital section marketing explore issuesin depth internal consultant means thatyou start putting around organizationand marketing services high performance consulting skills internal consultancy requires higher business perspective become highly successful internal consultant demands possess develop ability contribute beyondany narrow areas functional expertise whilst traditionalorganizations encouraged functional areas expertise experienced barriers hostilities thatspring functions departments petty con\ufb02icts sales marketing research productionare common organizations internal consultant orunit matter area expertise must rise abovefeelings professional functional loyalty display ahigher wider business perspective internal consultants need see business people \ufb01rst andfunctional experts second contribute major businessissues requires recognition within organization aninformed person understands full business pictureand narrow range technical issues againdemands strong sense personal commitment development ensure keep uptodate external issuesinvolving economy politics competitor activityclients gain con\ufb01dence dealing consultants theysee knowledgeable well informed narrow perspectives outlooks impress want get involvedin major organizational issues need develop wellrounded outlook world organizationoperates aware technical expertise continually develop allow become consuming one managing change managing surprise internal consultancy requires \ufb02exibility personal con\ufb01dence credibility internal consultancy challenging demanding role one level involve clear explicit role onanother potential ambiguous role lotsof changing priorities clearly de\ufb01ned set daytoday tasks consequently internal consultant needto comfortable loose role may mean knowing going one day anotherfor people provoke sense discomfort asthey prefer job involves clearly de\ufb01ned set tasksand responsibilities internal consultancy involves operate successfully becomfortable ambiguous situations timedisplay high degree selfcon\ufb01dence credibility feeling ease working different groups includ ing senior colleagues prepared challenge andconfront important issues vital needs bedone without appearing rude arrogant patronising ultimately in\ufb02uence power come thequality advice manner deliverit role faint hearted introverted use internal consultant following section examine reasons employing internal consultants project assignment willbe working assumption organization hasthe capability establish consulting unit unitmight evolve develop existing specialist support function role general business developmentgroup alternatively going operating anindividual basis might want re\ufb02ect reasonswhy hired become involved projects types internal client work high performance consulting skills internal consultants used many different reasons important understand circumstances surrounding assignment establish beingasked provide assistance understanding clientsmotives early stage offset problems later theworking relationship clients motives employingyou either positive negative situations may deal listed aresome classic reasons using consultants look outfor negative uses consultants hazardousto success positive uses consultants improve organizational efficiency improving organization ef\ufb01ciency perhaps obvi ous common reason using consultants organizationstructure ef\ufb01ciency reviews involving overhead costreductions classic consultancy projects thoseinvolved improving operational performance throughnew management information systems late swe widespread use business process reviewsthat involved mapping organizational processes order tostreamline core ganizational processes situations may problems involving customer response timesor quality control problems necessitate multifunctionalresponse involving systems training developmentexpertise projects objective using consultants apply independent expert perspectiveand resource dif\ufb01cult urgent problem supplying intensive focused resource temporary basis major organizational change involving reorganization development management information systemrequires large amounts senior management time dayto one managing change managing surprise day operational pressures frequently prevent managers concentrating exclusively tasks seniormanagement teams also \ufb01nd dif\ufb01cult focus bothoperational strategic problems time management teams often get caught matters politicalbattles progress delayed internal consultantsprovide focused dedicated resource assist managersin overcoming problems establishing project teamswho focus exclusively project task means seniormanagement time focused used effectively secure confident clients like develop consultant relationship orderthat access con\ufb01dent able listento clients problems issues range disguises canbe much valued role internal consultant someinstances maybe required simply listen enable yourclient express views issue without passingjudgement others might required challenge orprovoke clients thinking perhaps consider alternative approaches courses action aspect theinternal consultants role demands develop relationship period time clients feelcomfortable discussing sensitive issues peers orcolleagues extremely valued powerful rolefor internal consultant perform high performance consulting skills contribute important decisionmaking process major decisions projects involved managers may want obtain additional input consultants helptheir decisionmaking processes maybe research orspecialist technical information required involves consultants drawing experience alternativelyobtaining information sources perhaps outside organization maybe case client isasking challenge test project proposal toensure every possible issue addressed andthought involvement cases likelyto limited providing focused technicalinput limited period time demonstrate business opportunities identified developed employing consultants speci\ufb01c business projects method senior managers demonstrate theirorganization maximising opportunities available toit daytoday operational pressures sometimes prevent managers devoting necessary time explore andexamine potential opportunities consultants offer necessary \ufb02exibility resource enable managers investigatenew ventures conversely managers pressure criticism colleagues might employ consultants todemonstrate dif\ufb01cult situation control clearly action might interpreted negativeuse consultants involve complexand potentially hazardous organizational politics one managing change managing surprise reduce risk projects failure highly complex expensive projects con cerned involvement consultants highlevelexpertise obviously reduce risk project runninginto dif\ufb01culties employing specialist expertise project management skills provided consultants helps provide comfortto senior managers important project properly resourced supported managed well providingthe expertise may acting comfort blanket theorganization potentially negative uses consultants course instances consultants used negative even subversive reasons purposesin cases need extremely cautious gettinginvolved potential outcomes situations canhave negative implications credibility reputation happens ability operate successfullyin organization becomes seriously impaired help undermine existing management group situation situations consultant might employed delib erately attack speci\ufb01c proposal initiative beensponsored another manager group involveyou acrimonious relationship win situationthere distinct difference situations youmight asked critically evaluate validate proposalor action plan hidden politicalagenda explained outset project always probe establish reasons whyyour client decided involve suspicionsare aroused probe harder uncover real motives suspect sense dif\ufb01cult situation need explain prospective client concerns need high performance consulting skills point potential dilemmas face trying operate successfully longterm become involvedin project always remember seen assomeone dirty work others haveproblems next trying operate parts yourorganization providing management support justify previously agreed decisions actions certain situations internal consultants maybe asked tackle assignments order manager justify analready agreed course action reference consultantsreport recommendation unreasonable request matter principle selfinterest try avoid projects internalconsultants must always safeguard reputation independence accepting work nature influencepeoples views integrity lose integrity thenyour ability operate successfully future seriously impaired people suspicious motivesand behaviours unlikely cooperate providing information assistance internal consultantavoid overtly political assignments someone blame whilst advocated use consultants important projects also case extreme situationscertain managers view involvement consultantsas providing convenient scapegoat eventthat project produce satisfactory outcome insuch situations critical secure clientsagreement stages project managetheir commitment throughout project avoid criticism later stage sense situation one whereyou unable emerge without damage shouldavoid entering project outset one managing change managing surprise managers might also use internal consultants recommend implement particularly dif\ufb01cult actions staff reductions business closures tactic involve hidingbehind consultants recommendations pushthrough dif\ufb01cult process hope reputationof management diminished suf\ufb01ce say people oftensee tactic result managementsreputation often damaged rather enhanced however maybe legitimate reasons whereby client might legitimately employ tactic longerterm bene\ufb01t might immediately apparent thereare circumstances involving complex reorganizations andkey staff deployments maybe acceptable manager refer consultants recommendation suchsituations manager may mind stability offuture working relationships need consultant fully recognised agent changes indeedit argued method using consultants theact skilled thoughtful manager trying take alongterm bene\ufb01cial outlook dif\ufb01cult problem clearly none situations easy cope manage need carefully weigh potential bene\ufb01ts losses involved discuss potentialclient becoming involved projects high performance consulting skills become internal consultant manager skills contained book highly relevant manager modern organization move traditional command control structures empoweredworking practices means managers increasinglybecoming enablers facilitators people newrole provides means support allows people developand improve organizational performance without necessity feel dependent conventional management powersconsultancy skills particular process skills involvedin handling client relationships employed onprojects also daytoday working relationships betweenmanagers people consultancy model providesa viable means traditional managers start tochange operating mode modern world support function support function become internal consultancy unit merely possessing developed body ofknowledge experience skills managing specialistactivities tackling dif\ufb01cult technical problems howeverexperience indicates also needs underlying organizational move towards developing internalconsulting capability changes need accompaniedby clear communications strategy sets rationale introducing role implications managersand working relationship new support function suf\ufb01cient simply change role withoutcommunicating educating managers newregime managers used traditional formof support function need understand new changesin service provision one managing change managing surprise organizations aggressively pursuing con sulting concept gone far introduce new\ufb01nancial procedures require line managers contract consultancy unit project assignmentfee organizations changed operating rolewithout altering funding resourcing requirementsin either situation senior managers employed inthe consultancy unit need ensure havecommunicated thoroughly rest organizationfailure invariably result confusion managers complaining new service provision linemanager \ufb01fteen years picked telephoneto personnel department received immediate response react angrily \ufb01rst day toldthat week meet haveto clearly inform managers new role communications process cannot left chance mustinvolve high level dialogue managers throughoutyour organization time convert redirect embarking approach also demands time andpatience organizations possible simplyclose one day start operating consultancyunit next invariably managers functions require aperiod adjustment time needed convert theold new recognition tensions making transition changes require carefulplanning former customers need adjust anew working relationship addition possessing functional specialist expertise consulting skills also requires ability collect andanalyse information develop options recommendpractical workable solutions action plans need high performance consulting skills keep pace latest developments methodologies techniques specialist \ufb01eld expertise vitalthe continuous development skills knowledge baseis critical means achieving credibility in\ufb02uence clients gradual period timethat anyone expect make transition peopleneed realistic time take one managing change managing surprise blankchapter two art client managementtwo art client management understanding key stages internal consulting process chapter outline key stages activities involved managing successful projects consultingprocess involves systematic approach managing projects assignments ensures deliversuccessful results also enjoy strong positive clientrelationships skills involved managing projects canalso applied lots daytoday working relationshipsin corporate world making successful transition fromcolleague client requires careful application theseconsulting stages consultancy project assignment divided four key stages run throughout duration projectthese stages shown figure involve getting contracting client information gathering understanding clients problem presenting client feedback action planning implementing reviewing exiting project high performance consulting skills figure client management process internal consultant likely cases expected get involved four stageshowever important remember assignments participation implementation phasemight reduced client decides take theseresponsibilities getting contracting marketing initial client meeting terms reference project planning organisation team staffing costs fees managing expectationsinformation gathering desk research information gathering problem analysis findings conclusionspresenting client feedback meetings interim meetings presentations reports detailed planning risk analysisimplementing reviewing exiting mobilising team project management project control sign evaluation potential new work client management ongoing activity two art client management two projects assignments ever need remain \ufb02exible responsive clients speci\ufb01c needs demands clients want relyheavily services throughout duration project others may want reduce dependency youby absorbing much work involved action planning implementation phases internal consultantyou need comfortable arrangements dontfeel personally rejected client decides reduce yourinvolvement latter stage project unless courseyou done something negative justify exclusion getting contracting client internal consultant group poten tial clients recognise expertise willing toinvolve projects initiatives suitable opportunities arise ability generate interest yourservices \ufb01rst step obtaining invitation meetwith potential clients succeed area willhave market appropriate teamor units services marketing internal consultancy new inexperienced consultant prospect ofhaving go organization actively marketor sell services come shock fact internal consultancy demands approach indeed thinkabout everyone corporate world businessof selling organization unaware areand offer chances asked todiscuss problems provide advice clients remoteif cannot rely potential clients coming thenmarketing services becomes essential survivaldeveloping marketing approach represents signi\ufb01cantdeparture work many traditional managers sup high performance consulting skills port functions enjoyed captive market services comes bit shock often fearof selling competitive world puts many people becoming independent external consultants fact intodays environment think marketourselves capabilities chapter marketing outline speci\ufb01c actions needed begin marketing process organization include developing simple marketing strategyand promoting skills services senior managementand key stakeholder groups organization initial marketing efforts successful potential client invite meeting discuss aparticular issue problem explore whether mightbe able provide help selling opportunity internal consultants probability isthat worked person howeverto succeed internal consultant need managethis person different way past wherewe need start developing structured approach tomanaging client relationships initial client meetings initial client meetings represent formal start ourclient management process also begins move froma colleague client perspective working relationship purpose initial client meeting begin standing clients business problems involvesjointly exploring key challenges concerns andestablishing possible basis project assignmentat initial stage need prepared start discussing provisional objectives timescales mightalso raise possible involvement clients staff thework requirements specialist skills two art client management \ufb01nance human resources project management production engineering logistics information technology etc clearlythis requires advance preparation different approach colleague perspective ill turnup see say new internal consultant often real need rede\ufb01ne past relationships clients clientsmay viewed past role subservient support function going gain respect andauthority need shift negative perceptions critical clients view equal asan internal consultant want strong mutually respectful relationship clients effect youhave develop partnership relationship dependingon starting point may take time patience beneeded order build range positive successesto shift peoples attitudes process in\ufb02uencing yourclients perceptions attitudes begins initial meeting stage developing initial terms reference basis client satisfactory meeting agreed principle start workingtogether initial terms reference developedonce submitted draft document discussed andpossibly agreed next client meeting many situations may need carry preliminary researchto de\ufb01ne precise scope problem although somesimple straightforward assignments maybe possible agree initial terms reference initial clientmeeting high performance consulting skills agreeing initial terms reference client begin consulting work fundamentalrule managing client relationships consultant client must absolutely clear scopeand objectives project beginning process ofagreeing initial terms reference ensures clearand mutual understanding taken place many consultants met failure ultimately faced angryclient ignored basic rule assuming thata lack clarity understanding start projectwill matter \ufb01nal stages project fatal mistake fact matters great deal clients consultantscan easily misunderstand forget details initial discussions exacerbated agreementsare documented establishing initial written termsof reference means establish clear focuson client wants agrees also processthat helps develop clients thinking problem exactly want oftena clients view problem change sign i\ufb01cantly result consultant probing challenging aninitial meeting process intended bene\ufb01t parties ensuring clear understanding theaims project helps prevent surprises later onin project two art client management dont start work without terms reference powerful tool help surface competing stakeholder objectives deliverables really helps client focuson questions really want hoping toachieve tracey norbury internal training advisor hsbcas project develops constantly review terms ref erence circumstances surrounding project changeyou may well need adjust overall objectives iswhy refer initial terms reference beginning project likely changeespecially become involved complex implementation work require detailed planning schedules developing initial terms reference include following information background project projects objectives boundary project constraints involved assumptions making stage clients reporting requirements project deliverables milestones show things happen activity time chart gantt financeresources required carry project cases fully understand clients problem need complete brief intensive period fact \ufb01nding may involve interviewing small cross sectionof people conducting form desk research makesure understand background clients problems provide initial estimate resourcesand time need complete project yourterms reference agreed client effectbecome consulting contract also become basison eventual success failure judgedwhich assume signi\ufb01cance clientmanagement process without clearly agreed terms reference cannot hope deliver effective consulting services high performance consulting skills projects required bid work compete groups possibly external consultants preparing initial terms reference beenough prepare client proposal thisis formal document include initial terms ofreference well consulting experience document experi ence skills team methodology describe approach executing work two art client management insight never lose focus terms reference keep readily available throughout course project complex lengthy assignments easy lose sight youroriginal objectives stray terms reference damaging either towards end assignmentor report back key stages wantyour client feel delivered keep asking yourselfand colleagues done said would insight consultants always leave insuf\ufb01cient time drafting pro ducing client reports useful guide planning simplydouble time think need never doenough drafting editing \ufb01nal reportinformation gathering understanding clients problem majority assignments projects detailed period fact finding necessary ensure areobtaining right information understand accurately de\ufb01ne clients problem requires inquisitiveand openminded approach throughout investigationsimply accepting said without challenging orquestioning issues may result developing erroneous \ufb01ndings conclusions structured analyticalapproach needed ensure relevant facts andissues established understood clear understanding information gathered initial stagesof work also help highlight additional areaswhich may require investigation ultimately youmust able develop valid conclusions recommendations gathered facts main methods gathering information desk research typically involves review examination existing information records egcurrent reports ef\ufb01ciency statistics systems outputspolicies operating procedures sales customerdata etc interviews conducted individual basis group interviews questionnaires circulated staff customers suppliers relevant parties process mapping existing processes systems external case studies data sources high performance consulting skills consultancy projects involve combination methods interviews course always critical ingathering information impossible carry consulting work without interview people whenconducting client interviews always aim professional respectful courteous everyone checklist main questions issues want discuss challenge devils advocate answers seem make sense remain impartial never criticise client staff others within organization never drawn intomaking controversial statements distinguish clearly information given record record discrete successful interviews need conducted relaxed open atmosphere may also moments youneed maintain client con\ufb01dentiality regard personal record comments may need protectpeople share confidential information bygiving assurances identifying broad themesand issues rather attributing speci\ufb01c comments individuals giving impression whatever said bequickly passed interested parties likely generate atmosphere trust two art client management controlling project project gets way main responsibil ity ensure plan implemented theobjectives terms reference met totherefore constantly focus projects objectives tracking teams progress plan reviewing plan ensure remains current viable keeping track project schedule key con sulting discipline need ensure people awareof key targets deliverables vital needto maintain strong level communication across aspectsof project team activities undertakingpeople need aware bigger picture therole project manager ensure people keptuptodate developments progress early warningmechanisms need place event delays orproblems occur strict adherence project plan isvital success successful projects best achieved holding regular review meetings ensuring key decisions fullydocumented agreed action points circulated toeveryone involved project structured client progressmeetings also ensure client kept fully informed thework undertaken projects overall progressand development also means highlight problem areas early stage vital keep clientinvolved times manage clients commitment throughout implementation phase finally replanning may need take place holding review meeting need record new changedtasks also change terms reference appropriate cases maybe need revise plan high performance consulting skills alternatively may consider number man agement actions increasing resources reassigningpeople tasks rescheduling parts projectin order keep planned deliverables presenting client feedback presenting client feedback phase consulting process runs throughout lifecycle projector assignment involved client feedback hasto take place regularly project ensure yourclient kept uptodate progress advised dif\ufb01culties earlier rather later stage consultantwho neglects part consulting cycle likely runinto real problems regard client relationshipremember always take initiative communicating client never position yourclient chasing information progress updatesif \ufb01nd situation probably means thatyou failed pay suf\ufb01cient attention feedbackprocess client relationship comes feedback progress reports always stay one step ahead ofyour client never ever try hide problems delay givingbad news always makes situation worse better toadvise client today rather three weeks problem occurred chances problem beand sound lot worse three weeks time project completion date ultimately results form \ufb01nal report client presentation stage ofthe feedback process client looking assess quality integrity work turn lookingto gauge reactions also stage youwill aiming strengthen client relationshipby securing agreement \ufb01ndings conclusions andrecommendations two art client management two major activities involved presenting client feed back involve writing reports making formalpresentations constitute two critical skill areas thatmust mastered poor performances either seriouslydamage clients con\ufb01dence overall ability andcompetence writing client reports client report must clear statement setout recommendations whereappropriate proposed implementation plans aninternal consultant report must capable beingunderstood \ufb01rst reading anyone possess detailed knowledge problem issues underreview report writing complex times painful process escaping discipline must appliedall consultants experience dif\ufb01culty one time anotherin writing reports depressed whenyou \ufb01nd struggling complex report youmust recognise signi\ufb01cant difference theskills needed analyse complex problem thenwrite clear logical repor situation however sets skills necessary produce report isrigorous analysis clear presentation many projects \ufb01nal report often way yourclient judge performance todisplay high degree skill capability making client presentations whilst conclusions recommendations shouldalways discussed client advance \ufb01nalreport submitted invariably comes time whenyou expected make formal presentation yourwork high performance consulting skills client presentations one important parts internal consultants work latter stages aproject become critical provide theopportunity explain issues report might notbe immediately clear open misinterpretation whenworking sensitive projects always personally present report rather send clientthis allows clarify potentially contentious ordif\ufb01cult issues immediately following client presentation may need consider reviewing possiblyamending \ufb01nal report light commentsreceived presentation like report writing client presentations extremely complex events never plan prepare enoughfor presentation may deal withsensitive issues involving criticism client othermanagers departments may also safeguardcon\ufb01dential issues emerged work whenissues present need planfor also manage theactual presentation need skilled innot structuring presentations also planningaround detailed process issues example dealwith fact attending presentation might betwo managers know extremely hostile whatyou report dealing type issue everyday challenge internal consultant clientpresentation section outline techniquesthat use ensure manage situationsand secure clients support commitment feedback stage two art client management implementation implementation stage consulting process requires detailed plans achieving projects objectiveson projects involvement may end stagewith client taking control involvement ina project end stage must aware asfar client concerned project \ufb01nishedthe completion review delivery reportfrequently represents beginning end client large complex projects involving example major information systems implementation client willfrequently manage large workload maybenecessary involve specialist project manager carryout detailed planning monitoring activities suchsituations large numbers people resources beinvolved demands disciplined rigorousapproach project management however majority consulting projects responsibility carrying outthe detailed planning implementation management willlay internal consultant charge project prepared take role anddevelop skills project manager high performance consulting skills insight identify involve appropriate people par ticipate planning discussions people whowill ultimately assume responsibility new systems orprocedures active involvement must securedas minimum people include client management team key people implementthe system changesthe implementation phase involves following steps assessing much detailed planning need reaf\ufb01rming terms reference preparing quick work programme carrying quick risk analysis presenting plan client secure client acceptance plan reviewing exiting projects end project need assess whether successful outcome delivered havemet objectives set original terms reference appropriate way present yourclient review report project work \ufb01nalresults review process also involve identifyingadditional actions might required toachieve projects \ufb01nal objectives might circumstances identify undertake additionalwork specify timescales involved review processshould always undertaken partnership yourclient approach positive sign shows project conducted mature professional mannerwhere client consultant accepted responsibilities outcome successful internal consultant time pre mium many clients requesting services willhave manage expectations regard futureavailability allow clients believe theyhave endless freedom demand services timeyou never able operate successfully endof assignment must inform client project involvement come end anyadditional work subject new agreement two art client management project management people team management major component managing client projects involves process building managing leadingteams comes people relationships entera different arena involves de\ufb01ning critical paths conducting risk probability assessmentsapplying project management tools techniques onething managing people another know managing people working environment partinvolves complex world emotions ambitionmotivation competition power control cooperation trustand mistrust come play clearly client assignment project managed need manage relationships normallyinvolve project sponsor staff stakeholders andyour project team altogether group presents challenging aspect internal consultants role fail tomanage people fail manage projects thevast majority internal consultants managing clientelement often demanding aspect role inany project situation people management experienceswill almost certainly vary one project another butthe essential factors need cope include managing daytoday client relationship managing expectations communicating progress liasing onproblem areas defining project leadership role style deciding right amount task control andrelationship support provided team bringingout best individual talents getting peopleto work towards common goal high performance consulting skills managing various group dynamics includes roles relationships various teammembers interested parties wordsbuilding team selecting project team based project undertaking need selectthe right balance skills competences well considering technical skills required also need tothink balance team terms personalities basic project management disciplines suchcases might helpful consider using form teambuilding instrument help get team started meredithbelbins approach team preferences excellent wayto kickoff project team get people understanding theroles might play helping build effective team bene\ufb01t belbins work provides project manager also team members clear meansof understanding following individual contribution team team members contribute best allocate activities tasks amongst team gaps team composition might exist best manage figure overleaf shows eight classic types identi\ufb01ed two art client management figure belbins team types understand team roles strengths weaknesses de\ufb01ned belbin mechanismby internal consultants project leaders improve balance teams overalleffectiveness belbins team roles questionnaire directions completing questionnaire section allocate total ten points among sen tences think best re\ufb02ect describe behaviourthe points allocate may distributed among several sentences extreme cases might distributed among allthe sentences ten points may given single sentenceplant shaper coordinator resource investigatorthe functioning team completer finishercompany worker implementormonitor evaluatorteam worker high performance consulting skills worked questionnaire enter points table end add scores vertically obtain scores belbins types two art client management h hh h hhhh h h h believe contribute team think quickly see take advantage new opportunities b work well wide range peoplec producing ideas one natural assetsd ability rests able draw people whenever detect may something ofvalue contribute group objectives e capacity follow much personal effectiveness f ready face temporary unpopularity leads worthwhile results end g quick sense likely work sit uation familiar h offer reasoned case alternative courses action without introducing bias prejudice possible shortcoming team work could ease unless meetings well struc tured controlled generally well conducted b inclined generous towards others valid viewpoint beengiven proper hearing c tendency talk lot group gets onto new ideasd objective outlook makes dif\ufb01cult join readily enthusiastically colleagues e sometimes seen forceful authoritar ian need get something done f \ufb01nd dif\ufb01cult lead front perhaps overresponsive group atmosphere g inclined get caught ideas occur lose track happening h colleagues tend see worrying unnec essarily detail possibility thingsmay go wrong involved project people aptitude in\ufb02uencing people without pressurising b general vigilance prevents careless mistakes omissions made c ready press action make sure meetings waste time lose sight themain objectives counted produce something originale always ready back good suggestion common interest f keen look latest new ideas developments g believe others appreciate capacity cool judgement h relied upon see essential work organized high performance consulting skills h hhh h h h h h hhhh characteristic approach group work quiet interest getting know col leagues better b reluctant challenge views others hold minority view c usually find line argument refute unsound propositions think talent making things work plan put operation e tendency avoid obvious come unexpected f bring touch perfectionism team job undertake g ready make contacts outside group h interested views hes itation making mind decision hasto made gain satisfaction job enjoy analysing situations weighing possible choices b interested \ufb01nding practical solutions problems c like feel fostering good working relationships exert strong in\ufb02uence decisionse meet people may something new offer two art client management h hhhh h h h h h h h hf get people agree new course action g feel element give task full attention h like \ufb01nd \ufb01eld stretches imagination suddenly given dif\ufb01cult task limited time unfamiliar people would feel like retiring corner devise way impasse developing line b would ready work person showed positive approach however dif\ufb01cult may c would \ufb01nd way reducing size task establishing different individualsmight best contribute natural sense urgency would help ensure fall behind schedule e believe would keep cool maintain capacity think straight f would retain steadiness purpose spite pressures g would prepared take positive lead felt group making progress h would open discussions view stimulating new thoughts getting something moving high performance consulting skills h h h h h h hhhhh reference problems subject working groups apt show impatience obstructing progress b others may criticise analytical insuf\ufb01ciently intuitive c desire ensure work properly done hold proceedings tend get bored rather easily rely one two stimulating members motivate stimulate e \ufb01nd dif\ufb01cult get started unless goals clear f sometimes poor explaining clarifying complex points occur g conscious demanding others things cannot h hesitate get points across run real opposition two art client management h hh h h hhhinterpretation scores allocate scores questions table add points column give totalteamrole distribution score high performance consulting skills section total cw g hdb f ech db h f c gsh f e c bdg apl c gd e h fri c f g e hdme hdg c e btw b f e c bhcf e hb f gd c source permission dr meredith belbin management games publishers butterworth heinemann belbin originally identi\ufb01ed eight types preference working teams recently belbin updated hiswork revised names allocated types thechairman become coordinator whilst companyworker become implementor time anew type introduced specialist someone whoprovides strong narrow input specialists aregood providing specialist information facts theymay good relating team members ordetracting narrow functional specialist role purpose work used theformer pro\ufb01les adopted dr belbin simply highlighted name changes introduced readers wishingto familiarise work reviewhis books published butterworth heinemann particular team roles work provide detailed explanation research \ufb01ndings listed essential characteristics type company workerimplementor cw chaircoordinator ch shaper sh plant pl resource investigator ri monitor evaluator team worker tm completer \ufb01nisher cf company workerimplementor role translates general ideas plans practical work ing objectives gets action breaks things tasks actions delivers actions results methods helps ensure teams objectives prop erly established tasks clearlyde\ufb01ned clari\ufb01es practical details deals two art client management maintains steady systematic approach calm pressure reliable perseveres face dif\ufb01cult challenging targets provides practical support team members behaviours avoid unconstructive criticism team members ideas suggestions lack \ufb02exibility company workers high ef\ufb01ciency concern resistant new ideas innovations manager company worker implementors strengths ability de\ufb01ne objectives practical details also effective introducing maintaining procedures structures organizations oftenpromoted inherent organizing abilities andskills coordinatorchair role controls organizes activities team making best use resources available pulls team together stands back helicopters team able get people working together high performance consulting skills methods encourages team members achieve teams objectives helping identify roles contributions encourages people put team objectives provides positive feedback individual performance smoothes disagreements interteam com petition keen people insight understandinguses tact diplomacy control manage identi\ufb01es weaknesses teams composition organizes develops team neutralise anyweaknesses coordinates resources exercises selfdiscipline perseverance acts focal point teams effort especially underpressure delegates effectively behaviours avoid recognising enough abilities team using team resources competing team types failing add creative innovative challenging aspect role abdicating leadership role face strong competition particularly shapers possiblyplants two art client management manager chair coordinator good position lead team comfortable standing back fromthe detail mobilise people tackle issues theireffective interpersonal skills also mean people willlisten take lead effective chair shaper role makes things happen gives shape strong direction activities team injects energy drive teams proceedings methods directs teams focus setting objectives clear priorities adopts wide perspective teams goals helps individuals understand roles contributions exerts strong directive in\ufb02uence teams dis cussions summarises outcomes terms objectivesand targets often appear impatient rush focuses progress achievements intervenes team wanders objectives challenges others purse directions argumentative dismissive people move fast high performance consulting skills behaviours avoid overly directive style assumes undue authority directive making summaries appraisals interventions tactful overly blunt even rude insen sitive needs others becoming isolated remote team losing identity team member seen egotistic competing team members particularly plant monitor evaluator shaper performs best operating team peers \ufb01nd formal leadership position theymay well need adopt coordinator type behavioursthis may require involvement routine activities andmore selfdiscipline shapers normally focus broadbrush approach getting things done little timefor detail want drive forward also need towatch insensitivity needs others notin longterm create problems tact diplomacy always high priority shapers plant role acts primary source ideas innovation team creative agent provocateur independent perspective two art client management methods concentrates attention big issues major strategies formulates new often radical ideas approaches looks possible breakthroughs approaches methods times contributions presenting proposals appropriate inappropriate moments behaviours avoid attempting demonstrate capabilities wide \ufb01eld contributing ideas reasons self interest indulgence rather teams needs alienating team taking offence ideas evaluated criti cised rejected sulking refusing make anyfurther contributions team becoming inhibited putting ideas forward especially dominant extrovert overcriticalgroups intimidated alternatively arguingwith shapers plant needs exercise selfdiscipline prepared listen team members comments ideas proposals particularly monitor evaluator colleagues iffound leadership role plant must let stressesof controlling team sti\ufb02e creative input nondirective roles plant expect used strong team resource devoting energies talentstowards establishing role creative thinker ideasperson high performance consulting skills resource investigator role explores teams outside resources develops useful contacts team harnesses resources team networker free agent methods makes excellent contacts quickly develops effective useful relationships allies team uses interest new ideas approaches explore outside possibilities introduces new peopleand resources team develops role teams main point con tact outside groups keeps uptodate newand related developments may helpful theteams work helps maintain good relationships team encourages team members make best use theirtalents especially team pressure behaviours avoid becoming involved ideas expense exploring others rejecting ideas information submitting team relaxing much pressure getting involved wasteful unproductive activi ties often results ris natural sociability two art client management resource investigators skilled communicators cre ative outlook vital helping bring new resourcesinto team networking capabilities make theminvaluable monitor evaluator role analyses ideas suggestions evaluates ideas approaches feasibility practical value deals facts introduces high level critical thinking ability team methods uses high levels critical thinking ability assess issues plans balances experimenting outlook critical assessment builds others suggestions ideas helps team turn ideas practical applications makes \ufb01rm practical realistic arguments adoption unsound approaches problems diplomatic challenging suggestions behaviours avoid using critical thinking ability teams expense tactless destructive criticism colleagues sug gestions liable upset others high performance consulting skills negative thinking allowing critical thinking skills outweigh openness new ideas provoking ayou always see reasons cannot done typeof response competitive behaviour others lowering teams morale excessively crit ical objective ignoring peoples passion emotional com mitment idea successful monitor evaluator combines high critical think ing skills practical outlook monitor evaluatoris team leader need ensure dominate members team sti\ufb02e contributionswhen nondirective role monitor evaluator thechallenge making voice heard appearingthreatening colleagues avoid tendencytowards undue scepticism cynicism strengths willhelp develop management capability team worker role strong team player member helps individual team members contribute promotes maintains team spirit effectiveness methods applies task observes strengths weaknesses team members supports team members developing strengths eg builds suggestions contributions two art client management helps individuals manage weaknesses per sonal advice assistance sel\ufb02ess outlook improves team communications builds relationships fosters strong sense team spirit setting example behaviours avoid competing status control team aligning one team member another avoiding dealing con\ufb02ict situations delaying tough decisions team worker role exercised different levels within team team leader manager team worker shouldsee role delegator developer people teamworkers qualities conscientiousness perseverancewill help ensure projects completed time tothe necessary levels cost quality completer \ufb01nisher role ensures teams efforts near perfect possible ensures tasks completed nothing overlooked injects urgency problems attention detail high performance consulting skills methods perfectionist looks errors omissions especially may result unclear responsibilities works tasks attention detail preci sion important looks mistakes detail actively identi\ufb01es work tasks require detailed attention raises standards teams activities maintains sense urgency priority behaviours avoid unnecessary emphasis detail expense overall plan direction negative thinking destructive criticism lowering team morale excessive worrying appearing slow moving lacking enthusiasm completer finisher role exercised different levels within team easily combined anotherrole manager completer finisher needs pay careful attention delegation skills keep unnecessaryinterference team members minimum juniorrole completer finisher need develop tact discretion avoid earning reputation nit pickerand worrier cfs also tend possess nervous drive thatneeds controlled directed positiveresults figure shows roles might stereotypi cally work project team two art client management figure project team working roles see relatively simple questionnaire generate powerful analysis preferences thatpeople operating teams client projects thatare likely involve degree team working realcomplexity early use belbins approach really starta team right way also course helps us internal consultants assess strengths weaknessesin terms team leading develop strategywith team deal development gaps attraction belbins approach clearly shows important range skills capabilities order deliver strong project team sametime also need consider type consultancy project might undertaking might mean interms types belbin preferences require youare trying break new ground develop highlyinnovative approaches might need lot plant orleaders coordinatorideas generator expert plant resource investigator shaper drivercompleter finisher monitor evaluator project managementcompany worker team worker high performance consulting skills resource investigator preferences equally build ing complex new production line may require lots ofimplementor monitor evaluator type preferences figure provides questions re\ufb02ect regard issue figure belbins team types project team cases internal consultant asked totake overall management implementationprocess perhaps supported expert project manager assignments may asked provideassistance less involved basis either situation yourinvolvement implementation stage importantbecause often client overall understanding projects background aimswhat consultancy task project need complete innovative breakthrough solutions detailed operational implementation tasks balance proposed project teamdo right balancedo need consider reviewing teams makeup projectwhat preferences project leader team two art client management blankchapter three marketing internal consultancythree marketing internal consultancy getting contracting client \ufb01rst stage consulting cycle involves getting front clients order discuss possibility providing somekind assistance moving classic support function internal consultancy perspective needto plan going market services manypeople new consultancy role major departure past practices actively promote yourservices opposed ready stream internal customers comes major challenge promote yourservices course depend objectives operating guidelines organization provided somecases may market services small scalehaving guaranteed regular amount work fromexisting clients situations may \ufb01nd inconstant competition external consultants win internal projects like form strategy \ufb01rst step developing mar keting strategy involves answering critical andfundamental questions demands step back fromany daytoday operational pressures commitmentsand look future goals objectives workingas consulting unit team need addressthese issues colleagues whilst questionsseem straightforward experience shows generate signi\ufb01cant discussion debate complete high performance consulting skills planning phase consider spending quality time activ ity perhaps full half day debating responses type consulting business clients needs results bene\ufb01ts services qualities objectives consulting unit potential barriers obstacles exist us competitors risks involved overall strategy adopt become successful illustrative purposes included example answers questions cover possible responsesfrom groups training development toinformation technology departments like strategy development simple answers questions youand colleagues hard thinking onlyyou develop relevant responses operation three marketing internal consultancy developing marketing strategy sort consulting group small highly focused consulting team providing value added services areas software systems designand support specialise development world classwebbased applications enhance organizational efficiency business performance clients clients senior executive middle management groups across organization clients require us clients require highly \ufb02exible responsive service areas webbased applications technology theydemand high level technical support ongoing consultancy compares best availableexternally services products provide provide range business focused training devel opment solutions well portfolio skills developmentprogrammes self development learning resources thatinclude webbased solutions cds manuals provide clients skills help maximise investment information technology key focus onmission critical business processes high performance consulting skills clients perception us client image high quality business focused customer responsive unit delivers real value addedsolutions limited resources clients regard value clients perceptions prices value highly cost effective competitive relation otherproviders provide high value added services intend develop client base seek opportunities existing client base propose develop new streams clientactivity particular stage development operate distribute services plan provide deliver services allocating dedicated individual business unit ensurethat every client manager direct contact services capability clients work daily basis withsomeone shares detailed understanding business challenges operating environment communicate promote services promote services existing client base actively promoting successes organizations various web sites seminars newsletters andpromotional literature also run regular brie\ufb01ngs toupdate clients latest service offerings three marketing internal consultancy financialbudgetary objectives achieve following objectives line agreed operating guidelines recover totaloperating costs internal wherever possibleexternal consulting activities answering questions demands high degree self analysis criticism use thinking everythingyou excellent clients different perspective might working twelve hour days think youare great job could client notaware must question allexisting activities clear startingbase evaluate past track record strategy involves developing clear focus demands make choices decide differentoptions spending quality time debating choicesyou likely develop clear focus futureactivities conducting client demand analysis another key planning activity conduct parallel one involves client demand analysisindeed activity really assist development yourmarketing strategy objective exercise identify current clients wantfrom terms services products figure showsan example form use process relatively simple design powerful terms impact high performance consulting skills figure mapping customers clients complete analysis required think every possible client group serve need identify service currently provide mostsupport functions services provided revolve around\ufb01ve key areas giving advice offering kind service physical transactionyoucustomer customer customer customer customer satisfied current client mix need consider developing new clients need consider dropping clients targetting right clients need impact add value towhat providing advice counsel opinions service activities completed another dept information providing facts data reports new knowledge added value new analysis research strategic input dealing future three marketing internal consultancy providing information facts data reports providing new knowledge adding something new organization strategic contribution adding something strategic organization form analysis powerful forces consider clients extent currently satisfy needs may typically discover youfocus clients others mayhave in\ufb02uential clients little next step re\ufb02ect analysis decide happy current level client service mixafter re\ufb02ection may \ufb01nd deciding reduceyour services certain clients increasing effortwith others order develop stronger relationships suchdecisions set broader strategy andwhat decide deliver longterm success may alsoconclude focusing enough higher valueadded activities providing new knowledge making astrategic contribution might involve adjusting thetypes activity get involved course giving advicecan highly signi\ufb01cant contribution dependon areas working strategic planning type processes right wrong answers questions obtainmaximum bene\ufb01t working two processeswith colleagues ultimately need make cleardecisions objectives role operating style youwant emerge analysis clear focus senseof direction assist develop mediumto longterm contribution high performance consulting skills clients look develop even detailed responses ques tions need constantly put clientsshoes ask buy peoplethis immensely powerful question ask consultant think clients needs focuson client looking selecting consultants three marketing internal consultancy present proposals clients remember put shoes apply challenge cant come satisfactoryanswer dont expect clients buy talk language business whenframing presenting proposals anticipate questions askedthese likely contain objections proposals work theseand close achieving buy tracey norbury development adviser hsbc tangibles clients look tangibles business performance ef\ufb01ciency improvements reduced costs improved revenuesenhanced levels customer service probably themost important factors get clients interestedin services harness marketing efforts aroundthese types hard business bene\ufb01ts business understanding clients buy people feel understand business challenges problems issues ask well youunderstand clients businesses much time youspend really trying \ufb01nd current pressuresare face answer much start developing knowledge base \ufb01nding much asyou challenges methodologies clients impressed proven methodologies detail precise ways implementing change indicate thatthe consultant well thought approach bevisibly seen methodologies provide clients high degreeof comfort consultant knows andis professional approach methodologies dominatethe areas production information technology theycan also adopted consulting areas training development change management alertto possibilities using adapting methodologiesand techniques \ufb01eld consulting work reassurance remember client commissioning consultancy serv ice putting position risk arein effect placing con\ufb01dence trust someone todeliver something great important clienttherefore needs strong degree reassurance consultants competence track record many clients hiring consultant asking selves whether made right decision clientslike con\ufb01dence peace mind regard theirdecisions sure deal less tangible aspectsof client relationship keeping close clientcommunicating advising progress offeringconstant reassurance staying close clients beingproactive relationship central developing strongclient sense con\ufb01dence high performance consulting skills clients look actually buying consultant well two critical things clients buy internal consultant identifying real client need part role consultant help client translate broad concerns issues speci\ufb01c needsthat satis\ufb01ed intervention support large part consultancy work involves challengingyour clients thoughts uncover real needs whatit really want addressed often clients arenot clear want time must bedevoted probing trying identify real problem three marketing internal consultancy consulting team operating statement use nestec productivity team npt career devel opment step cs commitment credibility con\ufb01dence find synergies wheels invented use brainpower employees know dont apply focus way stop compromising commitment operating statement nestle nestec productivity team vevey switzerland courtesy curt blattnerareas client client initially says want may need initial contact involvement client involves trying resolve de\ufb01netheir real underlying business needs solutions ultimately client wants solution problem prod ucts methodologies assist achieving goalare highly valuable never lose sight fact isthe \ufb01nal solution matters client therefore developing marketing strategy plansfocus involvement solutions help yourclient solve problems helpful tips never ever confuse trying sell client wants buy must always address clients real needs think need one thegreatest faults consultants focus theirsolution expense clients problembe sure constantly address problemas de\ufb01ned client elegance ofyour methodology process following golden rule ensure stay client focused high performance consulting skills tbeginning market recognising starting point get real world clients secure different reactions approaches figure illustrates range potential client reactions thatmight greet marketing activity conduct clearly itmakes sense focus efforts clients eitherexpress genuine interest services actively seekyour assistance longer term also need remainin touch potential clients aware services may requested help cannotafford ignore clients may represent valuable source future work indeed may well needto spend time trying understand contacted wary expending lots energy efforton people intention ever wanting use yourservices life hard waste effort people arenever going buy services better focus effortson people understand offer areprepared work cooperative way sortsof clients want cultivate figure marketing internal consultancy client recognises abilityhired zero client interestinterest shownclient wants helpwhere starting three marketing internal consultancy marketing senior management key clients trying focus marketing activities re\ufb02ect classic pareto principle another simple butpowerful way focus marketing efforts marketing principle suggests clients accountfor workload success critical marketingquestion addressed whether know client base actually delivering successreferring earlier client analysis may help comeup right answer constantly review question analyse marketing approach test effectiveness organizations avery important element likely seniormanagement cadre course power hireyou action new projects initiatives really challenge much work keyleaders organization concentrating marketingefforts senior management frequently gain following bene\ufb01ts bigger higher value added projects referrals parts organization access strong sources in\ufb02uence strong resource allocation powerbase appeal times dif\ufb01cult high performance consulting skills sell senior management selling senior management three key steps follow understand clients motivations consultancy selection process need identify early stage key decisionmakers clientside identi\ufb01ed often bemore one try identify individualneeds wants remember managers arenot motivated thing notalways solving problem examine rangeof personal needs might exist around table re\ufb02ecton classic needs solving problem exploiting new opportunities arise result project securing personal credit make look goodhelpful tip put clients shoes remem ber clients want listened feel important respected needs addressed know simple clear terms help three marketing internal consultancy criticise previous decision approach pay back time political ambitions within organization need show high performance consulting skills real change happen enthusiastic business sponsor personally committed open doors engage decisionmakers return sponsor looks internal consultant understandthe business provide workable solutions effective working relationship built trust clear agreement delivered tracey norbury development adviser hsbc never overlook desire personal gain political ambition many senior managers always looking forprojects make look good organizationit nature large organizations power games arefrequently played alert hidden agendas personal ambitions focusing aspect selling process trying identify different types client need greatlyenhances chances success connecting clientswhen pitching projectde\ufb01ne business priorities skillfully de\ufb01ning articulating clients key business priorities easily identify outputs deliverablesthat client seeking achieve always re\ufb02ect priorities terms reference client instantlyrecognises better still try add new insightsfor client around business priorities reallyimpresses clients gives con\ufb01dence overall approach involvement state bene\ufb01ts involvement selling product service professional marketing people always distinguish clearly features bene\ufb01ts features merely aspects approach aswe use latest technology detailed methodology features interesting client reallywants hear technology solve problem bene\ufb01ts normally result features itis bene\ufb01ts clients really like example bene\ufb01t ofusing particular type technology producea faster quicker solution likely far moreinterest client involves saving time money whilst methodologies techniques important part marketing approach focusing bene\ufb01ts really focus arguments andefforts major features involvement classic mistake people make selling consultancy soalways ensure stay resultsfocused highlightthe bene\ufb01ts approach solution offer ask approach solution improve thebusiness hard tangible terms think bottomlineresults three marketing internal consultancy practical tips improve marketing effort solve problems chief executive of\ufb01cer board focus organizations pressure points \ufb01nd business hurting see canhelp always pays consultant business andperformance focused use factual bottomline business performance meas ures promote activities demonstrate realvalue added contribution work managers converted approach services dont waste valuabletime effort managers never understand appreciate work focus people whovalue input cultivate wordofmouth referrals best form marketing well cheapest recommendations happy satis\ufb01ed clients cultivate yourclients promote work around organization think developing distinct identity organization discuss possibility promoting alogo newsletter informs organizationabout role services network seize opportunities present work others asked make presentation theannual sales conference see opportunity talk successful project better still dothe presentation partnership client high performance consulting skills audit staff check displaying client focused behaviours efforts bewasted person answering phone less thanprofessional attitude towards existing andpotential clients develop personal network contacts internally externally organization takepeople lunch talk projects invite externally speakers organization invite in\ufb02uential managers along helps positionyourself someone trying add value theorganization visit companies organizations find best practice \ufb01eld operation yourability comment matters gives credibility power in\ufb02uence collaborate internal consultants organizations help improve skillbase give new ideas send relevant articles work general busi ness key clients easy low cost way ofkeeping front article relevant may well mention next time meetalternatively something casually raise discussion topic may even\ufb01nd client asks follow ofthe points contained article keep clear record client meetings dont lose touch clients clients like consultants ring run workas gives negative perception valuethem view effective consultants work hardat maintaining relationships even work onoffer always thinking longer term andremember client contact form marketing three marketing internal consultancy remember business comes exist ing client base try actively promote workand keep clients touch types workyou engaged finally stay alert opportunities project matter small potential develop intoother areas larger assignments internal consultancy case study background matthias behrens director business process man agement autodesk founded autodesk inc isthe worlds leading design software digital content company offers solutions professionals building designgeographic information systems manufacturing digitalmedia wireless data services employees located of\ufb01ces around world aboutfour million customers countries one thelargest pc software companies world matthias team providing services around proj ect business process management globally theautodesk organization internal consultancy autodesk team broad role main goal work help organization improve ability executing critical change efforts provide varietyof tools methods services around project processmanagement whilst services optionaloffering organization also additionalresponsibility ensure project teams adhere vari high performance consulting skills ous standards dual role requires us perform care ful dif\ufb01cult balancing act wide variety customers services begins senior management want investmentsto go valuable projects also want seethem effectively implemented project sponsors turn wantto see proposed initiatives approved funded finallyproject managers teams want help applyingproject process management tools techniques clients eager ensure project process management input provide adding anadministrative burden work constant challenge us get right balance enforcing certain globalstandards without losing credibility real partner intrying provide valuable consulting services effective role developed set working practicesbehaviours attitudes help us address thechallenges face work involves change helping people go work different way however many thesolutions provide automatically perceived asvaluable autodesk organization values speed \ufb02exibility risktaking among core values people naturally worry suggestions might slow increase work burden often meet someinitial resistance try help successful we\ufb01rst try understand colleagues motivations needs andworries project sponsors business managers different needs invariably con\ufb02ict imperativeto understand needs develop individualstrategies serve requirements internal consultants role selling standard solutions three marketing internal consultancy trying solve clients individual problem requires different belief seeing customers colleagues clients clients choose take services advice go elsewhere clients haveto persuaded provide real value second belief abandon expertise critical success experts project process management easy fall intoa lecturing mode telling client run project highlighting mistakes generally prescriptivethis approach inevitably results resistance successful learnt listen clientsproblems try really understand underlying drivers often help asking questions rather bygiving advice frequently facilitate process project teams \ufb01nd answers problems involving client \ufb01nding solution rather presenting seems successful approach us experts project process management natu rally use standardised approach consulting process treat engagements formal project whilst managers see initially kind overhead develop produce formal project engagement charter start project follow asimple clearly phased process run projects thefollowing pages see approach contracting phase example project charter termsof reference documentation key document amajor element client management approach high performance consulting skills us charter documentation following advantages ensures expectations properly set par ties involved outset project key factors like timelines boundaries stakeholders deliverables clearly de\ufb01ned discussed client well consultant clear visibil ity lifecycle theproject develop approach many challenges remain us establishing real measures success constant chal lenge consultants provide lot advice managewithout authority share project successis extremely dif\ufb01cult measure de\ufb01nition job moreabout influencing persuading controlwrongly set measures detrimental effect ofpushing consultants expert mode trying pushclients perform certain activities consultantsgoals achieved internal consultant work \ufb01t normal performance management process withinthe organization goals need carefully formulatedand often less smart objectives might desirable whichis course contrary conventional performance management thinking services freeofcharge standard success measure applies external consultants generation consulting fees also applicable three marketing internal consultancy dealing remoteness another key issue team working globally distributed organization personal contact internal customers often limitedto phone conversations sometimes might monthsbefore able meet clients facetofaceworking across many different time zones means haveto communicate via email unearthly hours inconvenient locations frequent travel use video andphone equipment online web tools ease problem remove time internal consultants role requires high level in\ufb02uencing skills ability read clients bodylanguage facial expressions informal watercooler conversations signi\ufb01cant skill requirement outstanding interpersonal skills combined thenecessary technical skills achieve maximum impact operating internal consultant continues pose unique set challenges certainly requires change inattitude approach normal support specialist rolebut master skills techniques rewardsare immense prize ability in\ufb02uence organization levels positive client feedback turn aconstant demand services anyone embarkingon journey would say enjoy great way togrow develop skills high performance consulting skills proj ec c h ar ter pr j e c namepr oj ec feb ver z wh th e g ha ter es n ou tc om e di ct ly inv ol dst ake hol der sex tended te proje ct plan ning q ui nt ef e v al el ec ti tool etu p dat migr rol l outhigh lev el sc dul e feb r apr may j u n ju l u g sep oc tz exa mp le us g pro tot yp e pp r oa ch ut ou r cin g us g pac ka ge yst em us ing co ns ul ta nt e tcapproa ch l ege nd c n fid e n ce n chedu le green h g h blue e u red l wfundi ng sou rce r e u r c e yo ne w ill ha w ork pa rt time th e team tr est er pro j e c gui el ne q u ment def n ti n de v el p en te ng doc ume nt n tr ai ni n g sup p r pl nproj ec chart er pr j e c namepr oj ec feb ver st ate h ig h le l go al yo ur pro je ctpr oje ct goa ls pr oje ct wi c v er ite ms w hin scope pr oje ct wi cove r impo r ta nt sp el l ut whic h ems w ill n ot de liv er ed na ge e xp ec tat io ns pr oje ct na ger nd co team z pr ojec ag er z co tea mb er z pr ese nt ati u er gr ou p tbnbusi ne ss c ope c team u ar ke p es del ra bl es k ey de liv er able ny ke ph es st age pr oj ec mov g thr ou ghco st nef co st e r le n pe r n eff ort et c ne fi qu ti ta tive qua lit ive three marketing internal consultancy proj ec c h ar ter pr j e c namepr oj ec feb ver pos p roje ct ownership z would sponsors stakeholders evaluate project successfulsu c c e c r e r ia take outlined approach project alternatives consideredand chosen project alternatives commentalt er nat ive suppl em ent al owns golive date organizations aware sponsor name sponsor name sponsor name sponsor name ap prov al spr oj ec c h ar ter pr oj ect namepr oj ec feb ver fl exi b lity mat r x q ua lit yres ou rc es sc pemos fle xib lemo fle xib lelea st flex ibl e xxxz projects decisions project depends upondep ende nci esz example assumptions availability resourcestechnical tools etcas sum pt ions const r ai n te flexibility option checked oncez make project failissue risks timeless flexible x high performance consulting skills chapter four managing initial client meetingsfour managing initial client meetings initial client meetings starting point begin building client base organization mostcases invited potential existingclient discuss problem explore possibility providing assistance ability handle manageinitial client meetings professionally vital successinitial meetings \ufb01rst step promoting involvement expertise clients capability entera potential clients of\ufb01ce subsequently emerge havingsold services demanding challenging role may well case initial meeting already know potential client however wary makingassumptions deal clients veryeasy think someone worked manyyears simply old colleague may feel cansimply turn meeting good old chatwith approach take need viewformer colleagues different client perspective initial meetings conducted high degree professionalism simply arriving someones of\ufb01ce withthe intention friendly discussion wayto impress clients throughout meeting want sendstrong messages potential client value andappreciate time show keento assist client problems challenges maybefacing high performance consulting skills objectives initial client meetings learn clients operation understand clients problems challenges determine whether might able help assess provide assistance necessary timescales assess interested problem begin building client relationship re\ufb02ect clients problem agree next steps withdraw involvement essential rules managing initial client meetings important rule initial meeting get client talking getting initial meeting thorough professional manner requires follow setof clear guidelines adhere \ufb01nd thatyour initial meetings run successfully ensure always arrive time never late even client remember privilege introduce colleagues two consultants interviewing carry clear focused introductions nature skills outline understanding broad purpose objectives meeting check amount time client available meeting four managing initial client meetings obtain clients agreement meetings objec tives timescales forms basis contractfor meeting want \ufb01nd much youcan clients situation discuss clarify understanding back ground issues asking lots openendedquestions summarise re\ufb02ect back clients comments regularly ensure understood hasbeen said ask access supporting relevant materi als concerning problem reports documents thatmight supplied meetinghelpful tips powerful question ask client initial meetings would success looklike project successful andwork question also followed would people differently aresult proposed initiative wouldthey instances questions secure powerful responses client willde\ufb01ne terms exactly theywant project involvement todeliver surprised quickly youobtain clients fundamental requirements high performance consulting skills check areas client want get involved establish boundaries yourwork agree results client would like achieve prepared explore tentative ways possibly solve clients problem remember veryearly start prescriptive solutions summarise agree next steps concerning involvement key actions responsibilities beforeyour next meeting cases mean youpresenting initial terms reference discussion agree date time place next meeting agree basis maintaining regular contact access client example weekly minute meeting review progress one page summary key actions sent client every week monthly review meeting client project team agree form communication client announce involvement project agree adistribution list interested parties offer draft thisletter client review circulate four managing initial client meetings keep record meeting write client con\ufb01rming discussed agreed action points also con\ufb01rm datetime place next meetinghelpful tips watch disappearing client syndrome initial meeting must discuss agree client communicationsand reporting arrangements proposedproject often projects consultants fallvictim client promoted becomestoo busy simply loses interest projectin effect disappear must establish basis regular client access initial meeting agreed precise reporting arrangements subsequently confirmed writtenproposal refer clientstarts miss review meetings regular client access allows update progressand problem areas also means dothis sooner rather later must alwayskeep focused main client notallow drift away project high performance consulting skills tthings avoid initial meetings appearing unprepared unprofessional probably worst impression give client initial meetingbelow list containing classic errors avoid themat costs stating objectives meeting listening client talking much client displaying arrogant aggressive behaviour in\ufb02exible interview approach running time deal issues drawn making personal comments people departments organization voicing recommendations early remember may systems people issue demonstrating lack con\ufb01dence credibility leaving meeting wrong problem proactive enough suggesting events progress next stage four managing initial client meetings convey respect openness understanding initial client meeting respect arrive time polite courteous acknowledge clients opinions respect values agree contract meeting objectives timing etc allow client time talk concerns give client full attention avoid patronising comments observations avoid judgemental listen openness clear open objectives early stage avoid matters may involve organizational politics intrigue prepared admit part errors mis takes misunderstandings share thoughts ideas client honest explaining scope limitations work honest answers dont know say dont know challenge client understand thing better ask rather later askinglater may make look foolish high performance consulting skills understanding demonstrate real appreciation clients posi tion informed questioning regularly summarise clients answers comments recognise clients may strong feelings certain issues initial client meetings consultants template part professional approach always attend initialmeeting questions prepared well advancethis help project con\ufb01dence senseof experience end initial meeting need tocarefully record results client discussions consider using template end chapter act asa focus questions record key points following pages provide simple examples illustrate howthey might used see four managing initial client meetings initial client meetings example high performance consulting skills initial meeting form next meeting datetimeplace march head of\ufb01ce chicago duration meeting hoursaction visit sites jp mt interview key staff mt prepare integration strategy mt key client staffinitial thoughts solve problem establish project team highlight key issues develop integration strategymeet staff understand per spectives key concerns communicate intentions set draft timetable develop resourcing staff release schemes line hrdepartment supportwhat clients issues requirement merge two key functions following acquisition different culturesand work processes need rationalise staf\ufb01ng levels successfully integratenew activities workloadwhilst minimising operational disruptions delays large operations different business systems styles andculture along need effectrapid integration monthsdescription clients operation finance functions currently process key \ufb01nancial reporting activities businesseswhat client reportingstructure jim davies cfo carlos mendes vp finance jenny bond manager erica hoffman managermeeting purpose discuss merger two \ufb01nance departments new york area following recent acquisition major competitor business dept client name present vp finance jan peters mark thomaslocation head of\ufb01ce chicago date time march four managing initial client meetings initial client meetings example initial meeting form next meeting datetimeplace sept zurich of\ufb01ce duration meeting hoursaction get budget gp detailed requirements meeting dh dt visit key business sites rw rbinitial thoughts solve problem review existing status project key vendors establishexact position establish transition team develop draft plan involvementof key stakeholders meet key stakeholders operational impact issues address customer staf\ufb01ng communicationswhat clients issues need effect clear migration plan minimise disruptiondevelop plan make switch critical holiday period inorder lessen impact business customer operations real experience today han dling project complexity staff reactionsdescription clients operation speciality chemical business serv ing small medium sized businessacross europe department link sales mar keting accounts client reportingstructure rolf wigand director patricia jovenetti supervisor anne dabell james lock jan laubemeeting purpose discuss migration major customer database existing stand alone system new fully integrated state theart networkdept name present dept gert hunzinker david thirill rolf behrlocation zurich of\ufb01ce date time sept initial terms reference prepare initial terms reference visible professional way demon strate client understood problemand requirements producing terms reference thisdocument serves contract yourclient probability referenced updated oncomplex projects several times life assignment extreme cases main project objectives mayeven change clearly changes must documented sothat focus project lost essential thatany changes made terms reference discussedin detail agreed client implemented consultant power change initialterms reference without express agreement theirclient client signed changes tothe terms reference project really begin initial terms reference contain main characteristic quality terms reference clear concise needs clearly indicate whatthe projects objectives work consultant isproposing also needs highlight constraintsor assumptions making also show keystages milestones involved plan also toindicate resourcing appropriate costs high performance consulting skills key headings use description content include following background description background work project identify past problems relevant issues include information gained initial client meeting keep section maximum two paragraphs provide someone new project witha clear simple overview objectives state outcomes business objectives must achieved work state client boundary document boundaries scope work cov ered clearly identify done done departments involved constraints record constraints working including time people money equipment resources four managing initial client meetings assumptions state assumptions making example access resources client staff \ufb01nancial budgetsthis indicate client information need initial terms reference signed assumptions left eitheragreed adjusted basis carry outthe work following client discussions exampleyour client agreed managers beinstructed release staff attend interviews inthe real world cannot assume would havehappened many projects failed manyassumptions made proved anassumption doubt raise assumptionclarify remove client reporting state client reporting requirements showing client side receive reports reports presented meetings elec tronic mail paper precise format report take microsoft word powerpoint etc text document landscaped powerpoint slides reports delivered high performance consulting skills project deliverables state project deliverables indicating deliverables delivered note milestones activity time chart show major tasks involved project sequence indicate done show week number completion dates long take completing tasks show milestones key deliverables made eg presentation report system speci\ufb01cationoperating procedures client workshops finance appropriate show staff fee rate project stage show necessary resourcing material costs show total estimated budget required four managing initial client meetings sample initial terms reference initial terms reference headings transferred onto form use project figure highlights key elements tor figure project terms reference form found chapter internal consultants toolkit review following example re\ufb02ecton might incorporate approach consulting work remember stage preparing initial terms reference based understanding projectthese details invariably change informationwill added project progresses develops background objective boundary constraints assumptions reporting deliverables financebackground description background work done two paragraphs maximum objective state overall business objectives state project sponsor boundary work done work done departments involved constraints note constraints terms time people equipment money assumptions customers provide information tor signed assumptions reporting reporting requirements receives represented reports delivered meetings electronic paper deliverables going deliver going deliver finance much project cost include cost people equipment expenses client signoff high performance consulting skills four managing initial client meetings page terms reference form boundary involve senior management hamburg site understand document services required interview staff external support companies interview staff hamburg site determine level satisfaction employees recommend individual employees new postobjective investigate service level provided two external companies document skills required support functionbackground last two years hamburg of\ufb01ce increased staff support training computer maintenance currently supplied two external companies servicelevels vary considerably head of\ufb01ce international drive create internal sup port sections wherever possible throughout company toprovide greater control quality service employeesstart date september project name internal support departmentlocation hamburg consultant name emily goodsondate august client name boris lang directorhigh performance consulting skills page terms reference form deliverables milestones provide \ufb01nal report end assignment weeks time present \ufb01ndings directorreporting provide brief progress report every friday use internal electronic mail systemassumptions members external support companies available inter view internal staff members available interview interviewees available one week periodconstraints details assignment must discussed external support companiesfour managing initial client meetings page terms reference form approved client date time chart project activity effort start week prepare plan eg bl services needed eg investigate co eg investigate co eg interview staff eg report eg presentation eg bl total effort x days estimated costs resource name emily goodson rate effort cost resource name boris lang rate effort cost resource name rate effort cost resource name rate effort cost equipment name cost equipment name cost expenses cost total estimated costs writing client proposals projects \ufb01nd competi tive situation may bid work proposeto carry circumstances present formal written document potential client soyou need expand initial terms reference intoa full proposal include sections covered terms reference add someadditional information enhance \ufb01nal proposal structure proposal clear logical manner several clients involved \ufb01nal decisionmakingprocess try identify re\ufb02ect various needs inyour proposal submit proposal client typed narra tive document must presented completedform use headings initial terms reference expand section provide detailedinformation helpful tip keep time spent drafting client proposal line size assignment offerdont spend one week writing proposal aproject likely last days needto use time effectively focus energies proposals offer best promise high performance consulting skills tfor example enhance boundary section explaining type research information gathering undertake want interview muchtime need complete work enhance activity time chart providing descrip tion activity indicating yourresponsibilities also clients specify time costs involved use internalexternal consultants remember planning activities take account factors holidays availability clientsand staff agree absences advance withyour client avoid problems later stage finally remember check key facts numbers additional headings include proposal concern consulting experience section outlines professional expertise com petence carry assignment include previousexperience addressing similar projects problems andalso include curriculum vitae team thatwill used project include details teamsskills experience methodology section deals approach tackling proj ect describing detail approach methodologyif involved information technology trainingconsultancy might describe process conducting development cycle linear iterative trainingneeds analysis four managing initial client meetings remember whole basis effective client management avoid possible problems predicting advanceand taking corrective action ensure arise thegolden rule never surprise clienthelpful tip complex multidisciplinary projects may consider extent youcan accept responsibility quality workof third party contractors consultants whomay become involved project conscious possible expo sure liability event third party failsto complete work time instancesyour proposal specify conditions formanaging accepting involvement otherparties real control butwhose work impact project outcome failure deal type issue canhave disastrous consequences later date high performance consulting skills tmanaging initial meetings checklist \ufb01rst stage internal consulting process involves establishing working relationship client primary objective clearly identify clients needs andbegin exploring might provide assistance itinvolves submitting terms reference agreeing indetail projects objectives timescales costs questions ask client consider problem appear fully understand problem issues surrounding client appeared identify right wrong problem client want take full ownership problem client aware limitations trying solve problem client see partner tackling problem important parties clients may need brought project ensure successful outcome backing boss start proj ect sell upwards client fully aware commitments responsibilities commissioning project real problem facing client four managing initial client meetings clients perspective competent knowledgeable appear behave professional manner work trust make think different ways problem right expertise track record initial thoughts plans practical realistic terms reference proposal reasonable client thoughts report senior people within organization listen well aloof arrogant value time like person statementsquestions might use main business concerns moment real issues problems see happen situation continues people said situation colleagues think situation asked us provide assistance high performance consulting skills role see us playing helping address problem successful project would success look like could access relevant data reports considered options parts organization areas want us get involved thought ways might address issue initial thoughts tackling work four managing initial client meetings blankchapter five understanding de\ufb01ning clients problemfive understanding de\ufb01ning clients problem initial terms reference proposal agreed client really begin understandyour clients problem requires detailed analyticalreview issues circumstances surrounding problem de\ufb01ning business problem need maintaina clear independent perspective times dont beprejudiced past experiences easily persuaded emotive arguments persuasive people maintaining detachedand objective outlook essential success understanding clients problem endeavour gather information variety individuals sources information consultancy projects normally collected through\ufb01ve key methods desk research interviews group interviews questionnaires process mapping techniques chapter explore essential characteristics provide key advice use securebene\ufb01t client projects two key factors helpyou determine appropriate methods use are\ufb01rstly number people reasonably expect toinvolve given time constraints secondly depthof knowledge need fully understand problemfigure illustrates relationship two factors tothe different approaches high performance consulting skills figure information gathering techniques desk research cases desk research conducted early stages project although may circumstances itwill required middle project desk researchinvolves identi\ufb01cation analysis speci\ufb01c sourcesof documentary evidence maybe relevant project course lots projects deskresearch limited reading backgroundpapers documents previous reports theremay times need access widevariety information sources preparation startof project situations need apply disciplined analytical approach work identifythe relevant sources information record keypoints future project workhigh high lownumbers peopleinvolved knowledge problemsurveys desk research interviewsgroup interviews desk research interviews five understanding de\ufb01ning clients problem desk research normally involves three stages identi\ufb01cation relevant sources information review analysis information sources preparation key \ufb01ndings conclusions result ing research may require review sources information organization reports procedures operating manuals competitor publications financial reports technical journals professional association reports journals trade journals specialist journals business magazines government reports consultancy surveys reports industry association reports relevant books desk research helps build real understanding par ticular issue cases may result producinga report highlighting key \ufb01ndings part widerproject undertaken high performance consulting skills interviewing clients preparing interview structure \ufb01rst point emphasis interviewing people course project assignment everyoneis client potential become client itis therefore important always conduct theutmost courtesy professionalism even interviewing people extreme circumstances unhelpfulor even impolite treat everyone equal respect aninternal consultant never predict mightend working someone interviewed soalways exercise care conducting interviews upsetor annoy someone today may problem nextyear stand trying secure newpiece work different matter interview simple way gaining information questioning discussion client interviews must controlled consultant clear set objectivesand structure time interview must givethe impression interrogation harass peopleover questions antagonise result negativeoutcomes also sure avoid allowing personality con\ufb02icts personal likes dislikes cloud judgement duringan interview stay detached objective times preparing interviews develop checklist issues want discuss broad range questions tendto helpful detailed list questions willultimately ask depend replies reactions youreceive interview progresses flexible yourapproach checklist questions provides withmore scope adjust focus \ufb02ow interview five understanding de\ufb01ning clients problem key objective information gathering interview get client talking use magical paretorule client speaking time youasking questions remaining dominate aninterview likely leave understood clients viewpoint even worse problemyour ability listen rather talk critical successful client interviews simply use asmall select number openended questions yourclient provides relevant information bad interviewis talking time thesign operating expert consultant behaviour initial stages tend deter mine level trust exist throughout interviewyou therefore need display lots interest empathywith client accelerate process offering sharecontrol interview jointly agreeing agenda interviews beginning need establish credibility well deal anxieties client mayhave process appear worried nervousyou sometimes arouse similar tensions less con\ufb01dentinterviewees need present highly detailed explanation technical quali\ufb01cations career details canbe interpreted clients demonstrating lack ofcon\ufb01dence even worse arrogance objective shouldbe instil client sense comfort mutual respectso keep simple state role general background interview objectives themeeting high performance consulting skills developing planning interview approach keep following guidelines analyse advance background information clients operation eg problem areas performance indicators key personalities current businesschallenges competitor threats state clearly aims objectives interview decide topics want focus prefer ably aid checklist prepare plan interview structure allocate timings section interview find agree client inter view take place general rule people morecomfortable surroundings alsohave easy access additional information mayrequire making interview appointment clients always con\ufb01rm purpose objectives themeeting ideally write advance interview con\ufb01rm details enclose draft agenda themeeting helps offset concerns mayhave interview also helps prepare themto deal issues want discuss refer written agenda interview use means controlling pace interview help move client forward theyare staying long one subject area five understanding de\ufb01ning clients problem interviewing together colleague make sure agree clear roles beforehand allocatequestions speci\ufb01c topic areas giveyour client professional impression show thatyou strong roles project havingone consultant sitting asking questionsfor entire interview little instil client con\ufb01dence even worse could give impression thatyou wasteful inef\ufb01cient agree client interrup tions interview high performance consulting skills insight internal consultants always try hunt pairs interviewing client alone dif\ufb01cult easy get locked pattern discussion realise youhave lost track control working another colleagueyou develop speci\ufb01c roles help one ofyou gets dif\ufb01culties hunting pairs also helps reviewing interview afterwardsmanaging client interview start interview outline purpose interview check interviewees understandingof objectives even previously sent written con\ufb01rmation client maybe case didnot read properly forgotten afterhaving indicated time require interviewpolitely request assistance agreement interviewee objectives ask client whether wishto add anything interview agenda formalcourtesies may seem little elaborate help overcome potential hostility might instancesbe surrounding project questioning technique allow client follow line thought provided movetoo far away areas want focus conscious time constraints client maybeworking remember people likely disclosemore feel comfortable free express adopting aggressive questioning stance notnecessary result interviewee becoming antagonised refusing offer real informationalso avoid interrupting overly critical anythingthey may say may need challenge pointsbut without adopting hostile questioningtechnique end interview summarise client stated thank help cooperation alsorequest permission come back additional information work require five understanding de\ufb01ning clients problem managing client interviews checklist good practice make client feel comfortable put ease clear introduction ensure client clear objectives interview obtain clients agreement objectives allow client add scope interview wish ask permission take notes interview state intend handle issues con\ufb01den tiality open honest help establishrapport trust outline happen information collecting encourage client talking high performance consulting skills insight professional way end interview ask client anything discussed raised think maybe relevant work undertaking cases get neutral response occa sions get really important piece informationthat help overall project equally question nice effect handing close interview client use openended questions beginning interview followup client answers using probing questions elicit details issues con\ufb01rm understanding said summarising regularly try drawn making speci\ufb01c comments controversial issues align toany one viewpoint never criticise people departments also dont forget keep track interview structure ensure topic areas covered ask information new issues emerge interview obtain speci\ufb01c examples details facts client trying explain recognise irritation part client thank interviewee time assistance advise happen next things avoid information gathering interviews talking much client unnecessary jargon irritates clients provides ready opportunity criticise yourwork interview almost certainly later colleagues interrupting client making assumptions interviewees views opinions check challenge assumptions five understanding de\ufb01ning clients problem asking leading multiple questions antagonising client aggressive behaviour running time taking interview notes information obtained interviews recorded interview consultants towork hard improving quality notetaking itcan dif\ufb01cult task take precise detailed notes duringa lengthy interview need develop disciplinedapproach end pages scribbled andsemiintelligible comments firstly record name androle interviewee date interviewtook place \ufb01rst sounds obvious amazing interviewed perhaps twenty\ufb01vepeople look set notes wonder whose comments belong combined use broad listof questions topic headings assist structuring information interview proceeds also need review information obtain check provides require carryout investigation research clearly disciplinedand analytical approach involved collecting informationis equally necessary recording actions take interview write full account interview soon possible send copy interview notes interviewee check correct misunderstandings alternatively add relevant pointsthat may missed makes clear communications also presents thorough andprofessional image high performance consulting skills group interviews group interviews involve situations ef\ufb01ciency operational concerns decide interview group ofpeople project situations may befaced group production workers taking extendedlunchbreak accommodate project schedule alternatively maybe asked interview group managersat end one regular review meetings manyrespects basic requirements handling types ofinterviews onetoone situations however need aware certain circum stances may requirements ensure everyone hasan equal contribution discussions dominated forceful dominant members thegroup extent may need exercise strong control one way introduce conceptof groundrules guide peoples behaviour thediscussions five simple powerful examples shownoverleaf five understanding de\ufb01ning clients problem insight client discussing sensitive information pays careful take notes making detailed notes yourclient reveals inner thoughts organizationsproblems politics induce sense comfort try tolisten make notes discussion moved offthe delicate information get client feelingthat kind policemanground rules controlling group interviews one person speaks time basic dis cipline one often needs enforced ingroup situations avoid several discussions takingplace people agree disagree helps move discussion forward appears gettingbogged minority participants ok negative try also offer pos itive alternative solutions ideas addressthe problem help manage people positive attitude situationsa group interview degenerate negativespiral unless managed properly hierarchy left door helpful manage crosssection ofpeople believe maybe concerns aboutstatus in\ufb02uencing peoples views lets hard issue soft people rule helps focus people getting toissues concerning problem areas rather allowing personal recriminations take place canoften happen heated situations consultant introduce groundrules outset group meeting state theyare help ensure productive exchange ofviews introduced essential thatyou police meeting order toderive real bene\ufb01t high performance consulting skills using structured frameworks obtain information group situations involving larger groups say people may consider introducing structuredgroup work solicit everyones views mightbreak groups people task withdiscussing set speci\ufb01c questions reporting back inthese types situation might typically use classicswot analysis requires review strengths weaknesses opportunities threats particular situation figure illustrates swot framework figure using swot analysis gather assess informationability exploith h lvalue businessstrengthsability addressh h lrisk businessw eaknesses ability addressh h lseverity businessthreatsability exploith h lpotential attractiveness businesso pportunities five understanding de\ufb01ning clients problem introduced framework would instruct small groups people spend minutes producingtheir swot analysis viewed speci\ufb01c problem situation internal consultant would thenask someone group present back analysis lead general discussion clarify yourunderstanding presented overview swot analysis pre sented use additional powerfulquestions promote discussion eg therisk severity weaknessthreat actually happeningif invest strength business bene\ufb01t would derive often questions help providegreater focus key issues surrounding problem remember also swot analysis really useful simple structure conduct onetoone interviews cansimply keep asking client highlight strengths andweaknesses etc complete also aneasy way collate interview notes another analytical tools easily used group sit uations force\ufb01eld analysis requires highlightinga particular problem objective asking peopleto brainstorm relate experiences issue usingthe framework direct peoples thoughts discussions two distinct areas driving forcing factors people believe capable helping solve problem achieving theobjective contrast blockers obstacles factors people believe currently preventing problembeing addressed objective achieved structuring exercises provide people \ufb02ip charts working papers including postit notes helpthem build information power high performance consulting skills swot force\ufb01eld models ability display lot potentially complex information simple visualformat figure provides simple outline force\ufb01eld approach figure forcefield analysis frameworks also enable people present views opinions structured focused way meansyou also able collect information ef\ufb01cient andcontrolled manner also effective means recording outcomes meeting group presented viewson \ufb02ipchart paper means data easily typedup edited objectives increase efficiency reduce human error speed transactionsforcers driversobstacles blockersforcefield analysis five understanding de\ufb01ning clients problem frameworks also simple explain highly participative approach two essential ingredientsto getting best group interview situation types interview questioning techniques overall interview objectives already mind thereare several types questioning technique use tocollect information begin outset interview considering whether trying obtain hard facts clarify understanding process issue problem get interviewee comment idea proposition challenge interviewees thinking understand attitudes feelings surrounding issue assess interviewee answered questions employ wide range techniques elicit client responsesdeveloping con\ufb01dence questions techniqueswill come naturally gain experience interviewing people early days consulting workexperiment techniques dont worriedif certain occasions always produce thedesired results interviewing skill develops time high performance consulting skills using openended questions openended questions essential element con sultants interview toolkit prevent clientproviding simple one word replies openended questionsencourage people talk particularly helpful duringthe initial stages interview promote positiverapport dialogue openended questions also highly effective either introducing new topics probing detailed information particular subject powerful openended questions begin examples openended questions actually happening point would describe current situation current facts regards service levels performance figures relating system objections raised customer unit present point time discrepancy \ufb01rst identi\ufb01ed see three major issues facing operation situation remain place long current systems managed would describe current strengths operation primary responsibility five understanding de\ufb01ning clients problem situation begin worsen management realise project beginning slip issues contributed problem realise customers reacting badly would expected situations openended questions also used understand clients views opinions speci\ufb01c issues eg feel think think idea views important would say alternatives available would react using speci\ufb01c questions speci\ufb01c questions allow probe obtain spe ci\ufb01c details facts surrounding issue many cases youwant emerge interview opinionsbut also lots hard facts speci\ufb01c questions help get thedetails use follow openended questionssome examples exactly situation \ufb01rst arise responsible owns process breakdown \ufb01rst happen operator report incident \ufb01rst high performance consulting skills exact circumstances involved agreed conclusion discussions percentage increase time report presented management anyone query speci\ufb01cation \ufb01rst time announced linking questions link question variation openended question acts bridge allows make transition fromone question another thus promoting smooth interview\ufb02ow examples link questions include mentioned affect weve discussed could look another element system problem issue relate point raised ear lier concerning \ufb01nancing problems relationship quality level training given \ufb01nished talking product x brings mind questions relate product yhow strong product five understanding de\ufb01ning clients problem exploring validating alternative approaches certain interviews particularly later stages project may need begin validatingcertain hypotheses strategies actions using following questions help obtain reactions frominterested parties clients skill suggest ideaor proposition sound though alreadyreached conclusion may put client fromgiving clear unbiased answer want clientto give straightforward reaction propositionor proposal perhaps could another way option available xy approach would work taking radically different approach look wayhow integrating activities together next time could complete job using competitors opposite started pursuing idea would suggest could bemade work told suf\ufb01cient resources process produce results thoughts high performance consulting skills providing nonverbal encouragement interviews nonverbal encouragement involves making noises ah oh uhh hmm client talksthis rapport building technique lets client knowthat actively listening would like hearmore verbal acknowledgements indications attention combined appropriate facial expressionssmiles raised eyebrows etc encourage clientto talk similarly also show empathy client careful use body posture facial expressions eye contact leaning forward demonstrating expressions ofinterest promotes increased dialogue however carefulnot overplay techniques clients may \ufb01ndthem offputting even manipulative using supportive statements supportive statements involve phrases seeand happened thats interesting couldyou say little bit sounds relevant supportive statements produce results non verbal encouragement extended answer yourclient reduces need set detailed questions aim using supportive statements lead yourclient providing much information detail possible least amount spoken comment five understanding de\ufb01ning clients problem checking facts asking speci\ufb01c information throughout assignment interview need establish speci\ufb01c facts obtain key information requires direct questioning approach butbe careful ensure sound hostile towardspeople directness question sometimes makethis dif\ufb01cult thinking questions consider voice tone sensitivity question thetiming heavy handed approach maysound like interrogator following types question illustrate approach information come con\ufb01rm \ufb01gures con\ufb01rm actually report operations director shown separate set \ufb01gures con\ufb01rm accuracy current systems availability verify data simply changing tone voice signi\ufb01 cantly change way questions might interpretedso careful think client might react avoidbeing proverbial bull china shop simple pleaseor would possible help soften blunt sounding nature questions high performance consulting skills showing empathy client certain times need demonstrate empathy client particularly important whenyour client discussing sensitive issues feeling vulnerable relating particular details followingstatements help get dif\ufb01cult areasof interview really concerned arent see caused great deal concern pretty obvious said annoyed understand must felt situation must really dif\ufb01cult situation deal situations may need offer kind sup port assistance client order engage theircontinued support interest case following statements helpful yes irritating let see help quite right angry suggest ideas resolving issue every reason feel upset thought tell details may able five understanding de\ufb01ning clients problem key word repetition key word repetition another rapport building technique encourages clients offer information ona particular issue simply requires pick keyword reflect back client followingmanner client two years ive working systems design internal consultant oh systems design oh systems design phrased questioning in\ufb02ection voice tone often suf\ufb01cient promptthe client explain lot subject key wordrepetition another technique allows tooperate economy questions using pause people dont like sound silence inter viewing remember immediately rushing withanother question avoid momentary silence resultin client failing offer important piece informationif want client continue talking add whatthey said strong pause stimulate effectively spoken question pause provides yourinterviewee chance think rephrase add anypreceding answers judicious use pause one ofthe powerful techniques employ interviewdeveloping strong capability use pauses reapreal bene\ufb01ts mark twain wrote right word may effective word ever effective rightly timed pause high performance consulting skills using summaries use summaries regularly throughout interview allow check understanding facts youhave given clarify clients thoughts onimportant issues summary statements also provide withanother method achieving smooth change directionfrom one topic another interview summary questions prevent client drifting interview agenda allow regain control withoutan abrupt interruption extent helpfulin controlling talkative clients summary statements involve phrases understood situation saying youre saying correct understood correctly could move discuss summarise saying work required get project back track dealing mistakes must expect make mistakes interviews issue information inevitable best adviceis openly admit made mistake yourclient offer apology move trying cover theissue avoid make things worse happens try using following statements sorry mistake youre right got wrong apologisethats quite right realised please accept apologies apologise misunderstanding issue five understanding de\ufb01ning clients problem counterproductive questions question detracts smooth \ufb02ow inter view might called counterproductive classic examplesinclude multiple questions multiple questions combine several questions one long statement result add confusion interviewprocess allow client selective answerinvariably clients fail address questions youposed manage achieve results impacting parts operation howdid colleagues react join part organization compare operation youworked see key weaknesses long worked operation like problems leading questions another counterproductive question leading ques tion either invites particular response suggests aright answer required client leading question often phrased form emotional orjudgemental tone youve got admit isnt fact must concede surely acknowledge youre suggesting dont think high performance consulting skills case examples maybe expecting response yes course others appropriate answer may course either case youare suggesting client answer mindand would like con\ufb01rmed course somecircumstances might prove effective technique test someones views opinions carefulwhen applying potentially provocative approach critical leading questions critical leading question relies stronger degree implied criticism judgement posing questionin ways simply stronger version leadingquestion surely cant believe dont really think surely youre suggesting dont honestly think cannot one minute believe competition would ever response strong rejection question might imply lack credibility part clientthis form questioning therefore frequently appearantagonistic also provoke negative client reactionthis type question avoided unless feel thatyour client relationship would damaged astrong approach five understanding de\ufb01ning clients problem using questionnaires gather information whilst interviews allow question people depth speci\ufb01c issues questionnaires make possible toassess views large number people relativelyquickly cheaply use questionnaire veryef\ufb01cient way gather information wide group ofpeople questionnaires also introduce degree quantitative data analysis ability build quantitativedatabase evidence vital projects peoples views opinions involved arguments supportedby statements managers agree alwaysuseful in\ufb02uencing clients questionnaires course used wide number projects involving staff customer surveys reactions tonew systems organizational improvements sounderstanding steps involved designing administering questionnaire extremely useful whilst itis possible develop questionnaire without much dif\ufb01culty rules observe figure illustrates broad overview questionnaire designprocess designing questionnaire questionnaire design process divided aseries nine key steps step identifying questionnaire themes inter viewing people step arranging initial interviews step preparing key themes interviews step conducting interviews high performance consulting skills step identifying key issues step preparing reviewing questions step producing draft questionnaire step reviewing draft questionnaire client step conducting survey completed questionnaire figure gathering information questionnaire processpilot questionnaire review amend agree communications client signoff draft questionnaire development user friendly focused simple confidential communications issue identification initial client discussions interview selection sample themes interview schedulelaunch distribution five understanding de\ufb01ning clients problem step identifying questionnaire themes interviewing people \ufb01rst step designing questionnaire agree client number people interviewedso identify key themes issues beincluded survey speci\ufb01c rules number people interview need ensure youinclude crosssection people ultimately appearin \ufb01nal survey ensures views issuesthat re\ufb02ect different interest groups emerge interviews \ufb01nd place \ufb01nal questionnaire design one important decision make whether interview people individually groups normallysenior managers prefer interviewed butit also course possible interview people effectivelyin small groups group approach saves time andmoney although earlier discussed sometimes operationally dif\ufb01cult manage need todiscuss various practical operational implicationsof approaches client proceeding one issue involves selecting right people interviews experience better draw alist names discuss suitability yourclient people select may always readily available agree clear basis youcan select alternatives save time preferable youagree client approach substitutes forinterview without constantly refer back themunless course operational constraints willalso need check client provides representative sample people get balanced realisticset views client wants youto hear doubt make sure challenge ofyour clients decisions high performance consulting skills step arranging initial interviews need compose circulate letter advance interviews explaining purpose objectivesof exercise letter also detail date timeand location interview identify topic areasyou want discuss also thank people advancefor agreeing participate exercise express yourwish minimise operational disturbance yourvisit might bring schedule interviews forbetween hours depending upon type surveyyou conducting able hold interview sessions per day step preparing key themes interviews conducting interviews need draw list possible topics issues discussion willhave already discussed agreed client inadvance interview programme stated ourinterview section list themes used asan outline prompt rather detailed checklistto followed rigorously help provide focusand structure interviews ensure smooth \ufb02ow step conducting interviews stage try keep schedule hope experience last minute cancellations willalso need maintain discipline recording information interviews spare time betweeninterviews used writing interview notesand planning ahead five understanding de\ufb01ning clients problem step identifying key issues interview notes must develop sum mary issues raised people need documentthe location department function people involvedand short paragraph describing various issues raisedin lots cases con\ufb01rmed issues alreadyidenti\ufb01ed earlier client discussions willhowever need review issues client whenpreparing \ufb01nal questionnaire chances newissues emerged example may identi\ufb01ed interviews three recurring themes aspay rewards staff moral restructuring planwhen come review issues client youmay \ufb01nd two issues need dealt within survey subject separatereview end result would two key issuesfrom begin developing questionnaire yournext action begin shape questionnaire contentby preparing set questions theme step preparing reviewing questions following checklist help prepare set questions effective approach prepare questions issue raised add additional questions based research may conducted brainstorm many relevant questions re\ufb01ne list deleting questions appear irrel evant repetitive redundant reword others asappropriate often necessary draft questionsthree four times arriving \ufb01nal draftquestionnaire high performance consulting skills check right balance negative positive questions make sure questions understandable keep simple clear make sure people necessary knowledge experience answer questions accurately ask specific questions general questions used speci\ufb01c answersare required example satis\ufb01ed help desk response good question really want \ufb01nd quickly help desk responds phonecall made better question ask would help desk pick phone calls less rings avoid ambiguous questions ambiguous questions allow people opportunity provide different interpretations question soproduce meaningless results example often work overtime lack adminis trative support answer question actually mean often work overtime lack administrative support five understanding de\ufb01ning clients problem see questions like leave open crit icism feedback stage clear youare trying measure assess use precise wording words fairly generally often many appropriate avoided tend generateinconsistent responses different people fairlygood support one person poor support another avoid leading questions questions presented neutral way prevent manipulation desired response exampleof leading question feel hard work appreciated way avoid inherent bias type ques tion produce introduce number questionsaround central theme reward collectively analysed example average work hours week salary national average job domy manager gives praise good job leading questions also caused failure state alternatives example prefer working manager sex instead would rather work man woman doesnt matter high performance consulting skills keep questions short long questions kept minimum reduce amount time people need spend completing thequestionnaire reduces sense irritation possible misunderstanding part person completingthe document careful phrasing never ask question put someone defensive make feel wrong questions people\ufb01nd rude inconsiderate may affect replybut may also affect response survey wholealso always remember avoid jargon abbreviationsunless clear people understand mean step producing draft questionnaire prepared questions need begin process structuring questionnaire format andthe \ufb01rst key issue address response scale youwill use response format likert scale favoured format use questionnaireresponse likert scale see figure overleaf thisinvolves asking someone whether agree disagree witha statement indicating scale strength agreement disagreement usually \ufb01ve basic responses strongly disagree disagree uncertainno opiniondont know agree strongly agree five understanding de\ufb01ning clients problem equal number alternating positive negative worded questions questionnaire toavoid potential bias advantage likert scale isthat measures strength attitude belief whilstat time easy people complete figure example likert scale questionnaire response format free form replies free form replies openended questions allow people write want subject generallyavoid structuring questionnaire free form replyis needed answer question signi\ufb01cant amount time needed people answer questions likely time andeffort reduce overall response rate yourquestionnaire people simply get fed writingor bother allcharacteristics hr function seeks involvement line managers formulating business strategy policy planning process creates conveys clear view hr aims objectives steps necessary achieve builds effective working relationships internal customers characterised trust respect understands factors influence business performance develops implements coherent integrated hr policies support business plans learns activitiesprocesses form basis internal customers business uses improveservice delivery adapts policies activities behaviour needs different business units different situationsstrongly disagreedisagree neither agree disagreeagree strongly agree high performance consulting skills write inevitably exert in\ufb02uence results collecting analysing responses time consuming many dif\ufb01culties analysing present ing replies structured systematic way aspeople tend write want endup lots diverse information dif\ufb01cultto present back client section end however free form replies yield useful information sofor many surveys may good idea include sectionat end questionnaire invites people addany comments without presenting speci\ufb01c question themto answer advantage allowing people toraise issues feel strongly notbeen covered questionnaire included thistype approach organizational survey toolkitchapter end book see combinesboth free form reply approach likert scale however analysis data treated cau tion likely relatively small proportion ofpeople make additional comments notnecessarily representative whole group peoplebeing surveyed nevertheless generate useful comments may \ufb01nd valuable client feedback stage five understanding de\ufb01ning clients problem using checklist responses checklist responses good method use need collect responses question agreement disagreement example checklist format work following hours computer day less hourh hours h hours h numbers questions questionnaire longer absolutely necessary achieve purpose temptation questionnaire design always ask many questions lengthyquestionnaires unlikely answered accurately completely many situations overly complex questionnairewill result low response rate keep things short andbrief demographic data personal details analyse peoples responses identify different viewswithout breaking con\ufb01dentiality normal front ofyour questionnaire ask people categorise themselvesaccording organization grade location departmentor item may agreed clientyou however need careful detailed breakdown lead people suspect individualresponses identi\ufb01ed might affect replies completion time return amount time someone take complete yourquestionnaire explained \ufb01rst page thequestionnaire part general instructions peopleshould asked complete questionnaire tooshort period time may mean rush andnot give accurate responses high performance consulting skills regard returning questionnaire completion set average target ten working days fromdistribution return provide people suf\ufb01cient time also give time manage logisticssurrounding exercise avoid periods longer tendays indicates lack urgency priority peoples minds result weaker response rate questionnaire instructions must provide clear instructions complete thequestionnaire use bold print block capitals emphasise key points indicate questions answered example circling crossing ticking answers show category response means example strongly agree strongly disagree tell people correct mistakes answers indicate amount time take complete questionnaire remind people complete personal details sec tion check answered thequestions returning questionnaire clearly state return questionnaire date five understanding de\ufb01ning clients problem covering letter \ufb01nalising content draft questionnaire prepare letter accompany contain following information purpose questionnaire commissioned individual selected complete questionnaire con\ufb01dentiality agreements surrounding results explain right wrong answers explain next steps thank people advance cooperation ideally letter signed client lead project consultant projects lot sensitivity may better consultant sign itemphasises issue independence less sensitive circumstances good idea get client sign letteras demonstrates commitment exercise questionnaire administration underestimate amount work needed processthe questionnaires returned course whendealing numbers excess thirty useinformation technology process results willinvolve answers questionnaire typed orpreferably scanned large numbers involvedinto computer using suitable software package willultimately process data produce meaningful information software packages designedto process questionnaires however many people use theirfavourite spreadsheet database statistical package youare comfortable dealing part process high performance consulting skills make sure get right people right skills com plete data analysis overly complex processbut need carried systematic manner andhave lots crosschecks built process ensure thevalidity data step reviewing draft questionnaire client reviewed draft questionnaire client agreed content administrativearrangements surrounding process need totest small number ten twenty peopleto check understandable people bebroadly representative \ufb01nal survey population inselecting people process try select willbe conscientious inclined comment add valueto \ufb01nal questionnaire design conducting review ask people involved make note dif\ufb01cult questions confusing areas thedraft questionnaire feedback receive willalmost inevitably reveal \ufb02aws problems speci\ufb01cquestions common faults likely emergeduring process using technical organization jargon understood people using language terminology familiar people including repetitive questions inappropriate questions example loose credibility ask person superviseothers question get staff five understanding de\ufb01ning clients problem assuming people complete understand ing organization example employees maynot understand phrase operational board course points raised may lead changes almost invariably need change aspects ofthe questionnaire step conducting survey \ufb01nalised questionnaire points raised pilot ques tionnaire noted reviewed client shouldbe given opportunity add change remove questions ready send \ufb01nal questionnairetogether accompanying letter must make sure administrative arrangements place right people briefed aboutthe exercise aim distribute questionnairesas quickly possible obtain many completedreplies fast possible certainly within project timescales begin analysisphase largescale surveys involving many hundreds people may want set telephone helplines dealwith queries people might surveybut planned everything communicatedclearly major problems presenting survey feedback use graphi cal outputs type easily generated todayssoftware packages figure provides simple example high performance consulting skills figure survey feedback displayed graphically bene\ufb01t outputs like one illustrated immediately tell story clients highly effective communicating responses indicating trendswhilst would need back writtenreport detailed statistical data power graphical presentation much greater written word strongly disagree disagree neither agree disagree agree strongly agree question current level serviceprovision adequate five understanding de\ufb01ning clients problem process mapping process mapping long tradition systems world also developed wider interest amid thesurge business process reengineering reengineeringprojects reviewed core business processes view identifying nonvalue added activities organization processes figure illustrates classic examples non valued added activity figure process thinking value added va revising editingsearchingcountingcheckingcollatingretrievingreviewingaccumulatinginspectingpreparingfilingstoringmovingcopyingexpeditingapproving business activity adds cost value customers pay valueadded identifying customer need designing solution producing solution delivering solution getting right moment trutheliminating nonvalue added think client organisationwhat customer pays high performance consulting skills whilst new concept process mapping powerful way build clear picture certain organizational processes work extent usefulmethod collecting gathering information existing processes work approaches particularly relevantin reorganization information technology projects thatrequire detailed understanding existing operations heart process mapping technique use classic systems tools produce detailed process \ufb02ow diagrams figure highlights readily usedsymbols illustrates used describethe various elements work process figure process toolkitsome classic process mapping definitions activity rectangle used activity kind connector used show information flows fromanother process chain decision points percent probability branch indicated direction arrow flow denotes direction order process steps queue shows object process waits steps actions taking place boundary indicates beginning end processv n n five understanding de\ufb01ning clients problem aim using symbols build clear pic ture precise steps actions involved speci\ufb01cprocess customer ordering distribution processmapping used build understanding ofalmost part organization approach cangenerate powerful insights amount time processtakes much value added time involved indeedonce start using symbols surprisedhow easy build detailed picture processwhen applied reengineering context process mappingaims assist identi\ufb01cation removal nonvalued added activities produce ef\ufb01cient andleaner processes figure details value added activities identi \ufb01ed using simple decision tree figure classify value added nonvalue addedreal value added activities must performed meet customer requirements eg record order record claim business value added contribute meeting customer requirements eg prepare financial reports record data received business value added activities could eliminate without deterioration product service functionality value added contribute meeting customer requirements eg review approve rework movement storage value added activities could eliminated without deterioration product service functionalityactivity necessary produce output contribute customer requirementscontribute customer functions real value addedbusiness value addedno value addedvalueadded classifications yes yes yes yesno high performance consulting skills course notion actually constitutes value added process organization often controversialdiscussion nevertheless decision tree help posethe right questions review might undertaking process mapping involves \ufb01ve key stages beginswith series interviews interviewing job process holders actually involves identifying critical core processes establishing key steps times perform individual activities identifying wider organizational factors might impact performance process translate interview information initial process map validate process map process owner check understood everything identify value added nonvalue added time process con\ufb01rm existing process map discuss \ufb01ndings client discuss \ufb01ndings process holders redesign process improve process remove nonvalue added activities involve client process holders process mapping builds clear coherent picture actually happening parts organization five understanding de\ufb01ning clients problem figures shows way various activities mapped classi\ufb01ed generate process map figure driving performance whole approach help build detailed understanding processes figure illustrates simpleexample involving steps involved making decisionto go \ufb01shing see various symbols areused describe key steps involved process andhow signi\ufb01cant type analysis made reviewing organizations core processesactivity class code description activityactivty definitions non value added redundant unnecessary activityrnon value added preparation preparing workpnon value added transport move moving place placemnon value added inspectionapproval ensuring activity performed correctlyinon value added queuewait state moving idleqvalue added customer requires must produceproduct servicevclassification definition class code time hours use elapse time hours equals one week high performance consulting skills figure process maps look addition developing process maps another key element approach involves identifying wider organizationalissues might impacting performance aprocess obtain type information need touse lots approaches identi\ufb01ed sectionon interviewing figure highlights wider issues may considered major organization project willrefer issues chapter involving changemanagement essential undertaking anyprocess review also identify process \ufb01ts intothe wider organization processes work isolationand need consider key organizational factors organization structure rewards skill levelsyesno noyesnoyesstart end good fishing p call friends hrm walk drive home hr walk river hrv fish hr p prepare fishing gear hrq hrq hr car freeis time gowait traffic jam wait friends five understanding de\ufb01ning clients problem technological capabilities etc able identify process in\ufb02uenced factors key successful redesign initiative high performance consulting skills organisational factors barrier enabler enabler barrier develop new products process sales order prepare quotation close contract overall impact time cost qualitysales order process review culturebehaviours organisationprocessesworkflowsjob design responsibilitiesskills knowledge requirementsmotivationincentivescommunicationsoperating procedures policieshuman resource managementtechnologystakeholders figure process thinking wider organizational analysis whilst business process reengineering achieved big per formance improvements many organizations inthe mid late become subject much criticismmany organizations applied concepts overly simplistic way result became associated manycrude brutal cost cutting exercises result oftenfailed projects poorly executed implementationstrategies signi\ufb01cant problem people failed tosee processes bigger organizational contextthis recent history experience may mean people may view process mapping techniques negativelycare need exercised selling anapproach remember client may bad prior experience interviewing people process verysensitive concerns aims objectives ofyour work despite concerns bene\ufb01ts result process mapping considerable add toolkitof expertise process analysis questions listed two sets questions canemploy interviewing job process holders oneidenti\ufb01es detailed aspects process secondset identi\ufb01es organizational factors might beimpacting performance process process questions inputs start process functions events drive process suppliers internal external process outcomes products process ultimate customers process next wait x happens com pleting part process five understanding de\ufb01ning clients problem record information happens information refer decision x uses information process describe logical sequence activities perform complete process much time activity take complete much queue dead time activities organizational issues questions customers react responsiveness quality outcomes process performance measures place monitor results process kinds things prevent achieving better results process wider organizational issues feel need resolved help process betterresults factors annoy way depart ment operates total freedom improve ef\ufb01ciency department speci\ufb01c things would high performance consulting skills understanding de\ufb01ning clients problem client focused stage consulting process involves system atic collection information order understand yourclients underlying problems begin developing possible solutions questions ask much detailed information need collect information already available within organization information need collect research need conduct methodologies need use collect information interviews questionnaires processmapping observation etc whose involvement support need sorts costs involved terms time logistics \ufb01nance handle issue con\ufb01dentiality information gathering work commitmentsagreements give clientswhat say interviewees tellthem next steps present \ufb01ndings report presentation format use sort ofclient audience ultimately present people around organization going react project aims political issues surrounding proj ect need aware five understanding de\ufb01ning clients problem clients perspective give impression understand problem realistic methods approach agree analysis focusing right issues projecting con\ufb01dence making think differently problem long data collection process take disruptive work operation organization provide sense urgency adding new light problems listening concerns statementsquestions might use tell little mentioned earlier say sure x real problem know x caused problem explain could describe actually happened took place anyone argue said going many years nothing happened thecase high performance consulting skills happen could outline strengths current situations weaknesses current situation potential risks could one thing improve situation would five understanding de\ufb01ning clients problem blankchapter six managing changesix managing change understanding organizational change regardless consultancy projects work manag ing change always central whether newmis system organization structure change operationalprocesses change description result asuccessful internal consultant need able understand master dynamics organizational change change process help clients gain clear understanding need gochange involves moving situation organizationfrom point point b change transition successful need identify number core factors andpull series levers along way process referto change management figure identi\ufb01es issues levers need managed change management processes understanding change focus two key areas firstly need appreciate individuals reactto change learn plan reactions daytoday work secondly need develop understandingof factors in\ufb02uence organizational change high performance consulting skills figure managing change individual reactions change change people react often de\ufb01ned terms series endings beginnings people often tosay goodbye past come terms orembrace new change often provoke sense shockor loss people need prepared fordifferent individual reactions major change scenarios thissense shock dramatic consequences theparties involved might even result major forms resistance proposed changes illustrated temporary workstoppages strikes even sabotage management change leversmanagement resources overcoming resistancemanagement change leversreinforcing driving factors strengths opportunities management restraining factors weaknesses threats nowwhere want get six managing change following table outlines common organizational change scenarios typical individual reactions might result high performance consulting skills changes power base key stakeholders within theorganization individualshaving develop new networks loss power sense newly acquired power new rules prioritiessenior management shakeouts new strategies rules priorities need develop new rela tionships build newcredibility sense urgency need performnew ceo loss direction ambiguity new situation involves leading uncertainty andinsecurity excitement changes new opportunities creation winners losers atmospheremerger acquisitiontakeoverindividual changes reactions organizational changessix managing change loss small company climate individuals may notlike formality biggerorganization chaos disorganization control urgent need new prac tices systems andprocesses pressure keep uprapid growth changes working practices clash value sets people may want pro\ufb01tdrivenprivatisation possible change manage ment style commitmentto organization new owners perform ance regime change inhabitschanges capital structure eg stock market \ufb02otationacquisition uncertainty sense crisis possible redundancies fear unemploymentloss major customers market turbulenceindividual changes reactions organizational changeswoodward buckholz book aftershock iden ti\ufb01ed four classic reactions towards change events theseconsist disengagement disidenti\ufb01cation disorientation disenchantment internal consultant expect deal reactions stage another complex projects might deal different groupsof people four stages central consultancyapproach trying look ahead predict dif\ufb01cult situations develop contingencyplans actions understanding people might beon emotional scales certainly help us understand way people behaving change processemotions play major role failing recognise planfor emotion result greater dif\ufb01culties wecome implement change disengagement loss initiative commitment little possible withdrawmaintain low pro\ufb01le energy lost survival self preservation becomes priority go bunker quit keep head dont anything riskyill job onthis happens every years high performance consulting skills disidenti\ufb01cation loss identity used longer ok living past back future fair didnt ask mewhy happen disorientation feeling loss confusion lost priorities loss direction need learnwhat going onwhat next disenchantment gone gone good old days victim behaviours need enlist support others back stabbing revenge like used wont get anywhere thisi cannot believe happenedthey sorry six managing change change transition curve another classic helpful way viewing individual reac tions change look series stages adamshayes hopkins work transitions developed atransition curve approach change analysis frequently associated emotions grieving processthat people experience death close friend orrelative stage shock immobilisation done deserve could happened shocked change takenplace sold company announced closure plant unbelievable shock reaction immobilised show inability anything stage denial disbelief stage involves denial disbelief change actually happened happen cannot true deserve cases people may even revert previous work behaviours redundant worker continues get upto go work actually travels plant executive refuses inform family beenreplaced forms processes completed whilst initial reaction normal course impor tant people get help move new scenario high performance consulting skills stage incompetenceguiltdepression next begin understand new situation feel incompetent frustrated new order things stage may feel cannot cope new lack necessary skills con\ufb01dence ourselvesor new situation extreme cases people mightfeel guilty kept jobs restructuring whilstothers \ufb01red alternatively may feel depressedthat denied opportunity leave largepayoff clearly training initiatives effective communication processes help people dif\ufb01cult phase stage accepting reality stage begin come terms change accept new reality maybe new willingnessto try new practices generally begin movingon move try get well life go stage rationalising testing stage really beginning cope manage new situation demands placed uponus may also make mistakes use lot energyin trying get grips new order slowly bytrial error begin learn cope six managing change stage search meaning acceptance stage try re\ufb02ect happened us seek understand different becameso frustrated angry change may begin toshare feelings views others way makingsense whole process stage internalising change change process transition \ufb01nished begin feel comfortable con\ufb01dent new situation come adapt cope change andreturn new sense normality great value transition curve pro vides framework us understand happeningto people experience major change re\ufb02ecting model plan manage changeprojects effective integrated way important point try gauge people might aparticular point time change project dothis think developing responses dealwith reactions obviously need think trigger various change events going deal thepeople issues point excited optimistic change client audience stuck the\ufb01rst stage shock denial cases need todevelop appropriate strategies help people move throughthe various phases line project deliverables high performance consulting skills six managing change transition curve understanding seven phases speed transi tion process beginning transition immobilised shock overwhelmedmismatch betweenexpectations reality denialdisbelief temporary retreatfalse confidence depressionincompetence awareness change isnecessary frustration phase deal change accepting reality letting go pastand comfortable attitudesand behaviours testingrationalising trying new behavioursnew approaches tendencyhere stereotype ie waythings done lots ofenergy beginning deal withnew reality anger andfustration search meaning internalisation seekingunderstanding thingsare different internalisation incorporate meaningsinto new behaviours timevery often need consider range possible actions including improving communications information \ufb02ow help people become informed change allowing time strong emotions involved need realistic time takes forpeople adjust change may toslow build time allow peopletime digest changes providing increased access senior managers stressful situations people want talk thekey players maybe necessary hold sessions top management address concerns incentivising actions may need help people showing bene\ufb01ts gain thechange whether \ufb01nancial improvedwork processes environment forcing change cases maybe need drive change forcefully providing access training resources develop con\ufb01dence new system high performance consulting skills managing organizational change well understanding individuals react change also need able understand wider issues thatimpact organizational change change process critical aware wider organizational factors issues impact likelihood success failure experience suggests organizational change gen erate following issues problems people hold onto past already identi\ufb01ed frequent characteristic change people prefer hold onto past andso resist introduction new people revert type easily people like go comfortable even initial efforts change people often slip back intotheir old way things rather like proverbial newyears resolution people soon lose enthusiasm thechange factors also place skills knowledge gaps open transition new may mean people need learn new knowledge skills order adapt new orderif efforts address gaps made thechances change impact negatively alack people capability six managing change failing manage hard soft issues complex organizational change need often address soft hard elements change thereis point training people motivating thesystem operate deliver informationnecessary make customer happy equally investing heavily new information systems equipment work people operatethe new systems either demotivated lacking skillsto achieve effective change manage hardand soft elements change old management left place frequently change fails old regime left manage change achieving driving complex changeyou may well need consider making changes top orwith middle management ask thechanges actioned existing management give easily many change initiatives allowed suf\ufb01cient time suc ceed faced sharp dip transition curveof change many managements give cries notgoing work results happening tooeasily mean projects terminated early whenthe process becomes dif\ufb01cult need show strong nerveand commitment follow things give upat earliest signs dif\ufb01culty high performance consulting skills narrow single issue management failing address hard soft elements change lead faulty implementation focusing onemajor issue thinking problem systemor quality invariably wrong complex change involves different dimensions searching solutions youneed ensure dont get locked one form ofdiagnosis solution six managing change insight lack senior management commitment without doubt one biggest problems engineering suc cessful change securing consistent ongoing seniormanagement commitment towards change many projectsfail strong leadership commitment drivethe change alternativly commitment beginning soon fades life project without stronglevel senior management commitment change always proveshard deliver going gets tough need ableto access people authority make things happenwe look issue look stakeholderanalysis consultant functionally driven whilst book champions cause internal con sultant avoid running projects thecontrol direction comes consultant supportspecialists change take root organization best way generate high level ownership amongstthe people live new changes frominvolvement comes ownership best change projectsare owned driven people ultimatelywill responsible change ongoing basis initiative fatigue many organization chase fads fashions result lots cynicism scepticism change avoidtrying present change initiative event sellit ongoing process avoid many slogans anoverly programmatic approached instead deal speci\ufb01c problem view change managing statusquorather big event poor process management manage change successfully address change also process management managing change willwe inform unions time managementhow build groundswell support changehow run two systems together transition period typically managers good classical planning normally needs done changeprocess management much looking thecross linkages involved complex change high performance consulting skills organizational change readiness assessment prior implementing change carry quick organi zation readiness assessment simple butpowerful way gauge challenging proposedchange might implement builds issueswe already outlined figure shows template simple scoring criteria help assess change clearly analysis leads conclude people likely view change possible threat totheir job security might result loss skills youneed start planning detail going try andsell implement changes simple template use clients get thinking change process challenges might overcome certainly help gettingan overview potential complexity casesresistance might meet six managing change figure organization change readiness assessment managing organizational change template another extremely useful tool use planning managing change projects change management template detailed \ufb01gure simple powerful checklist help identify areas concern either outset lifecycleof change project helps identify critical makeor break issues involved organizational changesources resistancevery unlikely unlikely possibly sure likely likely perceived threat job security loss expertiseneed learn new skillsshifts influence authority controlshifts communications patternsloss statuschange habits customs limited understanding change implications low tolerance changeother like dream angels fear tread overall score high performance consulting skills listed key issues questions might need consider score change projectit far better highlight problems issues earlystage stumble three months theproject use template either part project plan ning process discussion document yourclients large management group ask people toscore checklist individually without discussion thencollect scores collate overall group results identify problem areas brilliant way surface anyissues involving lack common vision strong management support often critical issues drivingsuccessful change projects typically checklist cuts across task management process issues identi\ufb01ed earlier tobe addressed equal focus task management issues implementation plan describes changes process issues relate hows process activities enable organizations make planned changes successfully deliver measurable performance improvements organizations good managing implementation less effective managing thehow process involves involve role communicating actions bene\ufb01ts risks six managing change building securing maintaining commitment change coordinating project activities packaging work recognises impact culture peoples values change management template critical success factors common vision client clear outcomes desired end result suf\ufb01cient quality time spent develop ing end state vision big picture clear clarity future position consider workshopretreat sessions away day today pressures address questions uni\ufb01ed management everybody board supporting proposed change adequately discussed debated issues everyone signed change commit ment patchy disagreement raising con\ufb02ict issues proceed level support cur rently high performance consulting skills sustain dif\ufb01cult times plans ensuring maintain necessary level support commitment surfacing concerns provided people opportunity voice concerns worries change made use staff meetingssurveyscom munications channels honestly dealt concerns people voicing concerns viewed demon strating lack commitment loyalty dissenters punished voicing concerns provided reassurance concerns ignored groundswell support change lots cynicism inertia content management comprehensive plan recognises critical issues satis\ufb01ed thought detailed actions nothing missed effectively involved right people planning process everyone clear plan six managing change process management thought process issues coordinating various elements project plan assessed possible sources resistance developed plans overcome satis\ufb01ed spent suf\ufb01cient time addressing soft issues realistic timescales resources rigorous realistic assessment time take deliver change providing suf\ufb01cient resources imple mentation contingencies put place event time resourcing slippages high performance consulting skills regular open communications satis\ufb01ed communications processes channels project regular brie\ufb01ngs key stakeholders built plan communicating plan progress dif \ufb01culties appropriate timely manner open honest direct communications appropriate feedback mechanisms place systems support change made sure systems processes involved change also adjusted toassist implementation consider mis trainingreporting lines etc allowing systems maintain status quo thus block main change rewards support change need consider \ufb01nancial rewards others eg impact working practices effective implementation result people penalised change way berewarded remember achieve change often need pull \ufb01nancial reward lever push people along able change question six managing change commitments honoured making commitments people con cerning likely outcomes change whatextent comfortable honour deliver saying promising doubt dont people appreciate make dif\ufb01cult get support thenext time right people key roles put rightbest people project affect peoples views seri ousness plan proposed change people need learn new skills made plans arrangements skills acquired involvement affected people affected involved change suf\ufb01ciently informed remember involvement comes commit ment got right people involved theplanning change process left critical people groups outside communications process supportive leadership maintain active support interest management project provided list key actions required high performance consulting skills middle management mobilised fully involved driving change propose secure continued support senior management project generated right reporting mechanisms measurement generated suf\ufb01cient hard measures enable full assessment projects success focussed measurement systems activ ities results want see limited number performance indica tors track progress advised people measuring performance systems place pro vide feedback real pressure show progress effective project management ensured key stakeholders involved allocated balanced roles accountabilities key tasks work packages properly inte grated time sequenced technology interfaces right anticipated crises six managing change high performance consulting skills success factors nonexistent weakadequategoodexcellentcommon vision unified managementsurfacing concernscontent managementprocess managementrealistic timescales resourcesregular open communicationssystems support changereward support changecommitments honouredrights people key rolesinvolvement affectedsupportive leadershipmeasurementeffective project management figure managing change templatestakeholder analysis review change management complete description stakeholder analysis alreadystressed important leadership support commitmentto change programme often organizationschange projects start lot effort energy management support time moves prioritiesor dif\ufb01culties occur support change begin fallaway disastrous results success yourproject stakeholder analysis see \ufb01gure enables map various groups involved projectmight positioned important carry astakeholder analysis beginning project alsoto update lifecycle common seniormanagers lose interest projects good foryou project runs dif\ufb01culties need senior management support tough times well good equally stakeholder analysis help client appreciate certain areas resistance supportmight come obviously people might beout block change watched carefully butit equally important identify groups support change lot models stakeholder analysis provide clear answers help identify complex cases highly political sensitiveproblems client alternative strategies andoptions developed six managing change figure stakeholder analysis key strategieshigh low high concerncommitmentpower potential change championsempower build coalitionsmove ignorecan start without someone boxgoodbye win exitleadershipwhen conducting stakeholder analysis consider following key questions got strong supporter project high power high concern potential change champions people help drive change high concern low power give morepower concerns high power low concern area push thechange people place theynot support change lack understanding ortotally opposed high performance consulting skills managing organization change checklist key questions address introduction following detailed checklist key issues considerations addressed signi\ufb01cantchange project consider using checklist guidewhen planning complex change use clientsto prompt thinking comprehensive nature ofchange planning challenge \ufb01nd answerslacking better address dif\ufb01cult issues start ofthe change process run half way througha project nature change involved nature change necessary wrong current situation change justi\ufb01ed compared present situation advantages change whoseperspective advantages emerge bene\ufb01ts others bene\ufb01ts might result change considered various stakeholders six managing change shortmedium longterm objectives want achieve success criteria de\ufb01ned measurable terms quality well quantity much cost cost time soon want change take place timescales period time \ufb02exibility timing certain pushing change quickly consultations discussions communi cations completed time allowed people ready change happens considered disadvantages resulting change peoplestakeholder issues involved may offered people drive change contingency planning needed much would cost changes proved unsuc cessful degree risk involved compared proposed return acceptable could happen people cooperate changes high performance consulting skills training required change people accept need training type training necessary training provided internally exter nal resources required much cost objectives require review result answers questions would less radical change effort appro priate realistic acceptable consulting people people accept proposed change fully considered impact change point view asked wiifm question whats planned communicate everyone reasons change plan provide thorough background brief ing deal peoples real questions concerns selling change people far changes represent threat individuallyand collectively recognise may critical issue achieving change plan deal issue perceived threats six managing change identified key opinion formers worked securing commitment change best strategy persuading convinc ing organizational climate right fully involve people planning change accept close relationship people involvement commitment prepared accept criticism preferred approach planning managing change genuinely open acknowledge different suggestions ideas prepared incorporate appropriate clear motives proposing change want personally secure changes others see wanting get change introducing change effect consultation process original plans objectives needmodification reached agreement introducing change plan manage theimplementation process resources required suf \ufb01cient constraints exist recognised every one concerned high performance consulting skills six managing change contingency plans place brought effect immediately progress towards change objectives monitored everyone know roles responsibilities change process everyone know existing communication processes used accelerate change newprocesses need established individual group responsibilities clearly understood project team place composition team going operate team frequently meet report changes implemented long monitor new situation decide monitoring process con sultation interested parties also required easy would situation prior change able reassert doneto prevent happeningreviewing change changes improved situation signi\ufb01cant bene\ufb01ts whose point view obtained views involved achieved change objectives unintended results changes produced manage change process effective way learned planning implement ing monitoring change next time learnt others appropriate emphasis people processes well task andtechnical issues consequences change seen high performance consulting skills critical questions ask change scenarios changed need changed exactly different future change occur fast change need implemented proposed change really work supporting change change kind support expect deal people change change communicated everyone understand need change timing change suf\ufb01cient change involved continue per ceived bene\ufb01cial monitor change process \ufb01nal outcome worth effort review situation would still reach conclusions six managing change blankchapter seven presenting client feedbackseven presenting client feedback vital part consulting process involves providing client continuous feedback progress theirproject proactive keeping client uptodateconcerning developments problem areas fundamental large complex projects client feedback shouldoccur almost daily basis every consulting project regardless size needs structured phasesof client feedback follow key milestones yourproject timetable providing client feedback must oper ating best ability client looking assessyour capability professionalism time youwill aiming secure clients ongoing commitmentto \ufb01ndings proposals crucial thefeedback process managed skilled effectivemanner lead client logicalanalysis time deal issues problems might arise cases demands youtry preempt dif\ufb01cult questions issues might bepreoccupying client manage feedbacksuccessfully client feel comfortable withthe quality work also develop greatercon\ufb01dence working high performance consulting skills course meeting clients regular basis aim utilise many skills outlined interviewing section two formal elements presentingclient feedback involve report writing making formal presentations activities mastered follow ing sections provide essential guide dos anddonts introduction report writing client reports two fundamental objectives provide information significantly informs client particular problem issue in\ufb02uence clients towards particular view form action solve problem project report major deliverable client view reports major evidence ability professionalism success tackling assignment abilityto communicate effectively writing therefore vital wellwritten report supports promotes continuedinvolvement project also viewed majormarketing opportunity advantages written reports provide documentary proof proposals formal record work structured communicate different levels client seven presenting client feedback impose strong disciplines planning structuring work plan well \ufb01nal report structure allow client time re\ufb02ect work focus client critical issues actions ef\ufb01cient method communicating work wider audience disadvantages reports expensive produce terms consulting time cost liable client misinterpretation abused clients others selective editing quoting context client substitute taking real action problem review underway ineffective unless accompanied strong formal consultant presentation capable ignored read clients consultants report communicate authority clear wellstructured badly written reports destroy yourcredibility work recommendations reportwill generate appropriate client response original terms reference fully met havesuccessfully managed clients expectations regardto content structure effective client report shouldtherefore describe set client done terms workplan analysis options actions client consider future high performance consulting skills reasons recommendations implemented bene\ufb01ts approach proposals good consultants report also provide permanent record work undertaken avoid misunderstandings bearing mind clients sometimes hear want hear con\ufb01rm clientconsultant agreements clarify major issues in\ufb02uence clients thinking secure client agreement action seven presenting client feedback insight excellent test clarity report understood \ufb01rst reading anyone adetailed understanding project problems review give initial draft reports someone involvement project get reaction ask ifit makes sensedifferent types client report persuasive type report commonly used consultants trying initiate form change aims in\ufb02uenceand persuade client adopt particular approach plan instructive report advises clients something speci\ufb01c eg introduce new system process begin integration plan investigative investigative report fact based relies heavily con\ufb01rmed validated data put forward analysis orreport problem example might asked toanalyse results survey interpretations beingattached data getting report structure right starting point structuring report beginwith review broad \ufb01ndings conclusions recommendations areas de\ufb01ne content yourreport need consider dividing report major sections proj ect eg management reporting production etc reviewing section turn describing current situation key \ufb01ndings recommended changes andfuture actions section high performance consulting skills distinguish major minor points key areas minor points best covered inan appendix avoid cluttering main body ofyour report also avoid much crossreferencingaim balance main text appendices present logical \ufb02ow analysis link var ious sections effectively typical report structure introduction cover background circumstances sur rounding project undertaken also needto highlight key events client concerns scope assignment section describes subject areas review highlights limitations surrounded work undertaken list project timetable sources fromwhich obtained information detail response ratesto questionnaires executive summary conclusions recommendations executive summary intended busy readers wish obtain quick focused overview reportthe reader able grasp essence yourwork proposals quick read section shouldtherefore written bullet point format key \ufb01ndingsand conclusions clearly listed crossreferencedto recommendations seven presenting client feedback findings conclusions describes current position surrounding problem important assume client aware orunderstands present situation unbiased wellwritten description current situation enormouslyhelpful clients often helps sharpen thoughtsand helps focus central challenges problems list key \ufb01ndings end section makesure data back observations keep section fact based possible prior devel oping conclusions \ufb02ow naturally fromthe \ufb01ndings options recommendations section \ufb02ow clear analysis con clusions detailed conclusions thendevelop range options address problem willenable client see scope act theproblem \ufb01nal recommendations must follow logically conclusions contain \ufb02aws analysis every recommendation must linked one moreof conclusions turn need provide muchdetail possible recommendations implementation plans good telling client need new system idea go implementation section must provide clear road map help client seethe way ahead recommendations need state improvement actions required take action high performance consulting skills improvement action taken long actions take implement bene\ufb01ts improvements action potential costs involved future assistance sales element report set bene\ufb01ts approach detail might assistthe client moving next stage closing paragraph thank client staff cooperation help project emphasise willingness continue working relationship provide assistance appendices appendices contain details facts would oth erwise clutter main body messages reportthey however need included provide support work \ufb01ndings writing client report begin write report invariably havetoo much information common challenge writingclient reports therefore need selective inthe \ufb01nal choice content much detail overloadof facts may cause confusion equally lengthy reportsthat packed endless detail liable irritate actually please client little maycreate doubt whole approach seven presenting client feedback begin writing report list topic areas data consider relevant try without judgingthe suitability information also stage dontworry duplication data listedall information begin process sifting duplication eliminating unnecessary data next step begin linking various pieces infor mation themes topic areas stage shouldhave good basis begin shaping content yourreport ensure avoid information capable creating client confusion based gossip orerroneous facts select information facts arerelevant support main \ufb01ndings conclusions andrecommendations begin formal writing process examining terms reference identifying areas going focus formulating idea final report structure look like endeavour draft outline key sections report project progresses real time make life alot easier \ufb01nal drafting stage alreadyprepared key elements always allow plenty timeto write produce report eg page reportallow minimum three days back yourmind likely \ufb01ve days editing andredrafting also allow suf\ufb01cient time report readand reviewed colleagues easy get involvedwhen writing lose sight glaring omissionsor errors second set eyes vital editing report high performance consulting skills also need re\ufb02ect clients colleagues per spectives issues relativepositions organization extent dothey agree disagree problems theylikely agree possible solutions supportive hostile anyone report toalready biased negative view consider whether eventual readers report detailed knowledge issues involvedif need bring uptodate via thereports executive summary overview predict deal possible questions might come client lead client report reasoned logical analysis deal contentious issues report using strong logic fact based arguments consider clients underlying motivation needs attempting solve problem youreally addressing fundamental points keep focus key decisionmakers amongst clients team consider actions agreements require client example may want clientsagreement continue funding additional research orto involve specialist input important highlight compelling reasons carrying outthis additional work bene\ufb01ts timescales coststhat might accrue seven presenting client feedback find whether client sell pro posals boss need help yourclient task focusing bene\ufb01ts yoursolution clearly state client action proposed recommendations indicate promote possible involvement additional followon work establish agree \ufb01nal distribution report practical tips writing client reports use plain simple language throughout report never use long word short word means thesame keep sentences short sentence works word cut try avoid technical terms unnecessary jargon jargon required ensure terms used de\ufb01nedand explained everyday phrase available useit instead buzz words use active tense rather passive service levels improved preferable improve ment service levels made support arguments facts clear logical conclusions recommendations high performance consulting skills seven presenting client feedback insight powerful way build report structure use classic discipline using findings conclusions recommendations link \ufb01ndings conclusions turn rec ommendations conclusions enable todevelop strong logic train \ufb01nd yourselfin position presenting recommendations thatare linked conclusions even worse presenting conclusions real \ufb01ndings remember approach recalling following statements found basis \ufb01ndings conclude basis conclusions therefore recommending enable draw strong argument willwithstand clients review see figure remember people want attack recommendations look criticise analysis recommendingactions \ufb01ndings conclusionsyou need information gatheringfigure developing report structure logistics side remember try make one person responsible producing \ufb01nal report reports written committeesor groups people generally prove ineffective andseldom produce results collective report writingtends sanitise signi\ufb01cant points actions check availability report writing services resources large reports involve lot typingand checking sometimes night agree going distribute report client check client available \ufb01nal document ready alert client possible delays sooner rather laterensure develop logical train analysisfindings found findings findings findings findings findings findings findings conclusions conclude conclusion conclusion conclusion recommendations recommend recommendation recommendation recommendation problem supporting data high performance consulting skills reviewing reports questions consider review ing report delivered terms reference described scope methods work dealt areas cover conclusions clear unambiguous remem ber closely involved withthe assignment issues may clear thereader doubt redraft areas thatlack clarity recommendations clear unambiguous address conclusions report summary consistent main body report content section contain material consistent heading content wording style report appro priate clients needs used loose language might prone misunderstanding look emotive words orphrases always generate strong clientreactions remove \ufb01nal draft omitted important issues facts alerted client possible surprises advance get play devils advocate ques tioning grey areas report tone report constructive positive negative depressing seven presenting client feedback finally housekeeping points always worth checking reviewing \ufb01nal report check contents page main document consistent check paragraph appendix crossreferences check names titles client personnel check section headings subheadings par ticularly contents page check crossreferences diagrams charts present correct check appendix headings contents page finally ensure typing printing collation \ufb01nal report also checked want avoidmissed pages duplicated pages incorrect formats etcsimple silly mistakes stage destroy anotherwise excellent piece work making client presentations making presentations challenging essential activity internal consultant able presentinformation professional persuasive manner thatthe client understands accepts actions proposalsand recommendations internal consultant mayhave undertaken high quality research analysisfor six months work wasted unlesswe successfully in\ufb02uence client colleagues ina formal presentation development presentation media continues become sophisticated clients expecting higherstandards presentational skills messages need toexceed client expectations important consider high performance consulting skills vast majority management presentations remembered presenter content wecannot afford underestimate part role wehave able plan conduct dynamic in\ufb02uential presentations preparing client presentations preparing client presentation consider clients current position worried con\ufb01dent etcrecognise client important want berespected acknowledged experience avoidany patronising comments observations re\ufb02ect yourclients needs objectives ask satisfy consider following questions discovered problem issue focused real issues con\ufb01dent \ufb01ndings proposals recommendations help client problems client needs address improving ef\ufb01ciency operation recommendations saving costing client money client need issues options going want continue working us addressed questions decide objec tives presentation need consider whether youare asking clients agreement whether aretrying secure additional resources project seven presenting client feedback questions help focus structure detail presentation developing presentation structure make sure three parts clear beginning involving introduction background overview project strong middle section details analysis sound conclusion comprises summary clear suggestions action also need consider overall timing pres entation section within find well advance presentation take place audience much time deciding content presentation ask bene\ufb01ts offering client propose deal dif\ufb01cult con tentious issues involve client presentation clients critical questionsobjections likely actions client need take end presentation high performance consulting skills presentation media selecting media make presentation need address following questions propose communicate key points messages description analogy facts graphicsexamples competitive data etc visual aids media best communicate points wish make pc projection overhead projector millimetre slides webbased flip charts slide book practical demonstration dvdvideo seven presenting client feedback insight avoid expert talking much client always structure presentation client invitedto comment presentation early stage mustget early reaction saying plan pause inyour presentation minutes invite client reactionyou dont want discover end long presentationthat client totally disagrees presented early feedback means adjust content sooner rather lateralso consider room setting going using logistics involved employing different forms ofmedia remember using complex equipment increasethe chances technical breakdowns also possible thatby using overly sophisticated media lose clarity ofyour messages many presentations fallen disrepair enthusiastic use numerous featuresof microsoft powerpoint keep visual approaches incontext key messages want put across consider size client group present kind atmosphere want create formal informal relaxed sophisticated authoritative issuesinvolve process side presentation considercarefully issues dont assume youhave produced great analysis report endof job reports sell youhave in\ufb02uence clients skillsin presenting come play delivering presentation planned structure content presen tation hard part presenting yourclient authoritative in\ufb02uential manner key aswith many skills involved internal consultancywe develop real expertise presenting continuous practice experience theessential dos donts make sure rehearse practice find ele ments presentation work going thesession detail dont wait \ufb01nd actualday presentation works seriousrehearsal normally reveal weak areas yourpresentation provide ample opportunity make adjustments doubt get colleague high performance consulting skills sit practice session ask critical finetuning low risk stage far betterthan actual day presentation anticipate questions asked including obvious dif\ufb01cult unthinkable key part ofyour planning thinking really awkwardquestions might asked stand straight project con\ufb01dence vary body posture dont wander around way distract client aresaying avoid \ufb01dgeting classic rattling coins keys pocket speak slow clear pronounced fashion smile connects people says pleased seven presenting client feedback insight always make client feel strong rather weak clients want hear either failing good soconcentrate motivating client mean avoiding dif\ufb01cult issues recognise fact client mayhave experiencing dif\ufb01cult challenging circumstances give clients credit wherever possible avoid slipping crit ical patronising statements fact situationsit may indeed look bad still \ufb01nd something positive say client listen presenter hasnothing positive say likely become unhappy clientyour job make feel strong project authority voice hesitant mum bling delivery irritate audience destroyyour credibility vary sentence length vary pitch tone pace voice match presentation use facial expressions match presentation content smile humour try demonstratesurprise important \ufb01nding key issue use hand gestures emphasis key points introduction provide brief background project highlight original terms reference brings everyone speed isimportant may people whoare intimately involved project otherswho somewhat remote powerful opening statement strong refer ence fundamental objectives project canbe good way focusing everyones attention tryusing example begin ladies gentlemen let us remind following opening hard business issue reducing costs increasing sales willgenerally get clients immediate attention reporting back results interviews preserve con\ufb01dentiality agreements interviewees byreminding clients assurances helpsyou avoid pointed questions saidthat might come later presentation high performance consulting skills speak language business organization clutter presentation esoteric jargonkeep simple practical business relevant look directly clients remember constantly scan audience rather stare ator focus key individuals always temptation maintain eye contact people areshowing positive signs interest remember thereare people present also betrying gauge reaction sayingyou need identify seem unhappy surprisedat saying make sure summarise key stage presentation working presenting consulting team make sure youintroduce speaker begin callthis signposting helps tell client youare taking identi\ufb01es enliven presentation use appropriate comments quotes recorded thecourse research simple insightful quoteto illustrate statistical graphical point bevery powerful remember safeguard con\ufb01dentiality speaker necessary make quoteanonymous except generic job title roledescription seven presenting client feedback watch individual client responses pres entation develops nodding heads frowns picked re\ufb02ecting questions back client seem little unhappy last point missed something \ufb01nding issue bob pace presentation gathers momen tum beginning end high performance consulting skills insight making client presentation try use rather always easy slip telling mode givinga presentation bad consultants start saying things like major problems need tackle issues must address problem client sound irritating condescending remember side always use ratherthan helps develop rapport sounds signi\ufb01cantly betterto client similarly use challenges problems stating major challenges far better saying somemajor problems keep language positive upbeatif presenting options client use simple cost bene\ufb01t approach focus clients thoughts simply usinga high medium low rating add considerably anysubsequent debate help develop clients commitment eventual selection decision figure illustrates simple powerful approach proposingoptions classic example operating process ratherthan expert mode figure presenting client options dont fade away end presentation make sure strong powerful close allow ample time discussion end pres entation engaging client critical ensure youallow suf\ufb01cient time discuss issues havebeen raised remember enthusiastic con\ufb01dent expect clients beoptions bcdecost implementation highhighlowbenefits organisation highmediummediumpracticalityease implementation highhighlow seven presenting client feedback presenting client feedback client focused stage involves presenting feedback back client throughout project lifecycle involves writingreports making presentations writing key reports questions ask analysis rigorous accurate clear support findings conclusions recommendations \ufb01ndings recommendations help client clients respond positively negatively feedback managed clients expectations advance feedback presentation high performance consulting skills insight rehearsing presentation invite someone listen involvement project beable critique presentation powerful way nothaving emotional involvement project may discover raise interesting points questions youhave overlooked feedback presentation right format style level detail spent enough time rehearsing presentation thought unthinkable questions adequately planned move client forward next stage project report back interviewees helped information gathering phase yourwork clients perspective valid analysis feedback thorough research upset anyone work understand accept agree \ufb01ndings results colleagues react \ufb01ndings recommendations well managed feedback process dealt adequately questions concerns added understanding issues problems recommendations represent solution problem seven presenting client feedback typical client thoughts reactions receiving feedback got right answers conclusions produced cant believe problem actually happening would like get quick overview \ufb01ndings would like spend time examining issue said rubbish cant true come conclusion found people thought startled told anything positive discovered pretty bad news anything well ok need next cant help thinking missed something think may misinterpreted point cannot true tend agree yes interesting would like comment one key point statementsquestions might use positive well negative issues emerging investigation would like provide overview \ufb01ndings focus speci\ufb01c issues high performance consulting skills sure specific point think happening would welcome reactions points may disagree results indicate strong negative perception issue perhaps need get additional information question point certainly reinforced section ten report cover points later presentation perhaps could cover subject end presentation seven presenting client feedback blankchapter eight implementing reviewing exiting projectseight implementing reviewing exiting projects project implementation implementing project need able plan manage effectively key elements project planning implementation involve developing list keyactivities resources timeline completion anyproject also involves risk need review keyaspects implementation plan assess significant risks associated think terms project implementation managing resources time quality keen eye possible risks might occur well planning projectyou also need ensure control leadthe project project control measuring evaluating cor recting progress throughout lifecycle projectcentral project master plan need toconstantly monitor progress figures detail draft plan process con ducting risk assessment high performance consulting skills figure project master plan conducting risk assessment need consider overall plan review key task two keyquestions probability failure associated task happen planned possible impact would project would severely impact implementation plan simply using high medium low rating quickly identify parts plan may need kindof alternative contingency planning general rule identify activity medium probability failure medium impact projectthen need develop alternatives contingencyplans activityyear month jan feb apr may jun nov dec project start design completestart trainingtraining evaluation eight implementing reviewing exiting projects figure risk assessment projects figure risk analysistask delivery plantprobability failure mediumimpact project highcontingency investigate alternative suppliers avoid hiding contingency tasks dont add contingency end phases project end contingency comes carrying risk analysisidentify critical areas plan potential problems probability x impact risk planhigh review planmedium contingency high performance consulting skills obviously lot project management tech niques used readers wish geta detailed account read project skills butterworth heinemann written dr sam elbeik andmyself book go details project management associated skills project implementation client focused stage consulting cycle involves managingthe detailed project implementation questions ask secured clients agreement plan con\ufb01dent project management skills capability prepared brie\ufb01ng pack imple mentation team spoken individual team member con\ufb02icts arising parts organization work develops spent suf\ufb01cient time thinking balance composition team communicated relevant suppliers interested parties necessary control reporting procedures place agreed regular access client implementation period eight implementing reviewing exiting projects clients perspective competent everything seem control getting regular updates progress involved important meetings seem realistic feasible capable taking people along changes statementsquestions might use would welcome attendance launch meetings perhaps would prepared welcome people outline expectations experiencing problems department x would like discuss itbecomes big issue key developments arising last weeks work still track think things progressing feedback received people concerning progress may reallocate people resources stage plan foresee slippage overall may need renegotiate extra time resources result last weeks problems high performance consulting skills reviewing consultancy projects client focused \ufb01nal stage client project involves establishing whether projects objectives achieved formally signing involvement project questions might ask signalled end projectassignment earlier client thus avoiding surprises agreed project end date client formal handover project client client comfortable close project major issues still outstanding worrying client secured views relevant parties suf\ufb01ciently rigorous review process open honest problem areas clients perspective given ample notice projects conclusion ful\ufb01led terms reference enjoyed working would want work left positive impression team always open honest direct dealings eight implementing reviewing exiting projects statementsquestions might use would like \ufb01nal meeting conclude review work happy everything outstanding issues believe signi\ufb01es conclusion work plan project anything would helped project could would require us devote additional resources project timetable hasbeen completed suf\ufb01cient time resource take additional work load would pleased propose assist additional work enjoyed working project evaluating consultancy projects imprecise science achievement stated objectives principal way assignments judged projecthas managed correctly principles haveoutlined book applied chances successful outcome achieved however complexityof many projects means internal consultant shouldever claim credit take blame failures projects involve people multidisciplines changing businesslandscapes priorities mean high performance consulting skills avoid attempting measure impact success work need know clientand future clients work contributed tosuccessful results without information neither noryour clients know manage similar situations inthe future often depend heavily totally subjective opinion evaluating efforts project evaluation questions client key questions client might re\ufb02ect attempt ing evaluate work original problemopportunity caused involve internal consultant addressed extent feel due efforts internal consultant opposed factors speci\ufb01c actions taken internal consult ant helped address problemissue speci\ufb01c actions internal consultant hin dered addressing problemissue might internal consultant done might helped situation would use internal consultant help address similar situation future consultant left skills organization staff use future would choose work consultant future would recommend internal consultant colleagues similar problems issues would say internal consultant helped signi\ufb01cantly eight implementing reviewing exiting projects project evaluation questions internal consultant believe clients problem solved addressed could done differently improve \ufb01nal result fellow internal consultants feel results intervention clients staff regard involvement good current relationship client client recommended colleagues client asked work future assignment project come time budget summary answers questions help address theevaluation question \ufb01nal analysis clients perception right wrong importantfeature evaluation process client believesthat intervention helped evaluationbe helpful gaining work beware chasing holy grail new problems top ofthe clients agenda may uninterested kindof postmortem high performance consulting skills chapter nine internal consultants toolkitnine internal consultants toolkit consultants toolkit throughout book stressed need actively manage client relationships made many references using number forms assist processon following pages outlined series singletemplate forms might like use adapt helpyou managing clients projects cover thekey elements internal consultant management process high performance consulting skills nine internal consultants toolkit initial client meeting form next meeting datetimeplace duration meetingactioninitial thoughts solve problem clients issuesdescription clients operation client reporting structuremeeting purposedept name presentlocation date timehigh performance consulting skills page terms reference form boundaryobjectivebackgroundstart date project namelocation consultant namedate client namenine internal consultants toolkit page terms reference form deliverables milestonesreportingassumptionsconstraintshigh performance consulting skills page terms reference form approved client date time chart project activity effort start week estimated costs resource name rate effort cost resource name rate effort cost resource name rate effort cost resource name rate effort cost equipment name cost equipment name cost expenses cost total estimated costsorganization capability effectiveness questionnaire organization audit guidance notes questionnaire contains simple series statements utilises model organization analysis modeloriginally featured bestselling business book searchof excellence tom peters bob waterman considered highlight features effective organization use type questionnaire organization wide projects need collect views amongst staffsimply adjust questions re\ufb02ect particular areasof focus load quantitative responses ontoa spreadsheet use openended questions helpstructure analysis incorporate client presentations reports obviously need add front coding sheet asking people \ufb01ll demographic data covering following subject precise circumstances surroundingyour project n e rolegrade location department length service instructions questionnaire completion consider statement indicate true rela tion views experiences organization right wrong answers simply collectingyour honest reactions data used con\ufb01dential manner named comments data responses willbe revealed nine internal consultants toolkit strategy business strategy plans well de\ufb01ned strategy plans effectively communicated clarity throughout organization concerning corporate mission vision top management focuses medium longterm well shortterm issues changes see signi\ufb01cantly affect organization thenext two years think need two years time remain competitive regard key performance criteria measure success change order achieve success hinder changes high performance consulting skills strongly agreeagreeneither agree disagreedisagreestrongly disagree structure manpower optimum level resources organized according business needs priorities minimum control management levels organization responsibilities accountabilities clear responsibility authority well matched organization structure \ufb02exible responsive changing needs organization structure integrated rather fragmented operating inisolated pockets well different parts organization work together effective communication vertically within organization effective communication horizontally within organization effect structure organization upon effectiveness ofyour operational ef\ufb01ciency people appropriate levels authority responsibility nine internal consultants toolkit strongly agreeagreeneither agree disagreedisagreestrongly disagree style management management encourages delegation innovation emphasis coaching rather telling individual group achievements recognised rewarded performance measured clear objectives performance targets viewed demanding achievable would describe way organization managed present far involved decisionmaking outside affecting area ofmanagement responsibility far involved decision making outside affecting areaof management responsibility con\ufb02ict handled within organization far risktaking encouraged within organization high performance consulting skills strongly agreeagreeneither agree disagreedisagreestrongly disagree style people people valued individuals treated respect peoples abilities potential well understood developed organization employs high calibre people people used strengths penalised weaknesses key people strengths weaknesses relation organizations goals ways assess strengths weaknesses needs done ensure key people capabilities meet yourorganizations goals nine internal consultants toolkit strongly agreeagreeneither agree disagreedisagreestrongly disagree skills skills matched achieve business objectives skill gaps identi\ufb01ed addressed skills re\ufb01ned improved developed meet changing business needs skills shared transferred within organization would describe key skills competences organization effective think skills organization need develop order continue performeffectively next two years contribution believe training make organizations performance next two years high performance consulting skills strongly agreeagreeneither agree disagreedisagreestrongly disagree systems effective planning processes tight controls capital expenditure present effective budget management priority effective procedures staff performance appraisal exist business manpower plans linked integrated effective systems spotting developing managerial talent information need outside organization receivingat present well systems work appropriate systems within organization nine internal consultants toolkit strongly agreeagreeneither agree disagreedisagreestrongly disagree shared values high level loyalty organization positive belief value organizations products services real belief internal cooperation collaboration levels people real commitment values continuous improvement quality service underlying values guide people organization values need change ensure future success reinforce values organization among people high performance consulting skills strongly agreeagreeneither agree disagreedisagreestrongly disagreeinternal consultant skills development needs checklist guidelines review following list client management skills behaviours identify current performance internal consultant may activities listed feel important record spaces provided completed checklist focus critical consulting skills behaviours think youneed develop nine internal consultants toolkit comfortable working senior management others authority \ufb01guresthinking respond clientsthinking business \ufb01rst functionalspecialist secondfeeling comfortable experience andprofessional backgroundpossessing strong knowledge base ofexpertise constantly updating myknowledge skill base need lessi need morei okgeneral approach consulting client managementhigh performance consulting skills using effective project management tools techniquessetting realistic goals clientbeing comfortable clients reviewing workbeing comfortable client taking allthe credit successbeing comfortable saying goodbye aclient end projecthelping clients generate solutions problemsenabling clients use strengthsand resourcessaying without guilt fearpromising know deliverworking con\ufb01dently time pressurespresenting selling ideas effectivelychallenging clients views opinions andde\ufb01nition problemaccepting clients de\ufb01nition problem need lessi need domorei okgeneral approach consulting client management continuedusing creative problem solving techniqueschallenging ineffective solutionscritically evaluating proposed solutionsutilising clients solutions solve problemschallenging clients assumptionshelping clients maintain logical approach tosolving problems projectshelping clients problemsdeveloping clearly agreed terms referencestating client problems objectives clearlybeing brief concise speakingasking direct probing questionsbuilding atmosphere openness trustencouraging clients talk share theirviews thoughtsactively listening clients need lessi need morei okgeneral client management skills nine internal consultants toolkit high performance consulting skills obtaining real feedback client presentationsbuilding team spirit consulting anyjoint consultingclient teamsbeing \ufb02exible problems newsituations emergetaking full control responsibility projectsbeing detail focusedgiving strong client demands restrictions limitationsworking people personally likedealing con\ufb02ict colleagues clientsbeing aware need compete othersappreciating impact behaviour clientsreading interpreting client group andteam dynamics accurately need lessi need morei okgeneral client management skills continuednine internal consultants toolkit using strong project control evaluation techniquesdeveloping arranging clear next stepsand appropriate followup actions projectstaking notes writing beenagreed communicating clientsummarising regular basis clientdiscussions agreementsadmitting errors mistakes partattributing failure clients resistancerecognising defensivenessrecognising prejudices biasesacknowledging failures openly andconstructivelyalways expecting clients use solutionsintervening clients without threateningor intimidating themintervening clients appropriate timescontrolling stress working onchallenging projects need lessi need morei okgeneral client management skillswhat critical consulting skills want develop list going ensure develop skills speci\ufb01c actions plan take write actions high performance consulting skills nine internal consultants toolkit consulting skills client meetings checklist outcomes meeting information gained understanding situation clarity consultants role clients reaction consultant overall professionalism levels con\ufb01dence teamwork evidencegeneral client management teamwork areas covered consultant control meeting \ufb02ow pace effective use time active listening skills developing client con\ufb01dence success gaining information answering clients questions issues challenging clients thinking non aggressive manner summarising redirecting client topics keeping client track overall \ufb02exibility meeting closure next steps dates next meeting followup actions thanking clientobservations notesintroductions role consultants client rapport objectives focused introduction timing meetingsuccess factors common vision uni\ufb01ed management surfacing concerns content management plan process management realistic timescales resources regular open communications systems support change reward support change commitments honoured right people key roles involvement affected supportive leadership measurement effective project management high performance consulting skills excellentgoodadequateweaknonexistentsuccess factors managing changechange management action planning sheet name location division issues accountabilities timescales resource requirementsactions address critical issue de\ufb01nitions nine internal consultants toolkit blankblankthorogood publishing thorogood publishes wide range books reports special brie\ufb01ngs psychometric tests listed selectionof key titles desktop guides marketing strategy desktop guide norton paley sales managers desktop guide mike gale julian clay company directors desktop guide david martin 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jim dunn titles john adair handbook management leadership edited neil thomas pension trustees handbook rd edition robin ellison boost companys pro\ufb01ts barrie pearson negotiate succeed julie lewthwaite management tool kit sultan kermally working smarter graham robertsphelps test management skills michael williams art headless chicken management elly brewer mark edwards emu challenge change implications business john atkin everything need nvq management julie lewthwaite customer relationship management graham robertsphelps sales management organization peter green telephone tactics graham robertsphelps companies dont succeed people graham robertsphelps inspiring leadership john adair book barrie pearson neil thomas complete guide debt recovery roger mason janners complete speechmaker greville janner gurus business strategy tony grundy dynamic practice development kim tasso successful selling solutions julian clay high performance consulting skills mark thomas concise adair leadership edited neil thomas concise adair communication presentation skills edited neil thomas concise time management personal development john adair melanie allen gurus marketing sultan kermally thorogood also extensive range reports spe cial brie\ufb01ngs written speci\ufb01cally professionalswanting expert information full listing thorogood publications order title please call thorogood customer services fax alternatively view ourwebsite wwwthorogoodws" +} diff --git a/All-You-Need-to-Know-About-the-Music-Business-40-pdf.json b/All-You-Need-to-Know-About-the-Music-Business-40-pdf.json new file mode 100644 index 0000000000000000000000000000000000000000..788d8eb36fa93e682ac6f00a4c22beefbe61c1ee --- /dev/null +++ b/All-You-Need-to-Know-About-the-Music-Business-40-pdf.json @@ -0,0 +1,5 @@ +{ + "filename": "All-You-Need-to-Know-About-the-Music-Business-40-pdf", + "department": "General", + "cleaned_text": "" +} \ No newline at end of file diff --git a/Artist-management-guide.json b/Artist-management-guide.json new file mode 100644 index 0000000000000000000000000000000000000000..3bb9e8e4661f3fe441b9216758d570cc1d71b678 --- /dev/null +++ b/Artist-management-guide.json @@ -0,0 +1,5 @@ +{ + "filename": "Artist-management-guide", + "department": "Marketing", "Manager", + "cleaned_text": "artist management manual edition jeremy rwakaara page artist management manual page copyright jeremy rwakaara rights reserved portions manual may reproduced form without permission author published artist management resource mailing address jeremy rwakaara co artist management resource n frederick avenue gaithersburg md usa email jeremy artistmanagementresourcecom web http swww artistmanagementresourcecom page artist management manual page table contents contents introduction artist management personal manager business manager road manager tour manager production manager technical manager formula key financial success todays music business management requirements artist management code ethics setting management business sole proprietorships cosole proprietorships partnerships choosing corporate entity loanout corporations general corporations close corporation subchapter corporation limited liability company llc finding artists management contract page artist management manual page career planning artist understanding different types deals understanding roles different industry players solutions common management challenges copyright basics current state major record labels role major label ar rep major record labels evaluate sign talent options way forward todays music business positioning sign deal major record label pursuing deal independent record label major label distribution pursuing brand band strategic partnership deal funding investor recording products outsourcing essential label services recording releasing products diy getting band business affairs order getting band together ready gigs recording music making available sale materials physical kit publicizing promoting recordings using publicity build fan base distribution recordings consignment distributor pressing distribution pd deals qualifying distribution distribution process changing distributors page artist management manual page radio promotion campaigns podcasts satellite internet radio non commercial college stations specialty mix show radio commercial radio airplay promot ing commercial radio dealing venue bookers booking agents approach package follow negotiation venue band contract different types gigs book band promoting shows announcing product availability things gig gig gig gig sponsorships merchandising going tour things keep mind planning embarking tour things think tour tips keeping band together closing introduction role artist manager vastly different today years ago sales recorded music continue decline record labels looking create tap different revenue streams order make shortfall revenue result r ecord labels vertically integrating artist management int business operations taking role artist management called multiple rights deals stand alone artist management companies engaging frequently joint ventures strategic partnerships managem ent companies music related entities order share resources create additional revenue streams expand reach artists following diy ityourself model increasingly self managing careers circles within independent music scene discussions taking place regarding whether managers even necessary todays music business landscape amidst disruption uncertainty opportunities exist artist managers willing creative forward thinking new models need created order managers continue remain relevant play critical role new music business landscape creative st rategizing outside thebox thinking separate successful next generation managers stuck past best luck endeavors hope resource plays integral role continuing success artist management business deed half done made beginning horace artist management first foremost let us begin discussing artist management generally six types managers play role careers recording artists record producers songwriters musicians instrumentalists following brief description one personal manager personal managers generally considered important involved counseling advising artist songwriters producers djs instrumentalistsmusicians etc matters relat ing musical careers traditionally personal managers primar ily focus ed shopping record andor publishing deals clients helping counsel clients respective deal beyond today role personal manager evolved much hands approach regarding helping clients reach fans directly assisting clients run ning recording distribution publishing merchandising performing operations even though certain types mainstream artists musicians songwriters traditional record publishing deals may still make sense deals managers pursue clients areas sponsorship branding merchandising andor licensing personal managers job therefore assisting clients run ning companies help figure deals complement client independent operations fit long term career plans business manager business manager usually accountant trade manages income expenses client page artist management manual page business managers usually take care making payments musicians background singers roadies tour managers crew members etc behalf artist also assist clients areas assets investments savings taxes local state fed eral international etc artists well aware various tax obligations relating recording perform ing licensing sponsorship endorsement merchandise income addition equipment purchases sales business expenses etc busines managers help clients organize financial affairs also assisting investments savings retirement strategies road manager road manager normally takes care logistics artist tour road duties include making sure everything road provided spelled contract owed monies paid time artist free c oncentrate solely performing interacting fans get distracted pre occupied whether promoter venue booker booking agent sponsor brand partner met obligations road manager also follows items promised part contract accommodations per diems advancesdeposits rentals commissions tour manager tour manager larger tours responsible aspects running smooth operation coordinates details logistics tour band crew including transportation contracts payroll catering accommodations hospitality press communications merchandising tour routing dealing venue management promoters unions e tc page artist management manual page tour tour manager makes sure everybody receives daily copy day sheetschedule every one knows exactly whats going day tour tour managers work closely personal manager coordinate tour artist crews smaller independent artist tours road manager tour manager usually person rather single person often takes role road well tour manager production manager production managers found larger tours involving major record label artists production managers work closely tour managers helping certain details production show like renting sound video lighting equipment dealing trucking issues etc production managers also deal publicity show well assist scheduling coordinating touring crew local venue crew stagehands carpenters riggers etc technical manager technical manager technical director usually person charge set design construction control performance work closely production manager page artist management manual page formula key financial success todays music business several years internet empowered independent artists providing supporting infrastructure access distributors eg cdbaby tunecore orchard etc music stores eg itunes amazon etc blogs eg pitchfork etc artist websites streaming radio eg pandora spotify etc social media eg facebook twitter etc video sites youtube ustream etc crowdfunding sites eg kickstarter pledge music etc enabling artists ach fans directly ways could never accomplish quite cost effectively backdrop supporting infrastructure however oldschool music industry far withstood challenge entirely replaced diy ityourself model talented hardworking independent musicians earn respectable sixfigure incomes music related endeavors way create platinum selling multi million dollar earning global lyrenowned superstars still via major label systemnetwork independent artist simply cannot accomplish monumental task yet never better time creation art since available tools make possible alented committed musicians write record release rehearse perform sell music merchandise inherent structural weaknesses inefficiencies independent diy music scene make extremely difficult musicians achie critical mass necessary global success independently without plugging capacity mainstream system network financing marketing branding sponsorship distribution publicity touring recommendations etc page artist management manual page lack c onnectedness co ordination mention mass consumer awareness among various entities within diy music scene makes difficult achieve scale level exposure necessary project gain attention large e nough number paying fans become financially successful ie profitable able support musicians full time artists get attention ultimately team music industry partners facilitators deeper pockets greater expertise wider networks plug mainstream music business system take advantage built efficiencies marketing platforms make possible financially successful order artist get th e attention eventual participation investors partners career facilitators help get plugged mainstream system r artist must first appear radar screens artist appears ir radar screens must prove sufficient value make worth investment resources capital networks time expertise exposure advice recommendation etc analysis music business reveals certain formula used increase overall value artist turn increasing chances success attracting p artners capital networks exposure experience needed succeed financially todays music marketplace formula taken account business dealings without utilizing formula difficult time achieving success clients todays music business formula follows talent e xposure ssets arketability story v alue page artist management manual page te sv formula use help build value artist increased value put artist radar screens aconsumers buy artists products bmusic business partners facilitators provide financing expertise exposure contacts booking touringperformance opportunities production licensing branding sponsorships endorsements marketing publicity media coverage knowledge information networking etc artist value gets measured considered appear radar screens potential facilitators eg labels publishers influencers agents promoters producers brand partners sponsors investors venture capitalists licensees advertisers etc well media personnel importantly fans increase artists value profile begin appear radar screens people higher caliber therefore focus attention day today basis creating greater artist value order attract larger number higher caliber partners facilitators well increase income wider base fans nurturing artists talent increasing artists exposure expanding catalog artists assets enhancing artists marketability developing powerful story artist increases overall value talent exposure assets marketability story value lets discuss parts formula combine create value page artist management manual page talent people help artist achieve financial success eg fans labels producers publishers licensees brands advertisers sponsors investors media etc generally interested artists arent simply talented kind talent mass appeal todays music marketplace artist musician passionate connect wide audience valuable investors facilitators media industry partners one small niche market mainstream project generally greater chance providing e xcellent return investment niche project even though occasional exceptions rule niche projects succeed enough frequency consistency make worth risking investment even successes income generated niche projects tend pale comparison income generated mainstream projects difficulty analyzing evaluating talent thing subjective ie eye beholder case ear listener th precisely measure client potential clients talent similar artists genre charts today client must talented relative others also talented way relevant competes todays music business marketplace order evaluate artists talent level relative artists todays music marketplace b egin dont end reviewing commercial radio airplay charts determi ne genre closely fits artist listen stack artists th eir respective genre select whichever charts available artists country residence artist tell one comfortable fitting page artist management manual page study example us billboard charts examples genres might find adult alternative adult contemporary adult pop adult rb alternative bluegrass blues catalog christian christiangospel classical comedy country danceclub danceelectronic dancemix show folk gospel hard rock independent jazz kids latin latin pop new age pop rbhip hop rap page artist management manual page reggae regional mexican rhythmic rock smooth jazz soundtracks tropical web next big sound youtube world music artist sings performs andor writes fit genres similar ones cannot identified similar charts country residence artists value reduced eyes potential partners investors furthermore music perform cannot neatly fit one two genres ie describe music bluesclassicalhip hopadult pop regga ebroadway example also diminishes value many easily identifiable marketing channels available gain exposure project thus making expensive risky invest determine genre comfortably fit next step listen music charts decide needs done increase artists talent level order match exceed presently teps competitive could include production analysis vocal andor instrument lessons live show analysis songwriting workshopsbooks choreography lessons workout regiment diet wardrobe general styling media relations training new photos videos bio updated website social media profile etc depending genre page artist management manual page reason important take major charts like billboard consideration even though artist might independent ie signed major label setting aside potential invest ors partners moment consumers attempting reach largely use radio mainstream media streaming channels point reference means music discovery influences like alk artists like think least completely unique dont fit category yet consumers need point reference like programmed expect talent served familiar readily defined marketing channels radio online streaming television movies mainstream publications social public space etc regard artist must omewhat familiar recognizable slight twist directly copied sound order consumers something relate connect talent connects todays audience makes artist valuable potential partners investors ca n invest careers well consumers spread word buy recordings merchandise tickets exposure exposure creates value artist different ways firstly exposure leads discovery enables people know artist decide whether become fan make purchase attend show join mailing list spread word contribute crowdfunding campaign etc page artist management manual page secondly exposure affects way people perceive importance relevance someone somebody widely exposed perceived important relevant famous someone isnt take example reality show participant news anchorreporter famous eyes public simply television frequently exposed hundreds thousands even millions people thirdly exposure gets artist onto radar people resources andor connections help artists career introduce dealmakers facilitators propel artists career forward need expose artist level impressive enough profile make potential partner interested investing time resources connections money andor expertise etc project exposure critical part formula success almost impossible nowadays achieve meaningful success without massive amounts exposure indeed artists achieved success based almost entirely strength exposure getting adequate e xposure expensive time consuming ou need get much exposure artist afford appear radar partners facilitators investors andor interested parties approach investing additional funds resources expertise project put towards larger marketingpublicitypromotion campaign expose fansbuyers effective know audience theyre interested talkinghearing keep mind strategy shoul involve exposing music industry professionals well music loving fans page artist management manual page venues exposure include radio terrestrial radio expensive still way get maximum exposure internet radio streaming television talk shows interviews coverage publications print online social media youtube twitter facebook instagram etc mentions influential blogs eg pitchfork gorillavsbear hypemachine fluence etc podcasts large numbers listeners music videos television online reality shows including non music related shows music licensing inclusion songs movies movie trailers tv shows games commercials mobile apps audio books etc reviews print radio tv online interviews print radio tv online live shows performances high visibility music websites eg thesixtyone slicethepie etc social media data aggregator eg next big sound etc record sales databases retail store charts eg nielsen soundscan etc radio airplay charts eg billboard mediabase etc concert information sites eg pollstar eventful etc high profile music industry conference showcases eg sxsw nxne etc high profile touring slots eg music festivals etc major label artist collaborations features major label co writing opportunities major label artist guest appearances compilations page artist management manual page soundtracks remixes respected djs producers remixers mix tapes distribution record pools tip sheets mentions industry message boards forums youtube song covers especially major label artist covers word ofmouth cross promotions companies high profile branding partnerships endorsements music equipment manufacturers etc participating winning singing songwriting contests competitions advertis ements online print high visibility charity events press releases work exposure campaign k eep mind value exposure based total number people get know artist also quality coverage degree media validation achieved campaign campaign involve seeking opportunities get endorsements referrals validation coverage increases value eyes potential investors facilitators partners addition e xposure needs help artists ultimately get paid example driving traffic shows leading licensing deals etc manager pursue sensible collaborations guest appearances assist getting client exposure people eg producers mixers signed musicians andor songwriters etc access high level dealmakers facilitators gatekeepers think th ese collaborations way utilizing exposure get connections page artist management manual page assets tangible well intangible assets artist portfolio valuable consumers products purchase industry partners products services monetize return assets include tangible sound r ecordings copyrights including material yet recorded tickets gigs performances merchandise videos promotion sale well advertising revenue partner programs mailing lists databases marks logos particularly valuable f used merchandise capital musical e quipment intangible image brand factor name recognition work ethic sales history track record recording writing performing producing etc touring history page artist management manual page deals financial value previous current contacts connections relationships people high industry draw number people attend shows performances experience music business related training certification music business related referrals respected people within music business endorsements eg musical equipment manufacturers sponsorships eg tour sponsors assets include anything tangible intangible monetized otherwise leveraged generate income value potential value assets potential investors business partners consider analyze artists profile appe ars radar assets currently potentially valuable potential investors facilitators partners marketability artist unique marketable personality mass appeal paired product service create unique brand artist kind marketable persona make effective brand ambassador manager need spend time identifying developing artists brand certain level seeing brand marketable page artist management manual page even unable make artists brand household name need able shine light right direction show investor brand partner facilitator label artist marketable analysis determine brand persona public identify artist well existing brand establish strategic partnership artist personality brand ambassador receive lower value score potential investors facilitators partners result branding crucial today investors labels partners even matter choose remain independent must rely ways generate income besides sales recordings dwindling result consumer preference social streaming subscription services mention downloading virtually impossible nowadays artists companies get substantial return investment solely sales recordings marketable brand allows artist partners take advantage additional revenue streams artist marketable enough create profitable brand andor partner different brands order generate additional income multiple sources valuable financial perspective artist whose revenue stream limited recorded music sales following examples powerful brand enables artist maximize income multiple streams lady gaga opened boutique barneys releas ed high fashion picture book beyonc\u00e9 knowles starred several movies several lucrative product endorsement deals including one loreal also markets house dereon clothing line fragrances beyonc\u00e9 pulse beyonc\u00e9 heat page artist management manual page jay z launched reebok sneaker line rocawear clothi ng line available inside yankee stadium jlo according forbes grossed million thanks high profile gig american idol clothing line fragrance deal made fiat nicki minaj mac cosmetics released limited edition baby pink lipstick shade conjunction debut album pink friday subsequently released six shade nail lacquer collection partnership deal opi producer music manager american idol judge randy jackson teamed clyde duneier inc create timepiece watch collection called timepieces randy jackson paramounts insurge pictures partnered katy perry feature film metallica front man james hetfield partnered sutro eyewear launch limited edition jh sutro sunglasses justin biebers foray perfumes universal invested generates estimated million year sales revenue comes justin bieber dolls documentary pulled million box office well endorsements products like skincare line proactiv rihanna earned estimated million income included endorsement deals vita coco coconut water nivea lo tion recording sales alone longer provide substantial enough return investment major record labels industry partners investors marketability artists brand determine type partners attract amount money generate branding endorsement deals financially successful long run page artist management manual page expect however label partner investor create artists brand scratch need develop brand artist first put plan action show interested parties way forward investors enhance polish artists brand expand reach marketplace depth discussion branding beyond scope manual begin analyzing abovementioned artists well others may able research created successful brands determine artist develop brand andor brands artist could conceivably partner within order extend reach based artists personality experiences w ho effective brand ambassador vibe artist project vibe crafted marketable brand style artist terms images recordings social profiles performances artwork videos publicity campaigns live shows logos merchandise etc effectively project marketable brand wh ich demographic strongly identifies artists brand artists brand identity personality artist share audience drivesmotivates attract pull fans mindset compelled things artist compelled final analysis artist either already marketable prepare become marketable wish increase value therefore maximize chances long term financial success page artist management manual page story artists story use get attention consumers media industry facilitators potential investors business partners compelling story helps get media coverage industry attention turn increases value artist story instance industry word narrative used tocompell someone towant tohear artist story actually short one line description sums artist explains person talking compelled take action invest book sign publicize promote interview connect listen etc think would say wanted introduce artist someone imagine walking room saying hey need check artist compelling story would tell make powerful introduction sell artist whatever story person talking feel compelled lean forward want hear simply talented musician great voice compelling enough story attract attention nowadays said thousands artists something compelling required get peoples attention story able developing story something help whether join forces strategically industry partner remain independent release record ings need compelling story get medi coverage well attract attention fans page artist management manual page tory angles include artist currently formerly signed major label singer sung background vocals major label artist musician performed band backing major label artist musician performed part renowned ensemble independent artist band opening major label band high visibility performance major festival event producer hit song credentials artist signed producer camp songwriter chart credits noteworthy writing credentials songwriter major publishing deal musician songwriter filmtvadvertising placements musician lots pressmedia attention winner runner visible contestant reality singing competition eg american idol x factor etc winner runner honorable mention major songwriting competition grant award winner artist recommended referred industry players artist sider connection relationship eg family member graduate prestigious music school artist something unique important say artist reputable mix tape artist millions views youtube video individual done something unprecedented heroic scandalous controversial amazing etc page artist management manual page artist impressive social media picture subscribers followers likes etc celebr ity artist rags toriches story artist successful crowd funding noteworthy diy campaign artist powerful overcoming odds story artist survivor story charity angle interesting unique publicity angle stuntgimmick artist need compelling story creates interest provides credibility otherwise peaks curiosity value value building client clients behalf influence two constituencies consumer purchase clients products help spread word music industry partners facilitators including labels publishers producers booking agents promoters sponsors brand partners licensees advertisers media etc provide funding marketing expertise staff andor connections talent exposure assets marketability story team combine create value v client greater value leads higher caliber investors partners facilitators attracted project important thing keep mind working aggressively various elements play role increas ing artists value benefit whether team partners choose remain independent page artist management manual page formula powerful illuminates path financial success clients also getting clients radar industry players helps things like make name manager industry taken seriously manager acquire funding business artists projects gain access connected industry players get ir inner circles create meaningful contacts build genuine network connections get important people listen get attention facilitators labels strategic partners investors etc get artists booked paid shows tours tough economy reach kinds people help artists career much evaluation period dont yet client throughout planning execution stages client constantly ask elf question done today increase clients value may things play role outcome project seem control eg age preferences industry luck timing changing industry trends global events consolidations mergers etc overwhelming strength value proposition likely overcome elements might otherwise work use information contained resource help work increasing artists value order attract people propel project forwardmanagement requirements people often ask required manager basically many people come managers simply finding artist musician group band love deciding handle management duties however basic requirements need order effective manager personal manager need extremely knowledgeable every platform outlet music generates income music business currently undergoing tremendous change ou need know basics everything since one potentially communicating record labels producers publis hing companies booking agents talent buyers publicists promoters merchandising companies brands sponsors licen sees attorneys media personnel equipment manufacturers etc read plenty books attend many seminars workshops conferences afford use internet powerful research networking tool need patien take long time client make money therefore make money since income based commission extreme patience required stick game plan long haul artists make much money first recording tour often first album tour serve means create buzz around artist increase fan base raise artists profile next album signing page artist management manual page need realistic expectations unrealistic things work achievable level end getting extremely frustrated giving things properly materialize example unrealistic think r artist get offered sixfigure guaran tees headline shows major cities three song demo artist record deal album singledownload sales regional national buzz social media profile touring history media coverage radio airplay publicity etc indulge fantasies created artist keep realistic promise deliver impossible manager need flexible even bes tlaid devised plans unravel moments notice set long term goals prepa red change fine tune things order adjust conditions ground nothing wrong changing mind something indeed better cheaper smarter efficient convenient solution readily hand inform client flexible doesnt mean cant keep word losing focus need truly like andor love client musictalent need passionate music artist band performing andor writing dont sign artist cant visualize listening music lot thoroughly enjoying anything short leave struggling find motivation required day today basis easier sell somebody artist passionate manager need persistent aggressive stopping short annoying dont easily take answer believe strength argument viability project develop ways push really hard need still remaining spe aking terms someone youve pushed really hard page artist management manual page need plenty people skills job involve lot one onone contact communication people need able communicate needs without irri tating people negotiating talking need able separate personal feelings conversation hand focus goals ahead well desired outcome likely help purchase good book two art negotiating need lots appropriate contacts even client develop build social clout contacts easier get things accomplished need contact many different areas possible depending genre music client pe rforms including influential voices tastemakers within social networking circles record producers publicists pr specialists booking agents venue bookers talent buyers promoters publishers choreographers photographers graphic designers stylists make artists dancers voice coaches recording engineers studios attorneys media personnel etc course working con stantly formula discussed earlier teams v help put artist radar result people reaching instead go meantime ou may purchase music business directories ask recommendations music industry forums access line directories select people within genre interest contact better directories available pollstar httpwwwpollsta rcom music business registry httpwwwmusicregistrycom others find contacts well known respected area begin develop relationship attend conferences exchange business cards industry professionals database introduce everyone never know might rise position may use page artist management manual page network frequently get name write blog andor offer speak seminars conferences conventions get name make new additional contacts importantly create enough buzz artists contacts start coming need extremely well organized organized e ffective manager services like marcato musician httpmarcatomusiciancom others enable keep artist roster information organized one place need contacts easy access database able find information need moments notice cannot afford let days go without returning omebodys call e mail simply couldnt find phone number e mail address mess desk desktop amazingly takes couple days sit get everything order type database everything place easier maintain update information need little bit money job wait commissions materialize artists work years making enough income sustain leaving little table managers commission meantime manager purchase music business books pay conference registrations access industry resources book airline tickets etc likely pay things recoup certain percentage back clients income depending terms contract time totime may help pay studio time equipment purchases help pay outstanding bills tickets insurance etc careful g et taken advantage however k eep good records expenses contract spell much recoup clients income spend money things related career page artist management manual page finally always helps bit good old fashioned luck side saying goes luck happens preparation meets opportunity therefore best prepared tak e advantage opportunities present andor clientartist management code ethics indie managers association began several years ago longer accepts membership registrations code ethics manager members must abide code ethics agreement contains items positive elements managers abide whether members copy text code indie manag ers association code ethics privilege membership indie managers association herein referred ima music manager herein referred member agrees deal fairly honestly matters relating clients always look interests clients alongside members interest tre business matters related clients confidential make effort avoid scenarios conflict interest likely occur encou rage clients seek legal advice prior signing contracts keep durations management contracts reasonable length conduct research stay involved well informed matters relating music business avoid collusion man agers result actions interest clients refrain blacklisting clients engaging similar behavior receive unreasonably unjustifiably high commission page artist management manual page take credit another managers work exaggerate credentials affiliations effort woo client contractual relationship encourage clients breach existing contracts managers engage libel slander client members music management communitysetting management business many ways structure management business depending whether one person operation plan hire employees information contained n following section taken legal accounting advice counsel pertains mainly businesses conducted united states therefore set business make sure consult qualified business accountant andor attorney advice thats relevant starting business country residence following discussion ways set management business sole proprietorships sole proprietorship unincorporated business owned operated one person states sole proprietorship referred dba business billy bob business billy bob management sole proprietorships despite advantages quick inexpensive set distinct disadvantages sole proprietors subject unlimited personal liability business debt law suits company creditors sole propr ietorship anyone else matter sue owners business win judgment move seize owners homes cars savings personal assets page artist management manual page unlike corporation sole proprietorship considered separate owner tax purposes means sole proprietorship pay income tax nstead owner reports business income losses individual come tax return sole proprietor youll take responsibility withholding paying income taxes employer would normally means paying self employment tax consists contributions social securit medicare making payments estimated taxes throughout year cities many counties require businesses even tiny home based sole proprietorships register pay least minimum tax return business wil l receive business license tax registration certificate also obtain employer identification number irs plan employees sellers permit state zoning permit local planning board business name different eg using big blue management instead name nancy jones usually must register name known fictitious business name county practice lots businesses sma enough get away ignoring requirements caught may subject back taxes penalties cosole proprietorships one exception sole owner rule share ownership business legal spouse still maintain sole proprietorship irs consider co sole proprietors either split business profits losses separate returns put joint schedule c return page artist management manual page arr angement sometimes referred husbandwife sole proprietorship allows spouse help business without pay without classify employee would cause pay payroll taxes similarly c lassifying spouse partner independent contractor wont pay self employment taxes business wont file partnership tax return partnerships partnership venture activity involving two p eople groups share degree responsibilities liabilities rewards ventures success failure shall discuss couple different ways form partnership general partnerships general partnership partners share profits assets liabilities responsibilities assets belong partners collectively general partner authority enter contracts behalf partnership partner accountable fo r actions partner responsible partnerships debts losses general partnership pays taxes partners must individually account shares profits losses personal tax returns general partnership disbanded assets liquidated proceeds used pay creditors repay loans partnership partners compensate partners contributed funds assets money left distributed partners proportion shares business spelled partnership agreement page artist management manual page limited partnerships limited partnership partnership partners limited liability businesss obligations lea st one partner acts general partner assuming total responsibility managing venture remaining limited partners must say role managing venture whereas general partnerships formed like minded individuals wh collectively contribute assets capital expertise andor time company limited partnerships usually arise one party seeks raise money investors pursue specific venture function limited partners provide operati ng capital limited partners repaid percentage ventures profits normally limited partnership finite life limited partnerships may formed finance specific projects ie studio time recording equipment purchase copyright catalog launch management record company funding tour etc venture fail limited partners lose investment liable losses damages beyond put venture choosing corporat e entity anyone operates business alone others may incorporate right circumstances owner size business benefit argument incorporating strong maintaining corporation comes set responsibilit ies maintaining corporation requires paperwork record keeping sole proprietorships individual state legal procedures regulations forming maintaining corporation good standing page artist management manual page full description differences corporation ccorporation limited liability company llc would beyond scope manual besides distinctions often altered blurred changes internal revenue code local laws even time manual read changes relevant tax laws may made affecting entity choice bottom line choice entity made using current information assistance lawyer account ant way risking making bad choice might regret later especially first successive company tax returns filed businesses may choose variety corporate entities based needs useful descriptions legal financial advisors help decide type structure best suits business needs loan corporations loan corporation primarily tax saving device used recording artist sh elter income recording contract instead signing directly record company artist signs corporation corporation loans artists services via agreement record company record company p ays royalties corporation corporation turn pays artist salary type compensation structured minimize tax liabilities artist corporation may also provide benefits artist insurance pension fund contributions etc general corporations general corporation also known c corporation common corporate structure general corporation may unlimited number stockholders since corporation separate l egal page artist management manual page entity stockholders personal liability usually limited amount investment corporation close corporation close corporation appropriate individual starting company alone small number people significant differences general corporation close corporation close corporation limits stockholders maximum addition many close corporation statutes require directors close corporation must first offer shares existing stockholders selling new stockholders however states recognize close corporations subchapter corporation subchapter corporation general corporation elected special tax status irs corporation formed subchapter corporations appropriate small business owners entrepreneurs prefer taxed still sole proprietors partners many small businesses corporation offers best worlds combining tax advantages sole proprietorship partnership limited liability enduring life corporate structure limited liabi lity company llc limited liability company llc corporation offers many advantages many small business owners entrepreneurs prefer llcs combine limited liability protection corporation pass taxation sole proprietorship partnership llc owners enjoy limited personal liability many business transactions important realize protection absolute page artist management manual page drawback unique l lcs however exceptions apply corporations llc owner held personally liable personally directly injures someone personally guarantees bank loan business debt llc defaults fails deposit taxes withheld employees wages intentionally something fraudulent illegal clearly wrong headed causes harm company someone else treats llc extension personal affairs rather separate legal entity last exception important circumstances court might say llc doesnt really exist find owners really business individuals like sole proprietorship person ally liable acts expense formalities involved setting corporation issuing stock shares corporation form corporation good reason merely want limit p ersonal liability business debts forming limited liability company llc probably smarter llcs less expensive form less complex run event make sure voice concerns qualified accountant preferably one familiar inner working music business set artist management business finding artists today fairly easy manager find artists sign start looking art ists however take stock exactly offer style music enjoy listening good understanding w hat contacts entertainment industry much money available keep afloat difficult first phase management much know music business many artists already managing point enough time resources allocated take another one many questions shou ld answered start looking artists sign ou comfortable answers questions ready start looking artists begin visiti ng music related sites blogs asking club owners bookers promoters open mic karaoke hosts club djs music retail store managers entertainment attorneys record producers recording engineers studios publicists etc know artists need management tens thousands artists reverbnation accounts facebook profiles electronic press kits epks eg sonicbids etc distributor profiles eg cdbaby youtube channels twitter accounts official artist web sites review online allows narrow search make list bands see performing live also go clubs venues see find bands like always helps see band performing live get chance see well perform gives chance see indeed improve upon already also see audience reacting page artist management manual page age dwindling cddownload sales money artists make touring performing live selling merchandise signing merchandise deals licensing music use film tv etc partnering brands aligning thems elves sponsors signing endorsement deals crowd funding ad revenue sharing live performances play integral part overall scheme things bandartist cannot perform live limit ways yo u generate income multiple sources find band artist think might interested attempt ee hear several times several different circumstances approach commit meeting go several shows watch people react wel l interact people ask around see find anything reputation sure person people interested sign ing set preliminary meeting make promises offers point nd keep meeting casual following things might wish cover preliminary meeting talent level potential client beginning intermediate advanced stages musical career work required get ready market continue trajectory ascent primary market demographic trying reach example year olds year olds mainly f emales international market ethnic market regional market cial political market particular interest group goals goals realistic able achieve goals timely manner r head page artist management manual page absolutely love love want make million doll ars live beachfront property either way able achieve want existing deals eg management production spec recording publishing licensing sponsorship endorsement etc deals complicated involvement deals present conflict interest legally sign buy somebody contract co manage somebody else help get existing contract operate company corporation companies production publishing label etc live manage competently even live another area country belong unions organizations associations guilds contracts conflict affect involvement assets copyrights trademarks patents licenses real estate investments etc eparate pre existing assets income futur e income commissionable debts incurred debts liens affect commissionable income lots friends enemies music business better know sooner later since may bump people good bad along way manager previously status relationship unencumbered free sign previously recorded songs tour sales history topics need discuss preliminary meeting probably able add items list everything answered satisfaction th meeting yo u move next stage begin ne gotiating management contractthe management contract extremely important written management contract client usually advisable offer sixnine month trial period committing long term manageme nt relationship give time figure relationship proper match agreeing long term commitment important remember thing standard contract contract unique circumstances wishes individuals involved contract legally bindi ng agreement two parties may oral often written order contract legally binding party agrees refrain particular thing must receive adequate consideration undertaking must lawful legal agreement must mutual voluntary obligations must reciprocal parties must legally competent always attorney draft review contract make sure everything legal nothing important overlooked find contact information entertainment attorneys among places music attorney legal business affairs guide available music registry web site httpwwwmusicregistrycom music registry also book contracts music industry httpwwwmusicregistrycomcontractprodhtml th includes contract artist managers suggest always better attorney draft one least customize page artist management manual page one book meet particular needs reputable law firm look lapolt law pc httpwwwlapoltlawcom another resource volunteer lawyers arts httpwwwvlanyorg also search attorneys line ask artists music industry professionals would recommend always wise separate attorneys side manager artist following important items usually included management contract definitions management contracts definitions important words need clearly defined vague terms contract allows mischief one party needs find way contract term term refers fixed period time contract force many managers artists set trial period six nine months committing full length contract trial period used see manager artist ar e compatible manager capable value artist goes well term one two years options renew additional one year terms set states limit number years rtist signed personal services contract event advisable keep management contract term years total length havent man aged get anything significance done years might need evaluate relationship anyway territory page artist management manual page important contract determine territory within managers powers duties extend artists one manager usa managers territories arou nd world including canada europe asia australia africa south america etc scope duties contract spell obligations duties individual example managers offer render advice provide career guidance counsel perform relevant services artist may require order career artist promise make available exclusively manager prompt engagements refer al l approaches offers made third parties manager reveal income commissionable manager etc scope duties important part agreement one party fails perform duties may cause claim breach contract consideration contract spell side expected receiv e parties receive advice income credit commission career development power attorney anything else negotiated table bottom line side must receive something consideration order contract valid scope exclusivity page artist management manual page almost management contracts grant manager exclusive rights representa tion means artist cannot hire another personal manager represent time however stop manager representing one artist sometimes manager hires another manager co manage represent artist parts world managers exclusive representation apply specific areas closely related activities means manager exclusively represent client client also example plumber architect graphic designer etc power attorney contracts give manager power attorney essentially means manager sign accept contracts agreements related documents behalf artists contract spell contracts agreements related documents manager sign ones manager cannot sign purpose power attorney allow manager conduct business c lients behalf even client unavailable time however client may wish limit power attorney contracts arent exclusive dont bind client long term commitment dont assign clients rights sound recordin gs copyrights example clients may feel okay managers signing contracts behalf short term commitments dont involve lot money previously discussed agreed upon many artists attorneys ske ptical giving power attorney manager dont surprised clause ends one heavily contested keep mind still job manager without power attorn ey dont let deal breaker commission page artist management manual page area contract get extremely complicated usually conflict arises personal managers usually get paid commission around clients gross net earnings sometimes managers prefer get paid monthly retainer services rendered instead commission problem managers clients encounter determining whether pay commission gross net earnings well deciding income sources commissionable eg cddownload sales gig touring income advances royalties sponsorship fees endorsements merchandise sales brand partner payments income generated artist branded products synch fees streaming ad revenue etc client would rather pay commission limited number income sources based net receipts ie deduct expenses gross income paying commission manager manager h would rather get paid commis sion gross receipts ie commission paid prior artist expenses deducted sources income contracts negotiated term management contract sticky issue deciding income manager receive commission clients receive income one form another record deal publishing advances recording sales merchandising salesdeals live performances fees sponsorship fees appearances speaking engagements endorsements music licensing fees various royalties acting modeling salaries band brand payments cosmetic clothing deals artist branded products youtube ad revenue streaming etc income manager receive commission commission paid monthly quarterly check arrives receive money initially payments vendors creditors made page artist management manual page manager start high commission eg compensate risk early days reduce gradually time eg even certain thresholds met reverse manager get b onus commission certain income thresholds milestones met everything depends negotiations two parties side comfortable sunset clause sunset clause contractual provision setting cut date rights one party instance personal managers contract artist might provide manager receive percentage artists income contracts negotiated entered term management agreement even agreement terminates sunset clause would limit income participation say three years termination management contract alternatively sunset claus e could allow manager receive commission years termination commission another years fifth year none thereafter number variations negotiated parties reduc tion commission event managers deathdisability another area interest especially artists point view happens commission event manager dies becomes disabled reduction commission paid managers estate h ow long commission paid commission payments terminated altogether immediately clear interpretation avoid legal wrangling take plac e event managers untimely death disability page artist management manual page expenses contracts call manager reimbursed reasonable expenses incurred manager behal f artist manager may make long distance international phone calls trav el meetings attend conventions conferences put together showcases etc behalf client event manager needs make certain expenditures behalf clients wouldnt otherwise make contracts specify set amount money manager cannot spend without clients prior approval example manager may ask approval spend anything clients behalf month things could deemed expenses include phone calls long distance behalf artist postage courier fees photo sessions recording sessions recording equipment purchases rentals publicity promotion costs behalf artist related airbusrail fares trips behalf artist example business meetings conferencesconventions artwork graphic design fees hotel room charges car rental charges taxicab uber fares gas fuel managers vehicle used long distance trips behalf artist miscellaneous loans given client manager page artist management manual page audits c ontracts allow receiving party audit books paying party example manager collects money makes payments artist artist able audit managers books check accuracy payment many instances artist receives money pays commission manager case manager would need right audit artists books right audit usually restricted within set amount time transactions taken place eg within two years usually party conducting audit pay audit services unless discrepancy found upon time party discrepancy pay audit manager licensed talent agent management contracts include clause says manager acting talent agent states require separation two example labor commissioner new york california must license talent agent talent agent defined person engages occupation procuring offering promising attempting procure employment engagements f artist remains seen deals aka multiple rights deals work around issue since many deals structured nowadays provide management booking duties house even outside deal structures manag ers involved occasionally helping artists secure gigs live performance opportunities wish avoid live cities forbidding managers talent agents found operating agent without license states indicating contract licensed talent agent occasional booking like activity part involving small amounts money could considered incidental page artist management manual page important unhappy artist could attempt get contract showing court manager acted law talent agent without license issued labor commissioner breaches disputes contract clearly spell exactly constitutes breach contract eg manager fails get deal specified amount time client becomes unavailable perform duties etc contract also determine exact manner breach potential br communi cated breaching party well give breachin g party adequate time correct breach corrections arent made indeed made allotted time breached party mak e claim using process described contract warranties representations contract ask parties warrant represent legal age pressured sign contract ie duress free enter agreement disability respect right execute agreement consulted attorney told truth ownership copyright materials contract violating laws etc group members contract spell whether manager represents members group even individually leave group pursue solo careers important leaving member may still benefit hard work manager part managing group page artist management manual page contract spell limits parameters continuing management relationship commission arrangement manager leaving group members minors minor person ag e legal majority important know contract minor invalid unless parent legal guardian co signs agreement andor signs separate letter consent manager must best find true age c lient else risk entire contract rendered null void severability severability clause provision contract stating event judicial determination parts contract invalid unenforceable valid portions contract remain force renewals extensions e xtremely important spell contract gets renewed extended decide whether renewal extension made le discretion manager rtist mutual consent many days end ter notice given renew ing extend ing contract renewal extension automatic notice given make sure important issues addressed contract page artist management manual page assignments contracts allow manager assign duties responsibilities associate affiliate licensee company may buy managers company usually done allow manager flexibility join pa rtner companies investors yet still able perform duties contract artist managers may also want able assign contract another member management firm leave company key man clause provision contract protects recording artist songwriter signs company specifically particular person key man even though person might woman without whose presence artist songwriter would want bound company key man clause provides named individual leave company term artist songwriters contract artist songwriter may option terminate contract without legal financial repercussions fair company clause may also require artist songwriter repay outstanding advances andor fulfill commitments contract order terminate contract early performance clause contractual provision requiring party perform service achieve goal example manager may required get artist signed record company within specified time period artist may required available touring comm itments agreed band brand agreement etc page artist management manual page general contracts include general clauses clarify complete understanding parties example contract identify state country jurisdiction matters related contract another clause identify contract complete understanding parties compel changes made writing order enforceable another clause show manager advised artist seek legal counsel signing contract signatures course written contract cannot valid without signatures parties obligation necessarily need contract notarized ake sure signatures blue ink obvious documents originals ones copies career planning artist establish goals create business plan least game plan addresses short long term goals clients goals clients may simply want record album series singles make available download others may wan establish independent label release recordings perform larger venues currently go national international tour sign deal record label national distribution marketing ign publishing contra ct get acting align brand get endorsement deal partner sponsor long term goals break long term goals several short term goals defined set benchmarks tracked measured important set deadlines goal enable keep track progress make changes accordingly define image imp ortant good understanding appreciation clients image make sure comfortable also public perceives may find necessary fine tune things order present marke table image public may able hire stylist help imaging much better earlier process proceed try change image later page artist management manual page youve made impression pu blic artists fan base becomes much difficult change later dont confuse normal strategy presenting different sides person public gradually updating image artist fit curren release marketplace evaluate name age social networking important avoid confusion make sure client name another artist process e valuating clients professional name sometimes bit complicated appears first glance order memorable cut clutter hould artist use real name come stage name pseudonym wou ld benefits drawbacks decision artists difficult name read pronounce thus choose change others use difficulty name promotion gimmick another thing consider would artist name another artist already well known public eg george michael james taylor sarah mclachlan etc likely artist may challenged use name even real name event always good idea check see chosen name used elsewhere embark rest campaign define sound style artists difficult time defining sty le music even though artists want resist pigeon holed stylistically would benefit able describe style stranger words less crucial marketing standpoint almost everything read hear music business described accordi ng genrestyle page artist management manual page even feel clients music fits multiple genres recommended still good idea abbreviate description talking members music community well fans get clients house order beginning relationship good time sit help get clients house order tricky sometimes since clients inadequate funds take care pressing legal accounting issues take time talk client establishing corporation separate per sonal business asset registering copyrights applying service marks applicable signing various insurance policies tax planning bookkeeping etc may schedule consultations attorney accountant financial advisor help issues use time address back taxes owed legal issues unresolved identify artists demographic extremely important identify demographic marketing products servi ces better target gather information interest group rather age group every year old thinks way yet chocolate lovers feel way chocolate th e data gather u seful potential investor brand partner sponsor record label find information start within inner circle fan base work ou twards begin polling people mailing list fan base soon begin develop profile set profiles effective efficient way conduct survey questionnaire website exchange something free discounted like downloads tickets merchandise autographed exclusive products vip access exclusive chats etc page artist management manual page build support team todays music business environment good idea build strong competent team professionals around client manager coordinator team find right members team help coordinate activities client team end day consist manager along entertainment torney booking agent publicist promoter always hire services eg production graphic design photography recording etc addition fact support team help keep project running smoothly al attractive package eyes record labe ls investors sponsors brand partners long right team object find people good respected industry available commit time client ask recommendations utilize various directories mentioned throughout resource put te together might need come budget help pay team could come pocket deducted expense taken fund set aside client strategic alliances help achieve success l ong run develop plan surviving lean periods often takes artist therefore start earning money even income often difficult maintain consistent flow long period time inevitably periods time things slow especially recording stages little income coming performing merchandise endorsements sources order even income flow remedy engage activities create multiple revenue streams well clients different genres different stages careers page artist management manual page example might rock band poprb band rock band tour poprb band studio recording way addition royalties previous recordings filmtv licensing income coming rock bands tour poprb band finalizes recordings switch schedules ob ject arrange lean periods happen time clients also take advantage aftermarket essentially means additional sources income clients records initial release could anything compilations mixes releases different formats cover versions etc understanding different types deals clients may interested finding type deal instances would help know types deals available artists producers songwriters keep mind since music industry const antly changing impossible predict types deals may available future also worth noting significantly difficult work deal major record label publisher sponsor merchandising company etc independent company definitions basic good enough give idea different types deals available addition deals left irrelevant independent artist others included slowly surely falling use cases consult experienced entertainment attorney presented contract kind following deals may encounter demo deal rare scenario record label give artist money record demo demo fund ranges example songs label example day pe riod decide whether sign artist completion demo page artist management manual page like hear choose sign artist month matching right right first refusal means label offers artist deal time frame right match labels offer artist move artist normally keep demo move instances may even allowed lease independently development deal development deal somewhat like demo deal except terms options last little bit longer purpose slightly different scenario record label r rep spend time normally six months working aspects artists package try bring level commit spending money full release b udgets development deals range artist fails mature appropriate level let go saving label money associated full scale commitment types deals happening less less labels seek reduce risk exposure signing artists already well developed story recording deals contracts contracts signed record labels artists usually multi year multi album commitment record label provide recording budget approve hiring producers select songs oversee graphic design process manufacture record distribute market record retail outlets put place promotion help sell record collect money make payments cases provide tour support big difference levels financial procedural commitm ents made major record labels independent labels page artist management manual page independent labels generally less budget spend sign shorter deals less commitment offer higher royalty rates shorter accounting periods multiple rights deals multiple rights deals basically recording contracts artists share revenue album sales concert merchandise branding sponsorship earnings label exchange comprehensive career support traditionally record labels participated royalties mainly sales artists recordings sometimes deals structured around sale recordings deals allow label receive royalties wide range income sources related artist including ticket merchandise sales toursperformances publishing income artist branded products etc singles deals singles deal contract record company artist producer provid ing one single recorded released usually containing options additional singles andor albums event first single achieves commercial success singles often released form f ringtones digital represe ntation types deals structured way label test viability artist committing funds wider release upstream deals major record labels often use upstream deals way eliminate risk spendi ng millions dollars artists guarantee return investment accomplish signing distribution deals successful independent record labels producers page artist management manual page instances independent labels producers receive operating capital signing developing artists also get records distributed marketed major label distribution system sales independent record reach certain plateau record upstreamed ajor label system assets independent label producer also transferred major label exchange sharing royalties option deals option deals also called step deals arrangements example songwriter ceives partial payment towards creative fee writing song film production commercial project upon completion song writer submits demo company company approves song payment made song recorded synchronization final payment made song actually synchronized otherwise used completed project song used songwriter keeps initial payments usually retains full rights work though may conditions distribution deal distribution deal rrangement independent label production company major larger label whereby latter distributes formers product retailers arrangement independent label production company responsible manufacturing packaging delivering finished product distributor distribution deals independent label production company marke ting promotion distributor typically retains products wholesale selling price page artist management manual page distributor provides marketing services either charges direct costs advertising promotion back label deducts expenses labels share sales revenue retains higher royalty sales cover marketing costs th ese deals generally offered labels production companies provable sales histories types distribution deals independent artists available mainly digital distribution varieties online stores like itune amazon etc via companies like cd baby orchard tunecore etc pressing distribution deals pd pressing distribution pd deal type distribution deal independent label producer delivers finished masters artwork distributor distributor assumes responsibility manufacturing packaging distributing finished product cases pd deals also provide distributor handle marketing product independen label paid royalty typically products retail price production deals contracts either record companies record producers record producers recording artists sometimes record company signs rtist hires producer produce album instances record producer finds artist signs production company order produce album shopped record label independent artist likely encounter production contract recording contract early careers producer major label hit song production credits unsigned artist use vehicle get radar screen major label ar reps page artist management manual page master lease deals master lease deal agreement record company producer generally one major label production credits whereby record company obtains exclusive rights reproduce distribute sell recording stated period time rights terminate revert back producer producer furnishes completed master recording cases producer also furnishes artwork album covers record company assumes responsi bility expenses manufacturing marketing distribution paying producer percentage unit sale producer generally responsible paying artist royalties gross income received record company record comp typically assumes responsibility paying mechanical royalties music publishers control song copyrights recording licensing deals license grant permission company individual licensee use song album project exchange payment copyright owners give permission form written agreement known license legal copyright owner keeps copyright ownership song album even licensee uses copyright owners earn money people pay right use song including song movie movie trailer television show advertisement compilation recording game etc owners master recording generally record label major recordi ngs often performers independent recordings also issue licenses use synchronization masters production page artist management manual page foreign licensing deals foreign licensing deals ideal way musicians get albums released overseas instances copyright album remains original copyright owner deal manufacturingdistributingmarketing deal licensee company licensing product overseas pays costs releasing album territory exchange percentage sales expenses recouped deals usually apply specific album artists entire catalog contract usually require licensee release album within specific timeframe else lose license return product licensor licensee normally allowed sell remaining product end term merchandising deals major record labels committing less less money area tour support artists right type bands merchandising deals become significant factor helping offset huge cost touring enable bands make touring reliable source income two main areas merchandising retailmail order tour merchandising retail merchandising quite common license rights company either gener al item byitem basis return royalty per item eg shirt jacket baseball cap etc mail order response public comes inserts within albums artwork band website social media profile advertising range products offered fans buy page artist management manual page single song deals single song deals agreements writer music publisher writer grants certain rights publisher one songs singl e song deals writer often paid one time recoupable advance song exclusive song writer staff writer deals deals songwriter genera lly grants publisher share income music publisher writers services exclusive music publishers specified period time deals usually offered writers degree success writer track record writing hits publisher feels confident recoup investment return signing away exclusive rights writers songs writer gets paid publisher negotiated advance future royalties advance amount naturally depends th e writers bargaining power competition marketplace staff writer deal writer often paid weekly quarterly basis agreement tied independent record contract copublishing deals deals songwriter music publisher co owners copyrights musical compositions writer becomes co publisher music publisher based agreed split royalties songwriter assigns agr eed percentage publisher usually always split thus writer conveys publishers share publisher retains writers entire share page artist management manual page typical co pub deal writer gets songwriter share publishers share entire copyrights remaining going publisher thus royalties due payable writerco publisher receive income publisher retain administration deals administration deals made songwriterspublishers independent administrators songwriterspublishers music publishers admin deal songwriter self publishes merely licenses songs music publisher specified term agreed upon royalty split rrangement music publisher administers exploits copyrights another songwritercopyright owner coveted arrangement ownership copyright usually transferred administrator instead administrator gets gross royalties received administering exploiting songs certain period time certain territory collection agreements collection agreements like administration deals songwriter retains copyrights except publisher perform exploitation functions like accountant business manager publisher merely collects disburses available royalty income page artist management manual page sub publishing deals sub publ ishing deals basically music publishing deals foreign territories us publisher publisher foreign territory like admin collection deals ownership copyrights transferred sub publisher limited one countries outside us publishing dea l publisher allows sub publisher act behalf certain foreign territories often limited group countries european union eu gas ge rmany austria switzerland latin america etc purchase agreements agreements one music publisher acquires whole part catalogue another music publisher sort like merg er companies case due diligence investigation done determine value catalogue purchased collateral contracts contracts entered simultaneously parties deal separate related issues example singer songwriter might enter recording contract record label publishing contract record companys music publishing division time careful attention must paid potential conflicts interest arising suc h arrangements endorsement deals musical equipment companies financial interest high profile musicians album touringperforming credits endorsing products hope fellow musicians buy products endorsed musicians respect andor admire page artist management manual page musical e quipment manufacturers prefer approach musicians sold lot product credits major record label releases tours achieved significant radio airplay andor attracted lot attention television internet print media however possible land endorsement deal smaller equipment manufacturers trying expand reach territories achieve sales regional competit ors endorsement deals usually require musician endorse product mentioning th e product ads interviews including product name image andor logo album liner notes conducti ng clinics teaching seminars andor endorsing product trade showsconventions exchange added exposure manufacturer usually pay musician fee give free product andor offer substantial discount equipment purchases one would expect endorsement fees usually go high profile musicians discounted free products go independent artists endorsement deals independent musicians depend musical proficiency skill musician well musician knownadmi red number times musician performs number albums downloads sold size demographic makeup fan base type instrument musician plays equipment manufacturers information websites regardin g submission policies endorsement deals review deals client might encounter along way mentioned earlier make sure consult experienced entertainment attorney accountant whe applicable presented contract kind particularly one requires transfer assignment rights understanding roles different industry players order effective manager need understand music business works basically means need understand roles music industry professionals may encounter need know understand use course conducting business contact information many people found reputable music industry directories available companies like pollstar http wwwpollstarcom music business registry httpwwwmusicregistrycom others following description different players might encounter course performing duties artists repertoire ar reps ar reps work record labels charged responsibility scouting signing artists selecting material record assigning producers overseeing recording sessions developing marketing campaigns recorded releases cooperation artist managers record company departments marketing publicity promotion international etc page artist management manual page backline techs backline techs individuals usually musicians well set tune fix break equipment drums guitars keyboards etc band members tour sometimes play role show operating guitar effects pedals programming keyboard sequencers replacing broken strings drum sticks guitar picks etc booking agents booking agents generally work artists book arrange performances andor tours words find employment opportunities artists negotiate fees venues interes ted parties receive commission usually around work booking agents solid contacts venues bookers festival organizers promoters presenters often get phone cannot booking agents invaluable comes time organize tour booking agents also help determine much band gets paid pricing tickets day tickets go sale venues artist plays cities tour routed etc gent also helps decide radio stations ticket promotions eg free giveaways etc keep mind larger booking agents tend interested working artists signed label financial tour support touring history loyal fan base social media profile great reviews media coverage industry andor public buzz substantial radio airplay etc means better beginning artist play fill smaller v enues develop loyal paying fan base strong social media presence organize street teams help show promotion develop unique publicity promotion campaigns get college commercial radio airplay garner solid media coverage industry buzz befor e approaching booking agents page artist management manual page camera operators duty camera operator take video footage provide shots end large screens visible stadium large arena shows carpenters like name suggests role carpenter build maintain stage set eg drum risers props special effects custom stage pieces etc distributors distributor essentially middleman record label retail online stores anywhere public purchases music distributors attempt convince retail stores buy stock label products case retail provide warehouse space inventory management systems ship products retail accounts ordered n additional function distributor invoice stores collect money product sold pay record label money owed according terms distribution contract record labels job produce provide th e finished product well promote record public make aware make purchases occasions distributors offer manufacture distribute records retail sale return larger percentage sales price types deals get offered labels artists track record solid sales relatively large catalog releases page artist management manual page major label retail distribution system involves industry players part network include one stops rack jobbers record clubs one stops middlemen buy records labels make available local record stores prefer convenience one stop shopping rack jobbers middlem en buy records labels stock racks operate within retail stores record clubs buy recordings labels resell members discount prices event service representatives esr event service reps work liaison various departments venue show promoter duties include tracking documenting venue expenses enforcing venuepromoter contract making sure venue gets paid jobs become critical even ts promoter running show promoter rents venue books talent signs sponsors coordinates publicity promotion collects money front ofhouse engineers foh front house engineer person mixes bands live show controls audience hears output signals musicians microphones instruments di outputs microphone outputs keyboard mixers etc fed main console mixing board front house engineer applies controls volume effects eg eq compression gate reverb chorus etc feeding overall sound main monitors speakers venue page artist management manual page lighting designers lighting designer designs lighting sequence takes place live performance lighting designers usually brought well show takes place select movement placement number color lights show lighting designer alwa ys tour show sometimes leaving lighting director although sometimes double lighting directors lighting director operates lighting system day show executes lighting sequence designed lighting designer lighting director uses lighting design plan created lighting designer guide show sometimes lighting designer lighting director person lighting director also tells spot operators shine spotlight cues look lighting techs lighting tech also referred electrician sets focuses maintains bands lighting system mechanical right societies mechanical right society organization formed license mechanical rights record manufacturers eg record labels others behalf affiliated song copyright owners music publishers songwriters mechanical right societies collect mechanical royalties licensees periodically distribute earnings members charge affiliates commission gross mechanical royalties collected page artist management manual page main mechanical right companies united states harry fox agency hfa division national music publishers association nmpa songfile reached online httpwwwharryfoxcom httpwwwsongfilecom respectively merchandisers merchandisers companies pay bands singers right sell merchandise tshirts hats etc concerts retail stores internet monitor engineer monitor engineer controls sound music ians hear stage stage ear monitors operate separate mixing board feeds sound equipment microphones back stage earpiece monitors musicians hear complex monitor setups eac h musician hear separate mix music directors generally four different types music directors may encounter working within music business music directors mds found radio stations screening selecting recordings airplay commercial radio stations job done consultants group program directors music directors second type music director p erson hired artist audition rehearse lead backing band tour select performances third type music director scores arranges music films television programs commercials library services usually also conducts orchestra recording music usages page artist management manual page hotels resorts theaters churches arts centers community centers etc employ fourth type music director organize musical events book musicians lead house orchestras etc music publishers music publisher attempts exploit musical copyrights behalf songwriters represent take care administrative duties involved finding uses copyrights music negotiating licenses collecting fees distributing money writers publishers involved music supervisors music supervisors people responsible securing music use films tv shows advertisements video games etc participate finding suggesting negotiating rights use recorded music films projects also tracking usage ensuring payments rights owners constant communication music production librari es music publishers record labels songwriters composers etc help manage music budgets appropriated production companies responsible projects performing rights societies four main performing rights societie united states american society composers authors publishers ascap broadcast music inc bmi sesac formerly society european stage authors composers simply sesac soundexchange page artist management manual page three organizations ascap bmi sesac collect payments licensed public works behalf member copyright owners negotiate fees monitor collect royalty payments establishments venues eg restaurants nightclubs bowling alleys radio stations yoga studios etc make payments writer publisher members sound exchange compensates recording companies artists use music digital music service providers join ascap bmi songwriter andor publisher member sound exchange artist sound recording copyright owner entry sesac selection organization different criteria accepting rejecting applicants found online httpwwwascapcom httpwwwbmicom httpwwwsesaccom httpwwwsoundexchangecom list worldwide performing rights societies found wikipedia page product managers product anagers people major labels charge coordinating overseeing andor directing manufacture release product record company product managers duties include assembly master recording label copy copyright information credits liner notes graphics artwork etc forwarded pressing plant mastering lab printers product managers work closely departments schedule release dates coordinate marketing activities page artist management manual page professional managers professional managers manage market songs music publishers names professional managers include songpluggers catalog managers creative managers addition plugging songs position sometimes includes duties scouting signing developing talent producing demos interacting licensees program consultants program consultants independent experts hired radio stations assist increasing audience share program consultants may evise revise radio stations format play list image marketing strategy etc program directors radio stations program director person charge planning scheduling programs ultimate responsibility mate rial personnel selected programs program director pd decides overall programming radio station commercial radio stations pd performs function generating audience share ratings input consultants group pds brand managers indie promoters publicists pr firms publicists pr firms attempt generate publicity media clients normally get paid weekly monthly per project fee efforts publicists assist getting articles interviews reviews features news items written clients well responding inquiries media personnel individuals pr firms also instrumental securing sponsorship deals tours page artist management manual page pyrotechnicians pyrotechnicians responsible assembling igniting pyrotechnic effects concerts performance events pyrotechnics among dangerous effects used stage many states cities require th pyrotechnicians licensed legally use pyrotechnics stage quarterbacks area radio promotion quarterbacks people consulted run overall marketing campaign coordinate activities r adio promoter booking agent publicist retail promoter etc complex campaign way helps single point person individuals report radio promoters independent radio promoters often called indies attempt achieve radio airplay clients records sent radio stations indies make follow calls emails attempt convince program directors pd add clients songs play lists feed pds information marketing promotion campaign artists performances andor tour schedule airplay influential stations retail activity media coverage distribution plans publicity efforts radio trade ads unit sales information etc radio campaign run anywhere weeks months cost anywhere thousand tens thousands dollars page artist management manual page record producers good record producer musician good film director actor producer gets best performances musicians singers keeps studio sessions running time acts liaison band recording engineer communicate record label ar rep file necessary talent releases related paperwork keeps project costs within allotted budget good record producer help keep artists inspired motivated challenge reach beyond comfort zone create magical performance often times producers play role talent scouts ears record labels communities manager want make relationships many good producers major label contacts hit song credentials possible riggers rigger person responsible safely setting hanging light sound points arena work coordination ground rigger assists measuring points well setting chain driven otors suspend points ground riggers also prepare cable bridle dead hangs route persons route person salesperson assigned service retail clients specific sales territories record distributors hire route people sel l deliver product retailers set merchandising displays mount posters arrange flats etc page artist management manual page selling agents selling agents also called music jobbers appointed sell printed music retailers behalf music publishers selling agent usually print publisher expertise designing printing distributing selling sheet music stewards steward also known shop steward union official union contractor hires supervises musicians insures enforcement terms union agreements producers stewards also people hired help supervise manage concert event talent buyers unlike booking agents work talent buyers employed hotels clubs casinos venues book talent talent buyers receive commission artists performance fees instead receive salary venue hires talent scouts talent scouts usually work direction ar reps talent scouts assist ar reps seeking evaluating recruiting new talent material ones often found clubs streets listening looking coming talent commonly earching internet analyzing data social media data aggregators scouring blogs talented artists creating buzz page artist management manual page technical directors technical directors people charge set design construction control live performance usually found larger tours shows major label artists performing trackers trackers people assigned check radio stations trade publications social media tail stores distributors etc order monitor progress marketing efforts commercial record release making note weekly radio adds chart entries chart movement airplay rotation sales social commentary statistics etc traffic managers large recording studios traffic managers people charge scheduling studio time clients large studios usually three seven different studios one complex multiple recordingmixingmasteringediti ng projects taking place one time unions two main musician unions united states american federation musicians afm american federation television radio artists aftra afm negotiates terms employment session musicians record companies setting union scale pension contributions recording sessions aftra also afl cio affiliated union geared protect promote interests actors professional performers b roadcasters television radio sound recordings non broadcastindustrial programming new technologies though musicians vocalists affiliate aftra rather afm solutions common management challenges new manager tempting think life manager going full glitz glamour celebrity parties awards show appearances sold performances frenzied press conferences large amounts money rolling commissions constant praise heaped client peers music industry general beginning nothing could truth serve large dose reality venture field artist management doubt many rewards create take advantage opportunities arise make sure everything planned well clients talented committed working hard luck side smart manager one willing consider many problems may occur course job even though solutions offered spend time think ing problems presented chapter try come challenges solutions best fi circumstances addition attempt envision additional scenarios could prove problematic get caught flat footed occur page artist management manual page following many challenges could encounter field artist management suggested solutions one group members interested signing management deal approach group management offer may encounter situation one members interested signing first thing attempt find individual band member objections per son may think unqualified may bad experience another manager previously industry p erson may warned signing something past may brought attention may simply nervous signing anything anyone may think dont need management handle management duties whatever case may try address concerns interested sign ing group may need convince person safe sign rumors untrue really need management really something negative past made aware come clean explain side story rectified situation something negative taken place past try pretend nothing happened record somewhere something negative expect band trust start relationship lie manager artist relationship must based mutual trust try sign group without signature objecting member get objecting member kicked group members group agree sign management contract order bound tempting try get objecting group member fired unless indeed liability group rest group agrees go page artist management manual page end f fail convince group sign best option withdraw offer move sign another group artist lack bad communication client common problem occurs managers clients worked early lead end relationship anything good happen c ommunication skills absolutely vital field artist manageme nt since bad communication creates vacuum others spread negative propaganda misinformation able communicate well client also industry professionals well eg producers label ar reps publishers booking agents concert promoters publicists licensees hired musicians etc client page times order avoid misunderstandings band members artists feel comfortable talking anything concerns interests time part maintain open door policy clients know correspondence must go discussed acted upon besides talking phone texting twittering sending emails back forth try schedule regular face toface meetings client review progress reports discuss ideas concerns client may ideas concerns addressed soon possible keep mind client looking career advice well ideas suggestions make sure remain todate industry news setting meetings credible information likely band take communication seriously theyll look communication page artist management manual page instead bringing outside sources absolute must read billboard httpwwwbillboardbiz although also check sources like new york times entertainment section online even occasionally wall street journal forbes depth entertainment news analysis keep local music industry news newsmakers area since local area artists likely get industry news encounter industry players one member members interested deal youve worked hard line manager spend much time trying figure get deals clients may include record deals publishing deals licensing deals domestic international merc handising deals sponsorship deals distribution deals endorsement deals band brand deals cosmetic deals acting roles modeling gigs unusual find resistance deal table one members group avoid limit much resistance communicating well group artist spending time trying line deals know group artist feels type deal sense whether hey would even interested signing deal materialized feel strongly deal discuss group artist beforehand explain advantages deal relates long term plans waste valuable time talking industry professionals attorney negotiate deal group artist refuse sign cause stress groupartist also ruin reputation among music industry community page artist management manual page group members working harder others group unusual find group one members working harder rest one members lazy hardly anything tha n play instrument sing addressed quickly lead serious morale issues even breakup group best way handle situation designate tasks member members feel like contributing equally overall success group members pulling fair sh load members feel contributing group start insist larger percentage profits could lead members complaining members quitting group brea king possible members perceive contribution greater even isnt dealt delicately yet decisively besides rehearsing performing tasks designated group members include send ing newsletters people band mailing list conducting social media campaign communicating street team members responding emails creating updating electronic press kits epks organizing articles materials band meetings making follow phone calls designing ordering promotional materials u pdating band website social media profile uploading materials sites promotion maintaining band tour van passing flyers postcards samplers sending press rele ases band media editing videos preparing band rehearsals auditioning musicians analyzing data eg google analytics reverbnation etc much whatever make sure tasks designed member feels rest members fairly equal amount work value placed work member similar page artist management manual page particular member seems weak li nk chain entire project held back lack focus contribution might want consider discussing getting rid decision would voted whole group dealt man ner detailed band partnership agreement decision complicated member also happens lead singer songwriter talented member group end consider best group whole band members refuse sign band partnership agreement one first things manager get band sign band partnership agreement reason get done immediately much easier get band members agree terms agreement still friends deal substantial amounts money table dont get done early chances problems trying get ne later agreement crucial spells rights responsibilities band member indicates assets divided details proc edures must followed principles must adhered whole lot topics covered band partnership agreement may include ownership band name logo names logos could belong single band member several band members might come name andor created l ogo design band whole name logo group decision band member hiring firing right hire fire band members procedure carried spelled agreement band partnership services detailed agreement page artist management manual page band sharing profits losses band members decide considered profit loss percentage profit loss member take respons ible ownership band sound recordings publishing issue single complicated issue contentious one deal especially band partnership agreement left later sign chances soun recording belong whole band unless members band others hired guns band assigns rights sound recording record label publishing belong writers songs band records unless sign publishing deals often confusion exactly wrote songs whether band members contributed writing course recording band termination band determine events constitute dissolution band eg death lead member initiation lawsuit band etc happen profits taxes property debts etc band dissolved agreement determine manner band disputes handled eg counseling mediation arbitration courts etc main issues included agreement doubt need legal assistance drafting partnership agreement importantly get done early one members dont want sign insist problems compounded wait later band artist breaches management contract may find point management career band member artist intention ally unintentionally breach contract breach minor may want talk artist bring concerns page artist management manual page major bre ach first thing bring breach attention manner spelled contract eg via registered mail email phone call band meeting etc contract also indicate amount time member artist attempt remedy situation deadline passes resolution attempt work things internally get situation resolved early try keep court system much possible unless breach involves large sums money potential damage reputation substantial intentional breach contract usually sign marriage trouble often even intervention attorneys leads complete breakdown relationship parties involved follow spirit word contract communicate clearly good faith every opportunity breaches usually avoided manager youre head often takes find band artist meets expectations band artist find one quite easy get lost magical moments move offer management contract taking stock resources initially may think great songs good looks need get band next level band sign may extremely talented expect walk right sr vp ars office major label get multi million dollar deal may even believe much find game taking much longer expected point may start feel like youre head bitten chew best way avoid first place promise cant deliver talk band ab realistic game plan sign let know th need lot work success attained page artist management manual page take time get radar contacts help facilitate forward momentum including tastemakers within social media circles particularly influential bloggers attorneys music industry contacts record producers major label credits booking agents publicists music publishers venue bookers promoters media contacts industry gatekeepers independent label ar reps time right present band artist review take gain trust people need relationships sooner start better putting together team publicist booking agent attorney also help alleviate pressure get everything done addition band artist looking career advice know every music business relate topic confident answers give reading resource good start knowledgeable aspects music business lots industry contacts help feel control situation prevent feeling like youre head somebody trying cut management duties every come across somebody trying cut management duties sometimes unintentional times intentional malicious could friend band club booker publicist radio promoter record label proposing deal house managemen even ar rep time may attorney many attorneys fail realize job band artist already manager give legal advice career advice many attorneys known overstep bo undaries cut management duties aware retain attorney draft negotiate contracts page artist management manual page ideally attorney advise example wisdom requesting large cash advance con tract doesnt provide adequate promotion touring budget legal aspects deal offered whether bass player replaced routing tour chicago makes sense attorney advice correct legal language needed address assignment rights whether song best single promote radio even maintaining management duties ont closed outside id eas always address issues introduced outside sources however ou communicate clients early tolerate parties acting capacity personal manager remind reason signed first place things start get hand try talk client trust somebody elses opinions attempt correct situation gently remind signed exclusive dea l managem ent problems avoided policy clear frequent open communication people attempting bypass manager order communicate directly artist every somebody offer something dir ectly client without going lot people music business clue things work think manager necessary artists signed major labels client instructs th e individual contact meet disappear thin air even worse continue communicate client ignore refuse talk legitimate business professional problems whatsoever talking anything pertaining clients music career page artist management manual page prevent kind behavio r struct clients communication must go revie w discussion action taken manager need act buffer types individuals approaches somebody spreading rumors manager order get artist leave higher rise music business likely come casualty industry politics fairly easy make enemies music business even without knowing enemies appear form disgruntled ex employee artist whose demo didnt like former band member fired jealous manager angry journalist arrogant ar rep main thing understand sooner later happen best way han dle situation confront head address early client deal people honestly promise able minimize damage could result nasty rumors spreading faster stop everything best intentions always think whats person good reputation within industry circles able minimize situations well find people help defend attacks may take place major label recommends band artist finds new management unusual actually quite normal major label ask band sign level management firm offering recording contract often label wants make sure band represented manager able properly manage artist level page artist management manual page alevel managers know game played understand wheels greased therefore ont make big stink things mi ght appear somewhat ordinary inexperienced manager addition hings major label level move fast windows opportunity close quickly manager clout connections take advantage alevel managers get call returned top booking agents sponsors brand partners publicists attorneys media personnel publishers concert promoters tastemakers gatekeepers n unknown manager may wait hours days calls emails returned often cost major financial promotional opportunity major labels also know easier communicate level management firm theyv e done business managers reputation around world know turn take advantage opportuni ties new manager may tempted go every offer often diluting prestige artist major label new inexperienced manager may al accept offers declined decline offers accepted complicati ng matters fact even independent labels starting offer artists deals provide house management part deal prepared deal situation clause contract th describes happen likely situations arise ften better release artist band buy fee limited future commission provided sunset clause major label independent deal hold band artist back resent ca n use fact got band signed along money made deal sign artists management company play ball go along even good connections within major mini major label syst em use shop material future page artist management manual page make sure recoup money might spent band early days ask band k album credits band biography interviews course feel strongly keeping band signed management com pany feel better ways band achieve long term success without taking advantage opportunity presented make feelings known explain way forward band manager lacks contacts new manager may find serious music industry connections beginning intend business retain artists roster need remedy situation soon possible start local region attempt get know everybody music business including local club venue owners promote rs record producers recordingmastering engineers club djs managers record labels publishing companies music e ditors local publications radio station pe rsonnel especially college radio music industry media attend local music seminars workshops conferences come area join local music associations organizati ons available utilize internet follow friend influential music industry voices tastemakers within social networking circles youve tackled local scene spread regional national international scene research order fin names contact information industry people outside region plenty directories available purchase including mus ic business registry httpwwwmusicregistrycom andor series directories pollstar httpwwwpollstarcom page artist management manual page making deep connections akes accomplish start even sign first act youve already signed act need move fast need build trust contact start taking returning calls responding emails social networking probes keep mind principle people want work money made ie something nobody interested simply favor dont make contact som ebody immediately start shoving demo tapes faces spamming inbox mp attachments links begin wishing happy birthday amazing much discover social networking sites telling enjo yed pan el discussion congratulating latest release etc work keeping loop small successes artist accomplish impressive things create powerful social media story artist begin appear radars eventually appearing radars make contacts reach instead reach keeping record label focused artists managers think gett ing signed major label label matter pot gold end rainbow relax let label work watch checks come roll ing bottom line dont take steps keep everybody label excited motivated may soon find band bottom priority list eventually dropped label altogether manager make sure label paying ade quate attention band spending necessary resources promised contract may even times band spend money pay independent publicist tour promoter radio promoter retail marketi ng rep help record ing page artist management manual page spend time building mailing list working putting together independent street team additional help dont count label everything keep mind additi onal investment make pay band long term terms cd download merchandise sales gig attendan ce licensing fees sponsorship branding opportunities decent progress made seem reached plateau another common problem may encounter one feel even though decent progress made artists career seem reached plateau might find industry buzz fading media campaign isnt gaining momentum arent getting many new gi gs recording sales peaked interview requests radio airplay stopped general things somewhat flat point take stock wha accomplished far try get hands around problem might could number things could happening contacts may longer b e available help industry may done artists sound ready yet artists sound budget may sufficient tasks need done business models signing booking artists may changed industry may flooded artists sound like may hard time making enough buzz stand crowd clients losing faith project youre unable allocate enough time project get next level hard time figuring new ways sell cdsdownloads merchandise unable formulate creative ways market promote group shows client isnt ready take advantage new revenue streams available music business page artist management manual page first thing analyze everything youve done date obviously things arent working well need take look needs added removed adjusted need come fresh ideas move th e project forward depending nature band either short break aggressive reboot required focus creative ways things youve along find ways add fresh things mix find different incentives get people come shows buy cdsdownloads sign mailing list ideas shaped type music types people make fan base one size fits solutions vailable creative thinking client may come additional money execute new ideas allocate lots time project band might need different long term strategy new sound style replacement singer musician creative musical production outside songwriters fresh look style new photos andor videos update website social media profile entertaining content youtube channel compelling story garner media attention coverage perhaps might need play less often town often areas release video live show maybe need change number people band replace lead singer perhaps area saturated bands like change scenery whats required maybe ar reps knew got fired need make new contacts labels listen demos perhaps need unique items add merchandise list besides shirts mugs youve selling along maybe need work buying tour n opening act artist major label order increase exposure page artist management manual page perhaps need aggressive publicity campaign different remixes songs radio internet airplay maybe need interviews display ban ds personality public perhaps wait bands sound cycles back publics taste perhaps need find sponsors brand partners help fund expansive tour order reach larger fan base perhaps social media campaign needs energized maybe need invite pay high profile guest musiciansartists perform recordings perhaps artist collaborate musicians industry profile larger fan base maybe offer street team members fans better incentives spread word help promote band bottom line dont keep thing youve expect different results try bunch new things nothing seems working couple years later may time band move things may need new manager might need new band b artist spending much budget recording album section pertains mainly managers bands signed major labels large recording budget bands known spend much time money recording process buy ing equipment personal use job manager inform lack wisdom production rich promotion poor doesnt matter good recording isnt money left promotion outreach promotion costs ridiculously large amount money without adequate exposure record needle musical haystack unable found among thousands record ings released every month page artist management manual page great song ake two years produce bands known record never ending albums claiming perfectionists endeavoring get right work good producer help get recordings finished time b udget spend rest money publicity promotion tour support remind band comes point extra hour studio wont necessarily sell extra cd download concert ticket piece merchandise besides money charged back band likely leave un recouped un wanted label end contract term manager problems member team publicist promoter agent attorney producer etc time time may find problems members team hired retained help project first take stock f problems problems issues persona l team member valuable project find way work team member replaced somebody equal value personal problems include things like attorney retained ex fianc\u00e9 cant stand new spouse overheard booking agent saying hey preferred opening act band record producer hired bad breath concert promoter hitting significant types personal problems ignored end tour deal negotiation show studio session etc however problems relate job performance person hired retained use position manager rectify situation page artist management manual page part management duties involve working band hire retain people help project problems include things like attorney missing deadlines hand drafts contracts accountant embezzling funds band account producer losing master files recordings agent paying whats owed tour advance talk people hired necessary fire dont fix problems whatever must act decisively quickly order avoid long term damage project reputation required put emotions aside deal situations strictly business standpoint band artist wants management deal may come time one reason another band artist wants get management deal manager usually prevent happening paying bandartist adequate attention promising things cant deliver everything said would keeping band busy progressing communicating well band artist times especially going gets tough start get disillusioned common reason bands artists want deal manager breached clause contract hasnt managed get wanted go crucial periodically review contract make sure arent breaching clauses contained within easy forget contract youve signed especially put away file cabinet never take responsibility spend time educating band artist realities music business sign stress importance form ulating game plan culminates band artist able earn living music without major label contract page artist management manual page despite efforts still want deal probably consider parting ways amicably since almost impossible get maintain faith trust participate plans set unhappy andor situation course would n eed address issues relat ed commission owed deals igned management supervision future commissions etc challenges may encounter manager position music industry requires much flexibility artist management despite challenges however position music business presents opportunity positively affect lives livelihoods band musicians care copyright basics extremely important managers understand nature copyright law relates material recorded andor performed clients general understanding copyright basics allow explain certain things client help avoid types scenarios often see played court system another thing keep mind ent ire books written topic copyright indepth discussion copyright law beyond scope resource highly advisable retain services experienced entertainment attorney review paperwork relating copyright publishing interests clients particularly contracts exclusive involve assignment relinquishing rights generally speaking simple plain english terms two copyrights involved song written recorded united states sin ce copyright laws different parts world one copyright musical work copyright musical work initially belongs authors music andor lyrics ie writer lyrics andor composer music company song work forhire copyright sound recording performance musical work authors sound recording initially performers producer ie musicians andor singers performing recording producer recording page artist management manual page particularly n major label system often even indie labels ownership sound recording vests initially performers transferred labels written assignment among musicians songwriters often lot confusion surrounding authorship status songs ie exactly wrote much combination strong egos lack knowledge copyr ight law knowledge vacuum myths allowed become fact including famous one lyrics make song everything else simply arrangement fact us c opyright law states regarding subject matter important elements bolded effect subject matter copyright general copyright protection subsists accordance title original works authorship fixed tangible medium expre ssion known later developed perceived reproduced otherwise communicated either directly aid machine device works authorship include following categories literary works musical works including accompanying words dramatic works including accompanying music pantomimes choreographic works pictorial graphic sculptural works motion pictures audiovisual works sound recordings architectural works page artist management manual page e phrase original works authorship places emphasis fact authorship must original ie copied someone else qualify copyright protection mention made categories authorship musical works including accompanying words used describe category would consider songs today place law ever mention fact lyrics make song fact copyright form used register works c opyright office author information section allows selection music lyrics indicate authorship musical work sound recording indicate authorship sound recording therefore musicians songwriters compose music well musicianssongwriters write lyrics register authors problems arise writing recording sessions lyricist tries determine whether musicians get writing credits answers arent always clear situation unique avoid problems always best discuss prior writing songs exactly get writing credits song completed ea sy enough determine whoever writes lyrics co writer terms music composition however solution complex generally involves giving songwriting credits whoever composeswrites music ie whoever comes chords song whether written paper keep mind even lyrics written including vocal melody different musicians come different chord progressions composing music ie even lyrics present music doesnt write thereby making music original work authorship assuming chords arent copied directly another song page artist management manual page lot lyricists like take sole songwriting credit song classifying musicians arrangers music simply arrangement arrangement may apply example string arrangement composed around chords chords hav e already written bass line however probably based pun intended root chords already written therefore normally wouldnt considered original work authorship unless bass line original recognizable right constitute authorship avoid problems deciding ahead time given songwriting credits songs completed use eco system register works online visiting library congress website httpwwwcopyrightgov select performing arts work register musical work sound recording register sound recording ou need properly fill form b include sample song sound recording instructed c pay fee technically speaking song original work authorship copyrighted moment reduced fixed medium perceived reproduced otherwise communicated period transitory duration main reason registering works library congress copyright office provides formal record date work registered certificate registration could used court law help recover money damages event somebody infringes copyright signal r copyright ownership paper symbol andor word copyright along name year creation eg copyright john phillips record words music onto cd audio file eg wav mp etc signal copyright ownership symbol along name page artist management manual page year first publication eg john phil lips cd metadata song file using peoples copyrighted material occasion client may find desirable necessary cover someone elses song intend record version someone elses copyrighted work need get mechanical license grant permission mechanical reproduction distribution sale song copyright audio form song previously released public may reproduce taking advantage compulsory mechanical license provision copyright law exercised serving notice intention copyright owner usually music publisher find publisher given song contacting ascap bmi sesac even harry fox agency reached online httpwwwascapcom httpwwwbmicom httpwwwsesaccom harry fox agency reached httpwwwharryfoxcom however song previously released public negotiate directly copyright owner right reproduce song intend use sample directly nother song obtain master use license directly owner sound recording major label recordings owner sound recording almost always record label owner sound recording usually identified somewhere n recording along contact information form mailing address andor website page artist management manual page addition also get permission owner underlying song normally publisher means get two permissions use sample lifted straight previously released recording failing constitute infringement copyright owners exclusive rights recommended use music clearance specialist assist obtaining rights use samples within compositions mentioned earlier lot copyright law cover manual give overview important items always advisable retain experienced entertainment attorney look paperwork may presented concerning copyright particularly relates assignment rights work hire current state major record labels weve covered foundational aspects artist management lets turn attention state music business particular state major record labels within music business phra se major labels refers mainly three major record labels dominate recorded music sony music entertainment universal music group warner music group music industry currently going tremendous amount disruption change reduction profits largely due recorded sales declines rapid advances technology negative effects global recession company restructuring costs impact file sharing peer topeer networks music streaming per ception major labels release mediocre music wrapped around single hits forced major labels think ways deliver content consumers ways produce fair predictable returns music consumption moves away cd mo del towards downloading streaming subscriptions mobile apps cloud models major labels start thinking ways share revenue multiple income streams artists via multiple rights deals ways never wanting share income derived multiple sources causing artists contracts negotiation leave labels court non traditional investors partner brands sponsors release projects directly fans page artist management manual page shrinking profits reduced number artist signings major labels laid staff outsourced work done departments like legal marketing sold real estate including offi ce space recording studios fueling speculation labels going business major labels far going business something working favor people realize even appreciate something woven deep fabric society general american psyche particular something fact society need heroes superstars indeed cant live without think superstars singers athletes actors dancers comedians magicians reality tv stars authors poets philosophers etc brought joy inspiration life governing body decreed starting tomorrow would forbidden heroes superstars people would revolt decree would stand throughou history always embraced heroes fairly recent phenomenon desired superstars world entertainment music particular major record labels responsib le eliverin g global mega superstars us yet independent record label investment group managed produce international musical superstar completely ou tside major lab el structure ie without tapping major label system financing staffing marketing publicity promotion andor distribution although may soon change currently stands though major labels vast financial resources deep support infrastructure necessary develop global superstars deliver people labels also lot exp erience expertise business creating musical superstars capable great influence general public rea son continue need major labels even consolidate downsize outsource tasks go different page artist management manual page names otherwise restructure constant need fo r fresh superstars standards cool relevance shift times stars today must make way superstars tomorrow refore need develop new ones every years replace older ones even though current conundrum one get people pay music listening nce new superstar created figuratively literally speaking majors look cash income sources cd sales consider su perstars generating hundreds millions dollars fragrance collections fashion collections endorsement sponsorship opportunities artist branded products licensing deals etc income sources major labels hope tap n future artists sign today role major label ar rep even though fewer ar reps major labels expertise still something labels rely help figure sign although proces statistics data driven signing process generally begins ar rep finding presented artist think certain x factor necessary develop superstar artist artists bands almost always come attention major label ar reps solicited ie known well respected sources even ar rep discovers talent find promising almost always takes second third opinion respected trusted source along due diligence rep considers making move towards signing solicited sources include social data aggregators upstream deals independent labels talent scouts ar reps attorneys producers managers p ublishers booking agents song writers signed artists musicians frequently contest winners artists benefiting high levels tvinternet exposure page artist management manual page ar reps assistants also spend lot time res earch far ar reps concerned except occasional internet sensation news headliner r eality tv breakout star artist worth signing today ever comes completely nowhere indeed ost major labels already good idea artists want sign yet keep eye open talent pops radar every active artist creates trail kind emerging talent always appears industry radar way reps begin take notice ar reps check data statistics artists online activities social networking profiles information gathered music industry data aggregators feedback respected industry sources tastemaker reviews influential bloggers recommendations sales data artists performance touring history collegeinternetsatellite radio station playli sts buzz street th e internet reputable mix tapes occasion though rarely live shows artist showcases ar reps also take notice artists ar reps major labels interested ar rep must truly believe artist going superstar label able perform hit songs become profitable brand ambassador positively impact companys financial bottom line immediately order minimize risk ar rep conduct research take account age artist presence th certain x factor ability artist impact radio branding potential artist writing performing abilities artist sales independent releases existing radio airplay reviews articles major regi onal national music publications show attendance figures television andor internet exposure word ofmouth clubs mailing list size artists team eg manager attorney agent etc previous deals page artist management manual page outcomes past potential merchandise sales past potential sponsorships deals past potential movie roles past potential modeling gigs past p otential endorsement deals previous pending lawsuits etc armed profit loss statement pl ar rep major label attempt convince appropriate people artist worth investing money provide label solid return investment roi often though ar reps dont go far find talent talent already present industry pipeline solicited sources eg friends artists already signed label writers already signed major publishing companies bands opening acts already label artists upstreamed indie labels friends relatives industry big wigs backup singers musicians major label recording projects tours artists discovered hit producers songwriters referrals attorneys relationships label etc talent rarely ever discovered demo tape sent company major record labels evaluate sign talent reduction profits cd sales major record labels started signing new artists increasingly artis ts still label deals multiple rights deals give labels share income generated multiple rev enue sources including concerts sponsor ships endorsements merchandising deals subscriptions licensing deals artist branded products services cloth ing fragrance lines major record labels increasingly independent labe ls started include multiple rights language contracts newly signed artists order facilitate arrangement labels hired people run management touring merchandising sponsorship page artist management manual page branding etc divisions offices outsourced work outside label services companies mere fraction artists pursue major label deals ever achieve th objective mathematical certainty overwhelming majority artists never sign deal kind major label pursuing major label deal fund artists cording tour today akin playing lottery could chase deal many years yet never get within hundred miles signing deal squandering countless opportunities get things done independently addition deals get done major label level deals artists already pipeline otherwise appear major labels radar taking account efforts manager independent artist spent time releas ing recordings funding tours order get attention labels appearing radar mentioned earlier major labels always looking next round superstars replace current ones fans tire hey look artists developed brand monetized example branded magazines nightclubs artistbranded ad supported video channels recorded products electronic gadgets clothes footwear cosmetics etc introduction deals major labels looking forward sharing income generated arti st multiple sources consider fact according forbes celebrity valuations beyonc\u00e9 knowles earned million starring roles two films expanded fashion collection includes jewelry eyeglasses sponsorships ninten crystal geyser general mills endorsements loreal giorgio armani samantha thavasa handbags labels perspective artists developed brands able get deals generate income page artist management manual page efforts resources label provided artists part recording dea ls therefore looking forward major labels position branding companies sign artists per year multiple rights contracts ob ligating split percentage income generated multiple sources considering artists potential also interest label artist receives lot exposure internet popular television internet reality show competition contest exposure provides artist instant fan base several hundred thousand even million people label immedia tely promote since artist already exposed people promotion publicity costs significantly lower would artist unknown entity label also count percentage people purchas e tickets music artist branded merchandise productsservices label labels particular major record labels pre set budget allocated going artists already expressed interest signing artists profit loss pl statements already created indicating level return investment roi provided various income sources associated signing artist pl give label idea amount money make signing artist well draw line negotiations begin bidding war ensues labels artists attorneys ask much money label unless really want sign artist know back look sign another artist instead major labels currently good interested artist development ie working artists early stages careers well artists genres sales units page artist management manual page yet ones take artist exposure buzz andor sales break national international level radio tv print internet retail labe ls umbrellas majors particularly upstream deals place better job artist development corporate parents however enormous expenses involved endeavor music th major labels release must appeal largest segment music buying population order create large enough fan base provide good return labels investment niche projects work well major label system therefore ideally shoul released independently matched brand connected sponsor shopped independent label major label distribution addition good artist development major labels generally interested si gning unknownuntested older artists indeed major labels seem highly obsessed youth market younger artists younger fans even though seem responsible illegal downloading streaming ripping activities typically passionate entertainment general ounger fans tend influential drivers new music new media new platforms new devices hardware power make break new music entertainment related releases young fans impulsive respond quickly passionately feel emotionally connected someone entertainment field susceptible peer pressure young peop le large numbers follow trends considered cool terms music entertainment given moment would rather jump bandwagon everybody else listening left also likely purchase artist branded products label generate additional income young people general spend page artist management manual page money entertainment including music sports video games movies since parents responsible welfare food clothing educational needs mention place live since major labels part large corporate entities responsibilities primarily corporate parents investors shareholders generating massive profits fund acq uisitions maintaining high stock prices investors dont take money elsewhere paying dividends shareholders rely spending investing needs priorities corporations including major record labels except called mini majors work niche older artists eg blue note jazz major labels tend place high priority younger artists artists appeal younger de mographic year olds options way forward todays music business artist artist representative several options look terms way forward todays music business although options include positioning sign deal major record label pursuing deal independent record label major label marketing distribution pursuing brand band strategic partnership deal funding investor recording products outsourcing essential label services recording releasing products diy lets briefly discuss option positioning sign deal major record label consensus major labels undergoing fundamental structural changes difficult transition period artists managers wise stay clear major label system vast majority artists building fan base producing recordings independently touring options available wish pursue career music however couple things keep mind represent young artist branding potential tv internet exposure wish pursue major label contract firstly artist must fit major label profile discussed earlier section secondly unless artist already major label pipeline must create enough buzz show labels radar screen get attention someone present people signing authority label page artist management manual page artists gain attention create buzz playing live shows touring audiences respectable size eg people consistently garnering college radio airplay selling products merchandise getting songs placed reputabl e mix tapes attached producer camps artists create buzz generating entertaining content online developing large fan base sales track record utilizing social networking tools generally speaking build large social media presence generate enough buzz andor proof sales get attention major label ar rep somebody wh ose opinion respect someone connected major label approach fit profile addition generating buzz ome roundabout ways go getting back door major labels include getting attention solicited sources connections people major label system solicited sources include attorneys negotiated deals responsible signing artists major labels influential industry tastemakers whose opinions respected ar reps major labels established producers songwriters hit production songwriting credits etc approach ing befriend ing baby bands already signed major labels find information major label artist rosters directories like pollstars record company directory httpwwwpollstarcom also artist manage ment directory use find information artists management companies approach offers provide background vocals backing instrumentals recordings tours also discuss possibilities opening band tour page artist management manual page approach ing producers major labels credits find contact information record producers directories like one available hitquarters httpwwwhitquarterscom others offer services demo singer background vocalist instrumentalistmusician ask payhire produce andor forward demo contacts approach ing published songwriters writers signed major publishing companies approach offer services demo singer background vocalistinstrumentalist signed songwriters little difficult locate little digging around order get contact information try music publisher registry music registry httpwwwmusicregistrycom starting point many artists major labels began careers signed songwriters first worked way artists songs wrote became hits shop ping demo independent record labels upstream deal major labels situation artists independent labels get upstreamed major label distribution partner certain sales thresholds met indie level pollstars record company directory also lists independent labels distribution major labels approach interested getting attention major labels cant get back door utilize techniques discuss later manual els ewhere create buzz necessary appear major labels radar page artist management manual page pursuing deal independent record label major label distribution lack resources womanpower release records might want look option signing major label distributed independent label opt take route best interest seek independent record labels necessary resources available adequately market promote records general public well major label distribution deals place enable people find products retail major digital stores label offer digital distribution eg cd baby orchard tu necore etc major publicity promotion andor tour support better recording releasing products digital distribution channels age music streaming digital delivery considering retail stores cds predicted become obsolete taking account retail distribution may seem like waste time however worth considering fact labels major label distribution place h ave financial resources necessary fund tours promotional campaigns non distributed counterparts even retail stores cds become obsolete direct money would gone retail marketing towards touring branding efforts instead interested approaching independent labels major label distribution deals place begin search purchasing copy record company directory pollstar store httpwwwpollstarcom includes contact information independent labels major label distribution page artist management manual page also check web sites main distribu tors united states locate contact demo submission policy information independent record label whose product distribute ada httpwwwada musiccom recently merged wea burnside distribution httpwwwbdcdistributioncom harmonia mundi usa httpwwwharmoniamundicom mountain apple company httpwwwmountainapplecompanycom mvd entertainment group httpmvdbbcom naxos america httpwwwnaxoscom red distribution httpwwwredbbcom redeye distribution httpwwwredeyeusacom sony music entertainment httpwwwsonymusiccentralcomloginjsp super independent distribution httpwwwsdcdcom tate music group httpwwwtatemusicgroupcom orchard httpwwwtheorchardcom travelvideostorecom httpwwwtravelvideostorecom universal music group distribution httpwwwumgdbbcom wea corp httpsnewweacomlogin combined music released companies account estimated percent us music market page artist management manual page pursuing brand band strategic partnership deal brands companies constantly trying reach potential customers order turn consumers seeking alternative advertising companies sponsor events like concerts festivals conferences conventions sporting events galas etc potential attract potential customers many brands continue sponsor events others decided bypass middleman put together branded events order reach customers directly process companies discove red bandsmusicians connect fans much emotional level done interruptive advertising brands therefore look bandsmusicians act brand ambassadors behalf connect desired target audience exactly attracts band brand important thing brand strong personality fit artist brand enables create impactful integrated multimedia campaigns connect resonate target audience avoid backlash brands customers artists fans needs belief brand band artist could friends real life brand take business objectives consideration along understanding customers relate music wh en deciding type band artist work partner something else importance brands factor equation easy difficult ge rights permissions various stakeholders music publishers record labels artists etc necessary make launch successful profitable available accessible artist performances interviews recordings appearances etc much costs artists render services also matters page artist management manual page brands also look ways measure results partnership calculate return investment reliable way band attrac ting demographic considerable size brand also trying reach might also make good fit eyes interested brand want know artists audience profile ensure matches brands campaign objectives identifying demographic brand requires bands managers proactively survey fan base order g et demographic data eg age gender geographical location annual household income hobbies spending preferences etc partnering scenarios clearly defined image buzz band larger loyal fan base brands want partner make brand ambassador campaigns like three bears childrens story ost medium sized brands like artists bands j ust right cold ie completely unknown artistband hot either ie major label artistband like bands loyal sizable following yet unencumbered many legal acco unting entanglements inherent major label system course major corporate brands generally associate major label artists interested global reach comes association brands gotten game artist development creating new kind record company funds bands recordings tours even set recording studios artist partners record case converses rubber tracks studio httpwwwconversecomrubbertracks instances relationship mutually beneficial bands contributing hip factor emotional connection brands providing large amounts money longer readily available traditional record companies page artist management manual page band brand relationship also considerable perks bands unlike typically comes signing label bands band brand relationships often give rights sound recording ownership writing publishing since brand mainly interested reaching audience selling products andor services except occasions brand commissions band write custom song work hire band gets keep copyrights original songs well trademarks service marks logos etc maintain creative freedom terms recordings logos videos tour production merchandise design another perk mid large size brands tremendous amount reach terms distribution since products already pipeline marketplace thus streamlining process getting bands cds downloads merc handise fans brands also lot marketing expertise know get attention fans well media time fans come understand brands sponsors important part equation comes putting tour together come tolerate certain amount brand exposure long messaging interaction isnt heavy handed helping create new model companies considering coming particular sound brand like soundtrack product could work favor sound looking happens band already youre interested partnering brand define image clearly keep increasing yo ur fan base utilize solutions like next big sound httpswwwnextbigsoundcom others provide brand partners quantifiable data band make sure show charts measure ctivity social media networking sites like youtube facebook twitter etc page artist management manual page create entertaining youtube videos keywords key phrases attract lot eyeballs views comments subscribers youtube channel build genuine friendship loyalty fans follow movements spread word friends videotape shows capture emotional connection fans conduct demographic surveys keep tally number fans mailing list create much buzz possible wherever eventually appear brands radar fit right even though deals currently structured major brands major ex major label artists look forward medium sized brands getting active game partnering independent artists bands order reach consumers emotional level funding investor recording products sourcing essential label services artist track record sales social media numbers touring etc investor adequate resources fund project might consider option recording products house hen outsourcing essential label services another company necessary marketing promotion publicity distribution radio booking legwork option wish pursue make sure perform adequate due diligence necessa ry insure make right decisions terms structure company artists sign investors partner legal accounting procedures employ label services company hire make sure everybody expectations onl realistic also achievable particular time evolution music business extremely difficult provide substantial returns investors investment outside major label system page artist management manual page crucial aspect affecting success endeavor artist talent sign number revenue streams available pursue th e investor option work successfully must artist talented vocally recordings must also strong brand able play well live comfortably embrace social media write great songs licensing potential perform songs genres radio terrestrial internet satellite friendly words ideal artist candidate investors involved one similar artist would signed major label model require starting company likely llc provides stakeholders artist manager investor shares profits sources similar multiple rights deals seen major label level scenario income need generated recording sales tickets merchandis e licensing subscriptions sponsorships endorsements branding deals etc need able market publicize promote projects using means necessary social media radio airplay media coverage live shows videos internet television etc going bring investor board extreme importance artists sign company roster great vibeattitude enabling attract fans build large mailing list social network ing efforts able record great songs providing income cddownload sales perform well live providing income ticket merchandise sales write music licensable providing income licensing music film tv games etc h ave marketable imagebrand providing income fees sponsors andor brand partners fit music genres receive radio airplay providing promotion airplay well income royalties collected performing rights orga nizations page artist management manual page artists ability generate income multiple sources good fit situation involves investors niche project believe doesnt fit old multiple source income generator consider starting roster includes least one major label type artist generate enough income multiple source provide necessary funding bankroll smaller projects roster choose take route need able provide investor business plan shows type projects funded much funding required money spent risks competition profits made business plans music projects difficult write inner workings music company quite unlike businesses valuable advice provided qualified accountant experienced entertainment attorney however able put decent plan together addition resources music business registry httpwwwmusicregistrycom publishes music attorney legal business affairs guide lists music business attorneys consult funding investors onboard label services consulting companies look include companies like faction httpsfactionentcom neurotic media httpwwwneuroticmediacom ar worldwide httpwwwanrworldwidecom similar services become increasingly available future companies similar started andor staffed personnel major label system laid due downsizing consolidation page artist management manual page currently operate unsolicited materials accepted policies similar major labels prepare approach back door solicited sources explained earlier recording releasing products diy artist doesnt fit major label profile dont wis h shop independent label partner investor look release project independently realize income artist multiple sources including touring licensing music film tv etc selling cdsdownloadsmerchandise negotiating endorsement deals andor connecting sponsor brand values artists soundlookfan base ou also look ways monetize talentsskills artist possesses including example acting painting producing dancing writing books poems skill like martial arts etc rest manual geared towards providing artists information necessary successfully record pr omote products note following sections addressing reader artist text originally written artists keeping way help see things artists perspective getting band business affairs order naming band solo artist probably using real name making stage name sometimes solo artists hire musicia ns want perform eg sarah jones professionals instances musicians get together make group name case name something memorable catchy since used merchandise items advertising materials promotional campaign decide band name youre using real name che ck line see name comes search anyone using name url youtube channel using name otherwise conducting social networking campaign using name also use services like bandnamr httpbandnamrcom others search register band name mebody else using name try using name different spelling try different variation name better suggestion use another name altogether otherwise people search keep coming results person instead important si nce social networking cost effective w ay promote music expand fan base keep people informed going band also dont name band something popular bring thousands search results ahead like new york something page artist management manual page may also good idea go local city hall relevant venue register band business search online relevant business license office office treasurer get information filling busi ness license associated costs stage also able get tax id number assigned business open band bank account business name also able check anybody else using p roposed name business register nobody else people bypass step checking trademark attorney inquire likelihood confusion name another companys name costs involved least cou ld request assistance united states paten trademark office httpwwwusptogov also try visiting http ascap httpwwwascapcom bmi httpwwwbmicom performing rights organization country residence see name want use already used another songwriter publisher keep mind necessarily protect one using name period time without registering prove event somebody challenges use name least attempted conduct rese arch name even using real name automatic free trouble suppose example name michael jackson musician surely would likelihood confusion put ads announcing gig michael jackson performance released cd using name even really name page artist management manual page band bank account registered band business well applied tax id number able open bank account band bank account enable receive checks direct payment bands name also set paypal business account attached bank account collect payments online subscriptions autographed cds tickets band merchandise donations pre orders etc would also able write checks charge credit card business account equipment purchases rentals supplies rehearsals band member payments etc keep receipts tax records keep mind income make subject taxation work first accountant establish correct legal structure band business eg sole proprietorship partnership corporation etc set routine keeping track income expenses rather wait end year come funds pay taxes advisable put aside certain percentage income band account earn keep receipts purchases expenses etc work accountant figure wh ich items deductable utilize software solutions like quicken http swwwquickencom others help keep bands financial information organized getting band together ready gigs pre booking gigs even dont band together would time try pre book gigs provide incentive take auditions rehearsals gig promotion seriously beginning utilize services like indie move httpswwwindieonthemovecom andor p ick copy indie venue bible httpwwwindievenuebiblecom musician atlas httpwwwmusiciansatlascom similar directories country reside nce find clu bsvenues capacity wo uld happy bring people slow monday tuesday wednesday night ask venue booker could let play night retain cover charge pay band members equipment rental costs venue make money drink sales percentage merchandise sales count band member bring least people first gig rest people respond social networking campaign mailing list outreach street team promotional efforts book least gigs dont schedule closely together least closely together town since fans may opt go one show another three thereby reducing numbers counting p ay band members impress venue booker page artist management manual page another option visit favorite clubs venue see find group complements sound talk opening slot call local charity non profit organization see need band play fundraiser charity benefit dont band p rebooking gigs good strategy point easier find serious musicians gig pending whe n get gig first gig especially venue night sunday wednesday hire musicians put together band band r ehearsals conducted much serious manner way offer pay band members typical going rate musicians city usually options gig point quite limited since may promotional materials yet take get use gain experience develop content venue epk electronic press kit youtube facebook channels hiring musicians gigs calendar next step would hire musicians shows youre already band carefully consider number musicians need accomplish goal dont get many musicians assumption fuller sound achieved people group personalities deal harder coordinate schedules expensive book want thi ngs go smoothly possible beginning fewer musicians referee better always get musicians larger gigs later income justifies page artist management manual page ways find musicians single best way find musicians asking around getting referrals friends othe r band members venue talent bookers open mickaraoke hosts event promoters recording studios rehearsal studios local booking agents even record stores musicians reputatio ns travel far able find somebody flake hard deal select group backing musician somebody great musician word spread around quickly well dont afraid approach band break set ask could either play band recommend another musician could often times musicians willing extra gigs make extra money could search bands musicians local area via online classifieds like fandalism httpfandalismcom band mix httpwwwbandmixcom craigslist httpwwwcraigslistorgaboutsites reverbnation others email see interested playing band know somebody might social networking sites ou search city state even narrow particular zip code find somebody think might interested always good idea go gig act ually watch perform offering position ban another way find musicians look classifieds local free weekly publications andor associated web site music section classifieds find musicians available seeking gigs call email ask send link hear performance along information gigs theyve done page artist management manual page youve narrowed selection candidates ry setup meeting audition ou actually talk face toface well hear play never trust recording musician witho ut actually hearing play live front gig could also place ad local free weekly craigslist etc looking musicians find free weeklies newspaper stands local coffeehousescafes restaurants located around town many publications charge run musicians wanted ad run one specific exactly looking explain type music playing type instrumentalists vocalists need well budget fact setting band thi narrow number people respond could also search line musicians referral services make sure get packages website links musicians meet decide hire band many services free post view classifieds charge fee could also ry calling recording studios placing flyers music stores rehearsal studios places musicians hang describe looking terms musical instruments musicians style include hotline number web site url musicians find information auditions position yet filled directions etc auditions people contact auditioning band give list cover songs would like perform provide mps songs youve already recorded set audition different musicians show different times perform page artist management manual page hear musician impresses note name ask come back following day order play group musicians may considering hiring even think example bass playe r sounds great alone important hear sound group since band made take detailed notes auditions possible rec ord musician audio video also make sure ask lot questions audition questions ask include styles music enjoy performing currently play bands music related commitments recording touring etc musical influences general weekly schedule work school etc many days week rehearse long performing wha types performances done past eg open mics showcases clubs arenas stadium etc instruments play write music sing backgrounds leads recorded music studio live reliable transportation place used rehearsal space creating band opposed hiring musicians back recording artist willing help pay things help bands progress eg studio rehearsal time promotional items touring costs etc page artist management manual page connections music business help band eg manager producer agent attorney la bel ar promoter club owner publisher studio owner etc use questions others think help pick right members band band members picked set meeting welcome everybody go band rules first band meeting good way save time audition everybody call voicemail hotline visit web site week audition updates got selected names band positions people made contact ones made order give information meeting save call email people didnt make names list know didnt make wont expect communication another option create rejection email template send everyone didnt make cut wh ichever option choose make sure k eep names file future reference could use emergency one musicians gets sick quits band cant make gig youve taken look listen members would like band set band meeting everybody gets meet members band tell everybody goals page artist management manual page following things discuss meeting goals figure short long term goals example short term goal may record material get good paying gigs around town create buzz long term goal may either get record deal successfully release record tour around country internationally also crucial ask band members short long term goals serious conflict goals would time take care issues either get page let person go expectations meeting place discuss expectatio ns example band member expecting get paid first show safe say expectations rather unrealistic dont match either expectations realistically achievable stage bands development taking care better waiting later schedules need know everybodys general schedule necessary order set best rehearsal schedule estimate many nights week able rehearse many days month able perform dis cussing scheduling also lets know possible tour musicians wait verify band members schedule trying book gig often cost gig try set schedule everybody knows w hen fi rst rehearsal end meeting someone major problems general schedule better letting go right away scheduling conflicts develop much easier replace band member stage wait half way tour page artist management manual page band partnership agreement although every serious band one bands band partnership agreement agreement discussed first meeting agreement clari fy issues like band ownership band name trademarks band member responsibilities profit loss sharing members firing hiring decisions rules conduct penalties breaking rules agreement isnt written happens everything goes rightit written happens everything goes wrong much better write th e agreement everybody still respectful good terms try figure things middle major band fight lawsuit band partnership agreement anything simple one page document c omplex multi page contract dozens attachments addendums choose set depend serious business many issues address among band members plan long term lot things may want consider agreement band partnership agreement may include things like name band partnership band name band members contribution money equipment expertise rehearsa l space recording space webgraphic design photography etc band member receive result contribution nature band activities performances merchandise etc activities band member engage outside partnership owns band name logo trademark service mark page artist management manual page happens band name logo band partnership dissolve owns recordings band master sound recordings songwriting duties shared songwriting publishing royalties assigned musicians share band profits losses band meetings arranged band vote issues keep band banking books records events trigger dissolution band partnership happen band assets dissolution band partnership band deal leaving mem bers addition new membe rs leaving members paid wha happen event dispute eg settled internally mediation arbitration court see things get complicated want set things properly take issues write contract words long agree terms sign document binding agreement highly recommended however tain services experienced entertainment attorney draft contract make sure everything contained contract legal music business registry httpwwwmusicregistrycom music attorney legal business affairs guide use locate attorneys area need assistance locating affordable attorney try contacting volunteer lawyers arts city httpsvlanyorg similar organization country residence get useful low cost legal accounting assistance page artist management manual page equipment issues time evaluate condition members equipment example type drum kit drummer condition bass players rig mixing board monitors outboard gear microphones speakers us e venues th dont sound types issues handled establish best sound band develop necessary budget repairs equipment purchases song list discuss hopefully set band song list song list literally list songs playing band along song list recordings songs band member listen even learn chart parts first rehearsal possible chord charts available musicians read cover songs made compilation songs various sources band members original songs either already written prepare write together band scratch writing scratch would need set aside necessary time write contact information exchange necessary contact information band member make sure get everybodys phone number e mail address mailing address emergency contacts writing sessions band h put together group opposed singer group supporting hired guns set series writing sessions use time actually write songs rehe arsing youve written enough songs album ep selection singles download streaming least hour live show schedule rehearsals page artist management manual page solo artist hiring musicians support live write songs charted least able communicate music hired musicians setting rehearsals soon finished writing process copyright material many manufacturing plants require provide proof song master ership manufacture cds copyrighting material good thing event even recording songs singles downloading dont ever intend manufacture cds sometimes band break ever getting chance release product breakup messy may possible get everyone agree wrote qualifies writer publisher time deal still good terms songwriting process still fresh everyone agree writers songs even one person review earlier chapter copyright basics fill necessary copyright forms online copyright office web site httpswwwcopyrightgov setting rehearsals rehearsals best used work performance ideas put show together rehearsals cover song order instrumentation solos segues activities songs background vocal parts choreography stage plot design lighting ideally use time learn songs themselve since everybody learned songs writing sessions recordings gave previously page artist management manual page set rehearsals consider depending style music perform purchasing one dvds available tom jacksons onstage success website httponstagesuccesscom dvds help set band apart others level todays age dwindling music ales musicians make money live shows ticket sales merchandise sold live shows addition licensing music use filmtv productions sponsorshipendorsement deals band sound look great increase fan base enable get better paying gigs bring attention potential brand partners sponsors rehearsing find rehearsal spaces looking classifieds section local free weekly andor related website also ask local musicians recommendations addition searching online eg craigslist etc rehearsal spa ce dont rule garage basement option rehearsals fin way without disturbing neighbors many rehearsal spaces rent space hour month spaces blocks ti one price like hour block example able find space hour month places ar e even less others might little sometimes possible find bands share monthly space choose option sure write little contract spelling exact days times sharing space much paying per month conditions get kicked also discuss happens f somebody damages equipment belonging another band rehearsing page artist management manual page try book space weeks ahead time band members know schedule keep mind traffic parking conditions dont schedule times prove inconvenient band membe rs rehearsal spaces cancellation policies find ahead time usually hours cancel time slot previously booked else get charged rehearsal fee book time couple weeks advance time coordinate schedule band members still flexibility cancel session unable get everyone together rehearsal however much trouble coordinating musicians schedules book date people attend figure extra rehearsal get everybody else speed take advice offered earlier spoken potential band members ir schedule hiring thereby minimizing frequency scheduling conflict try record rehearsals review recording footage later order evaluate rehearsals progressing sometimes magical things happen rehearsals unplanned recorded possible add repertoire future rehearsals sound engineer live mixing recording consider inviting rehearsals familiarize sound song order musical sections instrumentation etc feel yo u show pretty well rehearsed ask engineer come record one full shows worth music mix make master recording use make copies create epks send promoters venues booking agents etc even create full length live cddvd sale gigs downloads web site recording music making available sale mentioned earlier makes sense plan performance tour dont recording least singles downloads addition merchandise available promotion al sales purposes going go effort recording subsequently promoting publicizing general public might well attempt receive remuneration multiple source music industry currently undergoing tremendous amount turmoil change nobody knows exactly future holds industry professionals contemplating ways music might listened andor paid types devices people use music found vast ocean available content matter happens though important thing people sti need music listen whether access cloud get piped directly brains writing great songs must concentrate energy write best music write write make even better perform best ability make sure totally love music first spend time strategizing promotional efforts result people finding music becoming fans purchasing downloads merchandise music cant touch peoples souls might well stop right something else page artist management manual page music soundtrack peoples lives write perform songs connect people emotionally want listen songs frequently make music part lives happens monetize relationship recorded music live performances merchandise sales partner sponsors brands reach consumers music recording music several options available consider recordin g material record band rehearsal live performance build studio record book studio time one local studios intend record material merely sake sending packages venues talent buyers booking agents promoters recording r ehearsal live performance fine want release cd make downloads available sale website itunes amazon etc want submit material radio airplay filmtv licensing part promotional campaign recording studio otherwise co ntrolled conditions appropriate need assistance raising funds recording building studio consider resources like pledgemusic httpwwwpledgemusiccom kickstarter httpwwwkickstartercom slicethepie httpwwwslicethepiecom feed muse httpwwwfeedthemusenet artistshare httpwwwartistsharecom sellaband http wwwsellabandcom others page artist management manual page studios advertise services local free weekly publications associated web sites usually find publications music retail stores coffeehousescafes street boxesnewsstands also find studios online ask fellow musicians information recorded projects interested purchasing gear enable record projects learning curve pretty steep beyond scope resource allow record new material time feel like keep mind using equipment software isnt something everyone instinctively doesnt come natur ally might better coming budget time need record something te aming producer somebody else access studio whichever way choose go rehearse well recording session waste time session practicing material wondering th e clock running course running studio waste much time wish otherwise shou ld know exactly songs going record order always test demo song sites like thesixtyone httpwwwthesixtyonecom soundout httpwwwsoundoutcom others listener feedback comments committing time resources full recording also might consider letting fans hear demos website youtube channel gather ing feedback regarding songs record providing two way conversation music help cement artist fan relationship build solid base virtual street team members ca n activate later spread word music page artist management manual page recording mode might also want consider taking time record volume original music sale special occasions eg valentines day mothersfathers day birthday wedding etc public domain pd christmasholid ay music filmtv production licensing purposes companies always need music complement product service holidays special occasions music fits bill provide additional income long recording finished music available also offers potential earn extra income performing material events special occasions generating extra income licensing songs along original recordings filmtvgames etc productions subscribe music library report httpwwwmusiclibraryreportcom information companies get songs placed filmtv productions even companies add music products sold customers special occasions make sure music record original public domain doesnt contain un cleared samples beginning licensing efforts early important generally takes several months years receive royalty checks performing rights organization songs used production dont producer assigned project beneficial somebody else present recording session knows band sound act third ear help produce recording difficult subjective performances process recording important somebody whose opinion respect like competent record producer another trusted musician otherwise merely end arguing takes wasting lot time studio page artist management manual page mixing music youre done recording time mix individually recorded tracks onto two track master wav aif file cdr tape etc mixing keep mind english idiom many cooks spoil broth band members involved mixing session chaos usually ensues individual b members invariably want hea r increasingly louder promi nent mix eventually left one loud mess advisable k eep overall number people control room mixing session minimum consisting preferably engineer designated producer one two members band know finished product sound like run mix band members session control urge want mix songs ver addition full mixes song make sure also mix versions songs without lead vocals tv mixes well versions songs without vocals instrumental mixes easiest mixes go song mixes come handy live performance purposes well licensing filmtv advertisements games etc mastering music next step process mastering arrange songs correct album order apply final equalization compression perform additional processing necessary achieve professional sound remove excess noise recording perform fade ins fade outs check audio anomalies create uniform sound volume level one song next insert metadata copyright isrc upc information song files page artist management manual page whether choose master songs mix depend largely intend finished product making recording send talent buyers booking agents promoters etc make copies mix send recommend ed want actually sell product offer masters filmtv licensing purposes go ahead spend little extra money mastering rec ordings mix even though debatable whether listener appreciate mastering efforts ear buds laptop speakers smart phone wish isrc songs unique numbers identify eac h individual song requesting necessary information agency country residence httpisrcifpiorgencontactnational agency contacts mastering usually done separate facility although also often offered facility recordings mixed bes results would suggest taking mixed recording separate facility specializes mastering search online mastering facilities lso ask recording engineers local recording studios recommend mastering facility talking bands area yet another option hourly fee mastering usually mixing hr hr instances even however takes less time master recording mix usuall master song album hours isnt much fixing done mix alternatively visit partner site studio httpwwwstudiocom great deals professional mastering page artist management manual page hiring publicists radio promoters publicists radio promoters assets team afford unfortunately independe nt artists cannot afford money would cost hire publicist six fourteen week campaign multiple times radio promoter addition sheer volume products services require publicity make extremely difficult unknown independent artists generate meaningful coverage mainstream media arena nonetheless minimum amount carefully pl anned publicity even diy worth effort part going long term strategy involving talent buyers booking agents venue bookers promoters shows andor tours publicists work band artists connect fans get attention industry players well attempt get media radio television internet print write articles blog conduct interviews review cds live shows money n ow would time call around decide publicist radio promoter want team radio promoters also provide publicity services reason contact choose pursue option usually interested working deciding songs service radio college internet satellite promotional materials manufacture route tour distribution channels pursue etc usuall prefer consult put package together make suggestions allow time make changes waited contact designing artwork recording manufacturing cddvd merchandise promotional materials would late make corrections deemed necessary page artist management manual page find publicists promoters online well directories like musicians atlas various billboard directories ndie contact bible name dont despair cant afford hire publicist radio promoter handle publicity radio promotion duties independent musicians ityourself diy affordable option available today graphic design photography intend manufacture products try get good photographer take p hotos well somebody knows graphic design design cd merchandise artwork logos stage consider photography graphic design work done cddvd cover digital e cover also website gallery images posterspostcards flyers images merchandise images logo design photography graphic design shirts etc best way find photographers also ask locally musicians record stores recording studios publicists modeling agencies local photography schools etc search online classifieds like craigslist others make sure see photographers previous work talk vision hiring shoot make sure discuss owns copyright design photographic mate rials produced matter get graphic design make sure include contact information products merchandise available sale page artist management manual page make sure put web site social networking urls artwork well adding credits ake sure include necessary correct copyright notices artwork examples copyright notices include photographer photographs copyright john major lyrics copyright sarah jones publishing bmi lyrics reprinted permission general copyright notices websites song metadata etc copyright sarah jones records physical cd sarah jones records rights reserved make sure get necessary releases permissions use photos well define clearly owns eg photographer generally owns photos unless agree otherwise writing etc cd graphic designer work closely cd manufacturer manufacturer offers graphic design templates make sure graphic designer uses templates usually downloaded manufacturers web site templates include exact measurements ensure artwork submitted according specs use design templates could end artwork doesnt fit specs causing delay process possibly costing money cd manufacturing era mp players smart phones streaming internet radio social networking cloud physical cd practically dying breed however consumers either less tech savvy consumers simply prefer hold shrink wrapped cd hands still prefer physical cds downloads streaming page artist management manual page addition premium products like enhanced cdsdvds glorious artwork exclusive songs artists autograph hidden tracks extra video footage vip passes tickets video games e tc may still potential sold website alongside merchandise live shows concerts dont rule inventory entirel wish product options available fans addition many college radio stations even reviewers still prefer music submissions made form physical cd intend manufacture cds dvds plan even though many artists labels today record ing releas ing single downloads might consider getting bar code compan distributors require products upc codes keep mind well intend distribute cds retail opposed selling downloads site get upc barcodes companies like nationwide bar code httpwwwnationwidebarcodecom others comes manufacturing finished product shop around allow plenty time fore scheduling release listening party announcing street release date product unusual problems occur manufacturing process youll need extra time correct problems might occur problems range anywhere company taking longer promised deliver product printing wro ng materials quantities shipping packages wrong address make sure shop around different manufacturers possible ask people worked manufacturer project turned since people nowaday prefer purchase downloads instead cds might consider offering music download cards companies like fizzkicks httpwwwfizzkickscom dropcards httpwwwdropcardscom others consider creating deluxe page artist management manual page products like custom usb products httpwwwcustomusbcommusichtml materials manufacturing deluxe products could also include bonus material form additional songs andor videos enhanced packagingartwork bonus merchandise eg poster shirt exclusive recordings cddvd combos thinking hese tems enable manufacture products time include part initial release also take items sell shows earn extra income search online manufacturers pick contact directory billboard local free weekly sometimes contains advertising manufacturing plants musicians atlas httpwwwmusiciansat lascom also source contact information includes manufacturers popular manufacturing options include discmakers httpwwwdiscmakerscom oasis disc manufacturing httpwwwoasiscdcom cdbaby httpwwwcdbabycom crystal clear media group httpwwwcrystalclearcdscom others dont necessarily make decision based entirely price see prices ont include everything might need manufacturers sometimes put low prices advertising order get commit hit e xtras asking around getting referrals still best way go finding suitable vendor might also consider making short run order perhaps cds printing inserts j cards manufacturer purch asing cd cases separately manufacturers also offer graphic design mastering services help terms one stop shopping also offer lower costs design consideration using manufacture usually works okay dont much time money look option page artist management manual page almost cddvd manufacturers participate international recording media associations irma anti piracy compliance program program requires obtain maintain proof intellectual property rights trademark authorization plain english means prove recording masters sent manufacturer belong indeed manufacture physical cds make sure fill online copyright forms submit necessary number sound recordings copyright ffice copyright purposes united states ou find information website httpwwwcopyrightgov also register performing rights organization pro responsible collecting performing royalties region reside also look registering sound exchange httpwwwsoundexchangecom collection digital performance royalties receive cds manufacturing plant release sale may also w ant track sales register ing title nielsen bds ubmit cds mps free charge electronically secure virtual encode website send email virtual encode subject client services department clientservicesbdsonlinecom username password include following information body email full name company label name contact number primary email address additional contact information receive login information instructions via email virtual encode website page artist management manual page merchandise even though music consultants wisely advise wait later large base go tour manufacture merchandise may consider manufacturing minimum run tshirts stage since sell items website even go tour addition merchandise sold fan club members sign subscriptions given street team members appreciation helping promote band manufacture minimum set items eg shirts companies like zazzle httpwwwzazzlecom others could also use services like cafepress httpwwwcafepresscom create sell shirts little upfront cost although quality merchandise may slightly lower quality offered vendors setting release date recordings battle rages exactly cds become obsolete saying already become others saying happen within next years meantime many people still buying cds even lower levels past choice whether want manufacture cds stick recording individual songs singles digital download purposes fans firmly download camp others stick old school world physical cds might wise least time depending style music writerecord perform offer many options financially possible fans ages purchase music page artist management manual page another thing keep mind many college radio stations pursuing radio airplay still prefer physical cds submitted airplay consideration mps download links th may change future generally still case writing manufacturing cdsdvds set release date time release dates dont work download recordings fa ns want access singles immediately record physical recordings however release date essentially date make recordings available general public sale packages send talent buyers booking agents promoters publications radio stations etc mention release date set release date received pro duct manufacturer product actually hand need give enough time effectively promote release plan schedule release listening party send packages radio media retail industry contacts book shows band usually means shoul set release date six eight weeks cds arrive door time items need packages along directories need contact information creating mailing list band together immediately begin put together mailing list information collect inc lude least persons name e mail address collect zip code well would helpful terms gig tour promotion since target fans within specific geographical locations show get band members contact people know request add mailing list page artist management manual page remember even friends family members co workers acquaintances neighbors mailing list could potentially buy cds merchandise come shows well tell friends acquaintances family members turn could tell friends family members minimum make sure get peoples email addresses send newsletters updates product information gig calendar reminders free downloads etc beginnings mailing list started make going effort add names use social media campaigns expand circle friends fans everywhere go offline mention people fact band cd coming express interest whatsoever offer add names mailing list keep updated shows merchandise cd availability applies whether grocery store co ffee shop office building ball game anywhere else create method quickly easily add someones name email address list capabilities website offer fans songs streamed downloaded exchange email address generally easier get e mail address someone youve met phone number people feel e mails less intrusive privacy pho ne calls lot names mailing list impressi talent buyers venue bookers labels etc also easiest way promote first show get people attend band members make ongoing effort able add two three names mailing list every day would amount sixty eighty new names month even arent gigs page artist management manual page dont system creating mailing list collecting fan data sending emails could try solutions like fanreach httpswwwreverbnationcomband fanbridge httpswwwfanbridgecom others materials physical kit put together pro motional materials could use booking gigs getting media coverage radio airplay like good business plan media package press kit constantly evaluated updated kit never stay never presented way different people example package send venue booker talent buyer isnt necessarily one would send college radio station music director freelance writer publication photo hat works well website gallery may necessarily work well article magazine media area website bef ore begin outreach campaign make sure youve created media area site provides access digital media kit electronic press kit epk even though area designated media area make accessible people might interested information including potential sponsors brand partners concert promoters talent buyers booking agents etc media area interested parties ab le find song downloads high resolution headshots images biographical information tour dates recent press releases band logos pictures video footage recent events interview request form notable quotes testimonials influential music industry professionals etc offer high quality un compressed wav aif lower quality compressed mp versions select songs review page artist management manual page physical kits occasions physical kit requested basic items available times presentation go list realize n ot items go every kit appropriate every occasion genera lly speaking less carefully customize kit recipient minimum number items provided necessary satisfy needs recipient case electronic press kit many items described presented section web site generated form pdf document plan send physical packages items might include depending circumstances carefully following instructions provided recipient cover letter occasions cover letter required ake band stationary letterhead business cards envelopes utilizing band logo used business correspondence required cover letter basically describe sent sent eg booking consideration possible review money kind contribution sponsor etc brief breakdown important information eg upcoming release party important showcase etc contact information reached notice follow also mention conversation correspondence may recipient example follow conversation last thursday cover letter short longer two three paragraphs fit one page rest package include additional information recipient use formulate response page artist management manual page music sending music p hysical press kit carefully follow instructions provided recipient recipient requests replicated cd case complete artwork liner notes dont send burned cdr sleeve links mp instead vice versa convenience best songs cd also uploaded epk review download photo sending someone kit mail industry standard photographs x black white glossy photographs course online epk pictures form high resolution jpegs band need photo entire band solo artist band members musicians hired guns picture always good idea two types photos taken cater needs recipient one type studio location shot basically set posed photos band photo studio location indoors outdoors type live shot set photos band performing live preferably front enthusiastic fans regardless type photo create send make sure personality band artist comes picture biography biography summary interesting important things band attempt keep longer han one page length topics industry people find interesting bio include social media metrics bands youve opened famous producers youve worked noteworthy collaborations features famous family members might ha major deals youve signed tours youve college commercial radio airplay youve received articles written major publications famous songwriters musicians involved recording filmtv music licensi ng placements sponsors brand partners youve signed etc page artist management manual page dont lot credits include information street date andor availability products youre style music perform background background band members etc bio send industry people need one put website fans read may write bio way words several options look pay someone write bio another option call local college radio station newspaper television station ask recommend writer many individuals making way ladder may willing write articles biographies little money dont bother calling major radio station newspaper though barely time respond legitimate news pitches busy trying meet deadlines could also try talking student attending type journalism course course could also ask musicians would recommend fact sheet every musician enough impressive information full page biography besides sometimes necessary send condensed information someone doesnt much time read lot information type occasion put together fac sheet one pag e sheet information bulleted facts done information would include would similar would biography usual would contact information sheet well small photo quote sheet every musician quote sheet put one together would add package sheet contains collection quotes reviewers editors promoters radio personnel writers industry bigwigs etc collected condensed onto one page page artist management manual page dont reviews quotes consider using resources like fluence httpwwwfluenceioforartists cyber pr httpcyberprmusiccomservices indie contact bible httpwwwindiebiblecom others get quotes together media kit purposes get review quote ou dont include entire quote take best part quote credit person made example unlike similarly fashioned recordings project doesnt get lost preachy rhetoric larry flick billboard magazine manage get together could put one x sheet paper everything else include band name put quote sheet heading include social media information mailing address contact name phone number e mail address web page across bottom press clippings press clippings newspaper magazine articles features taped onto page photocopied case physical press kit scan ned uploaded website case epk every musician fortunate enough articles written print publications pull together articles reviews written publicatio n cut section includes publications name issue date glue scotch tape clippings onto sheet plain white paper title page press clippings point make photocopies mas ter include copies package scan epk dont put many clippings sheet dont put many sheets package either possible try fit one page include impressive articles page artist management manual page like quote sheets dont fabulous arti cles dont include sure include mailing address contact name phone number e mail address web site url across bottom references testimonials often helpful get club managers bookers bo oking agents promoters bands say something positive working experiences could also use references music editors radio station personnel festival presenters retail store managers etc lyric sheets nclude lyric sheets someone specifically asked example may asked provide lyric sheets songs sending package music publisher talent buyer charity event even sending music video television internet station potential airplay possible venue might ask lyric sheets see interested booking type band could also lyrics available web site point people dvd bands cannot afford put together decent dvd however done well dvd increase odds signing booking agent landing opening slot tour getting gig important venue r getting writer publication attend review one shows could also upload footage onto youtube epk section web site cost hiring company shoot footage prohibitive havin g students film school shoot edit dvd good way save money works benefit parties often left fairly good dvd promotional use page artist management manual page another good option using equipment l ocal public access television station offer training equipment well volunteers use help shoot dvd earch line public access television stations area alternative option rent video equipment mainly cameras lens lighting videotape live shows editing footage computer using readily available video editing software folder mailing package materials placed inside folder pick folders local office supply store pick ones slot business cards inside include business card contact information address include band sticker front th e folder band logo include part artwork also put name band contact person address phone number fax number web site url picture band outside folder tri fold b rochure cost effective way send information small packet send tri fold brochure instead sending entire press kit certain situations brochure include band name logo band pictures short bio descriptive quotes band music quotes testimonials short list accomplishments awards contact information also include link epk brochure mass produced mailed much less entire package recipient interested ask send whole package point media area web site location epk available publicizing promoting recordi ngs entire process getting people purchase products involves specific formula everything point forward move people process eventually place purchases happen formula follows first someone discover told hear music see photos andor hear see videos live show like dont move like decide whether go along free ride streaming free downloads etc pay products cds paid downloads subscriptions show tickets merchandise donations crowdfunding campaigns etc decide pay products process must quick easy convenient painless ie signups music purchase must completed moves possible offer ing delivery fast possible many formats possible listened buyers convenience many places possible getting maximum number people find beginning process need massive amount exposure views listens translate even modest sales therefore need employ many promotional publicity related techniques financially possible relate type music simultaneously order generate income desire dont select one technique put eggs one basket page artist management manual page need consistent persistent efforts reasonably long period time achieve success results mind ou begin promoting band recordings long first gig even official release date takes people often several listens warm something theyve never heard pre promotion necessary make people aware songs release date name band shows booked people much likely attend shows whe n know sound like familiar songs havin g videos pictures song samples web site social networking profile offers visitors glimpse offer pre promotion also makes industry people including media talent buyers labels publishers distributors promoters booking agents etc aware mainstream r adio still way regular people find music influences go online find theyve heard artist ot people saying music heard people also respond music recommendations made people like know respect trust ie friends family members associates acquaintances people within social networking circles another way people hear new music chance discovery eg someone stumble upon profile looking online something else social networking friend follower song playlist song gets recommended online sounds like another song someone gets handed sampler street teamer someone happen pass club wh ere performing someone hear one songs used someone youtube vid eo etc page artist management manual page since likely achieve heavy rotation radio airplay satu ration necessary make well known general public top rated p commercial radio stations conducting diy publicity campaigns encouraging fans spread word project positioning benefit chance encounters online offline way get people find means expose many places possible order increase likelihood somebody sees profile somewhere ends telling someone else purchasing cds downloads show tickets merchandise utilize followi ng techniques manual well strategies may think increase likelihood fans chance encounter music social networking major record labels still disposal commercial radio airplay social media twitter instagram network cable television music videos talk showlate night appearances reality shows internet youtube vevo yahoomsn etc home pages movies tv artist acting guest roles mainstream print internet media celebrity gossip publications channels etc influence reach fans independent artists however chance encounters mailing list outreach newsletters etc reality tv shows singingtalent competitions college non commercial radio airplay youtube exposure independent publicity campaigns mixtapes word mouth offline street team marketing social media facebook twitter instagram soundcloud etc ways fans reached nurtured page artist management manual page social networking sites play important role promoting publicizing music general public cannot cover social networking sites resource always new social networking sites ofthemoment must necessary work keep ing abreast latest ones popular active effective project begin social media campaign instead networking within typical circles family friends musicians people music industry make effort visit social networks based particular interests music consider hobbies special int erests may find networks allow socialize like minded people display music al skills talents dozens special interest social networks find use services like ning httpwwwningcom others discover information around interests connect like minded people become fans buyers music tickets merchandise least register youtube facebook artist page instagram twitter accounts addition creating personal website blog survive comings goings latest social networking site active youtube channel frequently post interesting entertaining compelling content gives people insight personality music well reason return viewings subscribe vie wers subscribe yout ube channel get notified post new content great way introduce new songs fans give sneak peek live shows rehearsals page artist management manual page starting social networking campaign early benefit road social networking statistics show sites like next big sound httpswwwnextbigsoundcom others use data collected sites similar ones negotiations dealings wit h investors venuetalent bookers promoters booking agents brand partners record labels sponsors etc consider social networking discovery mechanism opposed sales mechanism use encourage fans use way people discover music decide like seek monetize relationship line distributors website store well live shows important utilize sites correctly nd target people area promotion live shows regional tours ie people within miles home base city youve built solid base subscribers friends followers region begin expand outwards cities states countries idea fans end coming shows andor purchasing cds downloads merchandise andor joining street team helping spread word course esnt hurt fans cities beyond home base even concentrate local area increased gig attendance continue reach beyond home base fans purchase music products merchandise online promoting update different social networking sites simultaneously using services like hootsuite httphootsuitecom others page artist management manual page begin music social networking campaign searching tastemakers bloggers interesting entertaining people including musicians already h ave large following influential voice area interest also choose follow people follow major label bands twitter think sound like search people bought music itunes artists sound like whose music similar specialize particular type music hobby interest social network online try find ways become friends follow leaders top influencers listen conversations tone content jumping part social networking group use services like twitter search httpstwittercomsearch home others search keep tabs twitter conversations particular people subjects interested also join networks like ning httpwwwningcom others create join new social networks interests passions follow people conversations purchasing music major label artists similar find ways communicate introduce music time keep mind social networking done effectively selling right course action spend time investing relationship potential fans relationship monetized later treat people social networking circles way would treat met bar restaurant night club library caf\u00e9 grocery store etc instances wouldnt walk somebody immediately launch high pressure product sales pitch dont social networking circles youll turn people end subscribers followers friends instead p aint picture interesting provocative entertaining inspiri ng helpful educational depending personality contributing meaningfully page artist management manual page conv ersations providing something people network gravitate networking ou occasionally make reference fact somet hing interesting happened show offer conversation generating morsel turn conversation towards music keep mind conversing also marketing branding interact people social networking circles ways make feel part two way conversation action like running contests suggesting meet ups interesting places word ofmouth engage fans play leading role virtual street team encourage spread word music circle friends family members associates remember one friends family members associates larger circle friends family members associates al l trust recommendations made within circle effort generate loyal following done simply pushing propaganda forums blogs social networks etc give fans instructions say produ ct availability shows time listening say collecting feedback hear ing people terms favorite songs opinions live show performances suggestions new recordings products etc two way conversation fans use focus groups without pushy try get demographic data eg age location zip code gender etc order customize mailing list outreach page artist management manual page youtube audioid videoid consider utilizing youtubes audioid videoid products track viewing metrics youtube users using songs videos unless users using songs attempt cause damage image andor reputation allow use music contact request act part virtual street team using music means like direct enthusiasm music viewers fans friends family members neighbors associates videos generating lot traffic offer user songs use videos produce well free tickets shows merchandise blogs even though outreach efforts targeted potential fans shouldnt entirely overlook importance influential tastema kers internet page artist management manual page getting influential respected blogger fall love music recommend people pay dividends make impact hundreds thousands people immediately use lists like one available hype machine httphypemcomlist others search music bloggers might find interest music also create account blogger httpswwwbloggercomstart order find comment blogs everything else read blog archives get sense individual bloggers likes dislikes reaching music live area invite show offer put guest list provide drink tickets song downloads consider offering fans addi tion streaming option downloading songs k mp format site much different handing cd samplers street except fact online manufacturing costs make sure thou gh mp tracks sale higher quality like k mps andor one lossless file formats eg apple lossless flac sites like bandcamp httpbandcampcom others allow offer songs fans multiple file formats reverbnation also widget utilize give people free downloads music httpwwwreverbnationcom page artist management manual page allowi ng free lower quality downloads offers listener opportunity enjoy music anywhere ability play mps even dont acc ess internet hear streams site dont necessarily offer songs offer allow fans limited time ability download mps site listen free song streams hear second song samples possible create system collect peoples email addresses exchange access song downloads area website send gig information news bandcamp mentioned allows online strategic partnership locate websites charities individuals companies product service cater people similar demographics fans find site suitable contact owner inquire whether would interested incorporating music player site allow visitors play andor even download song song inform owner cost visitors anything music nice fit type people visit site webmaster add player similar one reverbnation widget player httpwwwreverbnationcom site dont worry abo ut monetizing music directly web site people like music necessary information song description meta tags get site make purchase sign mailing list make sure songs correct tags artist name song name album title keywords url include picture allow people stream song player enable download song page artist management manual page record pools dj pools music pools may interested utilizing record pools also known music pools dj pools music ance related sub genres urban eg rb rap crossover eg top pop chr styles music dont work well nightclubs therefore would benefit utilization record pools listing record pools area visit tjs djs httpwwwtjsdjscomrpdphp use preferred search engine locate current listing record pools listed music pools longer business nce youve located useable list gather addresses phone numbers record pools promotion region preferred approach send copy song cd vinyl mp depending pool along response bounce back card record pool director see music something would appropriate record pool suitable would send back response card call email back instruct send enough product members serviced p ool may anywhere members would enough promotional product service pools area songs suitable product isnt available preferred format would send back response card callemail let know music good fit pool someone record pool interested send shipment try remind pool director release date djs play music right around date also ask pool director djs give feedback crowd response club play songs feedback could used permission quote sheets part promotion materials page artist management manual page submit songs licensing filmtv etc material recorded importantly mixed mastered put aside time research places submit material licensing f ilm tv advertising games etc takes many months results licensing efforts pay sooner begin process sooner start see benefits details music licensing beyond scope resource find much information many music library websites conduct research right material stand potentially earn thousands dollars year us e music variety productions formats good place begin research ing places submit material music library report httpmusiclibraryreportcom find users reviews different music libraries deciding submit material also pick copy film television music guide music registry httpwwwmusicregistrycom also license music users directly website using services like licensequote httpwwwlicensequotecom others program solution enables submit material music libraries however dont forget copyright material httpwwwcopyrightgov affiliate performing rights organization choice eg httpwwwbmicom httpwwwascapcom etc writer publisher member well soundexchange httpwwwsoundexchangecom recording artist sound recording copyright owner page artist management manual page create video content publicity purposes consider creatin g video content upload sites like youtube httpwwwyoutubecom dailymotion httpwwwdailymotioncom vimeo httpwwwvimeocom etc many potential fans like music visual component words experience listening music enhanced add visual element video content create serve two purposes one purpose creating videos addition heightening auditory experience music give fans insight music including behind thescenes making live shows rehearsals studio backstage access sneak peek demos progress things might want know footage second purpose create entertaining compelling captivating footage used generate new fans keep current fans interested coming back footage interes ting entertaining enough get people watch come back also share friends increase num ber people subscribing video channel mailing list addition footage music encourage people provide feedback make comment spread videos virally increase chances happening making content entertaining interesting useful provocative inspiring edu cational encouraging insightful etc depending personality shoot footage consider asking fans feedback want see record offer videos begin setting youtube channel bands name continue upload ing content consistently order get people come back make sure add videos channel regularly fans something interesting talk hare friends page artist management manual page need create upload lot footage channel people expect appreciate material also r production quality get better time learn early mistakes make improvements ake sure reply comments communicate fans feel relevant appreciated create extra materials promotion sale imperative set aside money purchase promotional items release promotional items include things like music cards digital download cards tshirts pos tcards posters fliers stickers etc consider asking fans merchandising items would interested purchasing receiving free gig part subscription etc hese promotional items useful enabling people street cant find online become familiar project many promotional items sold given away gigs well website addition retail stores sell cds consignment may willing pu posters fliers thereby increasing profile sales dont purchase items campaign even right away depending type music writerecord budget available thing keep mind however nobody knows product possibly decide like enough buy must find ways promote image product people street well online also retail stores like know finding different ways promote cds asking carry consignment page artist management manual page many places offer items first place check line sites like dropcards httpwwwdropcardscom fizzkicks httpwwwfizzkickscom offer music download cards use either promotional giveaways ways sell downloads services like customusb httpwwwcustomusbcommusichtml enable create custom usb music products sell fans use promotional giveaways virtual street team members andor subscription members also manufacture minimum set merchandise items eg tshirts etc companies like zazzle httpwwwzazzlecom extra mile merch httpwwwextramilemerchcom used promotional giveaways well made available sale website merchandise tables gig could also use ervices like cafepress httpwwwcafepresscom create sell shirts little upfront cost order figure designs sell ordering minimum run sites sale website gigs subscription area create subscription area website yo u offer fans monthly andor annual fee premium exclusive products content services including things like free songs monthly live performances custom compositions album sneak peek listening sessions discounted music tickets merchandise exclusive photos behind scenes footage pre sales live chats videos special edition andor premium products collectors items limited edition vinyl backstage access meet greets members parties vip status entries monthly raffles custom ringtones member goodie bags custom artwork annual get togethers anything else think page artist management manual page creative offer make sure asking feedback subscriptions include items value fans appreciate fans wont want pay monthly subscription fee things value without signing subscription sending packages media dont publicist working time contact send press packages media order attempt get reviews interviews articles reason start early media operates set schedules deadlines cant send package expect article written day arrives start media outreach process early attempt buzz created time performances begin release cd dvd handling publicity utilize resources like indi e contact bible httpwwwindiebiblecom others make job finding indie friendly media outlets contacts easier main purpose sending packages media publicize record release street date al ong shows may coming already set release date releasing physical cdsdvds initially dont bother sending packages bigname media outlets publications tv outlets care write review interview major label artists readers viewers already familiar major labels pu blicizing words people read pub lications listen radio stations watch tv channels want read listen look famous people recognize identify inspired etc page artist management manual page exceptions rule incredible story weird angle press talk order terest audience mainstream commercial media outlets operate make money necessarily break new bands best bet would send press packets releases local public ations local television college radio stations indie friendly music related websites handling publicity duties use services like pr newswire httpwwwprnewswirecom prweb httpwwwprwebcom andor music industry news network httpwwwmincom others send newsworthy press releases project media trick dealing media think everything point view think media needs want obvious want want exposure various media outlets need need informa tion stories keep listeners viewers readers interested entertained educated motivated nd informed sell advertising media like stories current relevant provocative informative inspirational controversial shocking timely etc people stay tuned charge advertising therefore order get media coverage l ook angle within story pitch story mind put together list media outlets think would interested story conduct research find places write reviews articles independent bands consider non music publications websites well terms print publ ications tart search locally regionally work way nationally internationally page artist management manual page take look around city pick copies publications particularly ones include lot independent music related articles watch television see shows feature local bands search line places review showcase independent artists every instance attempt find contact information person send packages links always check submission policie send media packet notice publication writes reviews generally writes reviews send package entertainment editor example may follow review rticle written thing remember bigger publication less likely actually get review article written start smaller independent publications web sites response better addition publications fill space wit h advertising first fill left space news articles reviews etc putting together marketing book point put together marketing book contains marketing promotion plans efforts literally book need solution enables enter data make updates corrections necessary use keep track promotion plans well chronicle well poorly plans working detailed possibly make time idea concept want try write book enter database document progress lack thereof able input information book database week sometimes daily depending volume type activity taking place page artist management manual page marketing book database serves two distinct p urposes one mentioned document effectively plans working make adjustments necessary purpose fo r marketing book data come handy becomes necessary shop band brand partners record labels publishers distributors investors licensees sponsors using publicity build fan base youve paid attention music scene region region tter youve doubt noticed abundance musicians musical jungle chances computer microphone cracked software next door neighbor probably working hit record bedroom right activity going one break clutter build large enough fan base make music career worthwhile zeal embrace music business models lost appreciation old school publici ty methods worked well many musicians long radio airplay good oldfashioned articles interviews seem like dinosaurs todays independent musician community yet even gloomy economy scuttling venerable publications never time variety publications print online existed large numbers readership viewership ranging numbers dozen several hundred thousand well placed series articles perfectly timed set stories go l ong way towards exposing artist building fan base packing venues full enthusiastic fans attracting industry attention selling large quantities cds downloads merchandise question musicians minds exactly get article story written page artist management manual page following steps follow quest coverage first step find story angl e interest self managed artist client manager consider something music angle example aside musician perhaps also experienced diver survi ved hunting accident operate graphic design business tree house seeking financing economic downturn expert specific area overcome medical condition victim work athome scam traveled countries days angle think next step sign services like pitchrate httpwwwpitchratecom help areporter httpwwwhelpareportercom others alert journalist requests way companies put classified ads looking employees journalists put requests subjects stories working newspaper publication website tv station radio station requests include description type person interested subject type article writing interview conducting contact information deadline receiving necessary information chance match story journalist looking write remember though like james frey discovered oprah winfrey show doesnt pay lie story perusing listings look many journalist requests specifically apply story carefully follow directions requested journalist page artist management manual page important make sure along requested information insert references artistband name along fact musician without references article may good read yet benefit music career since readers listeners viewers know musician able search order purchase cds downloads come show think impressive would get percent readers viewers next gig continue fulfilling journalist requests even ifafter youve received coverage minimum use placements bio part one sheet turn could lead fans taking music career seriously purchasing cdsdownloads merchandise logic behind strategy people relate otherwise empathize inspired story good chance probably also relate music people similar tastes similar background likely relate certain preferences like food music clothing entertainment etc common even though may lot common musicians reason think angles unrelated music music publications largely interested writing major label artists musicians chances getting articles stories written major music publications slim none doesnt mean however ignore journalist requests specifically ask musician subjects since present opportunities exceptions rules distribution recordings case usicians music sales take place initially mainly gigs andor website social media profile site serviced distributor sell music directly fans using nimbit httpwwwnimbitcom addition offering music sale website ou look companies like tunecore httpwwwtunecorecom orchard httpwwwtheorchardcom cd baby httpwwwcdbabycom routenote httproutenotecom others digital distribution since people prefer make purchases trusted sources like itunes amazon etc rather artists website options digital distribution include universal motown republic groups httpwwwunimodigitaldistributioncom httpwwwrepublicddcom island def jam music groups httpwwwidjfir stlookcom interscopegeffenams httpwwwinterscopedigitaldistributioncom powered tunecore distributors handle order taking fulfillment issue payments bimonthly monthly quarterly basis sales take place previous month quarter make sure review contracts carefully beforehand since ome abovementioned sites offer exclusive services means sign online music distribution page artist management manual page consignment discussed earlier future music consumption projected mainly via downloads streaming mobile devices cloud technology andor subscriptions scenario ost music retail stores predi cted go business meantime however music consumers still purchase music retail stores either dont access interne b dont trust making purchases online dont credit card use online shopping people may also able attend one gigs order purchase music regard musicians consider option making music available fans retail stores choose pursue consignment deal make sure limit manufacturing inimum number physical cds make sure retail stores select within promotion area ie area live perform live put posters distribute flye rs get coverage local publications receive airplay area college non commercial radio stations conduct social networking people area interviews local radio tv stations etc independent artist without distributor large budget album catalog previous sales record way get cds retail stores method called consignmen scenario store agrees stock cds months pay items sold end con signment period unsold cds left end consignment period return agree carry another period store retain percentage sales price based consignm ent agreement cds sell end term order arrangement page artist management manual page tail store accept independent products consignment mom pop stores accommodate arrangemen mos larger chain stores accept product real distributors normal way get cds national chain stores go distributor account store chain stores order product corporate headquarters doesnt hurt try asking manager major retail chain outlet consignment stores area might willing take chance likely however told corporate policy accept consignment product independent artists getting real distribution best left labels multiple artists roster large catalog material substantial marketing budget retail experience predictable sales sales track record one way get product distributed nationally even without track record find indepe ndent record label national distribution pitch cd interested license record distribute distributor retail stores instances still helps money contribu te marketing campaign since help project gain traction among labels releases interested pursuing consignment option ou tick stores located within area effectively promote usually hometown region makes sense cds sitting store another state across country months nobody buy bec ause theyve never heard dont know r product exists put cds store fail promotion hard time convincing store carry product end consignment period put product stores located areas going tour fans street team members promote area page artist management manual page start putting together list retail accounts indie friendly distributors approach consignment distribution use directory like musicians atlas httpwwwmusiciansatlascom indie bible httpwwwindiebiblecom others list stores take product consignment also consider non music retail stores consignment consideration depending style music writeperform including example new age stores httpwwwnewagedirectorycom tattoo parlors httpwwweverytattoocomtattooparlorsshtml surf shops httpwwwsurflinecomsurfologysurfshopscfm art ga lleries churches christian bookstores etc also drive around local area stop every mom pop record store specialty store plays would interested playing music genre come across ask take cds consignment getting radio airplay particularly college non commercial ask radio stations supporting music recommend retail stores put cds also ask name particular buyer independent buyer consignment rep ask directly call stores would love hear radio station thats playing music recommended could help high visibility positioning cds within store keep mind fact dont want cdsdvds sitting stores months without selling stores stocking product time select store area way store closer fifteen minutes next one selling cd call ahead time set appointment buyer charge consignment products page artist management manual page could also go store ask person charge accepting consignments usually tell whether accepting consignments talk time come bring ie cds posters samplers one sheets etc usually work appointment flexible able accommodate schedule retail stores taking risk stocking cds dvds products taking limited shelf space guarantees w ill sold job let know promoting products shows coming know promotion marketing efforts likely stock product always bring extra promoti onal copy store ai rplay stores also accept posters wall space samplers stickers postcards leave designated counter store different policies consignment work one find effective way promote products also take time ask store manager perform store even store parking lot part promotional campaign stores open doesnt hurt ask offer share cost local ad newspaper promoting cds availability store much afford show level commitment project takes minutes fi consignment contract store interested important make sure product placed alphabetically right section store dont want independent folkbluegrass cd placed hip hop section store since potential buyers ever find make sure put retail information website social networking profile sampler artwork flyers posters etc stores contact information consignment contra ct sign use contact information email fax gig information store page artist management manual page every store within certain radius gig taking place receive email fax announcing gig couple weeks gig stores able make sure cds stocked shelves posters put anticipation sales course make sure announce cd availability website gigs gig prom otional items flyers posters postcards samplers people know go make purchase merchandise table gig give fans coupons take store get couple dollars price cd coord inate stores first make sure couple dollars comes portion profits stores use retail contact information keep stores informed publicity promotion efforts including radio airplay public appearances reviews interviews articles often increase chances getting better positioning within store well encourage stores order products f uture also major record labels keep touch retail stores see artists substantial regional sales hear name interested offering type deal eg recordin g pressing distribu tion licensing etc something interested pursuing make sure read consignment contracts carefully contract information regarding much receive unit sold receive money long consignment term responsible checking product ou ask store somewhere cds store add certain amount usually new artist expect people pay f cds keep mind consider pricing options able sell units price cds low fans make buy next cd money well go shows buy merchandise page artist management manual page stores purchase units upfront cash since selling directly store going distributor money sales go directly retail tores much reputable distributors comes getting paid make sure hold onto contract take store comes time collect payment remember keep track stores product periodically check see product sold need restock stores dont want pestering coming frequently professional let know simply want help help check would like posters put samplers counter free giveaways also notice stores people buying lot cds along stores units left unsold allow decide whether worth keep product certain stores need spend time promoting make sure rely entirely consignment sales retail stores takes lot promotion peo ple go st ore buy cds takes get paid retail stores make sure addition digital distribution eg cd baby orchard tunecore etc also sell product directly web site andor social net working profile stores dont like idea selling music online dont brag selling product b site youre visiting retail accounts page artist management manual page distributor since people still purchase music retail stores discuss ways products arrive keep mind however music retail stores place majority music purchasing activities happen fu ture people going accessing music playlists online mobile devices cloud distributors physical products music retail stores likely business new model meantime howe ver lets discuss current role distributors music business distributor middleman record label retail stores distributors provide network place product retail outlets attempt convince retail stores buy stock product provide warehouse space inventory management ship products retail accounts place orders additional function distributor invoice retail stores collect money product sold distributors process returns unsold products retailers generate sales reports pay money owed according terms distribution contract job produce provide finished product well promote record general public make aware make purchases independent artists new record labels qualify distribution put several successful ie money making releases year operational history good management place dont qualify direct distribution suggestion would approach independent labels major label distribution deals place pitch recording distribution ou money contribute marketing project could help move deal forward page artist management manual page interested approaching independent labels major label distribution deals place begin search purchasing copy record company directory pollstar store httpwwwpollstarcom includes contact information independent labels major label distribution also check web sites distributors united states locate contact information independent record labels whose product distribute main distributors united states include ada httpwwwada musiccom burnside distribution httpwwwbdcdistributioncom eone distribution httpwwwkochdistributioncom emi music marketi ng httpwwwcarolinebbcom emi label services caroline distribution httpwwwcarolinedistcom harmonia mundi usa httpwwwharmoniamundicom mountain apple company httpwwwmountainapplecompanycom mvd entertainment group httpmvdbbcom naxos america httpwwwnaxoscom red distribution httpwwwredbbcom redeye distribution httpwwwr edeyeusacom sony music entertainment httpwwwsonymusiccentralcomloginjsp super independent distribution httpwwwsdcdcom tate music group httpwwwtatemusicgroupcom orchard httpwwwtheorchardcom travelvideostorecom httpwwwtravelvi deostorecom tvt records httpwwwtvtrecordscom universal music group distribution httpwwwumgdbbcom wea corp httpsnewweacomlogin page artist management manual page combined music released companies account estimated percent us thinking distribution always keep street date release date mind street da te day close able predict cds made available public since takes long time set distribution anywhere two six months start process long street date order give distributor enough time product available retail pressing distribution pd deals pressing distribution deal type distribution deal independent label delivers finished masters artwork larger label distributor label distributor assumes responsibility manufacturing packaging distributing finished product generally pd deals also provide major label distributor handle marketing product independent label paid royalty typically products retail price deals typically range independent artists labels previous sales distribution track record qualifying distribution mentioned earlier larger national chain international record stores accept material distributor order product corporate headquarters national distributors prefer work label multipl e artists roster commitment releasing several projects every year adequate budget allocated marketing sales track record page artist management manual page unable qualify national even regional distribution good option research distribution companies place products types stores would like cds find names labels roster contact labels directly see would interested signing distribution deal records distributed would still record possibly manufacture records least could get distributed retail accounts arrangement investor otherwise sales track record access large budget consider trying get distribution label release however consider distribution things need aware important consideration fact future music consumption form physical cd products form downloads streaming mobile devices cloud technology consider undertaking consider able costs distribution number cds manufacture shipping costs costs distribution related marketing promotion impact returns etc keep mind future music consumption heading another direction indeed choose pursue physical distribution following things consider along things distributor want know cds need bar coded even though get bar codes manufacturing companies like disc makers cdbaby oasis cd pay cost getting bar code going real distribution possible already manufactured cds without bar codes ev ent remedy situation printing stickers decals codes sticking back cds page artist management manual page need suggested price list product need marketing plan proposed budget upcoming releases distributor need see understand true costs distribution necessary budget committed tasks need show able create demand artists cds need planned release schedule projected sales initial ship title upcoming year mentioned earlier national distributors require sales track record multip le artists prove need sales report least previous two years need list report title account individually list sales account report need show return ratio title well gross sales per title return ratio identify many units shipped returned distributor retailer retailers stores accept product return privilege basis means retailer orders cds via distributor unable sell ship back full credit refund price paid records records sent back distributor unsold retailer known returns since reco rds bought returned distributor distributor refund money offer credit comes account ultimately means distributor made money units many cds returned bad sign good reason distributor cautious signing order deal effectively returns distributors hold certain percentage money paid retailer reserve hold un til time confident stores return products credit point get paid records sold retail page artist management manual page national distributors want see marketing plans soundscan reports last releases well marketing plans next releases plans indicate budgets consumer advertising retail advertising co op publicity radio promotion touring plans marketing efforts nat ional distributors want know much product hand title good sign cds available unable quickly manufacture needed distributors ask bio history label key personnel helps people team retail distribution promotion marketing experience credentials distributors want know many people staff distributors want know distributed prove awkward youve bad experience distributor looking sign another one make sure leave distributor something wrong eg paying time distributing products accounts required etc sometimes distributors go business forcing look elsewhere distribution almost national distributors want sign exclusive agreement meaning one else distribute products long contract makes sense since multiple distributors would much confusion retailers regarding ord er order send returns coordinate retail programs etc often possible sign exclusive national non exclusive international deal distributor thus retaining option sign different distributors territories overseas page artist management manual page required remove products consignment previously distributed signing distributor keep mind since may take track everything make sure products removed need provide distributor promotional copies cds well one sheets send retailers important make sure tha promotional copies holes punched area bar code shrink wrap removed prevent unnecessary returns copies also needed store play one sheet x page provides essential information release distributors retailers information one sheet include album title song titles descriptions artists name album cover photo quotes reviewers description style genre brief bio names musicians barcode catalog number suggested list price tour schedule media marketing campaign etc many distributors one sheet templates use distributors deal replicated cds format choice cdrs cassettes vi nyl although vinyl seems making somewhat comeback lately certain types music however cassettes vin yl may acceptable eg vinyl record pool djs cassettes people countries access cassette players still dominant etc cds catalog number spine catalog number identifies cd sake record keeping accounting usually printed spine cd along artist n ame album title page artist management manual page many distributors want know certain things artist label example artist well known label adequate co op budget label digital international rights project key markets label expects sell product radio retail campaign scheduled publicity campaign involving media artist touring performing artist label soundtrack tv placements quality recording measure standard within genre well known guest musicians album label manufacture enough cds quickly sudden demand label committed marketing project couple years necessary label upcoming releases label material catalog also sold label sell products one distributors competitors label already cds stocked stores types questions need answered distribution risky proposition many distributors known ask label front fees help cover costs even ask bond take lien masters aware moving forward cd artwork meet standards products ge nre available retail also important know relationships publicists radio promoters marketing companies booking agents managers sometimes help convince distributors business especially true companies mentioned known distributors positive way page artist management manual page research youve committed finances roster three four acts act performing extensively active promotion publicity may right time pursue retail promotion distribution importantly need funds necessary see projects analyzing funds decide whether start regional campaign expanding nationally recommended push immediately f national distribution campaign recommended new artists many things place order go national dont anxious head route right away budget limited one two acts projects albums etc might want consider consignment shopping projects independent labels distribution place one many regional distributors regional campaign regional distributors sometimes willing deal artists e two releases long willing commit resources helping promote record regional distributors often partner distributors regions sales well need expand beyond local area able help expand distribution read music business publications available order ascertain financial status potential distributors particularly billboard httpwwwbillboardbiz last thing want exclusively tied distributor goes business months campaign leaving unpaid invoices merchandise locked warehouse assets bankruptcy court page artist management manual page committing specific distributor make sure contact labels roster find type relationship ask labels distributor shipping product required making payments time withholding much reserve requesting many promo copies etc get information distributor align distributors deal products within genre understand style music also conduct research evaluate whether dis tributor deals stores stock type music try establish many sales marketing reps distributor staff since people pitching products retail stores another important question ask many labels company currently distributes since distributor many labels sales reps one definitely want avoid initially select independent distributors major labeldistributors essentially thing fewer sales required independent distributor major distributors prefer artistslabels national exposure regional recognition distributors capable getting products every retail account products need sold specialty stores need conduct research enables find distributors service relat ionships specialty stores youre interested best thing case decide stores want product find distributors service store ie distributors stores order page artist management manual page distributors sympathetic towards independent labels usually submission policy displayed website otherwise call email th e distributors ask submission policy review policy pay close atten tion instructions policy indicate materials want send need place order qualify distribution conduct research order find contact distribution company ouve sent information expect type correspondence distributor regarding whether youve accepted get accepted keep mind beginning distribution road journey ahead long hard distribution process distributor contract want sign extremely important contract reviewed negotiated experienced entertainment attorney important things atto rney help negotiate include grant rights term products territory prices payment manufacturer distributor obligations relationship parties reporting trademarks service marks trade names confidentiality termination publicity warranties liability modification assignments etc one important items discuss distributor much money percentage amount owed hold reserve case retail accounts return product money liquidated account paid hold much reserve long time period may end seeing little money long time worsen situation even distributors notorious paying independent labels unless labels projects pipeline distributors interested talking labels roster may help shed light situation page artist management manual page important understand best go region region first album new artist dont try go national first album leave second third album everything goes well make money first one usually take first album make people familiar artist aware songs trying move across country fast could cause burn financial resources faster make money back sales putting financial cr isis jeopardizing distribution relationship also important discuss retail buy distributor crucial step towards successful retail sales campaign done city intend distribution retail buy campaigns also known placement programs expensive often costing per city retailers distributors produce publications place advertising yo ur products also include effort cost price positioning co op point purchase pop advertising price positioning strategy whereby products priced entice consumer make purchase eg sale products positioned highly visible attention getting co op advertising ad costs divided two companies typical label distributor retailer co op relationship retailer agrees purchase certain number records label via distributor exchange ads promote records sale retail store co op ads produced radio tv print media co op strategies also include pricing discounts store displays tv spots way increase visibility product sales page artist management manual page point purchase typically refers promotional graphics focused influencing consumer behavior moment purchasing decision se include posters postcards store signage customer giveaways related custom graphics let people know artist album availability important remember distributors lot clients need attention sales commitment keep sales rep updated weekly things happening including live shows radio airplay newspaper articles tv appearances soundtrack placements positive reviews promotion activity store performances special remixes social media campaigns etc pay attention release make sure stores well stocked product dont keep updated get lost vast catalog distributor probably sell copies turn result high percentage returns retailer end distribution relationship sales rep comfortable selling products retail accounts information give regarding promotion publicity activities better able convince stores stock product addition keeping sales rep informed promotional efforts also wise encourage offer incentives retail accounts order help generate orders incentives include offering discount prices cds bought box lots large quantities delayed billing discounts money due paid time f ree records eg free cd every retailer purchases wholesale price page artist management manual page distributor place initial purchase order ship cds products warehouse shipment send include packing slip detailing ordered shipped number units shipment distributors purchase order number shipment also include one sheets materials used help sell cds distributors retail accounts promotional cds djs included shipment retail stores try cd possibly place listening station make sure explained earlier artwork cds clipped punched otherwise marked discourage stores returning cds unsold product credit end listening station promotional period one sheet supply distributor spell suggested list price slp cd suggested price stores sell cd general public example list price cd could generally labels sell cds distributor list price cd list price example distributor would pay label distribution contract spell billing cycle bill distributor sending invoice amount owe voice sent distributors accounts payable department include invoice number information regarding shipped shipping date unit price amount due distributors purchase order number youve shipped distributor several different cds one purchase order invoice page artist management manual page depending contract distributor normally days receiving invoice pay amount owed hold reserve ie pay certain percentage amount owed case retail accounts return unsold product obvious reasons products returned unsold distributor cannot pay since money made addition distributor pay less reserve product actually shipped retail accounts product still sitting warehouse waiting shipped means sent distributor cds shipped stores distributor pay units shipped stores cds still sitting warehouse unfortunately arrangement described worst thing th happen start label get hit record hands dont large enough budget manufacture product keep sending product pipeline meet demand wont receiving cash distributor months dont cash immediately available find unable take advantage opportunity strikes long record labels artists make sure enough cash available even executing aggressive marketing promotion campaign distribution way make sure promote record send people stores products stocke keep mind cannot promote record indefinitely records projects pipeline enough material follow current release keep distributor happy distributors likely pay ou products might interest page artist management manual page changing distributors may come time one reason another problems distributor could distributor refusing unable pay money owed distributor unable get products kind retail stores interested feel lost shuffle among dozens labels distributors roster distributor going business make moves need review contract see says ending relationship possible move catalog another distributor shouldnt expect happen overnight follo wing things expect course changing distributors review contract inform original distributor change distribution following procedures set distribution contract expense original distributor ship whatever left product warehouse new distributor wherever else may need products shipped makes sense ship product new distribution place otherwise pay shipping original distributor location location new distributor issue credit original distributor products shipped new distributor expect payment original distributor money owed page artist management manual page expect money owed since original distributor may still deal returns stores expect money paid time six months original distributor make final payment return product remaining pay close attention things made leave first distributor new distribution place point work even harder keep good communication lines open help new distributor sell records last thing want sever yet another distribution arrangement h ave start things finally keep mind distribution every musician wants every musician needs afford addition mentioned previously future music consumption take place away retail stores invest option time tied system soon become obsolete bulk financial output probably areas time including tour support social networking efforts think long hard true costs distribution jumping radio promotion campaigns podcasts satellite internet radio radio independent artists initially mainly form online podcasts internet radio stations hundreds different podcasts playing music providing audio content thousands listeners every minute day provide avenue get music heard places could never perform even promote effectively services like musicsubmit httpwwwmusicsubmitcom service music podcasts f want handpick individual stations submit music ou search podcasts play style music even ones focus topics interest sites like podcastalley httpwwwpodcastalleycom podcast pickle httpwwwpodcastpicklecom even though podcasts individually reach hundred people collectively reach audiences hundreds thousands impact increasing fan base manage get music played hundreds stations dont concentrate ones play music since even ones cover topics could play music connectio n made lyrical content topics interest find podcasts address hobbies interests approach hosts possibility exposing music listeners page artist management manual page indie contact bible httpwwwindiebiblecom contains contact information thousands radio stations play music independent artists also submit songs pandora radio httpsubmitmusicpandoracom must physically manufactured cds mps order submit music consider submitting music digital radio promotion using companies like ipluggers httpipluggerscom musicsubmit httpwwwmusicsubmitcom non commercial college stations independent artist focus areas radio make impact terms awareness time plenty line college high school stations play music independent artists airplay information used press kit get better gigs interviews views attention booking agent since takes convince certain college stations listen material add play list begin process early another important thing remember take many radio stations playing songs time make impact terms cd download purchases ticket sales live shows except ones enjoy breaking new acts radio stations generally want first onl ones playing songs promoting radio always keep release street date mind always helpful radio stations playing songs right around release street date onwards try co ordinate radio airplay shows book college campus nearby venues promoting specialty shows college radio stations without aid radio promoter time consuming effort small budget need radio airplay information biography media kit epk little choice put necessary time page artist management manual page addition information found print directories like indie bible musicians atlas search engine results utilize lists like one fat campus httpfatcampuscomcollegeradiohtm intercollegiate broadcast system list httpwwwfrontiernetnetibsstationshtmlstationtopanc hor locate college radio stations send material start college radio stations within region performing band promoting product also look line radio stations play type music go websites listen minutes programming make sure research type music radio station p lays highlight ones play style music check station website andor call email ahead time find send package helps actually listen stations intend send music know something particular show pd dj etc independent artist dont afraid ask send package avoid wasted ex tras people send usually impact whatsoever towards increasing chances receiving airplay making contact beginning independent radio campaign target college radio stations non commercial stations internet radio stations high school radio stations mix specialty shows commercial stations airplay ask fans get feedback people cities radio stations contacted know city better us e internet much research since printed directory information quickly become outdated page artist management manual page campaign effective need much radio activity going one time possible quite challenge since r adio stations wont necessarily play songs according schedule always keep schedule mind attempt radio stations play song single time always possible since stations may feel another song album caters closely listening audience since high school college radio airplay lead massive amounts cd sales always incorporate promotional efforts newsletters live performances videos mixtapes social media street team promotions advertising etc game plan make sure music quality standpoint ready radio airplay know stations format ie know type music play pay close attention submission guidelines u nless otherwise informed dont send mp attachments music links radio station almost prefer send replicated cds artwork jewel case artistbands name spine added stations library make easy remove shrink wrap cds never blindly send packages radio stations call first verify contact name address music director md md decides songs add play list generally disperses music various specialty shows stati program director pd decides overall programming radio station sometimes pd md person college radio station stations specialty show hosts host shows particular days like weekends sent music directly page artist management manual page unless producing show station also programmers djs usually power deciding gets played air dont bother sending packages value dj really likes song mentions md pd meeting package package simple light point include condensed biography cd radio one sheet album cover artist name album title music genre album release date website info track listing brief song descriptions quotes contact info compelling image story might also add band photo press release read air listened particular show add note comments much enjoy show etc generally send cd mps unless specifically requested songs less college radio make sure first song lot energy short intro section put sticker cd indicating songs want md consider airplay since generally wont time listen whole cd youve sent package dont call station endlessly ask arent playing song yet mak e one follow call music director weeks youve sent p ackage make sure cd station probably every week check progress stations okay email md letting know calling also allows email back call status update call mention name band date sent package style music package hasnt received reviewed yet ask would good time call probably review package youve mentioned take notes call back reviewed package want add song play list ask song mind expect add page artist management manual page put information sent package sent etc spreadsheet keep track campaign dont afraid offer drive station pizza free cds stickers shirts tickets air staff offer studio performanc e cd giveaway around time proposed airplay however reviewed package decided add play list dont try convince otherwise ask quick advice possible improvements thank time theyll appreciate professionalism remember next time send something didnt want add song current cd time doesnt mean theyll never add song another time send package mention promotion well places performing cover letter let appropriate person know band available come station visit air interview free cd giveaway party find way make radio promotion fun exciting figure way run type contest event make listeners remember song radio station go radio stations promotion area lunch break buy pizzas air staff record station ids radio station promoting songs eg hi sarah jones youre listening khit fm feel adventurous reco rd station jingle send station station jingle short song includes station name frequency eg fm call letters eg khit along something funny fashionable interest listeners played air anything make song stand others page artist management manual page weeks months submitting music stations use services like mediabase httpwwwmusicinfosystemscomfaqindexasp others track songs played specialty mix show radio commercial stations specialty mix shows part programming specialty show mix show host one two hour show songs played may normally played prime time individual hosts normally pick music show sometimes new songs tested listening audience airplay individual songs specialty shows usually limited dont normally result large scale exposure sales despite better gain exposure shows none use press kit specialty show spin used create buzz energize fans social networks add information bio impress club venue bookers influ ence media especially local weeklies get attention indie record labels commercial radio airplay people would agree commercial radio single best way major label artists reach millions fans people would also agree radio powerful major record labels spend enormous amounts money promoting rtists radio influencing radio station playlists independent artists e ven airplay received mix shows achieved submitting songs individual radio stations pool stations airplay hat artists maj labels receive page artist management manual page even independent artist budget pursue commercial radio airplay money would better spent things eg tour production promotion social networking initiatives street team marketing mailing list outreach advertising etc pursue commercial radio airplay aside occasional spin station home town likely unable break system currently place p romotional fees accepted radio promoters physical work mailing submitting songs radio making follow phone calls emails etc charges levied postage supplies etc yet end day resulting airplay probably fail pay back even costs promotion let alone generate profit major labels lot offer radio stations eg exclusives major label artist visits listener prizes meet greets concert tickets music availability retail station branding marketing etc independent artists even independent artist money spend radio promotion fees radio stations also count fact support single majors major labels marketing distribution muscle make sure available listeners purchase available formats radio stations also count stead supply hit songs major labels cannot said independent labels said however pursuing radio airplay serve purpose artists access adequate levels funding connection major label via distribution deal etc still many booking agents promoters venue bookers retail accounts labels publishers etc influenced decision making information radio airplay artist page artist management manual page radio airplay information put media kit epk sometimes help artist get attention abovementioned people pursue radio airplay make sure adequate funding things necessary even important succeed building large fan base selling music products merchandise dont spend entire budget radio promotion alone wont enable realize musical goals early stage adequate budget options paid radio promotion services include companies like planetary group httpwwwplanetarygroupcomindexphp howard ros en promotion httpwwwhowiewoodcom among others working radio promoter likely use airplay monitoring services like mediabase others track radio airplay might happening promoting commercial radio decide promote song commercial radio consider status business indie artist diy artist indie label digital distribution artist indie label major label distribution major label artist etc well budget available independent artist dont enough money commit full scale comme rcial radio campaign even entry level one may consider downgrading non commercial college radio skipping entire commercial radio promotion campaign altogether page artist management manual page realistic budget consider radio promotion per song three six months promotion depending genre youre dealing eg pop rock country hip hip rb latin danceclub etc keep mind need even money set aside costs including marketing manufacturing distribution publicity advertising tour support music videos online promotion station visits etc situation warrants nce budget set first step towards promoting commercial radio mailing cds delivering singles via digital download station working independent radio promoter opt mailing save money give list stations mail mailing also radio station submission services submit music stations digitally form mps send full cd commerci al radio stations ie cd one song even cd rs burned computer replicate real cds artwork minimum send commercial radio campaign radio cd runs keep barcode artwork keep mailing digital delivery single album service single radio stations campaign helps done research determine single sending right one ther words hit album send multiple albums releases station concentrate one release campaign time try produce several versions single cd including radio v ersion three half minutes long free profanity album version appears album page artist management manual page capella version vocals instrumental version music mix dance version applicable one radio stations sometimes use capella instrumental versions commercials liners station ids make sure artwork singles includes title artist name song lengths record label name contact info versions single album single use standard cd jewel cases cd ie cardboard slim cases etc make sure artists name song title spine case include information outside case inside someone read without open case include add date outside package next step involves radio promoter taking diy route call ing fax ing email ing stations cds mailed downloads delivered giving information song project information includes adds spins already happening stations sales figures album live shows touring information print reviews articles tv appearances street promotion distribution information positive industry comments social media buzz information fed stations continuously usually weekly long campaign effect normally three six months next step consider terms commercial radio whether buy trade ads buying trade ads serves way get important information decision makers radio weekly basis even dont cant reach phone fax email radio station personnel read trade magazines constantly ad one trades youll increase visibility even doesnt guarantee airplay page artist management manual page buying ads also shows erious project committed spending whatever necessary promote music advertising trades tends cheapest january april youre limited budget months might best time run radio campaign promoting radio important keep mind difference adds spins add simply means radio station added song music library available mean actually getting airplay added playlist getting spins means actually getting airplay station important aspect commercial radio promotion campaign add date date want convince radio stations add song playlist radio promotion campaign need begin roughly four weeks add date continue three months twelve months depending results budget allotted objective add date try get station actually play spin song independent artists pursuing radio airplay want concentrate n oncommercial college radio money probably better spent way whatever saved running commercial radio airplay campaign rolled aspects campaign like social networking posters flyers promotional materials merchandise tour production support building street teams mailing list web promotion advertising interviews reviews etc page artist management manual page performance rights organizations pros event send ngs potential radio airplay make sure joined one p erform ance rights organizations pros choice pros set negotiate performance fees radio stations handle collection duties pass owed writers publishers without getting technical radio stations required obtain performance license pay songwriters publishers performance fee order play perform songs air would major pain songwriters publishers negotiate individual licenses collect fees every radio station world best solution one company handle ent er perform ance rights organizations issue blanket performance licenses radio stations allow play every song repertoire three main perform ance rights organizations united states ascap httpwwwascapcom bmi httpwwwbmicom sesac httpwwwsesaccom belong one time check websites registra tion information also register sound exchange httpwwwsoundexchangecom collection distribution digital performance royalties songs performed internet satellite radio dealing venu e bookers booking agents youve got products place available website itunes amazon etc retail beginnings publicity radio campaign going good time turn attention live performances tours efficient way book gigs assistance talent booker booking agent n order deal effectively talent buyers venue bookers booking agents understand interests lie booking agents venue bookers business make money run charities venue bookers use certain criteria help make booking decisions among important questions venue bookers consider many paying people preferably drinking age normally draw performances large mailing list loyal fans come see perform promotionpublicitymarketing plan shows depending whether receive cut much merchandise sell per show created significant amount local regional buzz area venues performed venue size similar reputation among agents promoters venue bookers industry personnel etc ie pain slots band played opening slot headline r etc page artist management manual page effective promotional materials use promote show word ofmouth performers perform ed venue question interest major independent record labels anything written band localregional newspapers magazines television internet exposure radio airplay playing anywhere else town within two weeks proposed date booking agents whose income earned form commission normally consider different set questions including hometown venu es played touring market regional national international upcoming tour schedule competent team place manager publicist radio promoter label ar person tour manager etc current average pay shows many shows currently perform every month many shows would like perform per month future promotionalpublicitymarketing methods currently employ h ave touring vehicle palights necessary materials released cds dvds downloads etc press kit epk including bio photo video live footage one sheet available page artist management manual page independent artists many things place therefore able attract attention interest major booking agent booking agents work commission basis generally booking fees generated booking consider major label artists command substantial fee per show eg alicia keys earn roughly per show adele per show dave matthews commission yield booking agent per show multiply figures number different artists agents roster total number shows year see larger booking agen cies work established artists independent artist generating per show hand would yield booking agent commission range per show hardly would considered worthy putting time establish touring track reco rd however able attract interest smaller booking agent independent artist consider things beginning seek ing assistance longer handle everything need assistance expanding performance area outside hometown build fan base using promotional publicity techniques discussed resource elsewhere eg collegenon commercial radio social media videos samples free song downloads interviews reviews music cards flyers postcards street teams newsletters etc use mailing list invite people shows put together venues let perform night keep collect door make sure keep meticulous notes number people attend shows amount money collected door amount cds merchandise sell etc use data whe n conversing venue bookers booking agents use solutions like marcato musician httpmarcatomusiciancom others help organize information page artist management manual page hard time attracting attention venue bookers promoters paying gigs take initiative build fan base online utilizing social networking strategies developing effective mailing list strategy activating virtual street teams creating compelling youtube video content etc find ing small venue town let play weeknight keep cover charge collected door dont count simply friends family members make work build genuine fan base time draw least people area shows g reat music compelling online content attract fans download music free get going plan shows developed decent size draw large mailing list well reputation hard work promotional savvy videotape shows use footage create live show dvd footage epk send venue bookers along testimonials sales figures gig attendance numbers etc find contact booking information venue bookers promoters resources like indie venue bible httpwwwindievenuebiblecom pollstars talent buyer directory httpwwwpollstarcom musicians atl httpwwwmusiciansatlascom others dealing venue bookers booking agents promoters number people think know bring shows well youre going promote show main pitch page artist management manual page havent done shows area yet ou utilize information sites like eventful httpeventfulcomdemand prove venue booker fans particular area willing pay come see hear perform order create demand havent played particular venue city utilize social networking techniques launch virtual physical street teams garner radio airplay college internet satellite well conduct line promotion eg music download card sample giveaways flyers posters etc build fan base people want see play live important bookers know youre playing many venues particular area clos e time wish booked convince individuals impressive mailing list fan base performance track record sales history effective promotion campaign bring people show battle good music although doesnt hurt booker likes account small p art reason booked big draw quality promotional efforts many people bring venue always strong est selling point tempting may lie draw remember boo king community region large people find whether really draw people gig previous weekend cannot draw big enough crowd consider making friends popular band area offer ing open going gigs wi th cd dvd demo pointing website talking putting show together opening one gigs page artist management manual page make offer however must indicate bringing something table well promoting gig mailing list via social networking sites least able draw people show dont plan popular b letting feed fans though accept take initiative call club bookers promoters area solid offer pitching well known band headline opening act sell booker promoter draw headlining band addition people draw much stronger package sell yo u handling phone calls write phone script use bookers agents promoters help stay track regarding need pitch wander tangent unnecessary chatter never wing call venue bookers agents promoters custom design script different people talking although almo st always similar theme size draw effectiveness promotion call try think things point view booker promoter agent running business interested making money drink sometimes food sales well portion cover charge sometimes though rarely percentage merchandise sales keep mind converse many venue bookers book bands packages sent mail reviewing electronic press kits epks usually case smaller venues addition including website utilize resources like sonicbids httpwwwsonicbidscom reverbnation httpwwwreverbnationcom gigmaven httpwwwgigmavencom others create epks venue bookers review online page artist management manual page larger venues usually book bands booking agency less interested individual bands calling phone indeed larger venues book corporate promoter virtually impossible unsigned band get booked without going promoters independent band goal concentrate level success placing calls start smaller clubs seat capacity focus making good impression establishing strong draw large mailing list remember better fill seat venue people seat venue approach lets begin entry level call first check online find responsible venue booker promoter preferred method f contact phone call required best time call generally best times ca pm venues specific booking hours eg tuesdays thursdays x x time call email visit venues website find club booking hours hours speaking often preferred method contact filling form venue website andor sending materials providing link epk follow instructions precisely wish taken seriously venue booker venue requests th email epk fill form website mail dvd package follow instructions call even venue specific calling hours try sneak early call catch club booker early call right times get proper person phone keep brief friendly yet professional page artist management manual page dont try hard sell phone make decision right away anyway often se package phone tell released record available online local retail stores via consignment receiving local radio airplay reviews music publications tell mailing list fan base leverage help promotion relevant data sites services like next big sound httpwwwnextbigsoundcom eventful httpeventfulcom others might time mention statistics could help convince booker loyal fan base region also mention fact available step cancelled gigs occur venue ie band ready perform short notice another band cancels appearance venue definite days mind gig options case impressed r information phone dates available know availability jump offer one given dont touring track record days may offered might weekdays take day get beginning use social networ king outreach street eam promotional efforts build fan base generate interest show youve proved following touring sales history able get booked friday saturday night case get asked make sure know much want get paid eg door fixed guarantee etc dont track record wont much leverage conversation compensation prepared discuss comes page artist management manual page event booking section n website information availability well requirements fees production accommodations travel food etc forward booker inform booker able promote show online street radio television media also mention want play venues possible locally dilute ticket sales diluting ticket sales means performing often one area fans little reason go every single show book larger venue circuit kiss death tell booker performing gig town week considering booking venues impressed know understand principle indicate openness present strong lineup booking couple local bands decent fan bases open ffer send package get correct spelling name mention intend follow package asked send one package include cover letter clear recording sound like live preferably including video dvd recording live show showing enthusiastic audience band p hoto list venues youve performed relevant references testimonialsquotes band bio sales radiotelevision information put much information one sheet brochure flyer would make easier busy booker read offer direct booker electronic press kit epk online could speed process booking band refer previous conversation may club booker cover letter page artist management manual page send package cover letter flyer one sheet include information like type usic play b venues events played many people youve b rought previous performances c things b een said press ccomplished musicians famous people involved project e r adio airplay tele vision exposure youve received f size mailing list g methods promoting show h level sales achieved cover letter include lot unnecessary information clutter contact information phone email web site clearly visible every item package dont make difficult people contact interested bo oking follow bookers lot plates dont always enough time listen everything comes immediately follow phone call e mail especially said would dont call four times day ten weeks straight would become extremely annoying probably get nowhere said may call e mail several times get response probably every two three weeks try balance persistent pest page artist management manual page follow try commit certain payment date unsure related issues dont feel pressured make decision phone want gig take offer good long term issues discussed need think offer tell person call back checking schedule rest band however set deadline make decision offers table disappear quickly follow get rejected polite take notes may given decision made use constructive criticism move another booking opportunity many bookers promoters agents talk regard helps good references people know person trying get gig every time perform somewhere try get quote testimonial person booked ask reference another way get gig make friends band already gig venue trying perform make friends band approach booker put good word even suggest open share bill sometimes venues prefer deal booking agent understands nature business better deal realities economics booking band case approaching booking agent deal venues may work attempts getting gigs failed keep mind however booking agents prefer working bands already large following booked larger venues money charged made page artist management manual page negotiation first thing understand negotiating must always know walk away negotiation dont always negotiating position weakness identify things crucial comparison things flexible example understand taking particular gig know overall costs gas food accommodation crew salaries equipment vehicle rental insurance etc begin negotiations often find negotiating price sometimes may want take particular gig exposure ou sell cds merchandise increase fan base time also important remember gig calendar lots shows makes look pro active dedicated often impress industry people keeping tabs seeing worth investing booking therefore strive book many gigs possible even guaranteed pay venue see ways get paid even scenarios take great care make sure gigs arent booked close one another city shows booked city cannibalize others audience reduce general turnout show mentioned earlier create booking section website containing relevant booking information booker promoter would need include pictures band band bio post video footage band performing live put gig c alendar displays dates unavailable well notes dates available booked indicate performance fees notes fees include eg fees various band configurations different fees depending type show extra travel accommodation fees shows beyond certain distances reduced fees non profit charity organizations etc page artist management manual page include form booking section venue bookers promoters submit offer use form collect information like proposed show date time venue location venue capacity show type eg club college festival fair corporate theater venue etc bookers contact information show details money fees offer times show length productionbackline included accommodations included travel included food included etc section miscellaneous notes considering fees charge accept analyze costs conduct research bands similar profile getting paid researching bands charging dont simply listen band sounds like charge fee similar sound consider factors including many albums theyve released size mailing list touring track record whether record label providing tour support radio airplay number followers friends social networks whether booking agent etc band similar profile gets paid show generally ask get paid independent band dont availability pricing information website would unrealistic request guarantee show similar venue keep fees line bands similar profile small v enues usually different ways paying bands booking agent generally negotiate things differently f independent artist booking shows following common ways getting paid smaller venues percentage common way new bands paid venues arrangement venue pays percentage whatever collected door cover charge page artist management manual page percentage anywhere collected door cover charge arrangement generally less risky venue booker promoter could risky dont promote gig try get lot people show could end sharing mere whole band however able bring lot people show manage negotiate door could end money venue could paid end night imagine promoting show effectively people show cover charge negotiated door would band sometimes bands bill share percentage door people asked door band came se e order figure much band gets promote promote promote regardless percentage get door keep mind getting paid door get someone trust collect money door ev en venue door person guarantee arrangement venue pays guaranteed amount money regardless many people show arrangement usually reserved established bands bands prove decent draw following justify guarantee venues pay guarantee know make money fans ways eg bar food sales percentage cds merchandise sold venue share tickets sales miscellaneous fees etc however th ere venues pay guarantees pre established budget set aside bands examples venues include colleges festivals fairs etc guarantee vs percentage arrangement venue offer band choice larger guarantee percentage page artist management manual page example venue offers guarantee versus percentage door band get paid greater two end night money collected door band receive percentage greater arrangement usually safe middle ground since band least know guarantee venue knows nobody shows still afford guarantee pay toplay situations literally pay rent venue performance controversial say unethical may optional cant get booked venues lack track record pay toplay situations asked buy tickets pre sells venue sell fans prior show types instances objective venue lower even eliminate risk booking band guaranteed following example pay toplay situation works follows promoter gives tickets sell fans date show sell first tickets pay promoter first tickets per ticket able keep money made number tickets sell remaining tickets keep scenario sell remaining tickets course beneficial large fan base manage pre sell tickets able keep balance donations tips certain scenarios like coffee shop gigs house concerts etc venue offers chance perform donations andor tips audience instances venue pay even n obody shows nobody gives donations tips page artist management manual page types gigs may give certain musicians opportunity perform people would otherwise stick around cover charge get people impressed enough performance drop money tip jar donation box another reason band choose gigs position w would otherwise get booked venue venue wouldnt take chance losing money paying band track record established fan base taking gig offers chance fill gig calendar add biographical information gigging track record even generate recording merchandise sales well increase fan base types gigs also help bands build relationships venues turn situation one th e band get guarantees venue future dates venue band contract play smaller venues often find gig done handshake real virtual club bookers even bother writing presenting contract bands book make point least writing items agreed faxing booker keep records protect show venue someb ody tries wiggle commitment engagement contracts anything handshake verbal contracts valid one page documents twenty page contracts riders addendums page artist management manual page following items may see contract date agreement made name address phone number venue capacity venue name address phone number band many band members date dates show time show length show load sound check times show time doors open public ticket price merchandise sale arrangement allowed sell mer chandise like shirts hats etc amount paid band percentage door guarantee split bands etc deposit due band date deposit paid person money paid type show eg concert festival battle bands etc age restrictions associated show recording restrictions associated show recording permitted acts bill technical requirements rider required lights equipment etc hospitality requirements rider required lodging food etc cancellation policy way disputes handled mediation arbitration court etc page artist management manual page mentioned earlier use solutions like marcato musician httpmarcatomusiciancom band leader httpwwwthebandleadersoftwarecom others keep booking information organized updated different types gigs book band always prepared find additional alternative sources live performances income definitely need use booking agent certain types work discuss later ost major booking agents interested booking well know n already impressive performance touring track record get momentum buzz going consider trying get one larger agencies take client local regional booking agents open hearing independent bands seek put together live performance campaign try schedule gigs take place release date releasing physical cds people see perform buy music like hear begin gigs take longest time book first example festivals college gigs etc order enjoy full benefits performing look different places could perform attempt book variety gigs com plement example depending style music write record tour could perform caf\u00e9 one afternoon followed charity fundraiser performance night next day could could house concert evening gig college campus later night night air radio station performance gig club venue see strategy multiple opportunities perform front different people constantly gives chance generate income practice perfect show sell cds merchandise well add fans mailing list page artist management manual page addition clubs several options comes performing looking many possible help raise visibility add track record sell tickets recordings merchandise increase fan base require little work others require research expenses terms making phone calls sending packages etc researching performance opportunities k eep options open use list spark ideas able add performance venue options following list conduct research depending style music perform v enue performing options include music industry conferences showcases college shows campus venues festivals fairs clubs instore appearances onair radio performances radio station events house concerts hotel gigs free ages shows listening parties showcases caf\u00e9s outdoor arts fairs shopping center mall store grand openings performing rights organizations bmi ascap showcases charity benefits retirement communities restaurants specialty stores debuts premiers page artist management manual page holiday events weddings opening slots side stage private parties corporate parties high schools cruise ships churches gig swaps farmers markets busking booking gigs may require services booking agent promoter lets talk little bi gigs mentioned music conference showcase slots music conferences eg cmj music marathon winter music conference canadian music week sxsw etc offer showcasing opportunities independent musicians showcases unpaid submission fees used add bio fill spots along tour route deadlines submit applications showcase slots usually months events ne ed start submitting materials early use resources like sonicbids httpwwwsonicbidscom others get information submit music showcase consideration page artist management manual page college gigs colleges book campus gigs semester advance although book one year advance means begin submitting materials early schedule mind try tie gigs college radi station attempt get radio airplay around time gigs couple ways attempt get college gigs one way attempt book gigs way go agent promoter book campus gigs also sometimes possible use combination two attempting book college gigs search line look contact directories list colleges find contact information director student activities student activities board colleges andor contact information campus organizations find rather time consuming dont agent working behalf go ahead begin compiling list making phone calls sending emails make better use time either using resources like indieu httpindieucom looking college web site contact directory information calling find responsible booking person best time reach information may already ite move next step getting right person mail package might challenge colleges keep logbook database handy write enter notes call email page artist management manual page colleges submission deadlines keep mind make inquires note person used book shows left campus packages ready go door electronic press kit epk ready present contact people make sure note receiving persons name date sent package provided url epk follow date dont epk ake flyer brochure necessary relev ant information eg band pictures price contact information testimonials sales airplay info references etc make sure put price range flyer brochure could say example charge per show depending travel compi le minutes worth foota ge best performances include audience reactions comments go dvd well epk include information flyer brochure person intereste booking band get access dvdvideo actually send dvds unless asked since become quite expensive long run especially yo u dont get booked always initially point location online access r electronic press kit epk containing sound clips video footage key getting college festival gigs persistent pushy call unless crucial certainly dont call youve told interested another thing remember major label artists perform campus ask lot money advantage offer perform less major label artists example unless big group one biggest disadvantages may trying book many colleges book shows using means colleges book campus gigs using agents promoters artist contacts directly conventions page artist management manual page brings us second way attempt get college gigs submit artist package booking agent attends conventions college reps campus buyers go book campus gigs biggest conv ention held annually national association campus activities naca web page httpwwwnacaorg submit packages agents book type music get agent interested submit package showcase band naca convention sometimes makes difference getting band booked colleges course could join naca agent submit package thats extra expense another similar organization association promotion campus activities apca found line httpwwwapcacom could fee submit apca artist associate membership application give access campus market directory use book gigs member also eli gible exhibiting showcasing opportunities apca conferences workshops many performance exhibition associate volunteer opportunities keep mind expensive take route limited budget may want concentrate college booking many bands spent money taking route end little show research taking plunge festival gigs festival organizers like college buye rs book performing acts months ahead time means send packages look towards performing future festivals suited certain genres music like rock singersongwriter jazz blues alternative country classical world metal folk page artist management manual page mainstream commercial music like adult contemporary top rburban pop festivals generally good source gig opportunities unless youre signed major label usual check festival websites call email ahead find submission policies regarding band materials follow follow sites like festival network online httpfes tivalnetcom sonicbids httpwwwsonicbidscom others provide opportunities submit music music festivals craft fairs etc instore appearances every time meet retail store manager discuss stocking product consignment ask possibilities performing live store every store interested wont know ask might expect chances better store already carrying product flexible offer perform smaller acoustic set isnt loud customers even perform store parking lot also show store manager committed promotion project may also carry product anticipation increased sales upcoming store appearance get chance perform stores promote like would performance include information web site social networking profile band hotline flyers postcards posters let people mailing list know performance try work cost cd merchandise coupon people show store performance make people show offer raffle contest kind gift giveaway promotion try coordinate one local radio stations media page artist management manual page musicians guide tourin g promotion musicians atlas along directories sections local stores carry cds consignment information allow store performances dont forget use internet powerful resear ch tool find suitable retail candidates call email ask performing opportunities also drive around town stop independent music store see ask stock product let perform kee p mind store necessarily music store specialty stores cater clientele base similar fan base work well air radio performances make rounds local college public non commercial radio stations offer perform live air station listeners commercial stations let perform air already well known major labe l artist promoting receiving airplay station listeners want hear major label artists chances independent artist much better college non commercial radio chances performing live air increase greatly already commitment college non commercial station play songs upcoming gig either large venue town college campus let people station kn ow upcoming shows may stores area stocking cds try get college newspaper write article band tie live performance give radio stations reason air page artist management manual page decide play music creative offer bring pizza radio staff give away autographed cds band shirts listeners try work type air contest listeners call win something preferably think different ways make performance event staying true art radio station events radio stations sponsor events usually larger commercial radio stations major label recording artists performing events always chance well known local act get open national act side stage smaller local stations much open local bands perform events usually radio station personnel put together events way promote radio station local regional communities regard getting perform events mostly something organized internally radio stations however done good job promoting locally may interested including part performance line could great exposure could make happen enough money investor pay become co sponsor one station events sponsor able hand band cds samplers posters shirts postcards even perform part station event option cheap however usually costing low mid five figures shows easy get lot times lot politics involved radio stations web sites find information events stations coming also fin information clubs mix show djs perform approach talk regarding station events page artist management manual page house concerts house concerts literally intimate concerts performances put together somebodys house type show usually works better acoustic music musicians strip act voice guitar flute piano violin harp etc setting types shows casual intimate obviously screaming rock b wouldnt work quite well shows popular organize well even put tour together travel regions besides home town trick finding people willing promote show host homes start putting together show either house another location access could employ promotion strategies would types shows except wouldnt identify location event people contacted first rsvp house concerts keep things casual fun find location house intimate yet well ventilated make sure adjust lighting fit mood hav e ample access restroom somewhere people freshen relieve offer refreshments possible many people come shows willing pay entertainment good suggestion would allow people pay feel like opposed official cover charge keep reach zoning local laws concerning establishments charge admission entertainment state shows may wish set minimum number people per show paying minimum price know exactly youre getting price could include cd could sell autographed cds merchandise performance page artist management manual page listening parties showcases listening parties showcases usually set band showcase new music industry people fans type showcases option perform music cannot usually performed regular nightclub eg pop urban r ap etc listening parties put together almost anywhere interested putting showcase together locate club venue let use place free night bring enough people charge certain amount money rent pay toplay could even rent recording studio rehearsal space hour use showcase creative location since probably getting paid showcase try fin venue dont pay ask people pay promote listening parties showcases way would promote regular gigs using mailing list social networking etc remember even intend invite industry people always impressive fans present shows industry people fan base capable promoting shows people mailing list shopping centers malls shopping centers malls good places perform band performs aco ustic ages kids music family friendly music cover tunes performances shopping centers malls must coordinated mall management office centers managers whose sole responsibility schedule performances upcoming season malls allow performances want maintain certain image allow performances book months advance page artist management manual page malls want coordinate performance grand opening store mall event like th july festivities mothers day etc many concerned insurance event case speaker falls ome one injures mall gets ued etc well issue pay perform get event insurance eg httpswwwmusicproinsurancecomspecialeventaspx offer perform free sell cds merchandise chances performing greatly enhanced course centers malls happy play without condi tions mentioned talk management make offer search malls area line begin search wikipedia list malls united states find suitable mall get contact information management office call business hours managers busy probably wont return call leave voicemail call available keep call ing back get line remember start calling early wont able set performance weeks notice perform mall shopping center see cds available sale consignment record store near location performance addition ask manager sell merchandise table next performance since lots mall traffic children present fun dont forget add names mailing list page artist management manual page performing rights organization pro showc ases three main us performing rights organizations bmi ascap sesac periodically host showcases many major cities around united states showcases usually organized benefit members sometimes open non members showcases would exposure money since pay perform however starting need gig credentials add bio f benefit showcases also good ways rehearse new songs get feedback performances find events visiting performing rights organizations web sites found httpwwwbmicom httpwwwascapcom httpwwwsesaccom cruise ships singer musician sing play broadway andor vegas style music yo u consider filling tour schedule performances cruise ships addition mentioned styles cruise ships also hire types acts including cover bands string ensembles small orchestras solo pianists solo guitarists island bands impersonators tribute bands show bands variety acts etc effective way get gigs cruise lines go booking agents like proship entertainment httpwwwproshipcom oceanbound entertainment httpwwwoceanboundca others agencies generally hold auditions across north america europe australia new zealand larger one hold auditions phone places person auditions unavailable page artist management manual page also allow send dvd demo bands performances also try contacting music services specialists similarly titled personnel cruise lines directly asking positions cruise lines could contact directly include cunard httpwwwcunardcom holland america httpwwwhollandamericacom silversea cruises httpwwwsilverseacom seabourn httpwwwseabourncom oceania cruises httpwwwoceaniacruisescom regent seven seas cruises httpwwwrssccom crystal cruises httpwwwcrystalcruisescom pay performances cruise ships ranges per month room board transportation provided cruise line payment usually made cash b esides small tip roughly per day cabin steward get keep money make keep mind however responsible reporting income paying taxes another thing watch money spend cruise souvenirs drinks purchases ship docking etc leave little end contract make sure spend save wisely weddings private parties depending type music play ou always consider perform ing weddings private parties way supplement income keep mind much easier time booking weddings private parties play cover tunes always include original tunes set list page artist management manual page book wedding private party gigs agents wedding vendor web sites eventparty planners usually help dvd wedding private party performed may perform family weddin gs company events order put together minute dvd performances include audience reactions comments bride company representative etc package performance ready charge per wedding depending configuration band services offer example also mc event learn special songs couplehost entertainment event rent pa one provided hire extra players get right sound provide music sets make sure questions answered let price reflect work involved try get reservation fee writ ten contract protect losing money event gets cancelled performing options available add ideas list try many one time possibly could pr obably retain assistance agent options eg cruise lines private parties casinos hotels fairs corporate parties etc promoting shows announcing product availability soon get show confirmed venue andor complete recording made available general public think going promote showproduct yo u fail adequately promote show product availability people show make purchase addition getting people attend benefits promoting shows many talent buyers venue bookers booking agents event promoters talk develop reputation able promote shows well great position get booked venues even expand outwards regions another added benefit pro moting effectively record labels get information local coming acts bookers agents promoters well local regional label ar scouts something interested use sites like e ventful httpeventfulcom promote shows even fans demand show town sites like also allow provide venue bookers evidence fans willing come shows pay cover charge get habit promoting products cds downloads merchandise etc time promote shows review earlier chapter publicizing promoting recordings ideas utilize addition ones chapter musicians completely ignore many old school line promotion methods internet technological advances fortunately ahead game combine old school methods newer techniques discuss many different promotional ideas techniques section page artist management manual page keep mind carefully pick ideas work type music dont spend e ntire budget efforts one single technique ideas cost time others cost money others cost time money think promotion necessary expense help get great paying gigs increase fan base mailing list get sponsors sell cds downloads merchandise mailing list suggested earlier making continuous effort add names mailing list time started act band time send e mails postcards people mailing list telling upcoming shows cd downloads availability use solutions like fanbridge httpwwwfanbridgecom reverbnations fanreach httpswwwreverbnationcomband others mailing list outreach efforts tempting never add someone list without opting make sure use email client allows people painlessly unsubscribe list wish provide people many opportunities sign mailing list web sites social networks send email blasts try include instructions call action telling people buy cds downloads purchase pre sell tickets show nd sending emails make sure give something eg exclusive content helpful advice free download link important milestone updates etc often ask something able target email messages appropriately example sending gig announcements fans according live relation venue page artist management manual page keeping fans date dont email often make sure information send actually newsworthy interesting avoid using words subject line scam artists spammers use look emails junk mail folder examples else emails wont get peoples spam filters ideas past shows peoples shows recall last five shows performed attended think made shows special people go shows email alert band newsletter etc news n artists website word mouth friend colleague type publicity advertising internet radio television print course major artists advantage radio airplay television internet exposure name recognition dont however try take notice interesting promotional gimmicks one favorite groups might employed fan brand band evangelists encourage fans act brand evangelists spread word friends family members neighbors colleagues dont assume fans automatically know often remind frequently since feel though thing required purchase cdsdownloads merchandise gig tickets theyve done many simply wait next thing offer ffer support inform best way support spread word everybody know without access mainstream radio television best way build fan base harness enthusiasm existing fans help grow page artist management manual page encourage fans utilize social networking tools music centric like blipfm httpblipfm others songs available itunes via cd baby orchard tunecore ioda etc ask fans create imixes include songs playlist send friends thing amazon listmania lists songs available amazon ask fans create share video ringtones using video footage band provided make sure reward active fans exclusive downloads autographed items live chats free tickets merchandise premium products etc samplers powerful way get people get taste offer give sampler ou cant go stores like costco nowadays without getting fill free samples food vendors trying market new product works way music could make cd dvd recording snippets songs album live show give music download cards offering people ability download songs website depending item space available ake sure include band name contact information web page social network url band hotline number etc mini gig calendar names stores cds available sale sites downloads available pictures band artist etc somewhere packaging give samplers music download cards away street club patrons couple weeks gig give samplers away people leaving venue performing better give away people leaving since going right cars page artist management manual page hand samplers people going clubs harder time hanging onto partying limit radius sampler cam paign blocks around venue try identify places people could become fans likely gather one way check websites radio stations r area music would fit look special events station sponsoring movie premiers summer concerts store openings fundraisers etc show pass samplers people event course wil l careful hand samplers youre wanted indeed events allow sample products passed event sponsors may prudent speak radio station street team personnel ask feel handing samplers give samplers away street club patrons couple weeks gig time life release people lot things going short attention span dont hand samplers three weeks show conducting sampling campaign pay close attention solicitin g signs posted area usually get away handing several dozen samplers somebody notices dont menace dont force sampler anyone hold sampler towards somebody approaching without blocki ng path dont appear interested dont want simply move sampler way allow continue unimpeded ask prepared give short description artist style music mention fact free music sampler page artist management manual page ringtones wallpapers convert music ringtones share fans utilize metadata including vanity text codes etc promote music also upload photos fans use wallpapers work well across various mobile phone screen sizes video ringtones create video ringtones live shows rehearsals studio footage behind scenes candid band footage goofing etc share fans mobile campaigns create deliver mobile campaigns engage fans using text voice web smart phones applications using right service run mobile campaigns ability send fans direct links songs itunes offer fans exclusive artist band updates via text voice run real time fan votes polls give fans ringtones audio clips pictures videos coupons allow fans call artists bands leave messages let fans send text messages photos screens live events page artist management manual page youtube video soundtracks thousands youtube channels offer tutorialtrainingtechnique videos lots traffic come across channel like feel topic attracts people demographic fans consid er contacting account user seeing would interested using one songs soundtrack video make sure songs mind fit well videos portraying music adds extra dimension emotion video ends win win situation around get expo sure get use quality music cost instances earn money sales material available itunes viewers directed store purchase download disc jockeys music fits dj friendly categories ie songs would hear radio played djs clubs consider using services like promoonly httpwwwpromoonlycom serato whitelabel delivery network httpwwwwhitelabelnet others submit songs directly djs promotional purposes services work well music styles mainstreamtop pop modern rock urban rb dance electronic contemporary christian country club latin etc interviews try set interviews gig good way invite someone local newspaper television station review gig well p odcasters playing music play style music shows page artist management manual page could offer interview conducted dressing room live air podcast site sometime show sound check also use resources like indie bible httpwwwindiebiblecom others get reviews use website gig flyersposters radio station events radio stations listen chances music write perform sounds like music favorite station radio stations station events announce air web site events designed primarily promote radio station people street could anything store grand opening movie premier whatever event many station listeners show order win station prizes keeping birds feather flock toge ther theory goes reason many people show like music case show bunch samplers give away people events course remember information upcoming show well information music available sale along sampler web site url band information hotline one sampler people find information get back home flyers postcards print flyers postcards information upcoming shows cd availability limit flyer postcard distribution cars people within blocks venue performing areas require permits flyer distribution make sure able proceed dont hand flyers indiscriminately hand people look like would like type music couple weeks gig page artist management manual page people throw flyers away try get postcards instead p eople feel little bit guiltier abo ut throwing away postcard least look see tossing always include web site band hotline case someone wants information flyer postcard information abo ut gig including venue address date cover charge applicable also mention music sold especially available consignment local retail store promotional merchandise items like shirts stickers etc used promotion al sale purposes give away certain amount shirts stickers order get people remember name group act afford try interesting design logo eye catching people take anything fr ee literally hand street people look like would buy music smarter way hang areas like minded people hang like clubs stores restaurants malls fairs conventions etc stealthy lot times find chased away security certain areas hand move get caught tshirts stickers also given away radio stations part contest also put aside shirts stickers sale gigs get places like zazzle httpwwwzazzlecom jakprints httpwwwjakprintscom sticker guy httpwwwstickerguycom contests giveaways hold contests giveaways web site local radio stations winners receive free copies cd exclusive downloads band merchandise tickets show etc page artist management manual page also get creative different types twitter contests energize fans interact fans fun interactive entertaining interesting make con test better outcome contests involve anything user generated content writing essay sending funny pictures embarrassing stories etc contest anyone enter try make theme something would interest kind people would like buy music advantage holding contest collect contact information people enter later send invitations future shows promotions hav e sponsor brand partner involved release tour products andor services incorporated contest gifts concert listing submit gig informationitinerary concert listing websites like jambase httpwwwjambasecom songkick httpwwwsongkickcom others local free weekly may also allow gig calendar information submitted free street teams put together teams people willing promote music street well virtual street teams promote band online people pick street team could friends die hard fans pay street teams go around distributing promotional materials problem option street teams often promoting several projects time get lost mix addition savvy potential fans sense str eet teams truly believe project true fans sound authentic truly enthusiastic music page artist management manual page recruit people street team announcing newsletter web site band hotline voicemail also recruit peo ple going colleges local area asking around use web site recruit people fans cities start tour perform outside local area also need street teams cities help place cds consignment stores get perform instead cash payment offer give free cds shirts stickers backstage passes posters etc people street team ask fans print flyers posters website post around town exchange free admission shows posters use large full color posters promote shows cd availability describe show style music way potential fan understand comparing known artists available include quote source credibility potential fans make sure posters include band name ticketing pricing information style music cd show web site url band hotline number places music merchandise available sale independent record stores stores carry cds consignment happy put posters zoning permit restrictions p osters also put streets surrounding venues performing well stores carry cds com panies put posters fee usually know areas put posters without getting trouble need research companies good reputation hiring page artist management manual page cross promotions cross promotions rather complex execute require co operation least another business two work effective example would cross promotion set local bicycle shop local radio station podcast way would work would go buy bicycle bicycle shop something fans would appreciate winning would prize somebody would win cross promotion contest people wh come bicycle shop would pick free band sampler sticker entry form requires write short essay bicycle entry forms would sent radio station podcast submitted stationpodcasts site read air listeners station would call vote winning essay winner would announced air win bicycle reason complex independent artists usually difficult get radio station go along might easier time finding podcast college radio station participate pick companies receptive independent artists cross promotions also another way get samplers peoples hands like hear may come shows buy cds even dont enter contest win prize mentioned pick companies cater kinds people would normally buy type music perform sponsored events need money order sponsor event could sponsor radio television show block party radio station event showcase fashion show etc basically means pay certain amount money sponsor exchange get run commercial band upcoming show cd availability page artist management manual page event sponsored able hand band samplers shirts stickers promotional items help people remember come shows buy cds independent bands bypass option due expenses involved effective done corr ectly particularly sponsoring radio station event retail accounts email andor f ax gig information stores vicinity gig couple weeks gig make point going stores leav ing samplers post cards counter gig information ask store manager put posters place cds visible location could also put sale sticker cds anybody comes gig couple co upons hand gig doesnt hurt ask retail manager whether perform store sign copies cds sold performance listening parties another promotion technique host listening party time official release date album manufacturing physical cds either host party someones house recording studio even live websi te essentially opportunity people hear album ahead time get see artist close personal use occasion take pre orders album make sales ahead release date advantage hosting listening party website people attend virtually located local area indeed fans around globe log participate chat listening music interacting artist fans artists prefer host listening parties club venue rent recording studio order take advantage superior sound system page artist management manual page whichever way choose try keep casual fun take op portunity thank old fans welcome new ones may also research ways done online deal technological issues costs involved local celebrities research find local celebrities could invit e perform cd could include local radio station djs tv personalities music editors athletes politicians musicians comedians business owners etc try find people higher profile existing fan bas e business mailing list ask add vocals cd even appear music video live show receive promotion spreading word within lists also capitalize name press releases publicity promotional materials creative try find people common interest background political outlook joint venture marketing potential joint venture targets include musical equipment manufacturers clothes stores hair salo ns music publications music websites specialty stores music newsletters independent tv sho ws music blogs etc sk business website owners introduce product service audience via mailing list website etc offer percentage every sale made endorse ment activating affiliate program graphic wrapped promotional vehicles technique works best hip hoprap music variations urban rb contemporary popchr find companies locally apply graphics vehicles graphics could include album cover pictures artist visually stim ulating graphics band name release date band hotline number website url page artist management manual page graphic wrapped promotional vehicles work best sent ahead release date free samplers posters flyers stickers tshirts public best pick neighborhoods target demographic likely th e advantage graphic wrapped promotional vehicles people cant tune drivers pedestrians exposed vehicles cannot avoid looking since right front beside check yellow pages search online companies provide service mix tapes technique works best hip hoprap projects mix tapes serve way get music people streets well expose music industry pro fessionals efficient way get done submit music services like coast coast mix tapes httpcoastcoastmixtapescomsubmissions others generally effective putting one unknown artists mix tapes include major label artists usually taken seriously long person putting project together good ears reputation putting material liked people listening addition services like deliver mix tapes hundreds mix tape sites blogs efficiently could utilizing method however keep mind recording industry cracking mix tape services include music major label artists remains seen long viable way independent artists get recognition discount tickets cds consider offering corporate discount tickets cds local corporations large companies area also offer student discounts local schools extend offer faculty family members page artist management manual page chances w ill much better style music appeals childrens market schools perform seasonal adult contemporary jazz easy listening singersongwriter new age etc music corporations may pleasantly surprised find corporation willing buy cds give employees even buy block concert tickets gift clients band hotline percentage world population people phones computers high speed internet access applications smart phones allow subscribers access entertainment playlists music movies e books etc tim e location phones something ignore completely order tap phone demographic depending type music create might want consider setting band hotlinevoicemail include num ber flyers brochures andor postcards hand people street set voicemail extension people listen music call additional information people listen including buy cds gigs coming information band hotline include band name information upcoming gigs include music playing background mention song titles well people purchase cds tickets shows keep mind people without internet access also likely make purchases pay products online consider post office box mailbox example httpwwwtheupsstorecom people send checks money orders cd merchandise purchases create brochures postcards order forms attached handed street team campaign along flyers etc people use make purchases page artist management manual page also sign paypals virtual terminal httpwwwpaypalcom take orders people via phone fax mail process payments computer shipping products set separate voicemail interested people listen songs sending payment promotional techniques use separate average musician nothing put songs soundcloud reverbnation wait discovered constantly look ways creative promotional activities stay top latest social networking technologies likely emerge next months years things gig following ideas things gig help shows run smoothly ultimately profitable gig accept gig make sure makes sense using research data ake sure draw enough people make gig worth example reverbnation add mailing list service collects additional information fans signed mailing list including zip code allow see fans reside area gig going take place services use well including eventfuls demand feature httpeventfulcomdemand know terms gas food vehicle rentals accommodations equipment rental crew salaries insurance etc exactly costs gig make sure getting paid enough cover expenses hopefully make profit sometimes decision made gig promotional publicity related benefit attached whate ver case may good reason gig previous section booking gigs goes many details related getting gigs booked gig booked things go page artist management manual page dont tour manager take upon advance show call email club venue organizer agent promoter confirm fact show still get details including venue address directions p rimary contact venue day event sleeping accommodations travel arrangements car rentals insurance equipment rental availability tickets contract etc find venue photography videotaping policies som e places either wont allow photographyvideotaping take place others union regulations govern decisions find sell merchandise venue whether venue take cut youve signed u p service like marcato musician httpmarcatomusiciancom others enter pertinent information regarding con versations one database order keep everything organized gig confirmed make sure book gigs area least two three weeks booking gigs close together reduce draw giving fans option attending one shows instead giving one option see play th area urgency hype event reduced performing place times one month fans miss one show attend next one miss next one attend next one actually end missing make event show special people attend fear missing one might seem pretty obvious b ut make sure rehearse show well put lot effort making memorable experience fans show pull everything together make money rehearse well put time thought p roduction values page artist management manual page regardless style music performance must tight coordinated words musicians sound like actually spent time going parts playing group band sounds tight audience perceive show sounding better turn lead purchase cds merchandise well sign mailing list whatever skimp rehearsal time contact local companies inquire whether would interested sponsoring show local companies could benefit placing logos banners posters flyers postcards announcing show well spreading message people mailing list attending show ask venue booker promoter extra things help promote show inform things plan offer additional things coordination offer either send posters put go venue hometown put posters gig approaches leave good impression book ers well ensure successful gig probably offer play find much getting paid well getting paid eg cash check getting paid guarantee getting percentage door get deposit collecting money multiple bands performing counting fans coming see band find policy food drinks band getting discount food drinks band getting food part pay band members get drink tickets page artist management manual page note time doors open venues guest list policy long doors open allowed venue sound check time show begin back stage area dressing room band ask whether show ages show since type show affect promotion campaign audience make also determi ne type show put together get details regarding parking unload gear youll park vehicle lot find parking secure case leave stuff van recommended find whether venue promotionadvertising show using bands nameimage ads willing add necessary information send graphics posters website gig listed calendar events andor add link website listed printed programs handed venue signage banners band information visible audience performance bring banners try get many lists venue media list retailer list sponsor list etc inform venue would like lists help promote show sending press releases invitations complimentary tickets etc important ask whether need bring equipment show also make sure get good idea type sound system venu e pa provided page artist management manual page need provide sound would good time contact couple sound companies get rental quotes dont venue providing sound system contact make sure mixing board enough channels band well enough monitors hear onstage venues enough microphones double check anyway make sure system adequate needs otherwise youll show deal system less enough inputs band get dimensions stage venue manager promoter submit stage plot venue make sure band accommodated ser vices like stageplotpro httpwwwstageplotcom help put together stage plot submit venue stage dimensions important small stage may mean cant usual stage props number musicians set make sure get approval venue use pyrotechnics specialty stage props elements show may include use prohibited materials run afoul zoning laws union regulations venues insurance policy stage show requires usual items pa lights backline etc make sure youve discussed everything venue book er promoter prior heading gig find venue booker promoter order bill find bands performing opening also note whether dj playing sets band stage night page artist management manual page find whether need bring sound engineer lighting person doorman security etc venues provide doorman staff promoters take care putting show booking shows never hurts ask utilize resources like pollstars concert support services directory httpwwwpollstarcom others need put together crew gig promote show social networking sites presence make sure youve set facebook twitter accounts social networking sites note use promote online people plan entertainment activities advance give people time put gig calendar use services like fanbridge httpwwwfanbridgecom fanreach httpswwwreverbnationcomband among others send notices fans spre ad word bring friend could also give fans offer free entry bring friend two show people show even fans get free helps overall numbers since industry people interested many people draw also venue makes lot money food drink sales lot people show spend likely book perhaps even guaranteed amount money importantly people show enables make money cd merchandise sales well add names mailing list people might come friend may yet list page artist management manual page send press release media soon gig information confirmed press release announcement gig hope media newspapers television stations radio stations blogger podcasters music publications etc cover keep mind decision use release entirely individual entertainment editors words dont include news unless feel value interest readers viewers listeners release never one page announcing gig reality expect much action mainstream media regarding press release rec eive lot releases corporations major labels perceive impact readers viewers listeners ption send release mi n httpwwwmincom pr newswire httpwwwprnewswirecom handle press release distribution contact college radio station djs pds internet podcasters see might interested interviewing ahead gig andor playing music shows allowing perform live audience offer product giveaways listeners like complimentary tickets cdsdownloads band merchandise access party order keep major record labels abreast performing submit tour itineraries pollstar email tour itinerary guarantees included listings research cross reference dates may included also use marcato musician httpmarcatomusiciancom sub mit show information concert databases add gig information directly sites like jambase httpwwwjambasecom others page artist management manual page send gig information free entertainment calendars city gig find submission information entertainment sections publications area start free entertainment publications usually contain section post information entertainment happening venue night upcoming week dont forget college newspapers c heck line local radio stations event list ing section add gig send email record tores cds consignment within mile radius gig use email let store manager know gig ask make sure cds shelves highly visible location ask play cd store even hand samplers patrons days leading gig offer put cds sale ry convince put posters gig send email ra dio stations area promoted songs letting know live shows cd sales reviews interviews help decide whether play songs air likely play song days leading gig well invite air performance interview ticket give away contest course talking mainly internet radio college radio specialty shows local commercial station make sure youve sent gig invitations let people mailing list know gig well industry people want invite invite members media come review live show invite booking agents promoters see perform possibly offer gigs future invite industry people r gig offer drink tickets page artist management manual page send invitations college newspapers radio stations well members student activities program boards nearby colleges send invitations three weeks gig way two weeks notice ou send invitations long gig risk chance people forget gig dont wait close either even though ont expect everybody invite show inviting keeps name top thei r minds radar get equipment health insurance needs order never know may equipment stolen damaged gig try contacting companies like musicpro insurance httpwwwmusicproinsurancecom clarion associates inc httpwwwclarioninscom others insurance needs allow enough time audition band membe rs put band together rehearse shows decide songset list wardrobe stage presentation lighting scheme band configuration etc designate people charge merchandise table mailing list sign nielsen sound scan venue sales program order report sales cds merchandise venue think might sell enough get radar music industry professionals label business least years set account following instructions detailed pdf httpwwwnielsencomcontentdamcorporateusenpublicfactsheetssoundscansoundscan ussales procedurepdf make sure band members necessary equipment need show write equipment checklist list used set break page artist management manual page put together chore list band member responsible specific chore example one person may charge collecting money gig another could responsible running final equipment check leaving venue yet another person could responsible items merchandise table giving shirts staff w ear gig working checklist ensure nothing gets forgotten put posters venue couple weeks gig letting people know band supplying information cds available sk fans street team members handle poster sampler distribution campaigns town gigs recruit people website mailing list band information hotline weeks gig offer street team members free cd waive cover charge come show confirm gig one last time couple days show youll surprised many times gig gets cancelled nobody bothers tell band takes couple minutes call confirm fact still bill expected necessary contract handy case need fax somebody venue questions th e gig contact fans mailing list addition reminding one last time upcoming gig ask accommodate band members night two depending many nights performing particular city besides free tickets merchandise offer something useful like walking dog mowing lawn laundry page artist management manual page otherwise reserve hotel rooms might need band crew make sure rooms reserved artists bands name names spelled correctly wont confusion check contact hotelmotel chain offer buy block rooms multiple dates ci ties offer discount rooms ask fans area performing recommend good places find inexpensive food cheap gas equipment rentals affordable accommodations etc send gig reminder day gig dont assume everybody remembers date show told couple weeks ago last minute reminder increase draw getting people fence gig commit remember people gig money make cover charge merchandise sales likely asked back perform venue importantly think anything ruin sho w left unconfirmed make sure emergency stash cash available balance debitcredit card hand inevitable occasion venue doesnt pay gig event happens enough money emergency fund gas food accommodations show gets cancelled make sure let fans know soon possible especially fans driving cities page artist management manual page gig prompt expected venue certain time dont keep sound person venue manager whoever let waiting however dont show hours time expected venue ask let limit number people guest list putting guest list together l imit list industry people record label executives radio stations personnel retail store employees promoters booking agents reviewers blogger etc friends family members pay dont try sneak people roadies either order avoid paying cover charge remember venue guest list people get free even looks good full house also need make gig profitable strike balance couple hours prior show walk couple blocks direction around venue personally invite people come check gig people rarely get personally invited go gig artist especially people live work nearby might take time check show basis alone try work drink food special venue hand coupons people invite provide additional incentives show get additional people gig increase ticket cd andor merchandise sales also increase draw well potentially add r mailing list possible h ave doorman stamp peoples hands bands url issue people wristbands printed code text free download venues use stamp identify people already paid get thes e stamps usually stay peoples hands page artist management manual page even wash times see get venue use stamp night gig always perform full sound check whenever possible possible may make line check initially first song serving sound check try arrange full sound check venue ahead time arrive enough time perform one greatly affect sound since want blow everybody away first song would shame waste sound check fodder bring sound person make sure work closely house sound person one respect persons space conflict arises unless adversely affects sound show always yield house sound person know particular sound system better also know things sound room even things may sound weird sound check course venues people clue mixing live sound instance okay sound person take c ontrol situation instances newbie venue gladly yield experienced sound engineer use occasion training session learning experience youve done sound check stop playing play instrument sing microphone actually begin first song performance especially people venue already particularly applicable venue open happy hour otherwise open general public prior show start time page artist management manual page people venue wearing shirts possible yo u band shirts caps good idea people venue doormen waiters waitresses club managers patrons band members wearing place band banne r stage least series posters bearing band logo name positioned strategically stage people venue dont know like seehear arent prepared purchase anything moment ban ner poster provide information need sign mailing list purchase music merchandise theyve left gig set prepared bring merchandise merch table inside venue somebody trust handle transactions create printed price lists easy read include items available sale large clear signage bandartist name makes th e merch table easy find make sure person working merch table knows everything band including bands discography bio tour route schedule member names songset list etc make sure area around merch table well lit items displayed appropriately use cd stands companies like httpwwwcdstandscom position cds full view addition person merchandise table wearing band shirts display shirt back wall shirt form allow fans pay wish cds merchandise instead havi ng fixed price unless pr ice match headliner system keeping meticulous records sales page artist management manual page items sale merchandise table could include cds dvds vinyl sale b music download cards sale free giveaways c tshirts hats stickers etc sale free giveaways promo kits interested label personnel booking agents promoter media etc e x glossy photo graphs autographing fans f mailing list book smart phone laptop mailing list signup make sure merch table items sale reflect bands personality particularly band merch tables vicinity mention point merchandise table stage gig offer free ep something doesnt cost lot money patrons let know pick merchandise table try keep people ie friends hanging aimlessly around merch table arent purchasing anything could scare away casual fans people discovered band may intimidated approach table make easy pain free possible people make purchase laptop smart phone credit card reader availab le people dont dont otherwise want use cash allow purchase items using credit cards example paypal httpswwwpaypalcom offers credit card reader app use process credit card payment using smart phone consider bundling items together people might want buy multiple items discounted prices even sell merchandise dont available gig mail shipments arrive back home page artist management manual page since people may space put merchandise make sure bags available make sure get peoples emails come merch table even dont purchase anything offer incentive j oin mailing list form stickers downloads discounts towards future purchases ensure record keeping meticulous show since likely pay sales tax merchandise sold gig start end show strongest material pick two three best songs play two first end show one hooky memorable avoid playing many songs back back tempo groove key audience could ge bored many strung one keep dead space minimum avoid things require dead space like changing instruments stage positions incorporate new sounds instruments show variety perform ing try thing song vary gestures facial expressions body movements lighting schemes banter wardrobe posture etc otherwise audience feel even case though every song run raffle contest give everybody enters venue raffle ticket end set intervals show call random number hat give winning ticket holder free cd shirt end th e last set give away something bit valuable expensive make sure make fun invite winner stage receive prize age social networking bands always looking ways interact audience raffle good way page artist management manual page remind people band name mention ing several time gig could well case people audience wandered venue without knowing performing leave show early dont get chance go merchandise table might still remember bands n ame check website later catch social networking sites speak directly audience certain songs engage audience saying something song coming song mention website telling audience find song lyrics information give insight perhaps wr ote particular song tell funny story something happened guitar player recording session research ahead time incorporate local events etc show situation suitable try taking questions fans written pieces paper answer ing groups periodically throughout show think kinds ways interact fans addition performing songs make show visually stimulating incorporating something show visually interesting besides merely performing songs type stage prop lighting scheme makes show memorable think usic type image youre trying portray even music sounds great try something else happening stage makes performance special dont stand apart musicians performing area blend forgettable lousy thing intend increase fan base make money music page artist management manual page record show whenever possible depending venue policy try record show using feed front ofhouse foh mixer professional mixing boards capability sending track mix main monitors also recorder laptop able record live feed onto laptop recording softwar e able burn cd rs show offer people either free cd merchandise purchase even free gift attending show could perform basic mastering tracks send songs master ed live recording sell website itunes amazon etc also depending venueunion policies videotape show make dvd give away sell fans well use booking tool get gigs also use footage website youtube channe l way promote band stream show live possible depending union regulations venue policy videotaping offer live video stream ing show hardcore fans industry vips cant attend eg fans industry personnel conflicting schedules live cities countries use services like livestream httpwwwlivestreamcom others let people watch sometimes comment show live even dont stream entire show good way let people see expect come see live may make people w ho reluctant buy tickets change minds come another show page artist management manual page venue allows use professional video camera crew make sure let everyone venue know taping show allow people dont want camera position locations outside frames make sure videographer avoids shooting footage locations model releases available people visible shots acknowledging ownership footage along permission likeness video compensation could couple dollars cover charge band stickers drink ticket free merchandise etc alternative using releases videographer focus shots stage thereby avoiding recording venue patrons work mailing list dont forget get people add names contact information mailing list make list available merchandise table band members mention frequently stage laptop handy people sign directly mailing list using something like fanbridge fanreach mailing list solution band manager designated task making sure vips label ar reps media personnel industry players fan club members etc well taken care manager walk around talking anyone needs talk bands representative important make sure deal offers go manager designated band representative dont spend night asking bartender club manager free drinks free food perks unless thos e things already promised part contract rider type behavior get reported talent buyer club manager promoter booking agent making less likely invited back booked future page artist management manual page allow fans tape shows audio video venue allows use cameras make sure ask venue ahead time taping policies since dont allow taping others allow taping long cameras audio video professional ie point shoot cell phone cameras might fine venues also union guidelines must adhered taping allowed e xcellent way promote band since fans likely post images andor videos social networking sites serves purpose increasing fan base via word ofmouth may seem people bootleg recording purchase real cd surprised discover many become long term fans buy future cds spread word band friends purchase merchandise also come handy comes needing place stay tour h owever remember ask copy recordings put website youtube channel take photos gigs somebody taking photos gigs well photos crowd sets venue allows use best camera possible use photos promotion next time play club either posting board inside club printing flyers distribute gig remember ask peoples permission take pictures get names email addresses tell intend p hotos page artist management manual page end show exact time scheduled end unless otherwise directed venue booker promoter play beyond end time show especially bands scheduled perform somebody stage keeping track time give signal time one song even encore requested make sure wont adversely affecting next bands performance performing beyond scheduled time another band playing make sure yo u take gear stage heading mingle fans work merchandise table need bring along couple roadie also drive van mix sound help setting breaking gear etc able ask band performing need help getting gear stage mingle end gig dont pack gear leave hide dre ssing room groupies friend roadie break gear mingle crowd thank coming even didnt come see try make friends patrons remember everybody wants cool w ith band take advantage talk people ask th em thought performance mention band name name gets stuck memory importantly meet people merchandise table sign purchase items well freebies photos cds shirts etc fans even late stage late encourage people sign mailing list havent already done therefore dont forget ask people sign talk page artist management manual page help help break ge ar ask club manager booker anything help time say remember nice gesture comes time think booking band future thank engineer doorman security waiters waitresses bartender club manager booker nobody ever remembers nice people conscientious think next time need book band important night industry person asks recommend band opening act likely pay offer guarantee next gig double check gear leave venue left venue almost impossible recover equipment clothes left behind list equipment brought check list load carvanbus end gig never leave van unattended loading unloading brainer keep eye gear loading unloading amazing easy someone pick guitar case backpack van one looking watch stuff load like assembly line always somebody van two three others way back forth stage dressing room gear could also friend sit van load unload page artist management manual page gig update information website social networks soon possible upload video audio content recorded show post relevant photos gallery well let fans know everything went encour age show make comments experience post video footage andor audio content take opportunity discuss everything happened show talent buyer club booker booking agent r promoter booking agent used book show ask feedback since frequently involved discussions venue everything went well use time try book another date venue however lot thing went wrong eg people showed fight broke show started late etc take time discuss ways make improvements showing care situation go long way towards building good relationship bookers remember small world word gets around pay band members promptly soon get back often received check payment venue wait check clears however gotte n cash pay members right away pay band exactly said would whether percentage door guarantee etc develop problems gain reputation paying time paying less promised se nd thank emailsletters postcards get home send thank emails letters andor postcards important talent buyers label people media personnel promoters venue bookers street team members etc met came show page artist management manual page update mailing list another thing remember get home immediately put new names collected mailing list database didnt laptop gig get back review video audio footage gig take notes things worked well make note areas need make improvement analyze recordings released cdsdvds downloads set band meeting rehearsal discuss issues gig use meeting go things next gig make better talk things worked really well would like take note songs went well audience ones could delete song list always look ways improve show thats band meeting mostly also time bring band member issues need discussed including negative things may happened stage never discuss stuff stage gig left band meeting gig go around stores cds stocked consignment see need give cds posters samplers let stores know successful show get employees names e mail addresses invite next gi g sponsorsh ips merchandising sponsors play important role helping offset costs recording manufacturing touring performing companies constantly looking ways reach customers directly concert performances provide unique way make happen getting little harder get sponsorships large companies interested high profile artists bands major labels large fan base however liquor companies example often interested even smaller bands cause make money back liquor sales venue following things interest sponsors band act band offer image fan base large mailing list common message etc bands performance sales track record band overall touring goals regional national international often band perform long tour cycle one night one week one month several months long cities andor countries tour routed expenses involved equipment rental band crew salaries per diems car rentals accommodations insurance etc band recorded toured target demographic aud ience well know target demographic page artist management manual page target demographic reached kind media coverage attached tour tv print radio internet many people exposed band campaign ways sponsors products services integrated project performance tour celebrities involved project people see receive sponsors message image requesting sponsor cash product donation sponsor clearly spelled way measure results sponsorship ultimately need answer questions order attract brand sponsor remember company sponsor one sponsor attached project long competitors start companies interested penetrating demographic reach plan reach touring internationally look companies wish extend brand name beyond borders country may always able get cash keep mind products services given free charge discount also value example hotel rooms clothing equipment airline tickets staff mailing lists car rentals part ask instead addition cash even intangible assets like publicity expe rtise value project tour companies may interested co branding magazine ads radiotvinternet commercials promoting product alongside help offset cost tour album project page artist management manual page ca n begin calling emailing someone company asking person charge arranging sponsorships companies dont use like term sponsorship try find department within company deals marketing partnerships initiatives resemble sponsorships large companies arrange sponsorships public relations pr firms booking agents sponsorship consultants house departments advertising agencies may wor k reverse conduct research various pr firms order find clients find firm represents company interested approaching call find send package even pitch sponsorshipmarketing opportunity pr fi rm contact send proposal includes cover letter one page document explaining whats init forthem benefits marketing plan tour itinerary review cover letter general details events following pages explain tour detail get answering questions sponsor might event benefits dont disappointed dont get lot interest beginning may get interest smaller companies find exposure sponsoring project worth could get buying airtime running ads beginning reach sponsors emoti onal level cant lure direct marketing benefit angle build track record find easier get sponsors board page artist management manual page brief discussion merchandising many bands look offset costs going tour selling merchandise shirts caps jackets etc two types merchandising tour merchandising retail merchandising names suggest tour merchandising sale band merchandise tour retail merchandising sale band merchandise retail stores via mail order band website etc initially probably handle band merchandising duties design ing manufacturing shipping handling etc start playing larger audiences expanding tour route selling merchandise may approached may reach merchan dising company handle details exchange percentage sales merchandising deals possible large fan base touring lot large audiences sold lot merchandise merchandising deals usually signed term one album tour cycle merchandising deals require exclusivity possible get advances merchandisers ranging important things keep mind advances usually based bands previous current merchandise sales numbers touring itinerary number cities band performing capacity venues bands touring history radio airplay media coverage sale track record etc artist willing take smaller advance royalty rate may negotiated higher artist need larger advance royalty rate may lower page artist management manual page advances paid usually paid thirds one third singing contract one third commencement tour finally one third specified number shows completed unlike label advances many merchandising advances payments returnable specified condi tions merchandising agreement met example artist fails perform front minimum number attendees shows fails perform specific number shows advance would returnable royalty paid ales touring merchandise usually item sold merchandising company typically pay hall fees charged venues tour royalties paid retail merchandising usually dea ler price bands able get types deals following second third album theyve toured extensively dates per year built large mailing listfollowing history selling merchandise going tour previously bands way increase fan base regions tour locally starting small n make several rounds course couple years establishing enough reputation draw necessary number fans justify expanding outside region nowadays use social networking publicity initiatives reach fans areas outside home region get feedback many would buy tickets show youve created large enough mailing list social networking publicity campaign send newsletters use services eventful httpeventfulcomdemand others find many fanslistenersfollowers different cities might interested coming performance use information make smart routing decisions tour also enable study data google analytics website data accessible administration area newsletter local region place test well show put together make mistakes early process polish act taking show road also place experiment find exactly audience well make mo ney help tour expenses also place gain experience create buzz get crucial references venue bookers talent buyers area page artist management manual page played mos important local venues promoted local fans music industry people received local radio airp lay publicized local media press releases interviews sold records local retail stores begin process planning tour things ke ep mind planning embarking tour first foremost make sure band ready go tour start planning route enough fans support going tour charge enough money per formances cover costs going road merchandise sell tour help cover costs attract brands sponsors help cover costs touring song material strong enough perfor front fans industry people alike cities experience performing cities outside home region somebody enough knowledge touring help logistics details eg booking agent tour manager road manager etc overall show str ong enough take road publicity promotion campaign support tour consider many questions committing go tour early planning stages youve determined makes sense tour strongly consider submitting material music conferences festivals take place regions interested touring since sometimes difficult get gigs new cities without track record showc ase slot club get foot door use information book another gig town night example friday saturday night showcase slot conference try book wednesday thursday night show city page artist management manual page start planning routing tour least three nine months ahead depending distance planning travel genre music yo u perform type tour planning fo r example jazz festivals often booked year advance starting plan tour three six months ahead would late included need time plan route tour confirm dates audition rehearse band hire road andor tour manager hire crew roadies driver techs etc enlist help travel agent obtain necessary visas work permits book accommodations purchase insurance promote shows conduct coordinate radio publicity campaigns get records stores send promotional items venues etc also need make sure arent breaking union rules union member afm afrtasag hiring performing union members planning ahead time order avoid situation unable perform show last minute begin planning tour make sure permanent reliable phone fax number well fixed mailing address e mail account access location eg free yahoo gmail email account laptop smart phone extremely hand access emails road working booking agent promoter would time go routing options analyze whether tour profitable discuss financing options available right eg ticket pre sales crowdfunding record label tour support deposits savings investors sponsors promoters talent buyers brand partners royalties etc help understand much money hand much need make day road order break even tour page artist management manual page without understanding financing likely lose money tour must know exactly much costs day road air bus train cab fare gear miscellaneous rentals hotel rooms food gas auto expenses laundry taxes insurance medical costs phone fax charges crew salaries venue fees atm f ees commissions etc determine overall cost putting tour together deduct cash available hand example overall cost putting tour together cash hand remaining amount money need pay whole tour come ticket sales merchandise sales album sales sponsorships brand partnership contributions endorsements licensing fees tips donations royalties miscellaneous payments whatever income sources come road need assistance raising funds tour consider crowdfunding resources like pledgemusic httpwwwpledgemusiccom power amp music httpwwwpowerampmusiccom kickstarter httpwwwkickstartercom feed muse httpwwwfeedthemusenet artistshare httpwwwartistsharecom sellaband httpwwwsellabandcom others access budget allows consider looking tour buy marketing co op established band page artist management manual page tour buy marketing co op scenario reach headliners agent andor manager offer pay certain amount money eg per day opportunity perform st nd rd act certain number dates eg venues certain capacity eg people tour likely bidding people buy make sure dont get caught bidding war bid afford pay since addition cost buy also take account additional costs bands travel accommodations rentals per diems insurance etc keep mind promoters tour also say matter size draw taken account decisions made also likely need make lots pitches order get one accepted use directories pollstar httpwwwpollstarcom others get contact information managers agents promoters well tour itineraries working radio campaign call stations playing songs ask venues market recommend play stations may well outside traveling range makes sense route tour direc tion may worth trip show profitable receiving radio airplay time contact venues bookers agents make sure tell stations receiving airplay program director music director recommended venue page artist management manual page put together planning routing itinerary book utilize solutions like marcato musician httpmarcatomusiciancom band leader httpwwwthebandleadersoftwarecom others input booking inf ormation plan tour phone venues bookers agents promoters sites like sonicbids httpwwwsonicbidscom others helpful letting know gig opportunities venues booking make calls input date conversation persons name venue company name venue capacity address phone number fax number e mail address comments including follow said calendar mark date tentative date c confirmed date planning first tour try nd stick states surrounding home market region mile radius around home town planning european overseas tour would wise work agent promoter well versed issues international travel able advise legal accounting visa language issues associated endeavors look united states map map whichever area plan tour map route makes sense draw line home target touring region back notice line make sense route zigzag randomly across country region route either rough circle figure eight meandering back forth cities zigzagging randomly across country waste time money gas energy page artist management manual page using data gathered analysis fan base create route map attempt book gigs cities along line dates make sense means plan tour call venues cities along route particular set dates mind use feedback provided fans information gathered sites like eventful httpeventfulcom others help make routing decisions quite juggling act since wont always get confirmation right away may tentative dates cities along route occur dates earlier cities set booking deadlin es decide venues worth waiting consider various booking pportunities eg high schools colleges radio station events specialty stores house concerts farmers markets coffee shops cafes fairs festivals opening slots gig swaps conventions churches malls etc help fill dates make extra money along route remember every day road costs money hotel rooms gas food car van rentals etc regard attempt make money one way another many days possible many sources possible stage depending style music perform ou already submitte media package college bookers college booking agents festival fair organizers industry showcases convention coordinators follow leads see ones fit tour plans addition time solidify gig swaps may initiate earlier bands cities set arrangement many cities located along tour route order make money many days road possible page artist management manual page avoid confusion miscommunication always one person handling booking tasks help cut possibilities accidentally booking band two venues time make sure th e person booking behalf knows everybody e lses schedule speak everyone calls made communication proceeds ake sure set booking deadlines makes sense wait months answer somebody place booking options hold somebody cannot gi date requesting ask could recommend somewhere else town play night nights contact venues try research time public transportation system runs plan end show prior time last train bus runs help fans rely public transportation get show call around media packages ready send least website send people view electronic press kit epk always log phone calls note date package sent well date ou scheduled follow date confirmed note booking details agreed eg much getting paid date time gig equipment provided else bill load ound check times etc send contract venue booker promoter especially venue contract send ask promoter booker media list list publications media contacts area cater music also ask recommend particular writers reviewers contact send promoter venue booker promotional materials might need eg cds posters samplers postcards f lyers etc least weeks ahead time page artist management manual page keep mind media works deadlines sooner send materials better ask venue booker using band name ads also ask link website get sufficient equipment insurance coverage leave never know equipment might stolen dam aged road show insurance quite affordable consider cost replacing equipment absolutely excuse get ting coverage equipment especially going tour many companies offer insurance couple good place start addition homeowners insurance company include musicpr insurance httpwwwmusicproinsurancecom clarion associates inc httpwwwclarioninscom make sure clarify exactly covered pay policy need clear possible describing nature needs including fact equipment one place time since tour som e insurance companies cover equipment taken outside studio rehearsal space may cover stored secure location ask specific questions sign try get people street team members cities tour route help put cds consignment retail stores well hand promotional samplers shirts people street type promotion help get people shows page artist management manual page send gig invitations media industry people residing cities performing invite members media review yo ur show interview sound check show offer p rovide drink tickets industry people want show gig promoting music radio contact local college radio stations see play music around date show conduct air interview day arrive send promotional posters fliers venues put couple weeks show show dates confirmed submit tour itineraries pollstars data processing department guarantees enter tour dates database research information may included call confirm dates embark tour shows sometimes get cancelled venues go business las person know usually band double check show leave town take laptop smart phone road order stay abreast latest information things think n tour following things think tour always carry sleeping bag pay outstanding traffic tickets leave pay attention freeway gas food exits road example notice much gas see next gas stop miles sign pack need extra stuff add overall weight increases costs gas length tour carry non perishable food emergency supply drinking water make use microwaves gas stations let use driving speed limit long tours saves gas renting heavy musical equipment eg amps monitors etc city might cheaper reduced gas wear tear vehicle insurance lugging equipment whole tour consider option shipping several small box es merchandise ahead venues permission rather driving whole tour heavy merchandise boxes eat sleep well youll play better performance energy course long tour increases merchandise sales mailing list signups dont change normal eating habits drastically road keep contact information people meet whi le road including venue ownersbookers promoters helpful stran gers retail page artist management manual page store employees musicians etc never know need help way back ti keep handy list musicians city case need replace sick musician one band members quits middle tour always keep eye equipment take tool kit includes flares flashlight co handy equipment auto needs possible pack things boxes instead cases boxes discarded broken longer use road bring smart phone mp player dvd player laptop games supplement music radio make sure transportation reliable survive duration tour carry extra windshield wiper fluid dont bring attention fancy logos van criminals tempted brea k steal gear sell whenever possible park see hear van dont let people see inside van use bike chains padlocks chain equipment cases bags together inside van criminals prefer quick easy grab getaways take laptop access internet road lifesaver research information contact people mailing list get directions check weather traffic conditions update band web pa ge send receive e mail bring along hand truck help loading un loading heavy items carry first aid kit check expirations dates items kit page artist management manual page use travelers checks creditdebit card instead cash whenever possible dont keep large amounts cash make frequent bank deposits get paid use atm card withdraw money list equipment check leave destination give band member contact lis venues bookers promoters involved tour backups lose master list always carry road maps bring along gps device one rent one join aaa similar automobile association country residence carry membership card times make sure bring medical insurance card make sure backup equipment guitar strings drumsticks pedals cables microphones fuses picks extension cords etc case lose damage something along way carry credit card emergency situations credit card needed reservations booking rental carry second form identification times may required eg banks etc bring along set earplugs save hearing course long tour bring along extra rolls toilet paper explanation necessary let people home know tour route schedule shows get cancelled plan b place make sure way let fans know cancellation laptop wireless card smart phone available updates page artist management manual page youre going overseas make sure passport visa paperwork order also ship merchandise leave also good idea rent equipment get destination instead taking likely rent gear musicians even official equipment rental co mpanies available take along something exercise like exercise ball skipping rope weights carry emergency medical kit well toolkit vehicle take along cooler small cook stove make meals along way extra pillows use vehicle andor wherever accommodations pack extra large trash bags discarding trash etc take along canteen filled water stops tips keeping band togethe r following tips help keep band together disagreement band member keep mind disagreeing ideas necessarily person making everything personal quick sure way break band dont agree suggestion mebody makes mention suggestion agreeable suitable offer alternative suggestion reach stalemate willing agree disagree without ruining friendship try overt favoritism band consi der everybodys ideas provide good reasons suggestions band members accepted rejected based merits keep log conversations band meetings refer notes somebody complaint kind careful comes dating band members often couples within band break one end leaving band entire band ends breaking especially relationship involves lead member th e band even band remains intact situation becomes extremely uncomfortable ex couples begin date either within outside band lead confrontations embarrassing situations play inconvenient times every issue turn confrontation phrase goes something lik e fights worth fighting even lose fights worth fighting even win page artist management manual page pick fights among band members carefully based principle e ach time incident arises consider whether worth figh ting split band duties every member something one band member everything writing songs mailing packages making calls booking gigs renting equipment scheduling rehearsals arranging accommodations etc end resenting asking money even quitting make everybody feel important giving something also make somebody charge something let job dont tell something crit icize say much better could done much possible try allow persons secret talent shine example drummer good voice work song set list sing leads even backgr ound vocals good band also gives fans nice surprise guitar player also artist use art stage prop gigs creative make sure talent fits group image game plan never ever bring argumen issue stage sh ow extremely humiliating annoying lead people quitting group even coming blows stage always wait address issues band meeting discussing issues band members offer solutions instead argume nts dont harbor ill feelings prolonged amount time issues best dealt sooner later bring things earlier constructive way prevent blowing major fights page artist management manual page try help break equipment end gig offer least help carry somebody elses equipment van done setup possible try hang complete band night diner gig builds kind kinship doesnt come merely rehearsing gigs together dont time every make point inviting whole band gig let know ahead time dont plan take ff friends family soon youre e show closing helping come strategies fulfill artists long term musical dreams desires goal every professional artist manager game plan tailo red fit particular artist makes client successful happy creating mutually beneficial relationship worth time effort spend give best client sel fmanaged artist give best manager achieve satisfaction put best effort everything every time resist temptation bite chew know limitations honest yourse lf terms achieve considering resources available never think know everything beca use always learn enjoy best l uck musical endeavors today day mountain waiting get way theodor seuss geisel dr seuss" +} diff --git a/Case-Study-Essential-Brand-Marketing-Guide.json b/Case-Study-Essential-Brand-Marketing-Guide.json new file mode 100644 index 0000000000000000000000000000000000000000..485838bee02c3fc4f278fdfcbf2872e9b742b25f --- /dev/null +++ b/Case-Study-Essential-Brand-Marketing-Guide.json @@ -0,0 +1,5 @@ +{ + "filename": "Case-Study-Essential-Brand-Marketing-Guide", + "department": "Marketing", + "cleaned_text": "businessoffashioncom case study essential brand marketing guide building emotional even inspirational connections product critical ever fashion beauty todays hypercompetitive crowded environment marketing strategies make brands stand stay culturally relevant need mix old new tacticsby diana pearl september businessoffashioncomexecutive summary sent case study read deepdive analysis bof professional membership businessoffashioncom memberships contact professionalbusinessoffashioncomtodays brands need label sweater logo shopping bag part reflection deepening convergence fashion beauty everything sports music pop culture generally enabling brands touch many different aspects consumers lives turn consumers high expectations brands choose let lives whether means aligning around social political causes amplifying certain lifestyles aspirations brand actual value created customers feel theres value theres whats box said tiffany rolfe global chief creative officer advertising agency rga beauty fashion products recognisable emotionally resonant brand identities behind often synonymous lifestyle persona stand ralph laurens visual embrace americana cowboystyle western new england prep example permeates every aspect brand ad campaigns brickandmortar stores products identity turned quintessential american fashion brand brand stand todays fiercely competitive crowded market customers become choosier discretionary purchases case study shows brand marketing holds key creating essence brand conveying brands values identity consumers oneoff runway show popup rather ongoing trajectory reshaped time effective brand marketing builds identity also creates communities loyal customers even opens new markets opportunities business growth ways easier invest building brand earlier companys lifespan theres minimal overhead fewer employees less oversight spending founders strong intuition execute vision take risks end paying take jcrew brand able establish visualheavy catalogues still familyrun business took majority investment vision began falter though later resurged direction chief executive mickey drexler challenge maintain vision even factors begin play role business direction companies pressure investors shareholders shore balance sheet may find deprioritising brand marketing investments whose impact isnt always immediately evident nearterm sales growth strongest brands see bigger picture know investing brand marketing worth time cash recent years seen many brands lose vision prioritised performance marketing boom performance marketing began early driven rise novel cheaper marketing methods brands pay marketing initiatives based results clicks conversions social media search slamdunk way brands simultaneously acquire customers build businesses rapidly even today social media ads become costly less effective performance marketing critical fashion beauty companies case study shows brand marketing needs part mix create closer longer lasting connections customers regardless companys age size seemingly endless products buy brand makes difference consumers spend upwards chanel bag quality superior counterparts strength brand hear brand name want clear focused idea story come head said allen adamson chief executive marketing agency metaforce adjunct professor new york universitys stern school business companies profiled case study striving deep longlasting connections customers strategise around inperson digital events social media often oldfashioned advertising tv radio billboards french luxury label jacquemus written playbook modern brand building demonstrating bring brands online persona life offline story another luxury label heritage brand coach shows importance evolving modernising brand identities remain relevant two young brands dae hair hill house home proven power using community build brand short amount time businessoffashioncomhistory context fashion industry played significant role shaping brand marketing know today runway shows ad campaigns glossy magazines hollywood product placements industry years proven world brand much appears shop window taken home gift wrapped box quick glance fashion history reveals power strong visual identity louis vuittons brown tan monogramcovered print launched guccis horsebit launched pradas triangle launched brands learned meld whole range sensory emotional cues evoke certain lifestyle ethos ultimately create affinity shoppers sometimes best brand marketing moments arent even created brand think audrey hepburn outside tiffany cos fifth avenue store breakfast tiffanys scene continues pay brandbuilding dividends lvmhowned jeweller revamped new york flagship lvmh kept plenty references film including breakfast tiffanys menu selection stores cafe advertising certainly helped decadeslong success chanel benefitted cultural cachet marilyn monroe famously said fragrance wore bed night hollywood plays indirect role marketing uk brands barbour burberry granted permission use british royal arms emblem labels packaging indicate products use royal household beyond luxury art brand marketing taken shape mass market also drawing emotional aspirational resonance though nike first captured consumer attention swoosh logo wafflesoled running shoes since built pool elite sports stars help products associated high performance even among customers might ever aspire run minutes treadmill shoot hoops friends tiffany co continues reap benefits film breakfast tiffanys created aura around brands identity getty images paramount pictureswhen brands come life businessoffashioncomhistory context nike even created personas around products tapping basketball legend michael jordan put name behind subbrand bold ad campaigns also helped give nike reputation willing point view even means stoking wider cultural debates like campaign featuring hiv positive runner ric mun\u00f5z ad starring nfl player activist colin kaepernick hearts minds fashion brands learned time marketing must tap customer emotions build affinity loyalty matters related human emotions easier said done consumers processing many subjective sensations environmental cues every time encounter brand amid encounters today whole new generation customers creating broader interpretation marketing ongoing dialogues brands genz played big role amplifying social media key brand building channel us makeup brand elf example took experimented tiktok platforms early days creating catchy songs users would add videos danish apparel label ganni become poster child scandi style home abroad products highlighting loyal social media savvy followers brand dubs gannigirls bold brands like devoted fanbases goldmine know real purpose exist showing way standing disrupting category build brand incredibly quickly make impact said ruth bernstein chief executive yard nyc creative agency worked brands like rothys jcrew athleta time impactexhibit brand loyalty greater sum parts combined six components brand loyalty critical building longlasting emotional connections consumers storytelling experiencessensory cues community feelgood factorauthenticitybrand loyalty source bof analysis businessoffashioncomthe right message right place right timechallenge making impact marketing become easier respects harder others channels ever brands vie consumers attention brands plethora building blocks create marketing strategies also never stop identifying novel ways make brands stand social media fuels consumers appetite content much early brands leaned performance marketing methods reach consumers used tactics like affiliate marketing offer commission influencers traditional publishers businesses market products search marketing brands pay google search engines traffic directed site us brands expected spend billion social media ads number expected reach billion according data statista market insights performance marketing also began giving companies clear understanding whether advertising delivering anticipated financial returns starters paid results received addition data tallying number clicks impressions analytics software provides near real time insight customer behaviour spend sort immediate transparency wasnt something traditional marketing metrics ever able provide dangers relying heavily performance marketing started emerge time rolled costs rising also growing risks brands left much marketing hands third parties like influencers didnt always depth knowledge brand codes vision inhouse teams social media platforms could unreliable changing algorithms seemingly whim making even organic content risk source statista market insightsexhibit decade splurging social media ads brands continue invest performance marketing reach consumers quickly us social media ad spend e usd billions e e e e e another jolt brands reliant performance marketing happened widespread lifting covid restrictions consumers longer confined laptops phones home connect brands online marketing still important inperson events shopping touchpoints brands put hold lockdowns circles might seemed like victory brand marketing often sidelined performance marketing reality new brand marketing playbook needed recognition reality brand marketing performance marketing must work tandem timing speed important said rgas rolfe thats going allow brand stay relevant explained try keep rigid precious able adapt world around changes businessoffashioncomthe anatomy brandstrategy capturing brands personality online offline building independent fashion brand tough standing french luxury market dominated decades old conglomeratebacked brands even harder simon porte jacquemus managed brands climb slow steady set like rocket ship five years ago products like teeny tiny le chiquito bambino bags became viral sensations set industrywide trends gained insider consumer attention events like runway shows set spectacular locations ranging wheat fields salt marshes reached million sales well along path buzzy emerging label bonafide powerhouse centre growth however personal story thats effectively conveyed consumersits guy south lost mother used love fashion coming ideas dreams said bastien daguzan brands chief executive referring brands personal connections jacquemus life story decided make dream happen founder foreground jacquemus person jacquemus brand share much name brand intrinsically associated jacquemus personal life references throughout brand south france th anniversary fashion show staged lavender fields valensole france quintessential proven\u00e7al location hours drive hometown marseilles influence seen throughout assortment well jacquemus spring collection inspired la grandemotte beach resort designer frequented child products like dresses featuring beach umbrellaesque stripes extrawidebrimmed straw hats provide nods region strong codes around mediterranean lifestyle key determinant element jacquemus said daguzan joined jacquemus paco rabanne may jacquemus continued creative director afraid put codes centre company luxury jacquemus forefront harnessing social media designer uses instagram channel brand personal page shares life announcements adoption dog toutou engagement partner marco maestri documents simple daytoday moments like selfie office mirror plate cherries ate breakfast simon porte jacquemus personal story foreground jacquemus brand identity jacquemus businessoffashioncomstrategy understood beginning role instagram interact community really poetic way said daguzan sharing lifestyle creating desire around consumers bought lifestyle brand leveraged social media presence jacquemus also followers brandpeople want buy want part said daguzan twentyfive percent customers buy jacquemus take picture item main ambassadors jacquemus brand also continuity imbues inperson offline experiences daytoday authenticity storytelling onlinethey taking fashion idea know know know said daniel gonzalez creative director remezcla creative agency digital publication focused latin american culture brand put twist showing collections traditional fashion calendar hosting events unique exclusive locations exhibit jacquemus runway repertoire french brand developed reputation staging envelopepushing fashion shows set anywhere palace versailles beach hawaii comprehensive look brands runway shows date october jacquemus first runway showing ss collection february fashion show aw collection la femme enfant september fashion show ss readyto wear collection paris march fashion show aw collection paris fashion week september fashion show ss collection le nez rouge march fashion show aw collection la reconstruction paris september fashion show ss collection la santons de provence february fashion show aw collection lamour dun gitan may exhibition marseille je taime mus\u00e9e dart contemporain may fashion show ss collection les santons de provence part project marseille je taime openmymed festival september fashion show ss la bomba collection picasso museum paris february fashion show aw le souk collection jacquemus announces launch menswear line june first fashion show menswear ss collection le gadjo calanques de sormiou marseilles september fashion show ss la riviera collection paris italian embassy february fashion show aw menswear collection la collectionneuse march opening caf\u00e9 citron collaboration caviar kaspia paris june th anniversary fashion show ss le coup de soleil collection lavender fields valensole provence november celebration jacquemus th anniversary la braderie brands first physical retail event paris january fashion show aw lannee collection paris la d\u00e9fense arena july ss fashion show collection lamour wheat fields outside paris july aw fashion show collection la montagne march ss fashion show collection le splash molii gardens oahu hawaii may immersive le bleu popup installation selfridges london june aw fashion show collection le papier salt marshes aiguesmortes december fashion show ss le raphia collection le bourget march jacquemus obsessions immersive popup galeries lafayette paris may celebration second \u00e9t\u00e9 capsule collection launch lake como popup june launch jacquemus popup beach boutique st tropez june fashion show aw le chouchou collection palace versailles businessoffashioncomstrategy contribute overall aesthetic around brand settings include camargue salt marshes south france autumnwinter collection beach hawaiian island oahu springsummer gardens versailles autumnwinter theyre usually set outdoors well providing better light engaging backdrop brands experiences arent limited invitationonly shows branching brickandmortar shops opened popups within walls worlds bestknown department stores including galeries lafayette paris march selfridges london may popups included overthetop surreal playful elements brand become known galeries lafayette popup featured giant version popular bambino bag similarly large toaster toast popping printed brands logo selfridges space called le bleu featured brightblue installations themed around water including mock swimming pool popups also encourage customers linger example photo booth flower stand coffee shop execution individual space varies shared traits bright monochromatic features photograph well visitors social media posts areas inviting interaction brand beyond purchasing clothes bags like pennyarcade machine stocked cups popcornin keeping true mediterranean lifestyle roots jacquemus also engaged local shoppers example holding branded takeover beach ramatuelle france bright yellow striped beach chairs umbrellas summer opening popup shops st tropez well portofino lake como italy digitally native brands realising distinct inperson experiences cement customers longterm affinity brand jacquemus ability bring made brand pop online social media real world strengthened identity channels ever brands activate consistency across channels key building maintaining strong brand identity lives digital disconnected driving power something happens real world much meaningful said jon haber cofounder creative agency giant spoon specialises experiential marketing brands stitch fix hbo inperson experiences fuelled fervour around jacquemus company believes help move luxury market build wider customer base really great community younger clientele love said daguzan also need tackle classical luxury clientele order make brand long term cannot depend one customer jacquemus popup shops launched variety locations including mediterranean towns portofino italy jacquemusjacquemus understood beginning role instagram interact community really poetic way sharing lifestyle creating desire around bastien daguzan jacquemus ceo businessoffashioncomstrategy city thats part able show different way time needed bring vision full fruition wasnt coachs newold approach became clear launched multichannel campaign coach forever featured clips like sinspired short film starring actor michael b jordan musician actor kj apa model kaia gerber newscast animals taking new york city rickey thompson shilling coach wares infomercial coach tv debuted february next iteration similarly campaign featured lighthearted videos using local new york city haunts backdrop amid covid lockdowns campaign struck chord customers seeking antidote prevailing sombre zeitgeist inperson events still pause brand also showed autumnwinter collection series coach tv videos addition featuring city coach highlights new york roots simple visual cues like running name city logo added nods city products bags tshirts featuring logo iconic new york grocery store zabars certain celebrity ambassadors also serve underscore heritage including bronx born actress musician jennifer lopez vevers th anniversary runway show staged night new york fashion week officially kicked september also emphasised new york staged citys flagship coachs plusyear history story company rediscovered value original self luxury brand rooted new york city began familyrun atelier manhattan making everything handcrafted leather wallets baseball gloves evolved stable mens accessories became widely known womens handbags business remained small even products sold nationally expanding network department stores around time owned sara lee corporation coach started capture international attention spurring go public wasnt long coach lost way lustre followed path spelled decline many american luxury peers overextending outlet malls driving cycle neverending discounts tumble consumers perception coach high end brand european luxury players growing making difficult coach keep change afoot coach parent company tapestry trying regain place among luxury elite years lacklustre performance sales begun climbing hit record revenue billion representing percent tapestrys revenue playing part renaissance ability reconnect roots brand marketing mix injected modern edge traditional identity creative approach stuart vevers joined coach creative director start new era coach idea wasnt chase popularity brand enjoyed recreating past figure place modern market told bof coach genuine authentic alternative traditional european luxury said british designer important approach authentic way embrace things make us unique american house founded new york revitalising brands personality authenticity coach worked celebrities lil nas x campaigns showcase brands new york roots coach source tribe dynamicsexhibit coachs comeback undergoing brand revamp companys earned media value measure wordofmouth buzz steadily climbed coach earned media value q q usd millions q q q q q q coach dropped debut campaign thennew brand ambassador jennifer lopez january businessoffashioncomstrategy public library location near bryant park collection inspired vevers early days city done careful collaboration marketing team led global chief marketing officer sandeep seth sandeep enjoy disruption change thats connect said vevers way giving space really partner focus strengths lie come together create something amazing moving coachs ability evolve brand identity tested aims become part fashions sustainability story april announced plans launch coachtopia subbrand promote circularity creating new products material scraps pivotal moment brand particularly tiktok post went viral revealing destroyed damaged unsaleable goods coach discontinued practice shortly without reputational damage soon say role coachtopia play restoring reputation particularly important genz consumers coachtopia aims target coachs brand marketing need strike authentic purpose driven note brand date isnt associated sustainability earn credibility space coach employs tactic younger consumers increasingly asking allowing consumers say production process consulted target demographic genz hired partners like genzfocussed consultancy juv consulting bring perspectives brands creation process continue even coachtopias launch said joon silverstein head coachtopia senior vice president global marketing creative sustainability coach added creating twoway communication brand consumer coachtopia evolve communitycentric brand second collection fact created help team student designers opening dialogue said silverstein ways letting go total control brand definition saying journey involving consumers embarking forwardthinking projects retaining core elements always existed brand proved successful formula theres fixed fluid part every brand said bernstein iconic products whats fixed add fluid surprise extend expression excitement keep engine going keep exciting subbrand coachtopia coach aims promote circularity earn credibility genz consumers coach businessoffashioncomstrategy one critical shifts brand marketing playbooks focus community longer brands built using rigid onedirectional methods like billboards radio adverts days brandbuilding strategy likely conceptualised executed customers marketing department cases community emerges around brand unexpectedly example following viral post social media opportunity brand decide leverage moment longer term take hill house home homeware company began dabbling apparel years launch offering stayathome loungewear new york base launched nap dress garment came multiple styles designed comfortable enough couch dressy enough everyday popular ellie features ruffled sleeve tiered skirt smocked bodice showed early indicators promise tartan printed run selling holiday season covid lockdown though dress went truly viral consumers craved stillcomfortable outfit step tiedye sweatsuits sales dress shot fans product dubbed nap dress nation letting community take control hill house home founder nell diamond grants freedom influencers define present brand says community cannot scripted hill house home source anatomy hypeexhibit fandoms followers global survey respondents reveal role communities brands lives fans say fandom community part everyday life fans feel positively towards brands involved fandoms extended periods time fans say brand get involved fandoms long make effort understand fandoms fans say tell brand authentic businessoffashioncomstrategy group brands loyal fans created facebook group members founder nell diamonds public profile risen well instagram offering another touchpoint brand seen revenue increase percent three consecutive years since hill house growing community customers well expanding portfolio dresses apparel power numbers community support brand also amplify message said amber fillerup clark beauty lifestyle influencer founded clean hair care brand dae hair arizonabased startups early days fillerup clark targeted strategy develop brand national network ambassadors fulltime content creators also customers sees posting brand cornerstone strategy get products hands many potential ambassadors possible gifting programme way product starts generate interest social media case cactus flower styling cream whose hashtag nearly million views tiktok potential ambassadors already familiar also believes paying influencers help promoting brand important long brands attitude getting free exposure already would pay thats brands got wrong thats exactly want pay someone said adding amount varies according project align want support supporters today brand works approximately influencers year one sephoras fastestgrowing hair care labels closed million funding round late control founders dae hill house home followed different paths communitybuilding respects similarities others including much let brandbuilders drivers seat dae fillerup clark said company determine campaign influencer appears usually hand rest creator means end result anything styled product shoot offthecuff unboxing video behindthescenes dae campaign shoot influencers place creative brand takes away loses fun said want feel natural said also helps ensure authentic messaging well longer lasting relationships influencers echoes diamonds views dont think script structure community actively listening group people might like product early adopters getting way said entrepreneurs also clear ultimately control brands future rests community one difficult things becoming viral hyped brand people preconceived notion said diamond incredibly positive neutral like well thats diamond personally leans brand marketing much hill house home community may moved early days answered customer service emails still maintains direct dialogue customers thats one reason ahead every major drop hosts nap room chat brands site shell livestream answer questions new products fillerup clark consciously avoids front centre daes branding example name doesnt appear brands instagram images found brands feed still infused brand vision personality right packaging earthy hues inspired deserts us southwest viral moment might give quick buck year going give lasting brand said didnt want following crutch company said want big brand years still sephora thriving feel really proud dae hairs packaging echoes founder amber fillerup clarks vision personality hues inspired deserts us southwest dae hair businessoffashioncomlooking ahead nowadays clearer brand marketing performance marketing must coexist seth coach put brand building creates emotional space subconscious consumer someone ready buy product thats performance marketing plays role critical long place right message right place however expertise across short longterm spectrum challenge brands cmos particularly heavily focused performance marketing according peri hansen senior client partner recruitment consulting firm korn ferry going forward predicted companies seek marketers strategise holistically make brands come life increasingly hearing ceos looking new cmo lets find person shape experience evolution brand follow said hansen less finding traditional brand marketer someone embraces forms marketing ways amplify brand aboutrapidly evolving technologies like generative ai likely play role still early days technology skills creatives need harness power tools said nima abbasi partner maison meta creative agency teamed retailer revolve billboard campaign california whose models accompanying collection ai generated juncture said real lack understanding generative ai cant time brands cognisant new technologies take brands rushing get nfts explore virtual fashion metaverse cut today nft bubble burst mainstream embrace metaverse seems far events play important role postcovid world brands look connect customers person haber said brands craft event strategy satisfy number factors smallscale events build presence neighbourhoods local areas largescale events generate publicity bigticket events like sxsw austin texasgoing forward brands need look customers group theyre talking talking customers visible part brands story today ever images videos populate social media feeds reviews consulted new consumer makes purchase loyalty take brand viral hit lasting success becoming true community seen ultimate goal todays ecosystem creating brand customers dont want shop feel theyre part community means youve elevated product brand brand means something multiple people want connect said sarah engel president january digital strategic consulting digital media company put another way customers invested success brand thats true loyalty begins source gartner cmo strategy spend surveyexhibit follow money gartner survey retail cmos found brands spend slightly digital advertising offline formats event marketing sponsorships partnerships popular channels spend retail cmos marketing investments channel mean percent budget digital offline social advertising search advertising digital video advertisingpaid media seo influencer marketing event marketing sponsorship partner coop tv home direct mail radioowned earned media channels businessoffashioncomfurther reading business fashion complete playbook generative ai fashion case study business fashion build profitable dtc brand case study business fashion build independent beauty brand case study business fashion new model building independent fashion brands case study business fashion introducing brand magic index business fashion brands measure buzz businessoffashioncomall information contained herein sole property business fashion limited business fashion limited reserves rights regarding use information unauthorised use distributing copying modifying reprinting permitted please contact professionalbusinessoffashioncom copies design amy vien edited janet kersnar brian baskin hannah crump front cover image getty images infobusinessofashioncomdiscover complete online courses learning resources businessoffashioncomeducationcopyright business fashion ltd rights reservedfor press enquiries please contact jael fowakes associate director brand community jaelfowakesbusinessoffashioncom liam johnson senior account director camron global liamjohnsoncamronglobalcom" +} \ No newline at end of file diff --git a/Discontinued-List-May-2015.json b/Discontinued-List-May-2015.json new file mode 100644 index 0000000000000000000000000000000000000000..ee90b3c830b992f238b4af92c0421417228a21e6 --- /dev/null +++ b/Discontinued-List-May-2015.json @@ -0,0 +1,5 @@ +{ + "filename": "Discontinued-List-May-2015", + "department": "Manager", + "cleaned_text": "victoria park ave suite willowdale ontario mj h phone may mai universal music commercial partners \u00e0 tous les partenaires commerciaux de universal music please note discontinued selections universal music domestic catalogue prepared alphabetical listing artist well numeric listing partners must current standing universal music order receive full credit please forward discontinued return requests local universal music sales representative friday august th authorized discontinued products must returned distribution centre later friday september th complete list titles available httpwwwumcreleasebooksca please contact local universal music canada representative questions veuillez prendre note que la liste suivante repr\u00e9sente les s\u00e9lections discontinu\u00e9es du catalogue domestique de universal music nous avons pr\u00e9par\u00e9 une liste par ordre alphab\u00e9tique par artiste ainsi quune liste par ordre num\u00e9rique tous les partenaires se doit davoir un cr\u00e9dit courant en bonne et due forme avec universal afin d\u00eatre admissible \u00e0 ce cr\u00e9dit veuillez faire parvenir toutes les demandes de retour des produits discontinu\u00e9s \u00e0 votre repr\u00e9sentant chez universal music avant le vendredi ao\u00fbt toutes les autorisations de produits discontinu\u00e9s doivent \u00eatre retourn\u00e9es au centre de distribution avant le vendredi septembre une liste compl\u00e8te des titres est disponible au httpwwwumcreleasebooksca si vous avez des questions contactez votre repr\u00e9sentant chez universal music kind regards bien \u00e0 vous regards adam abbasakoor vice president commercial affairs universal music canada catalogue numberartist title config scannable upc upc b stones stones compact disc stonesanthem unde com pact disc stonesonly easy da com pact disc stonespotters field compact disc crp childrencouragen machi compact disc b pacloyal game edite compact disc rd matineemeanwhile compact disc seconds oflive soscdgrl l fan packs seconds oflive soscdgrl fan packs shout th wonderwords nt say eno compact disc fingersup ass compact disc prccd forest pportunistic co mpact disc prccd forest stthe corpse r c ompact disc crp well thought traged ydying f compact disc creep year forgetapostasy compact disc inn aaronbbringin back compact disc inn aaronbdesi compact disc inn aaronbwith ever touch compact disc \u00e0 compter de maintenant les titres suivants ont \u00e9t\u00e9 discontinu \u00e9s veuillez sil vous plait avoir soumis toutes demandes de reto urs pour ces produits au plus tard le vendredi ao\u00fbt tous les produits discontinu\u00e9s autoris\u00e9s doivent \u00eatre retourn\u00e9s \u00e0 centre de distribution au plus tard le vendredi septembre universal music discontinued listing liste de produits discontinues following titles discontinued effective immediatel please return requests submitted friday august authorized discontinued products must returned distribution centre friday september alphabetical artist alphabetique par artiste page catalogue numberartist title config scannable upc upcalphabetical artist alphabetique par artiste b abbalive wembley ar enacd com pact disc b abercrombiejanima compact disc dg abominantwhere demo ns dwell compact disc afm absoluteabsolu te compact disc nr ad infernad sm compact disc lbmcd adagiosanctus ignis compact disc shoutd adamsjchasing rainbows com pact disc rpmsh adamsjreleaseda memorial al co mpact disc cd adamsjt verdi ct compact disc kfr adolescentshouse bldvdcd dvd bns cd kfr adolescentshouse blucddv cd dvd hucd afrobop lliance big band car compact disc uwr tomorrows skyjump th compact disc airlinerlast days august compact disc al abamaangels among us compact disc alagnadle dernier jour dun com pact disc b albrightgkickin compact disc prccd alcestsouvenirs dun autre com pact disc ccdcd aldenhtake pick compac disc alex bandwe ther compact disc cd alexandermgoin yard compact disc jstcd eyes westall eyes west compact disc hr time lowfuture hearts hmv compact disc page catalogue numberartist title config scannable upc upcalphabetical artist alphabetique par artiste allman brothersdreams compact disc sfe almondm cashmo remfeasti com pact disc sfe almondmstranger things compact disc sfe almondmvariete compact disc aaa altamontthe mon kees uncle com pact disc alter bridone day remains compact disc pae alter egoalter ego compact disc hh ambgods ha nd compact disc americagreatest hits live compact disc pmcd american speedwaya bigger boa com pact disc mvda american speedwayship fool compact disc r amos transparen tgoodnight compact disc anberlin never take friends h compact disc ic andersonccat nderson com pact disc c anderssonbusy missi ng compact disc wr andre canniere group forward com pact disc pmcd angelbathjgypsy woman compact disc rgm animalsthemickie mostcdt compact disc zmc annettesauter de haut cassette afm annihilatorall compact disc afm annihilatorall digi co mpact disc afm annihilatordouble live annihi co mpact disc afmd annihilatordouble liveltddi compact disc page catalogue numberartist title config scannable upc upcalphabetical artist alphabetique par artiste afm annihilatorschizo delux digi compact disc afm annihilatorschizo deluxe compact disc kfr antifreezefour le tter words com pact disc kfr antifr eezethe search compact disc kfr apocaly pse hobhouse compact disc apocalypticalive dvd digital video disc apocalypticareflections compact disc b april winegreatest hits live compact disc cr april winegreatest hits live compact disc arc angelharl equins light compact disc acd arc duonew works flute compact disc b cities son loved compact disc crseg ashkanin cold compact disc rrcd ashtongbegborrow steel com pact disc rrcd ashtongfang compact disc askenasesthe complete compact disc sumcd asking al exandriareckless compact disc sumcd asking al exandriareckless compact disc tri asphorror vacui cd compact disc blk lossa falling away compact disc atomic kittenright right digital video disc npr atrocitydie gottlo sendvdcd dv bns cd pwacd attacca quartetfellow trave compact disc page catalogue numberartist title config scannable upc upcalphabetical artist alphabetique par artiste kfr audio karatelady melody compact disc kfr audi karatespace camp compact disc wax autumn hill cant keep epexc co mpact di sc ep dg avengerfeast ange r joy compact disc afm axxisdoom destiny compact disc afm axxisdoom destiny ltddig compact disc afm axxisparadise flames compact disc afm axxisparadise flames digi compact disc smcr ayersrim efor l c ompact disc nr azoicthecorrup tion compact disc nr azoictheillumi nate compact disc nr azoicthere illumi nationthe co mpact disc b b schmidttexpando compact disc btogreatest hits live compact disc cj baby laurencedance master com pact disc babyaka stunnabi rdman compac disc bachgoldbergvariationsturec compact disc b bachwell tempered vol compact disc nr backlashimpetus compact disc pdropcd bad mannersfor ging ahead compact disc pdropcd bad manners gosh compact disc pdropcd bad mannersloon ee tunes compact disc pdropcd bad manners ska n b com pact disc page catalogue numberartist title config scannable upc upcalphabetical artist alphabetique par artiste mahacd baka beyond baka gb inebaka com pact disc mahacd baka beyondorchest baka gbi com pact disc ogl bakerkgot cover ed compac disc ogl bakerkrockin li ving compac disc qldvd baldreyljit aint easylive digital video disc cdroun balfa toujours eux voyages c ompact disc cd ballmlet play p compact disc cd ballmsing compact disc bamboos tside stepper compac disc blk banneryour murder mix tape com pact disc ogl barnes barnesamazing adult compact disc ogl barnes barneskodovoner compact disc blr barricadebe heard compact disc fsm barryjborn free iginal mot compact disc basiec orchnorman ga nt digital video disc basiec orchnorman ga nt digital video disc basiecverve jzz masters v c ompact disc batestguardians galax compact disc nprltd battleloredoombo undcddvd cd wi th dvd b baysidekilling time compact disc beach boyse ndless harmony digit al video disc beach boys pet sounds dv audio beach boystheir greatest hits compact disc page catalogue numberartist title config scannable upc upcalphabetical artist alphabetique par artiste beach boyswarmth sunt compac disc ipc beakbeak co mpact disc ds beat pharmacyconstan pressur com pact disc beatles tfi rst us visitth digital vi deo disc pp beatlestheshe loves yo u dvd digita l video disc beet hovenstephen kovac evich p compac disc mcad beethovensym choral com pact disc frbcd belmdista nce compact disc frbee belmdont forget breathe compact disc obr bellerbthanks advance compact disc obr bellerbto nothing thank digital video disc obr bellerbview compact disc obr bellerbwednesday night live digital video disc benatar pgreatest hits cde cd dvd bennetttla dy gacheek tod lx compact disc orcd bent rthe blood trilogy compact disc eps berglulu compact disc crp bernie bernie head flapcheese com pact disc bernsteinwpmozartlate sympho compact disc mjr bertigatriot compact disc npr beseechsunless da ys compact disc best ob liviousthe digit al video disc rs bethlehemreflektionen auf ste compact disc page catalogue numberartist title config scannable upc upcalphabetical artist alphabetique par artiste ieg beyonceshine vd digital video disc cd bibbea ship called love compact disc mooncd bigthewhatever makes hap c ompact disc pwajd bill cunliffe seli rocco co mpact disc pwajd bill cunliffe trior iver edge co mpact disc ipc birdmtsome place simple compact disc burn black bittersweet sixteen compact disc intsd black ey ed peasbehind fro compact disc lbmcd black majestysilent company compact disc frbcd black ribbonsn euromancer compact disc pre blackmoreswinter carols compact disc odoped bladethe lion goes stren compact disc rcd blakeya jazz messengersc ar compac disc bl akeyaken burns jazz art bl com pact disc sc blank jonesedit ion four com pact disc sc blank jonesrelax edition co mpact disc sc blank jonesrelax edition th co mpact disc sc blank jonesthe logic ple compact disc pwrsr blaze perdition towards compact disc kfr bleeding throuthis livdvd digital video disc blind boys alabago telldv digita l video disc nr blind faith andth e charming com pact disc blind meloletters porc digital video disc page catalogue numberartist title config scannable upc upcalphabetical artist alphabetique par artiste blk blind societyour fu ture lo compact disc blk blindsocietycontrar popul compact disc rs blodfestlejres fald compact disc blondieeat beatcddvd cd dvd ct bloodsoakeddeath hope com pact disc rs bloodthorngeno cide compact disc blossom demay come compact disc blue highwaystill climbing mo compact disc k blue ocean suiteblue ocean su compact disc blue peterfalling compact disc shout blueb phantom blues ban compact disc hyp blues bandthebest ofthe co mpact disc cj bob wilber quintettheblowin compact disc ipc bohern der club goredelo compact disc ipc bohren der club gorebeil compact disc ipc bohren der clubp iano nigh compact disc ipc bohrenderclubofgore black ear compact disc creep boilswhen sun go es e compact disc eps bolduc retcha compact disc inn bolvineno bo undaries com pact disc bon jovi keep faith com pact disc bonfalt composer black compact disc acd boomerstart living compact disc page catalogue numberartist title config scannable upc upcalphabetical artist alphabetique par artiste acd boomerstmidway compact disc acd boomers thousand days compact disc rgm borderlinesweet dr eams qui compact disc sumcd born osiristhe discovecd compact disc sumcd born osiristhe discovehot compact disc boulezpexplosantefixeno compact disc nr bow ever downthe pr oduct c ompact disc bwfdv bowfirebowfire bowfire dvd digital video disc frbcd bowfireholiday h eart strings compact disc bwfcd bowfirelive concert com pact disc c boxcar wi lbest loved favori te compact disc boxcar wilboxcar best com pact disc fnz br eakers dkthehere lau compac disc smcr brecker brothers b theback compact disc brickmanjbeautiful world dl compact disc brite fu turesdark past compact disc harv brodyworth dy ing compact disc b broken keygravity compact disc brooksgfresh horses compact disc brooksggarth brooks compact disc brooksgin pieces compact disc brooksgno fences compact disc brooksgropin wind compact disc page catalogue numberartist title config scannable upc upcalphabetical artist alphabetique par artiste brooksgscarecrow compact disc brooksgthe chase compact disc brother boplow compact disc cdroun brother oswald bro ther oswald co mpact disc rgm brotherhoodthe comp lete rcd compact disc brothe rs landreththelet l compact disc alp brotzmannpnipples compact disc brownca life blues compact disc ic browncthe paris co llectio v compact disc ic browncthe paris co llectio v compact disc brownddivine brown compact disc brownjlive apollo v compact disc sf brownjlive bostondvd digital video disc cd brownrbass fa ce compact disc ccdcd brownrheritage ser iesray br co mpact disc cd brownrsummertime compact disc crseg brownedgive take com pact disc bryandlunar eclipse compact disc smcrd brysonpreaching sky compact disc ansd buddy rich big burni ng bu co mpact disc ogl budeluvdiary loungeman compact disc crseg bulldog breedmade england compact disc tml bulldozefinal beatdown cddvd cd wi th dvd page catalogue numberartist title config scannable upc upcalphabetical artist alphabetique par artiste burning ofthewit h us compac disc cdhbea burning spear far com pact disc ht burnsiderlsoundma chinegroove com pact disc ic burtonanew york st ate min compact disc wr burtoneoccure nces compact disc ccdcd burtong coreaclike mindssacdstereosurroundcda ud bushwickgutta mixx compact disc butthole surfersweird revolut compact disc enhanced ccdcd byrdc peplowskikbo ssa nova com pact disc tpdvd callasmtony palmers film ab digital video disc cl campbellw think tank co mpact disc hm candy rosea rollerco aster lov compact disc canibus bc compact disc cannon acgolden f avorites compact disc canteloubesings cant eloube ch cd wi th dvd ccdcd cappf juggernautin hefti com pact disc c carlberg go hell miss ry compact disc b carlberg nut shell compact disc carlberg lilac time compact disc b carlberg riverbank compact disc inakdvd carltonllukatherne w morning digital video disc carpenters cant blame gi rl compact disc acd carringtonjdwyer pone take compact disc page catalogue numberartist title config scannable upc upcalphabetical artist alphabetique par artiste cartelcycles compact disc carter famcountry compact disc carter degreatest hits compact disc lfj carvinml ost found proj ec compac disc cash johnjust compact disc b c ashjlegend johnny cash v com pact disc rgm cat motherall night street compact disc exp celiadthis nt com pact disc b celtic hunder dvd digit al video disc b celtic hunder storm c ompact disc b celtic hunderheritage co mpact disc b celtic thunderits entert ainm compac disc b celtic hunderits entertainm digital vi deo disc b celtic hundermythology co mpact disc b celtic thundermythology dvd digital video disc b celtic thunderstorm dvd igital vi deo disc b celtic thundertake ho compact disc b celtic hundertake homeli igital vi deo disc b celtic hundervoyage co mpact disc b celtic hundervoyage dvd igital vi deo disc rvcp central parkreflec ted digi compact disc modcd ceowonderl compact disc ceremonystill nothing move compact disc page catalogue numberartist title config scannable upc upcalphabetical artist alphabetique par artiste j chamberlandcserendipi ty stre compact disc pstge chameleon cluba film allen digital video disc pr chapin brothers compact disc b charlamagnsout h crack compact disc charlap bsomewhere compact disc pvcd charlesrmess ar ound compact disc properbox charlesrthe way f eelcd compact disc b charlesgrydelandwa llumrodda compact disc cdroun chavis boozoo lake charl co mpact disc cdroun chavis boozoo stole c ompact disc az ch eap freaksbury compact disc cheeseri like virgin compact disc cheesersilent nigh tclub compact disc drcd chelsea smil esthethe chelsea compact disc cherextr avaganza live igital vi deo disc chickenfootchickenfoot compact disc chickenfootchickenfoot delux cd wi th dvd children bodo mchaos ridden dig ital video disc smcr chiliteshappy lonelyf compact disc pwcl chri davis sexteta nigh rem compact disc cuncd chris mcgregor breclipse compact disc syb christin karaoke ct pack com pact disc christy jballads fo r night p com pact disc page catalogue numberartist title config scannable upc upcalphabetical artist alphabetique par artiste christy jmisty mi ss christy com pact disc alp chrome cranksdiaboli cal boogi com pact disc q chromeobusin ess casual dlx e compact disc afm circle ii circlelast revelati compac disc eps kfr circle jerkslive hdvd digital video disc ipc circus devilssgt disco com pact disc sercd circus ximusisolate c ompact disc sercd circus maximusthe first chapt compac disc cdsmc cirque du soleil alegria compact disc cdsmcj cirque du soleil le best co mpact disc cdsmc cirque du soleil quidam compact disc cdsmcd cirque du soleilsolar iumdeli compact disc cdsmcd cirque du soleiltapi rouge compact disc cdsmcj cirque du soleil zumanity compact disc cdsmcj cirquedusolei lo compact disc cdsmcj cirquedusoleil corteo compact disc cdsmcj cirquedusoleil delirium com pact disc cdsmcj cirquedusoleil dralion compact disc cdsmcj cirquedusolei lka compact disc cdsmcj cirquedusoleil la nouba compact disc cdsmcj cirquedusoleilmy stere live compact disc cdsmcj cirque dusoleilvarekai co mpact disc clarktpain kill compact disc page catalogue numberartist title config scannable upc upcalphabetical artist alphabetique par artiste cl eavesswishbones c ompact disc mjr clevelandbhologr amatron com pact disc bdwh clikstheblack ti e elevator com pact disc ccdcd clooneyrheritage ser iesrose com pact disc cloud co ntroldream cave compact disc fnz coal menthebeauty momen c ompact disc b cockerjmad dogs nd englishm co mpact disc cockerj best joe cocke compact disc ccdcd colaiutavvinnie olaiuta compact disc dig cold bloodtrans fusion compact disc z coleh trioblame compact disc z coleh triodont smoke bed compact disc colehholly cole compact disc z colehit h appened one nigh compact disc smcrd colennatalieli cdx compact disc smcr colenthankfulex panded editi c ompact disc colenkwhen fall loveth digital video disc coleman onew york compact disc b coltranejthe impulse album v compact disc b coltranejt john coltrane q compact disc blk commercialsshadow agencythe co mpact disc b commodor es tthe best c digital video disc demcd comptaste th e hate compact disc page catalogue numberartist title config scannable upc upcalphabetical artist alphabetique par artiste nr conetikcarbon elekt riq v compact disc msk confessionlife nd death com pact disc cookesscookes stor compact disc copejjeho vakilldeluxe edit compact disc mjncd copernicusd eeper compac disc pwncd copernicusworth less compact disc ipc coppolaithe black white al compact disc b corduroy uoh eirarep compact disc ccdcd coreac burtongn ative sens com pact disc ccdcd coreaclive mo ntreux com pact disc wr corneliuspfie rce compact disc pm corvas coraxkatlenberg anno cd dvd pr corvus coraxante c asu peccati co mpact disc pr corvus coraxgaudia vitelive compact disc pr corvus coraxin elec tronicare co mpact disc pr corvus coraxlive au f dem wash compact disc pr corvus cora xmarchen aus alte r compact disc pr corvus coraxmille anni passi com pact disc pr corvus coraxsei kilos compact disc pr corvus coraxtempi antiquii compact disc pr corvus coraxtr itonus com pact disc pm corvus coraxvenus vi na musica co mpact disc pr corvus coraxvi ator compact disc page catalogue numberartist title 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scannable upc upcalphabetical artist alphabetique par artiste b one republicnative compact disc b one republicnativedlx compact disc hlm orange orangetro pical passion co mpact disc orbisonrthe final concertcd com pact disc afmcd orden oganeaston hope com pact disc tpdvd orffco fortuna digital video disc se origgame sndhitman contracts c ompact disc ipc ortheimo v compact disc ostagnes browne compact disc b ostbegin compact disc ostbiker boyz compact disc b ostcamp compact disc b ostcinderella man compact disc b ostdivergent ost compact disc b ostdreamgirls th anniversar compact disc kfr ostglory days compact disc ostguardians gadlx compact disc ostguardians galaxy v cassette ostguardians galaxy v compact disc ostguardians galaxyc compact disc se ostmetro last night compact disc ostmoog compact disc ostn ever let go compact disc page catalogue numberartist title config scannable upc upcalphabetical artist alphabetique par artiste oststanding shadowsde compact disc oststar 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liste de produits discontinues following titles discontinued effective immediatel authorized discontinued products must return ed distribution centre friday september \u00e0 compter de maintenant les titres suivants ont \u00e9t\u00e9 discontinu \u00e9s tous les produits discontinu\u00e9s autoris\u00e9s doivent \u00eatre retourn\u00e9s \u00e0 centre de distribution au plus tard le vendredi septembre page catalogue numberartist title config scannable upc upcnumerical artist numerique par artiste waltz loves anna compac disc reflections christmas extravag compact disc reflectionshighland christmas com pact disc reflectionsceltic hymns compact disc varsongs north pole compact disc reflectionschristm belles com pact disc reflectionsget moving compact disc reflections peaceful soak compact disc somersetceltic serenity compact disc varchristmas lull abies compac disc fisherpricebath time singalo compact disc reflectionswishessolo piano compact disc fisher pricebwno mo crying com pact disc 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lavinyl lps tml living helloblivionlp vinyl lps page catalogue numberartist title config scannable upc upcnumerical artist numerique par artiste uwrwisdom chainswisdom chvinyl lps uwrqueerslive philly lpvinyl lps uwrfbspudmonstersstand up\u00b5lpvinyl lps vilelpdarkthronesempiternal paslpvinyl lps warplpxenohysomeday world indielpvinyl lps warplpxflying lotusyoure deadlp bvinyl lps whcoryelllthe wild hive plalpvinyl lps whthrottle elevator musicthrottvinyl lps wrpborn ruffiansred yellow bluvinyl lps page" +} diff --git a/Glossary of Terms | Berklee College of Music.json b/Glossary of Terms | Berklee College of Music.json new file mode 100644 index 0000000000000000000000000000000000000000..c45fe6a56cccf23118feccd45d572c510bf80a94 --- /dev/null +++ b/Glossary of Terms | Berklee College of Music.json @@ -0,0 +1,5 @@ +{ + "filename": "Glossary of Terms | Berklee College of Music", + "department": "Ar", + "cleaned_text": "glossary ermsterms used writing skillsterms used arranging terms used arranging terms used chord scale voicingsterms used ear trainingterms used harmony terms used harmony terms used harmony terms used harmony terms used introduction music technologyte r u e n wr n g k l l beam music notation horizontal nearhorizontal line orlines connects stems two notes less aquarter note value occuring consecutively within beat somecases primarily eighth notes beams may encompass thanone beat two beats two basic types beamsprimary beams secondary beams primary beams link entire note groups together secondary beams define subdivisions notegroup beamedtogether primary beam pmpage binary form music divided two parts imaginary invisible barline showing beginning beatthrough beaming groups eighth notes sixteenth notes ortriplets certain time signatures common cuttime cuttime grouping eighth notesshould show start beat three grouping th notes andtriplets must show start four beats fourth eighthnote must visible seventh eighth note must visiblebeams eighth notes sixteenth notes triplets crossover imaginary barlinet erms used arranging also see terms used writing skills anticipation technique melodic rhythmic alteration whichchanges note occurs onthebeat played early resulting insyncopation common anticipations occur onehalf beat earlyan th note anticipation quarterofabeat early th noteanticipation onethird beat early triplet anticipation whenthe anticipation occurs melody melodic anticipationanticipations sometimes also called pushed notes pushes chord tone pitches chord determine basic soundquality chord tones followinga root rd th triad major minor augmented diminishedb root th th triad sus triadc root rd th th seventh chordsd root th th flat th dominant th sus chord pmpage e root rd th th sixth chord major minor delayed attack technique melodic rhythmic alteration whichchanges note occurs onthebeat played onehalf beat latean th note delayed attack hesitation quarterofabeat late ath note delayed attack onethird beat late triplet delayedattack one full beat late opposite anticipation delayedattacks also commonly called hesitations anticipationsthe result syncopation tension note notes added major triad minor triad sixthchord represent logical upper extensions triad usingintervals rd following notes chord consideredtensions b b b upper extension notes create tense musical intervallicrelationships pitches major minor triad chordthe chords contain tension notes sound somewhat unstablethan th chord tensions rub theother notes chord tensions create intervals richer denserquality within chord structure resulting thebasic chord functions root rd th th chord oftenconsidered chord tone rather tensiontensions considered nonchord tones also called nonharmonictones rather chord tones even part chordtensions enhance enrich sound chord modifies pmpage basic quality chord sound major chord tensions stillhas major quality part sound tension notes mask thequality overall sound adding sharp nine tension dominantth chord example mixturesee also available tensions terms used harmony erms used arranging also see terms used writing skills terms used arranging guide tone line unison background line leads stepwise orthrough common tones harmonic progression providing aneffective counterline accompaniment melody low interval limit lowest point interval minor secondto major th interval begins sound muddy orindistinct limits absolutes represent areas whichthere real risk resultant sound work well within anormal harmonic context spread voicing open voicings chords root chordon bottom sometimes referred padsterms used chord scale voicingsalso see terms used writing skills terms used arranging andterms used arranging chord scale specific set scalewise pitches include thechord tones available tensions given chord along anypassing tones help definre tonal modal context chord pmpage modal interchange using chord structures chord scalesfrom parallel pitch axis mode scaleterms used ear trainingear training music training improves skill music translationthat skill utilized almost aspects music music recognitionmusic reading performing composing training consists ofrhythmic melodic solfege harmonic chords progressionsstudy well performance dictation solfege system melodic organization uses syllables remi fa sol la ti designate pitches two common systems aremoveabledo solfege fixeddo solfege moveabledo solfege method solfege root tonicof key always method focuses understanding themelodic functions common key method used theberklee ear training courses fixeddo solfege method solfege note c isalways regardless key system focuses intervallichearing dictation process translating music heard dictation isdone either performing singback playback andor notatingthe music pmpage te r u e n h r n modes refers scales displacements majorscale triad chord containing three notes usually consisting root athird root fifth root seventh chord chord containing four notes usually consisting atriad seventh root available tensions tensions notes added seventh chord pmpage extending chord upwards thirds tensions measuredintervallically root chord consist minormajor augmented ninth perfect augmented eleventh andor aminor major thirteenth every tension work every chordtype ones work specific chord type said beavailable see also tension terms used arranging diatonic progression harmony made exclusively notes thescale key te r u e n h r n also see terms used harmony secondary dominants dominant chords expected resolvedown perfect fifth diatonic chord example viiv ii viii v iii pmpage extended dominants series dominants without direct keyrelationship one resolving fifth next modal interchange borrowing chords parallel mode inharmony borrowing chords natural minor use parallelmajor harmonic continuity moving notes one chord smoothly aspossible notes next chord root motion independent te r u e n h r n also see terms used harmony terms used harmony pmpage substitute dominants also known tritone substitutes dominantseventh chords contain tritone dominant chord forwhich substituting ex g db eb b fetc expected resolution minor second diminished chord diminished triad chord consisting rootminor third diminished fifth diminished seventh chord chordconsisting root minor third diminished fifth diminishedseventh modulation within piece music change tonal center key asperceived listener te r u e n h r n also see terms used harmony terms used harmony andterms used harmony pmpage compound chord chord whose chord symbol consists morethan one element also known slash chord example gbinversion fmajg hybrid polychord c hybrid compound chord consisting upper chord tones exceptthe third tensions indicated root also known asincomplete chords chords without thirds inversion chord voiced chord tone rootin bassfor example fa gmajd ebg polychord compound chord consisting upper chord alower chord constant structure progression chord progression consisting ofthree chords quality pmpage te r u e n n ro u c n u cte c h n l g ystudents wish test mtec introduction musictechnology know meaning following terms andunderstand application music technology cases whereeveryday usage common tapeadadbadcadditive synthesisadsraesebuaftertouchaliasingaluamamplitudeanaloganalogdigital hybridaperiodicapple printer portsapplicationsasciiattenuationattenuatorauxiliary inputaverage levelbalanced unbalancedconnectionsnear fieldnetworksnoise reductionnonharmonicnonnormallednormallednyquistnyquist frequencyoctaveomnidirectionaloperating systemsopticaloscillatoroutputovertonesoxidepan pmpage band pass filterbandwidthbaud ratebiamplificationbinarybitbit depthbits bytesbits resolutionbpmbuffersbussbytecardioidcdromcdrom drivescentschannelchoruscircuitclangorousclippingclockclose boxcmoscoincident paircompressioncompressionrarefactioncompressorcondenser microphonecontrollercontroller numbercpucrossovercrtdadacdaisy chainparallelparallel communicationsparallel interfaceparametric eqpartialpc printer portspeak levelperiodicperipheralspermanent magnetphantom powerpickup patternspitchpitch bendpitch shiftingplotterpolar patternpolyphonicpolyphonyportpostfaderpower bandwidthpredelayprefaderprefaderpreamppreamplifiersprecedence effectpresetprinterprinthroughprogramprogram changeprotocolsproximity effectpulldown menuspzmq pmpage dashdatabasesdbdecaydecibeldecimaldesktopdiaphragmdigitaldigitizing paddiskdisk drivedisk storagedistortiondocumentsdosdoublingdvddynamic microphonedynamic rangeearly reflectionemailenvelopeepromeqequalizersexpansionfaderfar fieldfilefiltersfinderfirst reflectionflagsflangingfloppiesfloppy diskfm synthesisquantizationramratiorca jackrealtimereleaseremovable hard disksresolutionresonancereturnreverbreverberation delayribbon microphoneromrotating headspdifsample playbacksample ratesample ratesamplerssavescsisendsequencersequencingserialserial communicationsserial interfaceshelving eqsignal processingsignaltonoise ratiosinesizingslapbacksnakesolosong position pointersound design pmpage folderformantformatfrequencyfrequency responsefundamentalgaingainstaginggategigagraphic eqgraphic equalizerhalf stephard diskhard disksharmonicharmonic spectrumheadroomhertzhexadecimalhighpass filterhzimpedenceinches per secondinputinsertinternetipsjoystickkeyboard controllerkilolanlayeringledlevel tapelfolibrarianlimitersound enginesound modulesound systemsoundfilespaced pairspectrumsplsplitter transformerspreadsheetsstackstage boxstar networkring networknodesstep inputstereostoragesubtractive synthesissummingsustain pedalsynchronizationsynthesizersynthesizer voicesystem exclusivesystem foldersystem realtimetape hisstape storagetape widththresholdtimbretouch screenstouch sensitivetracktrack widthtransducertransient responsetransientstrash pmpage limitingloudnesslowpass filtermacosmacrosmagnetic fluxmagnetoopticalmalefemalemaster fadersmdmmegamemorymenumidimidi controllersmidi interfacemillivoltmini plugmixing board console deskmodemodemmonitor loudspeakermonitorcue mixmonomousemovingmultieffectsmultisamplingmultitaskingmultitimbralmutetriamplificationtrimtrs tipringsleevetweeterunbalancedunixvcadcavcodcovelocityvoicevoice coilvoltvon neumann architecturevuwaveformwavetable synthesiswebwheelwindowswindows wooferword processingwow flutterxlr pmpage" +} diff --git a/Grow-by-Focusing-on-What-Matters-Competitive-Strategy-in-3-Circles.json b/Grow-by-Focusing-on-What-Matters-Competitive-Strategy-in-3-Circles.json new file mode 100644 index 0000000000000000000000000000000000000000..1fc2594887c71eb56d3056b7c9351c01c161c515 --- /dev/null +++ b/Grow-by-Focusing-on-What-Matters-Competitive-Strategy-in-3-Circles.json @@ -0,0 +1,5 @@ +{ + "filename": "Grow-by-Focusing-on-What-Matters-Competitive-Strategy-in-3-Circles", + "department": "Marketing", "Manager", + "cleaned_text": "contents preface ix comments users framework xi chapter challenges growth chapter introduction circle analysis chapter de\ufb01 ning context chapter meaning value chapter sorting value chapter growth strategy chapter implementation inside view organization chapter dynamics customer value competitive advantage chapter summary growth strategy steps notes references index preface circle model developed past several years initially strategic planning university graduate program executive mba course designed integrate concepts marketing competitive strategy course time circle model successfully used hundreds organizations throughout world establishing growing market positions many case examples book demonstrating applications circle model applications executives attended executive education training university notre dame development competitive strategy dif\ufb01 cult lot moving parts well hundreds frameworks might potentially guide effort executives appreciate circle model simpli\ufb01 es integration customer \ufb01 rm competitor analy sis generate growth strategies also provides common language process understanding explaining competitive advantage identifying pro\ufb01 table growth strategy wish thank executives courses training provided test cases important insights led continual re\ufb01 nement building model comments model appear quotes front end book also thank colleagues academic professional community provided scholarly practical insights in\ufb02 uenced development model notre dame indiana january comments users framework used circle model extensively rustoleum bosch simpler way cut right core issues products positioned customer well differentiated competitors terry horan president rotary tools robert bosch corporation circle model point creative fosters creative think ing new ideas nathan olds national sales manager honeywell corporation disciplined approach identifying hypothesizing quantifying pri oritizing evaluating understanding acting customer needs chris bardeggia global director quality systems whirlpool corporation three circle process really showed weaknesses understand ing customers helped us develop strategy attack market pick new customers one way working mike lenahan ceo resource recovery corporationxii comments users framework simple logical pathway properly document analyze test assumptions customers competitors john brohel vicepresident finance cadmus communications found operations side completely line customer wanted almost top initiatives impact items important talking customer preparing circle able rede\ufb01 ne focus dan smith business unit manager federal signalelgin sweeper perfect tool help us think offer customer wants competition offers determining differences similarities customer competitions needs respectively brilliant way reevaluate new services david burda senior associate stockamp huron group consulting practice circle model forces objective view capabilities competitors time keeps customers needs view thought great exercise point added value company order grow william muller senior engineer engineering technical services michigan gas utilities positive bene\ufb01 using framework focus organization needs focus assets requires dissect organization de\ufb01 ne speci\ufb01 c aspects core also exposes opportunity provides clear presentation audience tool use frequently really understand differentiate grow address unmet need comments users framework xiii jason niehaus vice president operations coo mercy hospital circle framework gave us relatively accurate idea stood competencies using also made us face fact areas business could eliminated kyle cusson general manager midwest red hawk security systems inc utc fire security company circle process directs team look possibilities paints picture results way easily cascaded organization marquess vice president sales gallsan aramark company circle process generated tremendous amount interaction discussion agreementsdisagreements market dynamics awareness danny dorsey vice president cummins bridgeway think framework helps effectively communicate groups within company develop applications add value company software implement helps deliver services matter tom hoban application development manager harbor capital advisors inc liked simplicity selfexplanatory nature circle model widely used models r kelley cook senior consultant ajilon consultingxiv comments users framework lots models availablefrom porters five forces mckin seys ss back yet weakness often looks academic contrast threecircle model gets three critical areas organizational strategy bob henson owner hk associates management consulting circle project allowed us dive deeper service offerings currently provide ask improve way market communicate industry believe project also spurred new idea company data analytics service hope launch didnt realize data internally believe turn around sell clients overall project helpful overall view company competition fact \ufb01 nd asking circle questions making decisions professionally personally director business development pharmaceutical industry one exercise ability articulate company felt val ued customer customers perceptions important attributes areas potential new business growth karen kenney senior rd director fortune corporation framework provides relatively rapid process hone sources competitive advantage helps clients understand fundamental building blocks effective strategy development senior consultant consulting firmchapter challenges growth sara johnson owns pet store started small business pas sion helping people take care pets store good start really worries grow business competitive environment surrounds store challenging bigbox stores fullblown pet departments specialty stores improving webbased operations providing access lowpriced supplies addition customer needs seem change time contrast ken smith brand manager million divi sion major consumer products company ken worries exact things sara different scope scale customers supported growth product lines last years challenge though maintain growth rate representing million sales markets competitive imitation time led products become similar competitive advantage dif\ufb01 cult come context magnitude problems quite different root whether sara ken general manager insurance company seeking increase policies sold united way director seeking increase donations human resource director wishing increase business internal staff hiring decisions question successfully position competition grow business complex matter task building growth strategy simple foundational ideas goal book teach fundamental concepts implement teach others teaching requires breaking seems like complex task simpler component parts trouble understanding component partssuch customer value competitive position differences \ufb01 rm capabilitieswhat \ufb01 rms struggle grow focusing matters integrate building effective growth strategy chapter consider fundamentals competitive strategy heart framework use reasons integrating principles dif\ufb01 cult rare yet also point businesses practice integration make money core notion cannot grow company school nonpro\ufb01 relationships happiness volunteers matter without really understanding value customers seek value create three fundamentals lost teenage brother auto accident youth ceo peter lewis progressive insurance driven deep understanding human needs surrounding auto insurance fueled distaste abysmal turnaround times claims industry lewis decidedin face much resistance within companythat progressive would become company capability providing immediateresponse claims service progressives wellknown growth small niche competitor one big auto insurance \ufb01 rms owes everything peter lewiss intuitive tenacious application three basic principles positioning strategy \ufb01 rst principle de\ufb01 ning advantage perspective customer value lewis saw dissatisfaction response times others industry understood important delay claims processing causes inconvenience adds stress already stressful situations drivers accident seek fast resolution peace mind second principle developing insight opportunity way differentiates competition many \ufb01 rms industry would de\ufb01 ne business purpose paying auto accident claims lewis instead described progressives reducing human trauma economic costs automobile accidents competitors either recognize opportunity simply accepted poor claimsadjustment service response time \ufb01 rms following antiquated model developing positioning strategy enough however third principle centers around developing distinctive capabilities resources challenges growth assets execute positioning strategy progressive built skill technology development process design human resources period years company developed proprietary software databases speci\ufb01 c selection development skills hiring training employees well disciplined measurement culture manage continuous improvement sum search growth peter lewis intuitively persis tently followed three fundamental principles create important value customers different better competition build leverage capabilities eye toward desired customer value almost simple enough intuitively obvious easy lose sight principles fact variety forces get way effective implementation challenge limited integration strategy perspectives turns dif\ufb01 cult individuallet alone complex organizationto simultaneously hold three principles strategy mind multiple goals imply multiple often costly efforts achieve potential con\ufb02 ict tradeoffs among three goals beat ing competitor creating value customers leveraging capabilities make natural \ufb01 rms treat separately illustrative study strategic focus decision making conducted george day prakash nedungadi wharton school found organizations studied singleminded focus organizations largely focused either customers competitors internal workings company rarely three together three distinct types \ufb01 rms identi\ufb01 ed study selfcentered \ufb01 rms ie focused internal factors customercentered \ufb01 rms competitorcentered \ufb01 rms singleminded views suboptimal however day nedungadi found \ufb01 rms studied market driven focused jointly competitors customers grow focusing matters \ufb01 rms reported signi\ufb01 cantly superior \ufb01 nancial performance relative \ufb01 rms study similarly research found integrated view company customers competitors leads greater pro\ufb01 tability yet striking point \ufb01 rms effective job integrating minority common tendency singleminded limits search growth opportunities may selfperpetuating challenge knowing customers decisions involve customers made without customer research firms neither time resources devote every customerrelated decision interestingly though even sophisticated largesample research conducted particular decisions may frequently fall wayside research shouted managers prior agendas contradict research \ufb01 ndings challenge truly understanding customer values beliefs although may times dismiss formal research know smart managers talk customers know often many years fair say informal research norm sense dif\ufb01 cult managers believe dont know customers yet much research suggests opposite understand consider particularly telling study university chicago researchers harry davis steve hoch easton ragsdale davis colleagues asked pairs experimental subjects estimate others preferences new product concepts new product concepts mix higherpriced durable goods lowerpriced durables nondurables services concept subject asked estimate probability would purchase concept future probability person paired would purchase concept across four studies varied amount information provided concepts verbal description vs verbal description pictorial representation dependent measure used authors found results despite showing con\ufb01 dence estimates subjects showed substantial error predicting partners preferences challenges growth half predicted accurately na\u00efve forecast used average genderspeci\ufb01 c preferences authors found strong tendency person use preferences new concept predict preferences partner remarkable thing research however subject pairs strangers across studies husbands paired wives spite intimate familiarity spouses demonstrated signi\ufb01 cant error projecting others prefer ences error coming largely two sources first husband wife tried project preferences onto fact preference similar spouses second husbandwife preferences similar error introduced spouse overadjusted thought would difference mates preference relative leads us key question people live together know intimately make errors predicting others preferences product marketing managers subject similar errors predicting customers values fair amount academic research \ufb01 nds signi\ufb01 cant error managerial judgment consumer attitudes beliefs behavior evidence comes surveys executive students clients predict customer beliefs good con\ufb01 dence yet express signi\ufb01 cant surprise opportunity subsequently conduct primary research customers fact surprising daytoday operation business immediate challenges often center internal concerns tend concrete top mind unavoidable managers spend time inside managing people resources capacities within \ufb01 rm need organized people need developed budgets need met may fact bias spending time understand customers perspective products services hearing bad news would mean products processes people selection development execution would changed easy task instead easy assume know customer grow focusing matters challenge b understanding customer evaluations competitors companies ask customers company many seek comparative customer views competitors one \ufb01 rm call food supplier inc example happily foundthrough interviews circle project one customer segment independent restaurantsthat company hitting number important points value customers many relating delivery warehousing sales support consistent expectations suggested company providing customers great deal value yet research also explored customer perception competitor value produced startling conclusion key competitor matched every pointofvalue provided food supplier inc also perceived far superior accuracy deliveries invoicing well premium food quality competitive prices analysis opened executive teams eyes opportunities new process improvement program operations sales enhance competitive superiority key functional areas well new marketing program clearly communicate differential customer value created new internal programs since implementation company experienced increases samestore sales extended standardized processes areas company common strategic mistakes evaluating competitive differences us face dif\ufb01 culty integrating relevant competitive com pany customer facts well challenge truly knowing customers natural biases may argue dif\ufb01 culties work learning experience seems happen often oppositethese biases lead \ufb02 awed judgment competitive advantage anchor beliefs early observations likely change companies work see following three strategic errors result biases discussed earlier think different competitors really different customers eyes challenges growth different competitors ways really important customers different competitors ways matter customers resources capabilities build sustain differences fact needed way thinking process helps us simultaneously think customers competitors company puts existing beliefs test primary goal circle model process teach book let us illustrate key concepts thinking integratively customer value competitive position capabilities exploring value competitive advantage thinking organization way integrates value customers seek value competitor believed provide valueproducing capabilities company called ultimate ears illustrates thinking sound engineer worked closely big rock bands like van halen jerry harvey close customer segment rock musicians need sound management traditional technology band members hear performance large onstage monitors speakers tied instrument figure \ufb01 rst circlethe customers circle case representing value sought rock roll musi cians sound equipment used band hear performance key bene\ufb01 band desires equipment produces sound audible band members seems pretty obvious let us push little important musicians seems simple digging underneath easy see notion able listen ones self play fundamentally related overall performance achievement sound back band audible enhances performance quality allowing band precisely sync performance quality fundamental success show audience grow focusing matters accustomed hearing music precisely mixed studio record ings figure captures fact standard technologylarge onstage monitorsprovides basic quality circle added lower left represents customers perception value provided onstage monitors product service category number dimensions value moment though focus important dimensions overlap circles strategically important positive equity provided product mind customerthat space value delivered meets value sought onstage monitors provide way band effectively hear sounds instruments vocals positive value produced customers value excellent shows achievement outcome musicians sync consequence hear instrument attribute sound back band audiblerock musicians value sought rock musicians ultimately want sound system band hears contributeto excellent show delivery figure value sought customers rock musicians onstage sound challenges growth nonvalue negative value disequity figure also points two strategically important concepts relating areas circles overlap nonoverlapping area leftwhich label nonvalue negative value latter also known disequity many consumption experiences nonvalue negative value associated calories consumed relishing big hamburger headache celebratory night occasionally endemic part good service simply willing put absence superior alternative exorbitant fees broker developed close relationship trust implicitly chatty hair stylist whose gossip put love way cuts hair doctor love makes wait forever waiting room case rock musician wall sound occurs onstage monitors used allow band members hear instruments deafening sound onstage escalates member player sequentially keeps turning volume monitor hear instrument wall sound gets way effective performance also contributed signi\ufb01 cant hearing loss perfect performance safety quality life wall sound sound back band audiblerock musicians value sought onstage monitorsvalue delivered safety quality life wall soun wllf sound back band au dible onstage monitors value delivered unmet needs positive value nonvalue negative value figure value delivered onstage monitors grow focusing matters time among rock band members example alex van halen reports lost hearing result years sound gas \ufb01 res occurring onstage van halen shows \ufb01 rms products services create nonvalue even negative value signi\ufb01 cant opportunity growth unmet needs similarly growth found unmet needs upper right por tion figure another nonoverlapping area critical keeps attention focused reality customer needs never fully met musicians seek perfection performance possibly ideal cannot achieved yet edge obtained improve performance direct contribution musicians bottom line relating success enjoyment career achievement second way think deeply unmet needs ask obvioussounding questions points negative value product service creating important enough consumers mention example one reason wall sound problem important rock musicians associated hearing loss hearing loss important obvious really think yet think understand enormity consideration decision making people lose hearing may lose capability make living take care ones family also ability enjoy people world around themthat quality later life deeper value touched big value alternative solves problem huge would musicians willing pay handsomely superior solution yes opportunity dilemma jerry harvey came encouraged musicians sought something help improve performance reduce hearing loss harvey developed equivalent inear monitor player stage would isolating sound speci\ufb01 c instrument allowed musicians hear clearly know \ufb01 players better control sound performance challenges growth bene\ufb01 ts supplemented substantial noise reduction easier ears also greater room stage given removal larger onstage monitors figure completes circle picture adding circle left represents value provided harveys company ultimate ears addition third circle creates seven distinctive areas venn diagrameach labeled letter strategically meaningful moment focus couple key areas illustration note basic bene\ufb01 tsound back band audibleis middle area labeled area b points parity customer believes two competing technologies delivers basic bene\ufb01 distinguishes ultimate ears product bene\ufb01 ts area points difference product delivers substantial unique value customers form superior performance due hearing performance better less onstage equipment substantially reducing hearing loss qualityoflife issue dif\ufb01 cult iden tify items customers would call positive points difference onstage monitors contrast disequities mentioned earlier \ufb01 area f broadly de\ufb01 ned disequities potential control performance min hearing loss reduce onstage equipment sound back band audible wall soundrock musicians value sought onstage monitorsvalue deliveredultimate ears inear monitorvalue delivereda b cg fde points difference b points parity c points difference common disequity potential equity e disequity potential equity f disequity potential equity g white space unmet need figure circle illustration ultimate ears competitive advantage grow focusing matters equities onstage monitor technology ultimate ears major entrepreneurial success product concept based unique patented technology manufacturing capability become standard industry creates signi\ufb01 cant customer bene\ufb01 ts enhancing per formance quality musicians quality life limiting hearing loss analysis based figures illustrates ulti mate ears successful developed unique company capability delivered value customer need mattered greatly delivered value manner superior competitive options three core principles competitive business strategy drive analysis guided circle model chapter summary looking ahead circle analysis presented provides posthoc account ultimate ears success fact book use framework analyze current market situation look ahead goal anticipate market development evolution build execute solid growth strategy see chapters follow simple diagram provides powerful basis analysis companys current competitive position substantial insight prospective growth strategy company roots basic competitive strategy notionsthat simplest terms competitive advantage creating value really matters customers ways competitors cannot \ufb01 nd effective starting point analysis customer developing deep understanding customers values chapter provides overview underlying framework begins customer perspective introduce basic concepts several case examples illustrating principles underlie development effective growth strategy proceed chapters provide detail core model concepts process begins clear de\ufb01 nition context chapter followed challenges growth indepth study customers deeply explore value customers seek existing competitors get credit value create chapter steps signi\ufb01 cant insight obtained current competitive positions potential growth chapter presents categorization customer value heart circle models contribution clarifying \ufb01 rms positioning chapter explores de\ufb01 nes growth strategies naturally evolve seven categories value leading inevitable question addressed chapter skills resources pursue ideas answering requires much deeper re\ufb02 ection \ufb01 rms com petitors capabilities terms strengths leverage weaknesses need \ufb01 x gaps exist around capabil ity building necessary chapter explores dynamic aspects markets chapter provides summary book review step process behind circle growth strategy project designed team process engages customer com pany competitor research integrative way look forward journey end \ufb01 nd core analysis seek ing deeply study uncover ways provide value customers competitors simply understood perhaps ways always taking chapter next provides overview full circle framework" +} diff --git a/Hack-the-Music-Business.json b/Hack-the-Music-Business.json new file mode 100644 index 0000000000000000000000000000000000000000..dc024235d04bc8a58f862c3d08f8af3129e122b7 --- /dev/null +++ b/Hack-the-Music-Business.json @@ -0,0 +1,5 @@ +{ + "filename": "Hack-the-Music-Business", + "department": "Marketing", "Manager", + "cleaned_text": "copyright cowboy ventures inc rights reserved newartistmodelcom hack music business even great strategies visit newartistmodelcom chapter music industry even years ago today artists run careers much like entrepreneur runs startup company little help big companies major record labels new music industry revolves around write music record distribute fans plan tour manage connect fan base create marketing strategies opens vast array opportunities anyone become successful artistic skill dedication perseverance required said entirely responsible career ton things need get head around find time social media digital distribution touring budgeting income expenses magic bullet potential know identify multiple revenue streams team members support career need dedicated succeed new music industry need passionate music someone asks want musician tough environment answer needs mean option cant music newartistmodelcom hack music business sound like keep reading new artist model represents new artist ecosystem one career revolves around record label strategya framework apply career matter kind music play far along may mindseta new way thinking music career career longer limited restraints old music industry dont let mind creativity restrained either newartistmodelcom hack music business course book youll learn new music industry new artist model fits within industry youll also learn tons musicians already using new artist model successful well look strategies work discuss apply career right indie musician already know extremely creativemore business minds youve probably never thought way mind entrepreneur key harness creativity career customize new artist model strategy success newartistmodelcom hack music business chapter new music business economic model driven music business years longer relevant record labels used invest heavily artist development marketing distribution taking risks upandcoming acts one charttopper could justify investment development dozens bands longer case labels simply cannot bring enough money recorded music cover expenses business changed today business finding next superstar sell millions records sell fast fans dont go record store find new music anymore lot fans dont even music easy access low cost music streaming personal life musician longer thing mystery fans world learn favorite singers personality interests following social media internet opened opportunities smaller niche bands get music fans longer top able make living music lot people complained changes music industry like everything else change change isnt positive negative rather change matters todays model would worked past technology expensive valuable connections hard come way though past model wasnt always best choice musicians anyway instead looking industry change dead end game see open door todays music industry onesize fits model every single newartistmodelcom hack music business musician free experiment find works best fans music careers one key points new artist model want successful new music industry need consider revenue streams generate work coordinated effort promote creating reality name game creative figuring economic model make money changing industry ripe innovation think outside box newartistmodelcom hack music business look image traditional labelcentric music business modelcomplicated difficult navigate take time notice things notice removed artist fans direct communication communication go big companies like record labels radio stations look many entities middlemen money flow grey arrow go get back artist past record labels position power due high costs musicians couldnt record distribute music communicate fans without help record label viable way make picked ar rep even didnt guarantee success label dropped record cut marketing newartistmodelcom hack music business look new music business model take time notice things artist direct connection fans social media internet artist collect money directly fans via online stores platforms newartistmodelcom hack music business new artist model music industry artist center ecosystem control business control copyrights control gigging control image communicate fans choose kind promotions use sell music grow fanbase instead signing major label receiving royalty advance hire contract services need model puts responsibility artist especially early stages career dont label publisher major label get music radio print copies album create image wont major publisher pitch plug music major films need things requires lot work dedication able find fun developing brand nurturing career focusing goals knowing solid plan help musicians entrepreneurs successful artists writers future start independent stay independent create businesses around suit ambitions personality style connect directly fans control destiny start thinking music career way entrepreneurs think startup companies entrepreneur think provide product music service live show fans customers product service completely unique develop time past musicians products record labels today create product youre ceo music career newartistmodelcom hack music business know went music could never see desk job business school like mentioned earlier youve already got entrepreneur mindset need learn tap product approach career like entrepreneur starts product ideain case music think exactly making different stuff already dont think musicyour personality image important aspects product genre identify emotional songwriter largerthanlife performer stand next figure customers case customers fans internet information pretty easy come check fans tools like google analytics facebook twitter social media channels use also go old fashion route talk fans shows old share interests example karmin specifically targeting young teen girls interested popular music start lean learn lot entrepreneurs get bogged business plan stage think need plan every step way able predict revenues five years tee havent yet take read lean startup eric ries easy read concepts applied industry even music lean startup need get product market quickly possible newartistmodelcom hack music business doesnt need perfectjust get new artist model really differs past longer spending year sometimes tens thousands dollars full length album release small release often theres couple methods could release small eps every months could release traditional album keep cover songs flowing youtube channel every weeks could also go lowest denominator release one two original songs month one strategy im fan like release release one song fans via social media tell youll release next one get x number comments likes get fans hyped also shares news friends sure pick number think attainable current career level key frequent releases learn way fine tune songwriting performance marketing releases road producer dj zedd frequently plays songs hes working live released gages crowds reactions various parts songs wants back drawing board could release rough recordings videos song sketches ideas fans opinions release two songs simultaneously see gets plays build team every entrepreneur team also something lot indie musicians lack term diy pounded heads years wonder lot musicians still think going alone best option end spectrum musicians think team means top manager agent cost pretty penny newartistmodelcom hack music business entrepreneurs dont teams made top dogs field often work college buddy family member really digs product cause youre starting passion trumps experience day especially youre short cash think among group friends acquaintances would willing able step plate manager know anyone passionate music industry business school friends knack taking good photos experience photoshop network youve ever met entrepreneur youve probably overwhelmed energy outgoing personality entrepreneurs extroverts passionate eager spread word make connections take tips entrepreneur dont afraid tell anyone everyone music dont band plays local club doesnt talk anyone gig introduce bands playing promoter club owner guys running lights sound board even youre shy person step outside minutes make sure make new friends contacts get conversation going music knows may find way collaborate especially music industry success come connections planning better idea think like entrepreneur lets start planning career want successful music career need take time get know upfront need focus finding youre good youre motivated need set goals reflect skills newartistmodelcom hack music business concrete goals give something aim also help decide first step know everyone wants rich famous musician youve probably realized vague goal like leaves discouraged confused move forward many apps services available today many indie musicians suffer choice paralysis tool use build website company best digital distribution social media sites deserve attention choice especially daunting money involved one wants fork cash service may work planned get past decisions research best friend situations keeping goals mind also help every single time youre faced choice ask option brings closer goals set goals youll need little soulsearching figure really want much time dedication realistically going put team like cowriters band members manager make sure everyone page key specific possible instead saying want rich famous try something specific like want able full time musician yearly salary least able tour outside home state top youll want start mapping milestones tasks within goal breaking goals small achievable steps helps keep motivated positive think goal set break lofty goal smaller tasks like gather contact information local venues contact venues week connect another band share gig suddenly finding way reach goal becomes manageable newartistmodelcom hack music business one band used goals planning advantage karmin start knew wanted pop duo targeting young teen audience originally releasing original music werent getting much traction interest manager nils gums suggested duo cover current popular songs get front target audiencethese songs young teens searching youtube followed charts consistently covered popular songs every week took time lot covers one karmins covers went viral important takeaway karmin knew goal made plan get stuck given cover strategy weeks would never gotten today react opportunity next well take look something even entrepreneurs trouble sometimes reacting opportunity musicand life matteropportunities pop least expect job ready opportunities could anything pick gig publishing deal chance collaborate local musician either way artists react quickly ones succeed good think possible outcomes actions something cant fit everything busy schedule one wants something regret later learning pick chances important thinking opportunity bad thinking comes point need decide take leap newartistmodelcom hack music business lets take look amanda palmer famous indie artist avid social media user made k two hours jumping opportunity well celebrated crowdfunding campaign palmer tweeting followers alone computer friday night fans joined conversation group quickly formed losers friday night computers amanda palmer created hashtag lofnotc thousands joined conversation fact became trending topic twitter fan suggested tshirt made group palmer ran idea sketched quick shirt design threw website night shirts available two hours later palmer made would easy disregard fans comment sit couch watching netflix rest night nothing bad would happened hadnt designed shirts spur moment committed project nothing good would happened either newartistmodelcom hack music business keys success mind racing new ways think career ill give finish chapter think sometimes get caught moment forget little things living life music privilege earn little satisfying spending time making music make lifes work truly joyful however chances successful extremely low people going get going work hard earn right musician respect privilege free enough choice honor opportunity one charge muse happy positive people worst enemy countless times heard artists tell reasons career working time putting blocks way pointing fingers people things holding back stop whining blaming people make conscious decision going successful things going work favor creating reality every day make good one excel practice practice practicethen go prepare never ready enough opportunity live shows always better songs amazing playing improve ceo musician business learn run company effectively reach fans effective social media marketer dont hold back ready professional newartistmodelcom hack music business best ability find way great lets face really hard amazing people natural talent see first seconds meeting truly blessed rest us find niche passion calling reach ask people around feedback find good focus get people help dont stand rise pack struggle forever amazing learn breathe keep focus stay calm nothing pleasant working someone knows goal remember old adages thinking speak taking deep breath lay someone us lot going lives benefit staying focused goals remaining calm situations learn yoga exercise run meditate sit still breathe learn dont take seriously one else fun amazed many people spend much time looking backwards trying understand people think worrying past embracing future reviews important dont run let ruin day everyone going like people good time matter difficult things get move forward dont give thing help career take forward momentum going reach goals lot people stuck mud take action make move see happens dont spend time procrastinating worrying hard something positive advance cause feel much better acting instead waiting worrying newartistmodelcom hack music business find way make money start small grow avoid debt probably important strategy many artists gotten trouble past taking label advances big loan get kind cash flow happening right away matter small sell merch play door license songs play sessions teach write start musician business biggest mistake make borrow lot money spend things dont matter unique true vision say something people remember ones unique exciting special provocative fascinating original inventive andor interesting music basic form communication really successful artists something say work delivering message chances success go exponentially unique position message create following fans really listen something important say work play people like every day collaborate often music tribal experience cannot make great music alone surround talented people write together play together try new things bounce inspiration learn listen let music weave way around find producer songwriting partner musicians dive together whole greater sum parts newartistmodelcom hack music business chapter building musician business impossible one person everything needs get done case recording artist need record produce promote work songwriter needs write find placements songs recording another artist spot tv show performing artist needs find gigs plan every aspect tour show traveling expenses setlist light show top every musician needs handle business side career include website social media marketing merchandise finance distribution think entire career youre rude awakening weve heard term diy practically every single indie music business article since dawn st century tools available today artists know publisher distributor label engineer producer marketerand room truth many indie artists getting really frustrated trying make diy work theres enough time day get everything done sometimes music thing gets left forgotten sound like great artists longer doitwithabigrecordlabel perhaps diy isnt best option either lot artists excellent business chops theyre still experts important things like creating music cant expert everythingtheres enough time day key find motivate people new artist model want newartistmodelcom hack music business get musicians thinking terms diwo others even earliest stages career dividing tasks team members looking towards friends fellow musicians help think analogy made entrepreneurs last chapter every business team grows become successful needs way running musician business eventually need help team need depend stage career skills think team building efforts progressive process expands capabilities time independent artist developing career jump hiring full team industry professionals immediately instead business entity evolve career begin bring money expand business grow accommodate expansion method way startup company grows team start lean agile adding resources necessary team doesnt even seasoned pros band youre already way ahead game everyone unique skills take advantage one band member may math wiz put charge budget keep track bands income expenses spreadsheet voice financial reason comes spending money another band member may peoplepersontheyre outgoing confident afraid pitch music passionately enthusiastically person could face band comes business networking job call promoter pitch music publishing placement sponsorship talk soundboard guy show newartistmodelcom hack music business lets take look recent pop sensation betty betty whos somebody loves began drawing attention pop music world release first ep movement spring september song featured viral gay marriage proposal video days later signed rca records betty didnt get today great team behind whole way producer peter thomas manager ethan schiff attended berklee college music betty peter thomas able find really latch onto signature pop sound schiff helped set business side things key take away team doesnt made topoftheline professionals charge thousands dollars time team start friends classmates band members people really passionate music often passion important money connections time management get managing whole team take time really get top managing time tasks probably play part artist business professional sometimes way result find juggling entirely many tasks problem comes longer find enough time matters mostyour music think way dont quality music build business around build musician business find time practice create refine craft also running business side things staying social media strategizing launches making important industry connections first step streamline really ties back newartistmodelcom hack music business goal setting theres anything thats bringing closer goals stop take close look youre spending hours day tasks dont much benefit eliminate simplify postpone next step delegate many artists defensive controlling comes artand good reason personal statement however delegate tasks team members get things done really clear lot personal time get habit dividing tasks instead taking whole load person list tasks need complete try prioritize list urgent matters tasks keep putting putting high priority highpriority jobs break smaller tasks accomplishing small stepping stones help feel like youre accomplishing things keep state forward momentum remember make time music easy get sucked answering emails managing social media making website without music dont anything build business michael shoup musician entrepreneur turned career around started making profit time management graduating college bachelors degree music shoup started career musician funding tours money made freelance web design three years effectively gigged high interest credit card debt little show efforts gave professional music career went web design full time wasnt organized time able succeed music prioritized tasks free time delegated tasks automated scheduled newartistmodelcom hack music business anything could automated made sure left time important thing art time management helped michael shoup become debt free top hes managed selffund album started music marketing agency southmusic created social media app visualive internal team note ill referring band group musicians frequently collaborate internal team musicians band songwriter may lyricist works solo performing artist may hire musicians back live show recording artist may frequently work certain producer engineer band little easier function without outside help distribute responsibilities among member grow hire outside team members like manager agent need assess situation determine whether hiring team member benefit business growing responsibilities start draw away core product require perform tasks outside core competencies may time expand team music business like business get organized legal business entity many bands musicians dont see legal business like google southwest airlines discussed earlier providing consumers product music andor service performances like business organizing legal entity make money easier manage make appear legitimate outside parties newartistmodelcom hack music business several options structuring organizing business basic legal entity sole proprietorship type business conducted one person sole owner company sole proprietor might best songwriters session musicians work alone without band could also good option group leader hires band members employees gives ownership decision making power leader sole proprietorships easy set since one owner complicated contracts forms must fill however sole proprietor personal assets risk ever get sued common business structure musicians general partnership partnership two people conduct forprofit business coowners type business best teams two members divided ownership decision power create partnership need write partnership agreement details rights responsibilities partners partnership agreement easy set little cost associated formation like sole proprietorships personal assets risk ever get sued additionally partnership dissolved one partners decides leave corporation business entity separate owners means corporation everything person including owning property corporation keep existing even one original founders leave corporations complicated legal entity best musicians solid income big teams costly setup requiring fees documents advantage corporation personal assets protected event lawsuit newartistmodelcom hack music business order get best worlds many musicians opt llc limited liability corporation llcs combine elements partnership corporation theyre pretty easy inexpensive set still provide owners protection personal assets internal agreements start business important issues think put writing legal stuff may tons fun taking care front help smooth bumps inevitably come road dont want spend hardearned money lawyer drummer refuses speak also much easier talk worstcase scenarios everyone happy friendly excited starting new venture better internal agreements set team starts entering outside agreements heres main points internal agreements ownership company first need figure owns company varies depending kind team type legal entity organized typical person rock group members could equal owners situations singer guitarist may focal point group act sole owners members functioning hired employees songwriter working lyricist could equal coowners business create together lone songwriter occasionally works collaborator could musician business choose equal ownership hierarchical ownership model models pros cons remember first key point new artist model one path success business structure choose ownership newartistmodelcom hack music business model works best use name happens name one people leave group teams choose use name every member present means one member leaves one use name others choose allow majority members use name teams use key members solve issue key members important members team could songwriter lead singer lead keyboardist case team broke name could used one key members part decisions voting voting common method making decisions organized sole proprietorship team leader may decisionmaking power voting equally weighted member receives one vote uneven important members like songwriter receiving votes rest team either way make sure odd number votes end tied votes teams also use unanimous decision method however almost impossible everyone see eyetoeye everything could result missed opportunities things may vote include purchase decisions hiring new members business decisions like whether enter record deal making changes agreement salaries need decide copyrights aka potential revenue credited divided members could simple even split members choice divide uneven percentages important members receiving higher percentage one member focal point team rest team members could even work salary money comes related copyrights also need know money sources touring merchandise split newartistmodelcom hack music business many successful bands broken members makings others due income royalties sure think equitable split want make internal team take time understand members strengths weaknesses assign roles accordingly team made different people different personalities skills one member may extrovert likes center attention person may best suited handling social media channels someone team may logical think things acting person may best keeping track finances assigning roles match personalities strengths see musician business run smoothly efficiently external team personal manager beginning really focus music creative side career without bogged administrative business responsibilities like saw betty personal manager could friend classmate relative understanding business music industry many big artists today still original manager dont close friends family understand industry seek professional personal manager ask recommendations network personal manager managers work independently others work large management firms personal manager partner key communication link involved running musician business personal managers job help artist attract retain fans build brand grow business responsibilities include raising visibility negotiating contracts newartistmodelcom hack music business partnerships keeping artist organized managing promotions social networks websites mailing lists getting press traits make good personal manager looking ideal manager creativelogical type need able think outside box come strategies reaching new fans growing musician business also need kind person look critically results improve future need willing talk people make phone calls hit road importantly though personal manager needs thoroughly understand music industry passionate music someone connect trust artist manager usually compensated percentage artists overall income days thing standard deal managers stake anything artists gross includes income live gigs record sales publishing royalties merchandise whatever else manager contributes artists career deal make important important picking right person work like getting married youd better sure values aligned trust work person pick manager key success management combination innovation passion tenacity leadership connections ability raise capital want manager work hard create brand business partners better manager solely focused many managers work multiple artists set expectations accordingly newartistmodelcom hack music business attorney depending situation may seek help attorney early lawyers play major role shaping external agreements personal manager record labels music supervisors publishers wellconnected experienced lawyer benefit birds eye view industry artists deals look like lawyer may charge hourly basis per hour depending experience reputation charge percentage revenue profit deal negotiating behalf others work value billing means ask fee deal finished based involved shaping executing deal value billing typically addition hourly rate attached retainer monthly fee get point negotiating contracts external team member publisher manager agent record label need seek advice lawyer ensure get best possible deal even good understanding law legal lingo tricky understand easy overlook potentially massive loopholes pages pages dense text many small bands excitedly signed major label contracts without legal counsel lived regret ton external team members consider team agent accountant business manager publisher tour manager well cover team members later book hang tight newartistmodelcom hack music business chapter gigging live music industry great source income many musicians many artists make money touring playing live recording publishing income streams combined additionally contrast declining recorded music revenues live revenues steadily increasing years course amount money involved lot artists popularity total number shows play often tour total number people attract venue live show around since humans started playing music entire history nothing able replace recorded music progressed one new medium replaced one came phonograph record cd digital download cloudbased services nothing replaced musician stage playing music think concerts go beyond music realm social experience fans opportunity interact music connects people many find easily approach someone similar musical taste concert everyone common interest result amazing energy want start thinking live show little differently theres lot musicians see gigging another revenue stream something another part job like answering emails move want take minute think gig newartistmodelcom hack music business live show another revenue stream gives opportunity promote something specific drive sales connect fans directly learn improve songs performance kind like point parts career meet come together live show tie back build upon aspects career like recording publishing released new album try come creative ways tie live show know youll doubt performing new songs go beyond lets take look wild feathers rock band nashville tn week leading release selftitled debut album wild feathers made album available early shows exclusively superfans strategy gave superfans incentive go shows get excited release top band gave concertgoers little surprize every album sold included two cdsone keep one share friend strategy genius couple reasons selling album early specifically targeting superfansthe ones would travel hours get hands album everyone else passionate music superfans also likely tell friends wild feathers giving extra cd really empowered superfans share turned superfans marketers concept doesnt apply gigging youll doubt see move forward book new artist model think career like box gears different gear representing publishing gigging recording gear separate work together towards one common purpose newartistmodelcom hack music business fans perhaps best part gigging opportunity presents connect fans done correctly touring actually fantastic way build fan base connect people meaningful level key really active know lot musicians get really frustrated gigging feel like people interested drinks performance bring every night dont need flashy light show video production truly great live show fact connecting audience different waya way thats unique youwill probably effective bring fan stage sing song stay show talk fans feature fans video use backdrop think work financially fans like brand trying create unforgettable experience example heavy metal band someone sing may work instead jump stage scream atwith fans bring fans onstage headbanging contest creative want live shows transcend sound become experience want create strong memory minds fans mind never cancel show unless absolutely necessary strong negative memory show cancelled last minute stay fans mind like positive memory fact studies show people likely share negative experience share positive experience artists arrived club gig power outage whipped acoustic guitars turned trash cans drums given fans intimate exclusive unforgettable experience could tell friends amplifier breaks dont cancel show see venue available ask opening headlining act borrow newartistmodelcom hack music business live show also presents unique opportunity learn fans get insight like songs popular kind interactions really get going live show feedback loop extremely short something get instant feedback whether audience digs go crazy guitar solos use advantage put great guitar solos songs love prog rock instrumental breakdowns sure feature long breakdown shows respond well ask clap certain sections scream others try come ways engage fans directly live show touring team agent agent middle man musician promoters venue owners basically theyre responsible getting gigs includes logistics tour negotiating contracts routing artists find difficult break local scene without agent agents connectionssomething thats really valuable music industry well look ways make connections later chapter heres example agents job artist manager start get traction market decide try tour figure vision connect fans agent helps determine extensive tour cities hit tours goal agent contact promoters pitch show needs convince promoter show successful worth promoters time effort agent book dates present finished tour artist manager booking agent typically works commission usually artists gross live show income sure dont give agent percentage songwriting newartistmodelcom hack music business recordings making money live shows book promoter promoters business people music industry buy talent promoters club owners concert promoters festival organizers event planners promoters main responsibilities include advertising promotion show making sure everything artist needs perform lined concert organized promoter responsible paying upfront costs associated live showits big expense costs occur show takes place promoters take large risk losing money show canceled ticket sales good expected working promoter doesnt mean need leave promotion playing smaller clubs venues promoter able provide lot marketing make sure resources available eg customizable flyer either send venue available download good band photography music hear share embed etc case help organized professional help venue help show band act together especially playing smaller clubs venues promoter able provide lot marketing need announce show website social media channels try running promotions get people shows give people reason come shows might announce playing unreleased song new album giving away tshirts show appreciation amazing fans newartistmodelcom hack music business getting gig promoters lot pressure fill venue bodies need substantial crowd either buy tickets pay cover fee door andor spend money food drinks take loss reality whether promoter loves hates music primary objective draw audience find ways prove draw audience collect information past shows prepared give promoter list venues played capacity venues many tickets sold whether sold also try target venues play genre music trying get spot perform singersongwriter bar nashville punk band would futile matter many fans contacting promoters remember personal business emails arent going cut itespecially cold emails call invite one shows show fill room even better get connection music industry know call promoter say hey guy know told call theres way better chance give music chance difficult get music industry connections provide point reference dealing promoters musician easy ticket connectionsother musicians lot easier approach artists get conversation going music form long term connection cool thing may know agents promoters attorneys business people could introduce newartistmodelcom hack music business try strategy lets say want able play new city make connection either person via social media band musician established fan base city try target someone similar style plays similar size venues propose headlinetrade youll open home city theyll open home city puts front new audience introduces local club owners would never able contact winwin planning gig order plan gig effectively figure hope gain talked second chapter goals planning prerequisites success common reasons play live besides potential cash earn could promote new album song meet interact fans work live chops play bands create relationship know want play live set goals show could sell x number cds get fans involved live show create live recording video use youtube channel upcoming album goals directly related purpose playing live want promote new album goal could sell cd maybe give two price one get fans sharing goal interact fans goal could stay every show talk fans setting tour gig difficult time consuming task costs need considered budgeted transportation living arrangements must made fans must notified deals must negotiated lighting production show must designed even relatively small artists take time plan carefully order make process smooth possible heres things newartistmodelcom hack music business need consider planning gig want tour single gig local tour tour coast full country tour fullblown international tour route get point point b tour multiple dates need consider order visit location ideally want route tour way requires least amount travel youre driving make sure route clearly mapped form directions dont get lost miss gig travel arrangements youre taking train plane book travel far advance get best price youre going longer tour may need book hotel rooms itinerary include tour information driving directions need addresses venues contact information venues name location hotels transportation tickets need itinerary also include information time gig loadin begins youre due stage plan day according time gig make sure arrive ahead time best give plenty extra time budget include transportation costs including gas ticket costs living expenses including food sleeping arrangements equipment need buy salaries need pay road help create budget show spreadsheet like excel google docs expenses income try cut really need upgrade head bars every night gig newartistmodelcom hack music business playing new city also tough unknown artist perform try booking shows hometown artists work similar genre open open come hometown build fanbase city city venues back kind income actually expect see tour probably imagined significant revenue stream live show ticket sales typically money generated sales tickets divided among promoter venue artist booking agent manager splits negotiable young bands getting much less established acts often negotiate larger payments promoters youre smaller artist youll probably receive percentage door basically means get set percentage ticket sold merchandise another revenue stream tap gigging key sell things fans would actually interested course theres generic tshirt try get creative young teen girls might interested paying instagramthemed photobooth session band cds merch try offering cds sale release date give fans incentive purchase newartistmodelcom hack music business chapter recording recording vital part music industry driven overall growth popularity businesses past years said doesnt function way past instead focal point artists career one moving interdependent part performing live extremely important without recordings share fans begin forget know exist first place remember analogy gears recording another piece gearbox career recordings longer tool direct monetization also serve promotional marketing tools tours merchandise today record music little costs computer tablet small studio barriers barred artists entering music industry without record label blown artists opportunities manage rights options selfdistribute work indie labels new label alternatives like converse rubber tracks studio recording industry disrupted internet necessarily worst companies complaining ones unwilling adapt innovate move ask youre willing think outside box times small agile entrepreneurs big established companies innovate move industry forward future entrepreneur newartistmodelcom hack music business glamor major label record labels business exploiting sound recording copyright unique combination sounds fixed time term record company adopted companies specialized recording songs distributing marketing recordings huge profit term major label simply refers fact functions recording manufacturing distributing promoting record inhouse major record labels traditionally powerhouses music industry getting deal major label associated success making big dont lie youve doubt found fantasizing major label deal point career past way successful gain attention major label get signed utilize connections distribution marketing muscle capital today artists indie labels perform many functions major label team yet association major label glamor success remains think truth told signing major label mean success fact vast majority artists sign major dropped albums disappear historically recording artists ever recoup initial royalty advance label major record label deal look like major label typically demand ownership sound recording copyrights artist receive royalty every album sold typically range cover upfront recording costs label usually provide advance future earnings money upfront may seem like great thing important remember newartistmodelcom hack music business loan must pay back meager royalty rate see profit album major label try lock long term typical major deal one initial term lasting one year one album whichever greater options additional albums option means label choose extend contract another term note option labels artist say matter unless existing success leverage longer term keeps artist renegotiating favorable contract moving another label top theres kinds deductions fees come royalties major labels dont seem nearly glamorous indie label indie record labels like talked earlier chapter small agile companies ones innovate different record labels part indie labels tend creative deals many indie labels focused specific niche genre focus time energy becoming expert genre growing relationships key tastemakers top indie labels tend transparent dont bargaining power major labels really need establish relationship trust artists indie label deals vary significantly depending artist needs bring table resemble major label deals others creative offerings heres three examples pretty common indie label deals newartistmodelcom hack music business traditional deal traditional indie deal resembles major label deal quite closely terms royalty computation indie label may give artists higher royalty rate creative controls less deductions flip side typical indie deal much smaller front advance net profits deal indie labels offer artists net profits deal meaning expenses recouped artist label share profits deals potential cash artist later either small advance advance fact smaller advance good thing deal advance expense label smaller advance smaller expenses means artist reach profit split sooner label may money marketing promotion pressing distribution deal pd another fairly common indie deal pd deal deal label handles manufacturing distribution album youre still responsible recording part significant money pocket front deals typically give artists higher royalty rate standard deal labels also pick marketing promotion usually cut royalty producer move selfreleasing albums lets take quick look another key member recording process producer producer works bands choose develop record songs handle logistics recording sessions work musicians recording engineers make recordings producers help bring vision together one finished product newartistmodelcom hack music business may also deal recording engineer opposed producers creative role engineer deals technical elements like choosing right microphones placement amplifiers producers generally get paid royalties means percentage sales recording percentages typically start range often referred points points often producers royalty paid artists royalty theres record label involved recording process im sure youre thinking dont record label truth told technology floating around nowadays lot record label functions team key planning think records like new product company launching new product take time really think plan customers love long take develop release need asking questions trying accomplish first step recording process knowing exactly want accomplish recording album recording one song full length album shorter ep vision new project kind sound looking plan planning one overlooked aspects recording process recording independently without label many musicians jump unprepared end getting hit unforeseen timeconsuming issues could avoided little planning newartistmodelcom hack music business also create timeline documents much time allocating phase process much time realistically dedicate day rehearsal many days need rehearse get ready studio long realistically record day many days recording need get material recorded long take mix master recordings long take physical cds made even make physical cds long leave finished recording release show release date good leave little extra time think actually need planning timeline common recordings take longer expected due unforeseen issues keep track costs start spreadsheet documents much money available recording costs one place need rent rehearsal space need go studio studio close travel need rent buy gear equipment many physical cds make much cost hire artist photographer cover art promo pictures hire producer recording engineer need help mixing mastering newartistmodelcom hack music business depending career level recording skills may may need producer recording engineer may friends classmates recording knowledge help rememberconnections best friend industry distribution song album recorded need figure get fans digital distribution straightforward option plenty services help get music fans like bandcamp bandzoogle reverbnation tunecore beatport topspin cd baby use process restricting whether intentionally old ways thinking music business one common barriers indie musicians face today like locking small room theres whole world explore theres one size fits model anymore many things need get head around theres also huge amount freedom dont stick traditional album release even release album way bring fans process develop even stronger relationships many musiciansand many successful people industrystill think recording finished product static object finish share sell may case past one way think open recording writing process fans create interesting opportunities deeply connect fans create new fans make money foster new connections industry newartistmodelcom hack music business get bit strategy lets distinguish regular fans super fans regular fans ones listen enjoy music may stream may album two wont necessarily go way buy music day released theyll enjoy cool content share free may pay extras theyll go live shows convenient fits life fans probably represent biggest percentage people reaching super fans however ones preorder album given choice usually opt bonus editions extra tracks special artwork love learning music willing pay cool extras like personal note meet greet custom merch super fans shows willing travel little pay little better seats backstage passes even private house concert people probably represent small portion overall fan base people develop deep connections meaningful source revenue passionate music start thinking using entire writing recording process advantage consider super fans theres tons artists posting instagram pics day studio video clips blog posts thats really going halfway super fans may quite willing pay intimate deep experience connection example could try offering exclusive membership allows check content song ideas lyrics rough mixes finished songs anyone else gets could explore ways super fans give feedback writing recording process drawing circle newartistmodelcom hack music business chapter copyrights music industry built entirely copyrights without copyright law would ownership songs fewer ways make money music would get money people bought music would get paid songs played radio would make money songs tv movie without copyright law anyone could make copies distribute albums without paying cent even asking permission anyone could use song association anything without copyright law would difficult support music many bands musicians overlook copyright law something business suits need know ultimately copyright law building block career especially today bands managing early career good understanding copyright law imperative one thing lot musicians miss fact copyrights power copyrights power think without copyrights would labels publishers anything sell many musicians realizing figuring leverage copyrights thing international copyright every country unique copyright laws dont acknowledge copyright ownership countries grant copyright ownership life creator plus years others use standard life plus years countries strict kinds newartistmodelcom hack music business work receive copyright protection others lenient countries set laws others set precedent cases lawsuits still others use mixture two good place find updated information countrys copyright law governments copyright website may also find books articles written specifically musicians describe countrys copyright policies simple terms rights copyright designed promote progress science useful arts creating limited duration monopoly giving creators exclusive rights works limited period time countries creative ideas songs stories transferred tangible form eg written recorded become property writer protected law copyright countries may register government claim copyright part moment record song sketch musical notation paper even napkin automatically rights generally song two copyrights composition copyright refers songwriting sound recording copyright refers unique recording song also known master copyright copyright law countries balancing act protecting rights creator good society attempt promote progression arts order incentivize creators create must given sort economic compensation creator result granted certain period time gain exclusive rights exploit works however art nature builds upon came reason copyright ownership last forever newartistmodelcom hack music business predetermined number years set laws particular country work falls public domain used anyone purpose without payment permission creator duration copyright varies greatly country country berne convention sets minimum standard countries life creator plus years although countries provide longer time period involved berne provide shorter duration united states example grants creators economic benefit works life plus years copyright given exclusive rights work united states many countries rights granted right reproduce work means make copies work example could make copies album right make derivative works based original derivative work one base one preexisting works examples derivatives translations arrangements translation book album motion picture samples remixes rule thumb work becomes derivative opposed reproduction transforms recasts adapts original reason cover song change composition considered reproduction derivative right distribute copies work right distribute copies album made public sign deal record label must grant right reproduction distribution get music fans newartistmodelcom hack music business right publicly perform work composition copyright right applies composition copyright grants right publicly perform composition time hear favorite song played publicly tv show radio cover band local club composition owner paid performing rights organizations ascap bmi sesac us responsible issuing public performance licenses composition collecting fees songwriters behalf right publicly display work relevant music art forms since difficult visually display sound however utilize right display song lyrics public via youtube video website even tshirt many musicians concerned right result plenty lyric sites floating around internet pay licenses songwriters whose lyrics display right publicly perform audio recordings digital transmission sound recording copyright right applies sound recording copyright grants copyright owner right publicly perform sound recording via digital transmission digital transmission includes noninteractive digital radio like pandora interactive digital streaming like spotify pro performing rights organization order simplify process licensing public performances countries performing rights organizations pros imagine every radio station directly newartistmodelcom hack music business contact every artist wanted play ask license play music lawyer would hired instance negotiations set price terms license would time consuming costly artist would overwhelmed calls radio stations tv networks clubs restaurants requesting licenses side equation users radio tv venue etc would keep track millions separate licenses would responsible paying time right amount performance rights organizations help simplify process making manageable artists users basically collect flat fee users venues radio stations tv networks restaurants etc distribute money back artists whose songs played songs played anywhere make sure youre signed pro ascap bmi sesac others around world otherwise youre missing royalties compulsory licenses mandatory compulsory licenses actually require copyright holder issue license certain circumstances us include rebroadcast television signals cable tv companies use copyrighted works pbs broadcasts playback music jukeboxes digital broadcasts noninteractive streaming mechanical license manufacture distribute audio recordings youre based us may may subject compulsory licenses sure research countrys copyright laws part compulsory licenses good artists compulsory licenses make easier others get access use music great things required law pay people using music money bringing newartistmodelcom hack music business compulsory mechanical license lets take closer look mechanical license popular one definitely good understanding musician us composition copyright owner compelled law grant license reproduction song records long following requirements met nondramatic musical works eligible mechanical license means songs written theater opera like song question must previously recorded commercially released public songwriter youre entitled first use song youre song released public yet charge someone anything want record user must pay statutory rate reproduction us statutory rate currently cents user may change basic melody fundamental character work case cover song work changed different musical genre good example marilyn mansons cover eurythmics sweet dreams new recording created song used phonorecords thats fancy word audioonly words theres compulsory license dvds videos newartistmodelcom hack music business chapter publishing music licensing music publishing ways deriving income songs write record create song certain rights granted author exploit licensing renting song third party publishing usually referring composition copyright songwriter although also license use sound recording master use license earn royalties people record songs used commerce television radio commercials video games films publishing potential bring huge amount income musicians successful songwriters far likely earn big money working music business recording artists writers sometimes behind scenes music business quite often unless also artists end quietly collecting checks years publishing industry translate actually making money people companies get permission usually pay perform actions protected copyright think copyright like propertyintellectual property owned large apartment building people would get permission live one apartments would sign contract money would likely change hands principle music record label distributor pays newartistmodelcom hack music business able make copies song distribute online retail stores radio station pays pro perform song radio company pays sync music promotional videos advertisements common licenses mechanical license license grants user right reproduce distribute song song covered another band mechanical license used record labels also need mechanical license make copies album distribute public performance license paid radio digital services tv clubs restaurants etc performing song license grant right perform composition sound recording synchronization license paid film tv video game company use song synchronization visuals sync license typically bundle many different licenses rights depending use print license paid print publisher right print sheet music lyrics song master use license paid anyone wants use masters sound recording derivative license license grants right change original composition derivative license used translations foreign languages samples arrangements newartistmodelcom hack music business sample license license anyone wants use clip song typically includes master use license derivative license traditionally music publishers handled task licensing music publishers role vary depending needs publishers help develop music others collect money distribute publishers perform role copyright administratorregistering works copyright office sorting related paperwork issuing licenses collecting money paying money publishers may also help finance writers careers publishers offer writers advance future earnings much like advance record company gives artist money front form loan meant help writers living expenses write advance size varies depending artists perceived potential future earnings go publishing deal structures important know ownership song split among cowriters affect money earned publishing split among band members copyright didnt cowrite another person affect whenever cowrite create written agreement clearly stating members ownership song done split sheet could choose give writing member equal share ownership split according amount contributed drummer singer write majority melody lyrics may make sense give two members receive newartistmodelcom hack music business traditional deal music publishers split composition royalties songwriter songwriter may receive advance future royalties sign publishing contract traditional publishing deal publisher typically lot terms development finding people use songs terms tend longer advances common copublishing deal variation traditional deal situation writer sets publishing company enters agreement thirdparty publishing company help promote place songs administer licenses collect money typical case copublishing means songwriters collects songwriters share also half publishers share half total publishing income advances less common copub deal traditional deal third commonly used publishing deal administration deal deal allows artist retain rights results highest share income however publisher administrator case also provides fewer services services administrator take cut income collect usually administration deals usually advance term generally fairly short self publishing starting probably dont need sign publisher even indie publisher fact early stages career musicians dont sign one start probably enough publishing business merit deal publisher doesnt mean shouldnt pursue publishing publishing revenue stream want exploit use knowledge connections find local publishing placements newartistmodelcom hack music business publishing early career viewed investment require lot upfront work part likely bring little money first approach strategy mind career may greatly benefit road reach point career would benefit relationship real publisher chances getting good deal increase show past placements publishing potential like many aspects indie artists career long road small steps music publishing tricky area navigate comes payment especially youre starting many small companies within reach dont budget music rely small indie bands license songs free cases dont cave restrict monetary payment think nonmonetary things offer exchange music done correctly publicity could valuable check one band really utilized companys blog advantage happen ins austinbased rock band featured catalog clothing company free people corresponding video july case free people get permission sync happen ins music video free people fairly well known clothing line band likely got monetary payment well focus nonmonetary publicity something companies offer even smallest bands members happen ins catalog feature many blog posts surrounding catalog release played catalog release party order grow fan base happen ins offered free download free peoples customers newartistmodelcom hack music business also use youtube self publishing platform dont need publisher get music placed youtube videos need proactive social media reach youtubers think would interested using music creative content huge community amateur professional video makers youtube topics ranging beauty fashion gaming health fitness also big surge professionalism among youtubers result many getting creative music use videos youtube tough copyright policy many seek either royalty free music get permission use track indie artist usually exchange link back musicians website soundcloud page shout video youtubers tastemakers people subscribe channels watch videos trust opinions youtubers feature really great music videos either mentioning band syncing music videos tons subscribers go listen even buy album lets take look examples day whose real name sean plott exprogamer game commentator host online daily starcraft show day daily doesnt sync music videos often chats audience telling bands hes listening lately one videos mentioned blue sky black death song result songs view count youtube went thousand also enormous fashion beauty community youtube like jenn im clothesencounters michelle phan seek indie musicians use music backing track tutorials link channels description box newartistmodelcom hack music business approach companies content creators publishing placements first need research know product service content create know kind music used past next figure track would bestsuited purposes contact directly twitter youtube message email try target companies content creators whose customers fans shares traits fanbase key start small work way newartistmodelcom hack music business chapter marketing independent artist writer producer performer promoting music skills one important aspects career one needs constant attention resources focus marketing taboo word music many people expect successful talent alone however one knows music career marketing doesnt fake flashy commercialized fact marketing today establishing healthy relationships fans opposed push marketing mass marketing past online tools today make easier ever connect fans meaningful authentic level online marketing promotion tools also enabled bands succeed without label today contact influential music bloggers reach fans directly social media via email run promotional campaigns grow fan base get people shows partner bands copromote brand branding artist image arent new concepts since beginning music artists defined genre personality attributes beethovens music personality described moody liszt showy star makes unique especially today many people trying make musician really need consider people would buy newartistmodelcom hack music business album go show instead someone elses two common approaches comes defining brand musicians like list every single genre draw influence confuses audience end something like psychedelic reggae metal band also look funk bluegrass classic rock influence really hear sound end spectrum artists afraid even approach task labeling either feel music cannot defined sentence uncomfortable waving flag would rather play music brand bad confusing one dont confine brand musical style fact personal make brand better weave elements personality beliefs attitudes passionate something chances people share passion use connector think favorites artists bands brand stand lets look fairly well known band sum made big hard time getting record deal many labels thought another blink imitation band labels heard one dimension bandtheir sound image personality attitude really set apart got deal end band took camcorder footage goofing around edited audiovisual epk resulting sevenminute hilarious video showed labels punk music characters good projecting character media newartistmodelcom hack music business find image brand want everyone like us music industry thats always possible people specific opinionated tastes music theres always going someone whos fan sound musical taste subjective dont let discourage flip side music personal thing also people think music amazing key focus efforts people easier turn fan superfan turn hater fan start really focus niche anything wanta genre attitude beliefwhat brand aligning niche creates opportunity connection chances theres lot people excited niche niche transcend music connect time people consider extreme example lets look eileen quinn songwriter sailing enthusiast combines two passions one writing sailing songs targeted market isnt already saturated musicthe sailing marketand able really star may seem like severely limited terms audience mainstream music industry would another artist specific niche however able really stand everyone specific niche geographic area lifestyle belief take little thought discover niche youll well way establishing strong artist brand fans musicians different kinds fans ranging new fans casual fans superfans superfans people buy merch wear proudly newartistmodelcom hack music business taking opportunity talk others comment shirt people go live show write excited facebook instagram post pictures show ones buy new album tell friends probably wont many super fans ones vital career success lets take look rule understand significance generally fan base account revenue superfans fanbase made casual fans mainly new fans willing spend much music use different kinds fans advantage key offer different content products different kinds fans today many indie musicians find stuck seemingly impassible rut giving music away exposure cant seem get point people actually pay think dont give music free youll never able grow fanbase continue free music route bills wont get paid one industry take seriously paradox plagues indie musicians youre alone free music great one effective ways grow fanbase probably huge part marketing efforts right even bigtime musicians like radiohead trent reznor used free music advantage granted already well known artists key find right balance free paid content saw already different fans willing pay different things fans pay music attend shows others pay come shows others pay music buy merch go shows still willing newartistmodelcom hack music business throw money asked important differentiate fans target offers context need consider purpose free music think fanbase terms pyramid potential fans bottom third casual fans middle third superfans top one purpose free music could move fans pyramid fans bottom pyramid probably give cash trade free music email address stay touch fan middle give free songs buy something youa ticket merch bundle songs fans top make special limited run products charge give something exclusive free seal deal matthew ebel bostonbased piano rocker struck balance paid free patreon page calls officers club gives superfans exclusive rewards exchange regular patronage matthew isnt superstar artisthe doesnt ton facebook likes works fulltime musician makes good portion net income hardcore fans fans choose donate different levels ranging price per piece content releases matthews offers include exclusive feeds digital songs recordings physical cds signed prints goodie bags private events even inclusion song personal phone call things lot indie artists give free remember money isnt form payment value information valuable cash many instances example matthew ebel offers entire free album anyone signs mailing list purpose move potential casual fans pyramid serious fans newartistmodelcom hack music business gives taste musica trybeforeyoubuy willand return gets ability contact email send casual fans information live shows new material life fans marketing team indie artist today youre likely charge marketing probably dont record label planning releases scheduling social media week certainly dont spare cash big marketing campaign marketing seem like completely daunting task maybe manager trying get word actually whole team marketers waiting share musicyour fans best possible promotion get fans talking friends think social media best nothing fantofan marketing creating authentic communications trusted sources wordofmouth powerhouse drive brand constant presence social media internet music fans today bombarded information possibly process top new technology enabled anyone get online call musician result music fans look recommendations trusted sources new music trusted sources could good music blog times comes friend think found favorite artists many discover friends recommendation someone trust key marketing today authenticity making real transparent interesting people check new album friend recommends would flashy tv commercial means dont need dish thousands big marketing campaign effective form marketing newartistmodelcom hack music business completely within reach financially paramore harnessed fans marketers june song still paramore launched contest paraoke asking fans submit best cover song winner would receive bike featured video two concert tickets merch pack result youtube flooded new paramore covers didnt need spend thousands big marketing campaign fans spread word chances fans already talking music create great strategy harness excitement music order get fans talk music need give something talk first need create tribe super fans willing support online presence key points coordinating marketing online know fans many social media platforms every single one streamline use ones relevant fan base example teens females likely use instagram postcollege people may active facebook remember social media shouldnt thought like traditional marketing social talking fans dont like assigning rule something like social media good rule thumb keep content conversational entertaining interesting reserved promotional purposes also try provide different kinds content different social newartistmodelcom hack music business media channels youtube great sharing cover songs original songs even vlogs instagram best suited sharing imagesyou dont need much text take pictures studio band venue sound check new guitar facebook great longer textheavy information twitter great platform establishing conversation ask fans question tell inspiration behind newest song website basically center online presenceall pages like facebook twitter instagram youtube lead back website driving traffic back website focus marketing promotional efforts website sell music tickets merchandise directly fans gather demographic contact information many musicians prominently feature blog website great way keep website interesting relevant welcome hire someone make website plenty tools allow create website little web design knowledge wordpress cd baby bandpage bandzoogle squarespace viinyl presskitto options available email database end one biggest assets marketing arsenal potentially profitable optin marketing email marketing oftenoverlooked aspect artists business many artists bands dont even email list cant get level direct connection passive channels like social media think people sign mailing list want hear want indepth relationship music didnt would followed facebook fans sign mailing list fans consistently listen offers perhaps buy newest recording go live shows newartistmodelcom hack music business great tools online creating managing email lists email templates check mail chimp fanbridge ton options beyond two website creation tools services also basic email address collection functions building website make sure mailing list signup prominently featured home page make sure visible home page without scrolling obvious call action like sign mailing list could take step give incentive sign like free download try giving email subscribers early access content news special exclusive promotions additional content behindthescenes footage available anyone else small email list try best give email subscribers personalized attention could example send new subscriber personalized thankyou email send birthday messages little things like make email subscribers feel valued help boost word mouth promotion newartistmodelcom hack music business chapter financing musician easy fall habit poor budgeting accounting budgeting generally paycheck receive regular basis company financial standards need meet nonetheless business treat budgeting finance proper business doesso manage money better efficient profitable need know handle cash payments may receive much pay much save future top need know fund projects tour new album finance first step budgeting figuring much money musician band earn much money expect bring month much money bring year cannot know studio afford record many gigs play whether afford producer dont know much money earn cover expenses keep track much money comes every month create basic spreadsheet record payment musician band receive divide income categories live merch recorded music publishing whatever revenue sources total category total categories combined also able identify month money came newartistmodelcom hack music business many different ways distribute income among team members important thing remember musician business need operate accordingly need pay employee need keep cash business account cover expenses avoid distributing money team money saved put business bank account future use important separate business personal bank accounts business account used music career income expenses help tax purposes also give discipline running business hopefully buffer cash help cover unexpected expenses large investments like new pa system band van bus music industry largely cash business especially smaller indie bands quite tempting pocket cash split immediately try best avoid cash receive needs accounted income spreadsheet needs saved business bank account crowdfunding past money huge barrier musiciansand one main reasons many forced tie record label today many musicians finding ways creatively fund albums tours popular option crowdfunding crowdfunding huge undertaking done correctly come whole lot money also presents dedicated creative artists chance connect fans whole new way newartistmodelcom hack music business run crowdfunding campaign lot people mistake crowdfunding endless well money sky limit amount money raise entirely dependant size fan base crowd generally fans money able raise although variables like fan dedication income level amanda palmer able raise upwards million huge dedicated fanbase spare cash throw around thats pretty much perfect scenario theres way tell exactly dedicated fans much money would willing donate look figures get better idea look many people email list many people come shows many people following social media dont assume every one fans donateeven amazing musician world couldnt accomplish think much average fan would willing spend help cause fanbase generally high schoolers college kids may much spare cash working adults think super fans may willing spend offer higherend products website like vip passes look many typically sell gage amount dedicated fans use set reasonable goal setting goal high meeting depressing thing one wants face mention definitely negative effect brand tons crowdfunding platforms unique features benefits dont use kickstarter worked amanda palmer reason platform choice newartistmodelcom hack music business pledge music musicspecific crowdfunding fan engagement platform options set crowdfunding preorder campaign connections music companies help things like manufacturing marketing distribution may best choice overall music projects kickstarter huge profile hundreds thousands visiting site day downside get money meet goal could get lost crowd depending kind campaign set indiegogo allow keep money raise even goal isnt met however indiegogo takes higher fee kinds projects budget isnt want fund ask exactly need fund recording tour youll find debt platform takes percentage fee successful projects taxes another issue technically money raise crowdfunding income needs reported probably wont hugely significant smaller projects costs add take account top rewards cost money well people paying tshirt vinyl still need make ship figure exactly reward cost much cost ship international fans look international shipping costs worst situation could able get rewards fans took time money help top budgeting need think rewards creatively make rewards relevant project fans teenage girls may love magnets made secret instagram photos recording process slightly older fan base may really appreciate vinyl even highend custom vinyl artwork think newartistmodelcom hack music business project signed electric guitar rewards acoustic album doesnt make much sense get creative make sure rewards take different levels fans account alienate anyone digital downloads physical cds posters magnets little things like great lower end options great casual fans may willing means donate much midpriced rewards like vinyl tshirt personal things like signed copies special notes great serious fans crave personal interaction higherend options private house concert vip pass great way get super fans involved keeping mind make sure dont overinvest reward process need make sure time create rewards handwritten lyrics may seem like good idea keep mind could writing hundreds crowdfunding isnt beginning end mass pushes beginning end campaign wont get far youll left unmet goal bunch annoyed fans block hourly updates social media news feeds statistically pledges crowdfunding campaigns come beginning end people motivated new content deadline use advantage drive pledges middle campaign release new special reward halfway campaign keep mind entire process opportunity engage fans new way release update videos showing fans progress album helping make release short teasers rough drafts songs ask fans opinions lyrical workinprogress try make content exciting engaging want keep awareness campaign dont want feel pitchy newartistmodelcom hack music business key points change open door dont view new technology new model dead end look like new opportunity chance try new things innovate maybe find something really works entrepreneur times small agile entrepreneurs big established companies innovate move industry forward future entrepreneur go lean release small release often dont wait record first album afford time big time studio dont wait start publishing career publisher start go learn take every single opportunity learn went great live show didnt go planned use knowledge improve next time social media posts get fans excited song people seem like learn every single thing diwo instead diy cant expert everything find people team doesnt seasoned pros times passion trumps experience recruit friends classmates family help give pointers ton really successful artists still work someone started classmate newartistmodelcom hack music business element career separate moving part bigger machine dont think recording publishing touring vacuum think connect together one unified plan relationship business get meet people talk many people studio live showspromoters club owners sound light folks bands musicians make connection could really start career successful indie artist remember face face conversations always get emails treat people like people give receive use process recordings songs finished products ton opportunities engage connect fans even make money along entire process onesizefitsall model anymore need build career around music works best something worked someone else doesnt mean go way career make big break days one going hand big break need working hard pushing new limits trying new things connecting people want make career lot hard work music become career newartistmodelcom hack music business mind buzzing kinds new ways promote music grow career small preview learn new artist model new artist model similar musicians mba program blueprint success help take music career next level dont waste money expensive college degree programs instead take new artist model online program develop plan skills save tens thousands dollars sign new artist model also get exclusive community musicians private networking group connect collaborate members around world make music career find success rooting keep momentum going find program thats right complete online music business program new artist model learn promote music musician powertools become better songwriter songwriters kickstart learn music industry professionals music guide success newartistmodelcom hack music business online school httpnewartistmodelcom email us infonewartistmodelcom get free lessons newartistmodelcom hack music business" +} diff --git a/Harmony Core | Berklee College of Music.json b/Harmony Core | Berklee College of Music.json new file mode 100644 index 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interface technology business dr chuck lucier overlap circles maximizing three elements strategy consulting business dietmar ostermann art consultingfiguring right luther j nussbaum discipline client value bradley smith giving clients expect thomas j silveri tailoring solutions meet client needs david frigstad future marketing consulting john c mcauliffe rules changedleading consultants drive business results walking customers shoes frank roney ibm general manager worldwide business innovation services inside minds consulting path ive professional services years intoxicating profession ibms consultants live intersection business strategy technology execution constantly changing areas theres never boring day boring assignment boring engagement customers business designs evolving new applications technologies emerge core consulting industry creating value customers ultimately customers also hard work staying leading edge change practical cannot done today creating value everything transformation ebusiness early technology became key enabler business strategy saw real acceleration consulting around technology driven erp systems opportunity reengineer businesses take costs become productive efficient increased throughout particularly around yk technology changeover initial emergence internet first wave ebusiness saw insatiable demand leading consulting talent talent could develop strategies leading consultants create new business models implement technologies drive companys growth increase competitive advantage save money last two years saw surge around big ideas propelled business designs dotcoms know short lived dotcoms learned hard lesson ideas innovation without tangible business results isnt going cut best consultants know deliver promise big ideas execute marry innovation maximizing shareholder value second wave e business hard work business innovation technology integration defining success maniacally focused customer value important element mission order know delivering value measure customer satisfaction regularly ask helped customers drive shareholder value impacted revenue growth increased market share impacted competitiveness helped reduce costs increase productivity contributed development business strategy transformation business inside minds youre going live intersection business strategy technology execution simple question must asked every day made difference customers havent leveraged technology business strategy drive shareholder value havent done job another job though publicly owned company publicly owned consultancy must also drive value shareholders driving value customers shareholders interesting balance one weve successful quite another measure success least businesses advise ability unlock leverage business strategies across entire enterprise business processes pieceparts unlocking promise ebusiness throughout company business processes consultants must industryfocused days must keenly focused insights business designs new business processes technologies evolving industry wide winning combination consultant keep industry forefront mind marry right technology address customers business issue technology technologys sake technology real payoff customers leading consultants opportunities important opportunity wireless mobile computing key technology increasing customer loyalty reducing operational costs improving business productivity use wireless technology everyday businesses wireless makes easier things like track inventory improve customer responsiveness increase effectiveness sales force wireless makes businesses mobile allows people take aspects job theyre traveling working directly customers completely new business models emerge take advantage wireless technologies going forward going kind gamechanging effect companies web access decade ago one fascinating potential locationbased services allow service transportation companies track locations delivery vehicles make route adjustments based realtime market demands additionally locationbased services provide information emergency services local level immediately locate people distress may call cellular phone finally think next big push ebusiness going around transforming workplace ibm led world path using web transform core business processes like supply chain customer relationship management eprocurement whats next einside minds workplaces doable short term big cost saver know weve done within ibm first phase efficiency turning technology enterprise portals employee selfservice hubs characterized tools like ehr emeetings online learning instant messaging corporate yellow pages phase two putting pieceparts one eworkplace umbrella integrated capability reduce costs traditional workplaces increase efficiencies workers art consulting think art consulting starts ability understand customers context business industry think every customers enterprise puzzle job listen customer thoughtful need decompose hear assess parts reassemble using insight knowledge help develop business strategy art really good listening point view however consulting must ideas execution demand timetomarket consultants get customers market fresh ideas workable strategies faster competition lead marketplace leading consultants need consultants consultants work clients many different reasons customers looking innovation fresh insight business strategies ways leverage technology know hot topics know number different directions could take theyre looking specific industry thought leadership point view wireless great example understand wireless come us help think right alternatives drive business results sense customers come consultant looking insight capability whether business strategy managing change implementing technologies ideal customerconsultant relationship change agent becomes trusted business advisor requires customers best interests mind times sometimes means saying customer sometimes means changing direction critical customer projects objectivity crucial consultants operate best held accountable delivering ideas increasingly customers saying want ideas also execution often best customer relationships healthy dose creative tension ideas challenged accountability held paramount think thats right inside minds difficult aspects consulting people perspective consulting profession well known stretching worklife balance parameters operating leading edge business technology change challenging however many ways thats makes profession appealing dont think balance issue ever going go away breadth business change business world new emerging technologies putting lot demands consultants today unlike ten years ago could easily master technology time current environment requires adept industry expertise much deeper technology competence ever address need go market industry weve established technology centers competence high premium put collaboration sharing reuse assets consultants compete basis industry technology solution capability also ability leverage experience expertise intellectual assets increasingly important innovate share improve individual productivity effectiveness better managing know ability save organize apply extensive knowledge within ibm key providing distinctive value customers use knowledge management leading consultants provide professionals framework enables reuse insights best practices technical frameworks solutions knowledge sharing reuse leads outstanding service distinguishes ibm global services competitors roadmaps good consultancies underlying methodology past ten years created term ibm global services method whole series structures methodologies conducting consulting business strategy engagements technical implementations also basis train people execute endtoend value proposition important part worldclass consultancy today enough deep understanding industry industry roadmaps important cultivate develop maintain industry roadmaps points view industry going leveraging combination thought leadership business best practices also maintain rich technical frameworks effort shorten timetomarket also believe valuenets important aspect create customer value preferred strategy work leading independent software vendors use inside minds applications key enabler customers business needs business partnerships valuenets center creating value customers getting speed important thing see industry marketplace eyes customer looking customers lens markets competitors industry seeing environment operating expect consultants come engagement kind orientation broad perspective ensures recommend best customers enterprise instead using standard industry approaches also work hard startup phase engagement understand customers technology preferences infrastructure go project use insights grounding points work gives us ability truly walk customers shoes leading consultants metrics measure engagements consultant succeed customers value services extremely satisfied results work strong client relationships delivery quantifiable business value lead consistently satisfied loyal customers excellent reference accounts repeat business consultants must clearly understand anticipate customer expectations proactively innovate new solutions meet needs imperative understand customers perception value services satisfaction business impact services consultants value must expressed customer terms relevant proof points around industry expertise credibility marketplace must support recommendations facts addition think every consultant needs talk customer everyday must active dialogue actively listen means open whats working whats learning culture style customers many ways assess relationship engagement whether track theres nothing better listening customer inside minds good qualities consultants think hallmark good consultant becoming trusted business advisor customer important customer sense trust comfortable consultant vice versa straight talk essential lay things line use meaningful words separate logic emotion talk realities thats customer wants worry recommendations implemented recommend ways resolve potential issues within customers environment paying attention culture customers enterprise impact execution recommendations provide roadmap success listen customer identify issues may go beyond question asked provide answers bring real business value another thing look consultants willingness say best interest client times may know right answer may take time develop right answer sometimes may disagree client direction thats okay whats okay refraining putting honest thoughts table whatever reason failing work necessary logic engagement leading consultants also think complexities todays world team player technology hand communicate globally number enablers kind collaboration communication use lotus notes extensively consultants need able reach network colleagues moments notice teaming collaboration skills extremely important today time consultants also need healthy degree objectivity need selfstarters maniacally focused delivering customer value good consultant thinks add value goes beyond following good work plan pitfalls avoid one biggest pitfalls promising deliver talked importance getting speed formulation execution customer engagement based customers needs also based understanding customers capabilities resources support engagement idea customer wants time frame want whatever resources may always right plan may overpromising inside minds another pitfall recommending last years idea best practice market continuing evolve fast pace consultants must stay current use structures methods core part consult also must highly flexible innovative important remember really creative part business certain point view year ago doesnt mean point view wont change increase learning adjust insights keep pace market dynamics also ask consultants serve customer project need keep foremost minds every day think customer needs project serving customer work plans objectives deadlines end day comes back creating customer business value must keep customers interest foremost minds leadership weve developed number competency profiles key leaders many types leaders required successful large global consultancy first foremost terms core competencies leaders customer insight able think business customers eyes also leading consultants drive passion successful business able deliver straight talk team players customer colleagues across ibm dynamic teaming important part deliver customer value consultants need decisive profession exciting pinnacle change intersection business strategy technology execution ability lead provide compelling points view intersection crucial terms differentiation consultants visionaries others strong subject matter expertise business strategy industry business process technology still others business incubators must change agents must strive recognized clients golden rules consulting first golden rule customer comes first pinnacle ibm wake every day thinking putting customer first everything else fall place second thing would stress accountability willingness held accountable deliver commitments want put innovative fresh ideas table customers inside minds ideas executable third golden rule everything driving customer business results exceed customer expectations deliver real business value lot clich\u00e9s industry think three rules important tenets future consulting consulting industry going massive change future bright deliver endtoend value todays projects far complex theyve ever reason customers looking globally oriented change agents deliver intersection business strategy technology execution easy global insight industry segments make industries weve done ibm global services build worlds leading consultancy services company ground something go acquire quickly assemble takes strong culture maintain objectivity critical eye continually improving execution market make work different times industry speed strategy design execution key ideas always leading consultants important crack code bridge strategy technology going leaders industry going forward implement ideas win ten years journey building ibm global services ibms consulting capability went small player world leader lot hard work clear determination today professionals got maintaining strong commitment putting customer first every day let talking listen provide point view execute think handful companies going able deliver kind value global customers need frank roney general manager business innovation services worldwide ibm global services responsibilities include achieving growth market share profit targets bis globally developing bis strategy value propositions managing bis global investment portfolio validating global basis bis right resources capabilities deliver offerings mr roney leads five global bis sector executives responsible developing industry services strategies developing thought leadership industry specific solutions inside minds previously mr roney ibms senior executive responsible worldwide systems integration business responsibility included establishing business models business processes ibm uses worldwide perform systems integration business leading ibms global systems integration community ensure consistent business performance mr roney general manager integration services us ibm global services responsible strategy growth profitability operations united states consulting systems integration business units ibm global services prior joining ibm mr roney partner price waterhouse management consulting services division managed michigan business unit sap business unit major engagements variety industries including automotive retaildistribution consumer product segments leading consultants understanding client randolph c b lazer kpmg consulting inc chairman chief executive officer inside minds enjoyable aspects consulting although im charged variety business responsibilities ceo end day enjoy gets creative juices flowing still providing direct assistance clients helping professionals solve client challenges clients primarily come kpmg consulting two reasons solve business problem pursue business opportunity provide analytics also experience industry knowledge well information systems support business ongoing basis challenges companies face today revolve around harnessing information using advantage integrally involved solving concerns exciting dynamic keeps always thinking forward next major business technology innovations help clients tackle second working clients excitement working colleagues inside outside business kpmg consulting group topnotch professionals throughout levels organization everyone encounter experienced committed intelligent eager learn creates environment encourages work hard increase knowledge truly driven toward success weve created culture emphasizes personal responsibility leading consultants individual growth time focusing others success valuing teamwork collaboration particularly begin accept responsibility move management levels help drive business great pleasure huge responsibility bring others company help ensure success make sure theyre mentored developed motivated trained work client performing well clients best interests mentoring opportunities enormous typically diverse teams thats drives creativity need mentoring go directions mentors report us report may specifics clients particular needs work alongside us clients often serve key roles joint teams wonderful position help others grow within company clients see successful art consulting art consulting starts clear understanding need business problem challenge client facing experienced first solid foundation also know wide range client specifics even know inside minds start understand client environment sit competitive marketplace operate understand competitors understand culture state machinery apparatus whether theyre producing goods generating information providing service art consulting must truly understand client clients situation see one part relationship building one part technical analytics clients current situation needs youve locked onto need aspects requirement reach second phase art addressing client needs delivering results creative solutions methodologies sometimes involves approach never tried develop approach methodology deliver results client looking providing enough specialty expertise guide client third aspect art communication process evolves try keep clients needs project methodology lockstep project unfolds go project need change become defined intended solution may begin drive one aspect need forget aspects unless constant dialogue going leading consultants two things need delivery youre going get synch real art projects kick formal planning stage helps make sure roles clearly defined kpmg consulting client team members levels clear understanding responsibilities specifically accountable also ensures background information provided get us speed quickly formal communication plans place incorporate change process approval structure involved engagements well helps manage changes scope projects lets client professionals fully understand implications changes across project areas cost resource demands well project timelines turn helps us mobilize additional personnel needed helps keep project moving instead stalling bottom line make sure expectations set communications clear detailed ongoing feedback provided onsite corrections made keep going get result client wants important lasting result inside minds new face consulting challenges job pressures consultant gotten even harder recent years say primarily world running faster speed faster pace probably greater desire results weve ever business world whether getting information instantaneously via email restructuring entire business model six weeks people expect immediate solutions complex issues often impatient exploratory work must done offer real solutions complicated business needs professionals really hit ground running industry acumen speed purpose give clients confidence time isnt wasted serves purpose consultants extend length client engagements rack fees unnecessarily ninetysix percent top clients repeat customers deliver results fast addition increased sense urgency clients consultants often share misconception technology great panacea business problems technology helps confuses issue technology enabler effective consultant solve problems weve good success automated diagnostic assessment tools derived immeasurable benefit knowledgesharing intranet permits leading consultants name quick examples technology also confuses things people race technology solve fundamental business issues technology cant requires experienced people thinking problems alternatives another recent change makes profession seem little harder whole theory around people workforce professional desires goals life emotional attitudes talk lot generation x whats types willing put hard work hours required theory really subscribe people still pretty good dedicated right things clients colleagues treat openly honestly theyre going respond way people years ago rational people trying fairminded ambitions goals think clearly attentive peoples needs notion deal workforce issues seems complicated today really good people goals making sure goals understood important make sure goals lockstep organization get winwin feel pretty good stand weve done respond people inside minds put together thing years ago people would say thing years ago little faster little sophisticated generation consultants pushed bar next generation take next step thats expected consulting become difficult answer yes fundamentals still still locking onto client understanding business need trying find solution need communicating around solution keeping lockstep solution need still hiring workforce motivating workforce feels like theyre going get something result delivering something client facing challenges delivering results consultant client range consultant involvement pretty broad sometimes clients understand needs understand need get solved dont necessarily workforce get done workforce already involved operations core business roles dont special contingent workforce throw new requirements charge seizing new opportunities costleading consultants effective clients add workforce get things done always situation something customers cant additional professionals augment workforce specific projects think workforce involved repeat things weve done environments thats say solution works everywhere every client consider accept solution worked somewhere else every client unique think ability see worked hasnt worked environments consultant involved multiple similar projects instance erp implementations typical customer might need professional adds real value knows risks typical issues arise allows analytics say worked needs tweaked consultant use past successes eliminate much groundwork reduce risks speed project achieve desired results bringing experience experience b table thats second thing third thing come issue objective point view meaning caught inside minds culture issues clients may face internally foresee solutions clearly certain points time may able punch toward solutions workforce may mired organizational issues responsibilities preferences bridge issues easily dont think impression ever something clients cant think objectivity experience augmentation help client punch something would time costeffective new face consulting opportunities one could talk areas growth functionally say whole sales force automation world area ripe improvement great opportunity consultants clear companies gain lot terms way service customers theres lot work lot growth area within supply chain logistics manufacturers distributors products services theres still lot work gained example business would point whole globalization arena business focus global client marketplace global companies today run financials one global leading consultants entity different regions different product service divisions run sets financials reports customers supply chain vendors resource management think happens companies truly need global realtime virtual closes tell end particular period within short time company stands financials traditionally companies close books th month th th day next month start know financials period closed two three weeks earlier youre already two three weeks away making corrections numbers dont come way want question get pushed activity happens financial status logistic engineering status realtime virtualtime see key indicators think going tremendous opportunities help clients make progress area another area growth broadband technologies technologies developed communication firms across world utilize businesses interviews phone could webcast facetoface broadband line would make better interview richer interview inside minds answer probably yes someday cost infrastructure needs exist support commonplace course well way people interact going get involved areas areas growth think important consultant focused two things one state technology traditional answer youre consultant half challenge opportunity half opportunity staying focused clients business needs trends come go focusing hot technologies slick solutions wont keep clients stay focused client put clients shoes understand clients needs drives business things worry change improve upon become competitive drives business need pull technology make happen involved things kpmg consulting integrator involved two aspects goes back art consulting makes consulting consulting commodity business one size fit common threads clearly make services efficient leading consultants focus focus focus understand every aspect need dont lose focus start things could interfere stay locked issue hand punch better punch one thing try dabble things patient good results results last lifetime dont come overnight stick methodologies dont skip steps patient follow every element real value consultant success success clients means theyve achieved ends theyve set achieve theyve identified need weve helped solve helped seize opportunity another measure success solutions staying power onetime fix also fix support opportunity area period time matter happens terms internal execution delivery needs ultimate test client satisfaction client fulfilled help become successful course well go back internally look metrics see job time made money got challenge people got opportunity propel inside minds forward etc theres whole host internal things examine first test client get something enabled move forward support every time get involved client company like stands behind work weve done hundred years well keep next hundred years one thing drives us regardless whether cost us little bit money get result wanted thats ultimately question ask instead much cost us question becomes customer satisfied help client move forward business look ongoing partnerships clients relationship one supporting moving forward successful job business advisors integrators support clients understanding need delivering need keeping need delivery cost balance part relationship open honest us performance going work us help us understand needs better thats required trust us still need set criteria milestones evaluate performance getting engagement point build mutual trust respect truly drives success clients going leading consultants invite us business problems opportunities thats want want longterm relationships thats interested one project one engagement one time one time interested clients life consistently delivering success ensure keep exactly clients foundation expertise offer expertise clients draw number sources cant use use first focus building expertise along vertical lines start set leaders understand specific industry vertical either came industry serviced long time developed relationships vertical understand industry theyve part leaders build consulting team recruiting talent similar backgrounds work experiences must understand particular work environment industry needs credibility clients strong experienced resource pool define solutions solution teams specific industry based specific needs industry inside minds defining solutions even names may industryspecific meanings instance someone else may call customer relationship management call customer care billing certain industries industry use different nomenclature different nomenclature theres unique emphasis difference way want go building client relationship essential understand solutions tailor deliver solution client responsive way vertical goes business build foundation expertise start leaders build workforce equip methodologies solutions tailored marketplace back knowledge resources instance sample engagement deliverables white papers experiences weve gained across industry verticals solutions benchmarked things professionals materials reference follow established training program teach skills teach skills apply vertical also enable keep trends verticals offer innovation insight another essential part ability provide insight understanding hot points leading consultants technologies may influence affect industry ive stated important know competitive pressures clients going think also back understanding strong alliance relationships kpmg consulting alliance relationships veritable whos technology business different relationships target different verticals instance would take particular technology consumer manufacturing business solid functional accounting package financial system handles supplychain management aspects would fit well business marketplace hightech business needs vastly different accounting funds flow management accounts payable plans establishing information systems architecture different package may better answer youre building vertical competence recognize dont take every alliance partner every vertical aware functional technical aspects every alliance partners products services solutions fit various verticals differently part building true vertical business finally important manage people verticals everyone knows theyre together expertise base clear gotomarket approach think way set profit loss manage business set rewards structure inside minds help reinforce foundation expertise coherent teams cant go hire people experience use experience full advantage continuously build upon enrich client delivery keep business innovative responsive consulting companies im often asked consulting companies answer clearly understand differences among consulting companies several things examine start market focus system consultants focused marketplace market focus drive whole different internal set solutions workforces alliance relationships forth next questions ask specific market focuses solution set built solution set take market look workforce ask supports solution terms implementation execution client look mechanical things inside company see well stand behind clients ask company long time support implementations standing leading consultants behind work bring new ideas table create new technology may impact influence things weve done things future think look whole range things see companies across board focus good components instead want know categorize different companies would say many different players space integration space e consultants space market focus really dotcom concerns companies started last five ten years theyre focused webenabling applications providing frontend dot com companies addition econsultants big services predominantly outsource businesses hardware businesses software businesses provide whole array client services hardware outsourcing consulting theyre wed certain hardware software platforms theyre focused biggest area opportunity revenue outsourcing big five companies many consulting units spinning big five strong applications arena stronger systems group firms call inside minds new breeds differences even within new breeds terms market focus solutions kind workforces theyve built support solution set varies among firms criteria think clearly three major buckets groups econsultants big services real pure integrators believe kpmg consulting one two pure integrators public domain managing turbulent market changing economy poses two major challenges consultants managing business workforce turbulent times helping clients manage help clients staying focused important business needs opportunities client making sure working front deliver clients desired value results market cautious growth four years ago clients want dedicate resources funds get real return investment help critical need area job stay focused critical need things really work bring intended results client good unless ask try peddle something else may mainstream think recognize clients industries different pressures leading consultants different concerns make sure approach solutions recognize differences manage business workforce im strong believer sticking fundamentals organization would probably prefer wasnt exciting path believe good times bad times stay focused fundamentals business creative wild creative focused one fundamentals business fundamentals include focus clients needs deliver needs make sure communicate response needs make sure running business efficiently available resources make sure investing resources develop workforce todays needs needs tomorrow well customers call fundamentals blocking tackling bread butter call fundamentalist fundamentals fashionable good times bad times tend overlook boom economy everyone talks growth even youre keeping growth youre sticking fundamentals youre taking advantage growth trying solidify streamline delivery instead focusing clients business problem youre going things turn client wont confidence inside minds believe need stay focused fundamentals foremost among commitment clients success making profit economy nowhere economics book say dont grow cant turn profit still profitable economy must manage resources effectively deploy highest opportunities keep resources general synch business invest personnel funds put important opportunities make count company growing time one elses econsultants part gone away big services flocked outsourcing everyone really seems want abandon called systems integration space didnt abandon stuck grew thats say tougher times sectors national service sector public robust business units even area still profitable keeping bookings consistent focusing investments delivering promises made clients leading consultants gaining market share adding clients total revenue may going may able gain presence certain clients marketplaces couldnt leverage later downturns economy present opportunities well others us challenged face challenge rewarded done monetary rewards also recognition promotion opportunities opportunities fulfill ones personal goals commitments think get winwin even tough times feel strongly youve taken advantage tough times youll better positioned things improve advice business leadership take care people develop nurture move forward success success would say great deal personal success come ive able pick recruit mentor turn much business bright people probably brighter professionals able catapult business forward extent going better people turn help ensure future success business inside minds best leaders anywhere whether theyre government officials business leaders sports people individuals understand importance people fair treat people want business treat businesses persontoperson organizationtoorganization fairminded important drives culture success taking risks every time take new client risk familiar client may know clients business problem may understand environment face havent yet worked across table dayin dayout long periods contract reached end contract cases prospective client evaluations take look new client scenario entering really get sense whether meet clients expectations owe clients tell front things concerned even competitive situation evaluations analytical tool puts risk table discuss things client see things differently leading consultants make conscious decision perhaps stop relationship may right outcome us long term ive explained every time sign new client probably every day taking risk think way protect risk establish processes risk one first things considered certainly element always considered prospective client evaluation completed signed one riskmanaging directors give second check balance forces us deliberate thinking every business decision make need think risks imbed certain processes force risk considered every decision considering making sure response game plan weve identified risks need balance react risk manifests decisionmaking processes slow decisionmaking process day three six could prudent thing even projects existing clients pose risks may one candidate strong technical skills another great communication skills client team strong enough technically may need inside minds communications person lead specific engagement need see risk getting synch situation communication since risk something thats imbedded every decision make make conscious part decision process make sure weve front imbedded processes facilitate checks balances keeping edge way keep edge marketplace seeing real pressures people face every day people inside kpmg consulting would probably say im good administrator understand business understand fundamentals make sure elements business talk keep moving good administrator doesnt give edge im professionals clients seeing affects im going lose edge spend certain amount time lot thought framework inside positions either dialogue engagement reviews meetings people clients said earlier enjoyable part leading consultants future consulting fundamentals locking clients business problem going change next decade clients still businesses business priorities still need information validity accuracy information getting faster faster way virtual organizations created wont significantly change think technology step pace adding new wrinkles new solutions technology brings us closer operating virtually enables consulting professionals work remotely clients ever could enables globalization think going dominant years come focused global companies company world global either customer base global vendor base global companies transactions outside regional national borders need operate globally assist clients face similar globalization needs helping achieve results success without boundaries past seemed easy enter profession perception put sign window said im consultant business dont think thats fair state profession think consulting inside minds particularly global companies sophisticated business organizations put lot line consultants choose believe consulting companies able deliver real value sustained basis ones still five years marketplace learned new technology plus new consulting firm necessarily result staying power firm staying power comes sophisticated business made experienced people provide lasting results randolph c blazer chairman ceo kpmg consulting inc manages employees within six industry lines business around world kpmg consulting provides internet integration services include strategy ebranding design web architecture integration technology enabling hostingoutsourcing blazer based headquarters office tysons corner va mr blazer joined kpmg llp consulting professional washington dc office named partnerincharge kpmgs public sector consulting group named member twoperson executive team directed kpmg consulting services february mr blazer helped leading consultants incorporate consulting group kpmg consulting llc mr blazer years experience strategic business planning performance management process reengineering largescale systems development support major government commercial clients client experience includes work federal agencies departments research universities government contractors major federal system acquisition programs prior joining kpmg mr blazer served captain united states army mr blazer received mba university kentucky ba economics western maryland college leading consultants working interface technology business pamela mcnamara arthur little inc chief executive officer inside minds rewards consulting research major pharmaceutical company showed one products originally developed treatment breast cancer could also effective prevention breast cancer since breast cancer major health concern company immediately realized importance getting product market quickly possible process typically takes months firm contacted arthur little inc help relaunch product take advantage new indications soon possible unusual assignment goal completing eight ten weeks challenging immediately assembled interdisciplinary team people half adl half client company rolled sleeves jumped feeling little daunted technical financial regulatory marketing barriers us project dubbed moonshot prospects success seemed well captured old expression impossibility shooting moon us driven extraordinary challenge immediate practical business goal urge us also clear us getting product market would save lives worked together leading consultants day night isolated hot cramped building far company headquarters called lem lunar excursion module apollo moon landing program brainstormed conducted analyses argued compromised developed plans took actions drank lots coffee succeeded product one first drugs used prevention form cancer made market eight weeks project captures best consulting profession extraordinary multifaceted challenge exceptional team client representatives together players learned lot made real difference company also society whole course elements show degree assignments always combination problems opportunities ive worked really made difference clients cases society economy central purpose consulting make difference called challenge need change innovate run daytoday operations inside minds process must listen learn central meeting needs client importantly ability build experience drawing upon deep industry business technology experience cornerstone future success essence professional satisfaction cant overstate importance teamwork job satisfaction personally rewarding experiences working together group others toward common goal collaborating team members firm well client staff personally satisfying whoever said two heads better one right mark one plus one plus one equals six business best career advice ever received focus whats important hold dear want make difference fortunately confluence elements consulting particularly rewarding therefore able blend personal business lives focusing care delivers real results financial strategic value clients leading consultants challenges facing women consulting course many men women consulting extent different expectations women partially different roles traditionally played society wives mothers example consulting inherently international profession values expectations vary widely across nations cultures ultimately however doesnt matter whether youre man woman particularly women becoming successful worldwide even countries still barriers full acceptance women tends understanding women playing leading roles many societies key dwell possibility barriers drawbacks focus instead developing competence confidence professionalism required job successful business stick important basics knowing territory delivering profits challenging clients think tough issues maintaining integrity paying close attention people aspects consulting listen well determine make sure results owned clients follow implementing skills ive learned men women professionals think consulting profession inside minds one best players bring characteristics table ive worked men women exemplify qualities good mentors make great deal difference adl ive fortunate fabulous mentors time number women joined firm back early eighties relatively speaking large number women professionals senior ranks think quite made difference coaching well providing inspiration role models organization time must make clear mentors role models women matters business deliver excellent results bring new business much learned men women succeeded profession differences among consulting firms consulting firm corporate culture personality arises key variables business focus approach organization history even size interest full disclosure views heavily colored spent virtually entire career leading consultants arthur little done particular culture place found personally professionally rewarding many companies successful focusing specific functional domains supplychain management accounting financial operations information technology example firms many quite large may embrace range specialties people expertise particular arenas developed rigorous methodologies work well adl something exception chief business focus intersection business diverse range technologies drive innovation society todays business press technology appropriated refer specifically information technology including elements telecommunications networks software computers internet adl embrace technologies ranging information technology underlying field electronics way biotech materials energy food technology focus arises firms historic capabilities research development throughout last century adl responsible development innovations first isooctane later adopted inside minds antiknock gasoline standard process making blown glass fibers led fiberglas first computerized inventory control package ibm design nasdaq stock exchange system london tokyo first fiberoptic interactive cable television system near osaka japan development environmental auditing continue develop products laboratories well partnership others current examples range lowfat ice cream incorporates fish oil associated significant health benefits novel medical device identify previously undetectable areas coronary arteries likely cause heart attacks system allows organizations monitor manage energy use greenhouse gas emissions across operations explosion research development industry universities increasingly formed basis new business opportunities throughout th century accordingly company expanded capabilities embrace broader strategic daytoday management implications work broad range technical fields also embraced issues venture capital startup management required bring ideas innovations market leading consultants broad sense businesses today hightechnology businesses hardly business decision industry central technological component product development manufacturing processes finance information systems environmental compliance packaging product distribution service delivery market analysis even management well organizational processes continue transformed technological developments handson technological focus yielded specific products processes given decidedly practical creative feel adls culture work nature tasks undertake approach require work close partnership clients whether developing introducing new product restructuring organization approach resulting culture reinforced fact often hire people extensive industry experience employ engineers scientists expertise technologies well experts classic functional areas strategy operations also seek people actually worked operations companies five ten years joined adl idea assemble multi disciplinary staff draw industry experience inside minds well wide range areas expertise may required address challenges clients face course reflects reality business challenges great majority inherently multidisciplinary adls health industries practice example goal work clients drive business technology innovation frontiers health medicine accordingly business model practice brings together expertise resources technology development commercialization venturing well consulting interplay among core elements provides driving force innovation area fundamental approach assembling individuals help company entire process innovation concept commercialization creates diverse culture adl demanding one rewards commensurate effort required meet demands art craft consulting consulting creative process base level course variety underlying skills methodologies support process true success ultimately depends finding build leading consultants go beyond latest management fads develop novel ideas insights provide real value client key achieving success lies might call golden rules consulting understand niche hire best people build strong team involve client solution communicate understand niche every consulting firm must first understand makes different especially crowded highly competitive market understanding forms basis every aspect business new strategic directions hiring marketing also sets bounds type variety cases undertaken adl example set apart firm grounding technology ive mentioned within context firm must provide latitude keep strengthening position developing complementary areas competency example either response even better anticipation changes inside minds marketplace may also necessary phase competencies market evolves keep business focused client needs firm best able meet process renewal weeding unprofitable capabilities developing new ones within context overall business focus must continuous needs client organizations changing continuously technical economic political environmental social forces shape society struggle carve niche consulting firms sometimes criticized role creating encouraging fads business management reengineering total quality management truth many approaches little repackaging core human organizational insights wrapped slightly different terminology processes underlying message real value consulting long leads quickly clear mutual understanding problems hand viable solution path get lesser importance hire best people theres adage says comes hiring good enough never consulting firms chief asset indeed real asset people assembling developing asset cornerstone success knowledge leading consultants experience threshold requirements many consultants deliver thats good enough critical difference difference makes successful consulting art people skills combination able listen well frame clients challenges accurately concisely beginning manage challenges clear expectations relationship evolves always take notice individual consultants great people skills high energy ability make things happen drive achieve tangible goals get things done openness flexibility working others theyre skilled drawing ideas others theyre clear setting managing goals expectations managing flexibility managing change persevere deal lot uncertainty facing clients dynamic challenging circumstances people best working uncertainty ones stand threshold expertise content knowledge need certain especially given companys business model added value thats beyond threshold makes individuals stand finally top consultants thrive challenging others challenged individuals contrary need theyre afraid take strong positions inside minds put positions table fully candid transparent way know theyre coming sometimes sets stage conflict conflict always based integrity often serves basis creative edge build strong team teambuilding essential art true foundation innovation creativity two principal reasons first great majority real business challenges interdisciplinary multifaceted starting new operation example may involve expertise product development manufacturing technology strategic management marketing name assessing dimensions problem crucial determine kinds expertise experience required provide realistic solution timely fashion bring together group individuals meet requirements second successful teams constant reminder whole greater sum parts properly organized managed groups people drive faster creative arriving solution problem team members coach one another challenge leading consultants solutions remain unsatisfied know reached top thats art makes difference successful situations cancer prevention product launch clear example team members client organization company intensively focused process individual credit doesnt matter theres ongoing highintensity highly creative dynamic tackling needs done constantly evolving interim objectives keeping ultimate objective clear involve client solution end client must fully understand embrace results consulting work best way ensure happens forge working partnership client overall goal work much client client process begins listening faster way win confidence another party listen partys needs interests demands concerns show listening framing challenge hand way reflects addresses aspects bring table deep understanding client industry also industries best practices drawn well business inside minds technology operations short know make things work crucial blend skills early stages set context remains important throughout entire project many cases best build team specifically involves client staff well consulting team staff guarantees allimportant client perspective expertise available throughout evolving course project client knows operational details business better outsider moreover client team members must become owners end results full understanding shortterm longterm implications firm people skills vital important recognize different strengths weaknesses individuals client staff consulting team staff theres good match fit task hand ongoing relationship beyond give individuals involved opportunities stretch go beyond whats expected look dynamic process like living organism takes lot care feeding check constantly various players client staff nurture coach consulting team leading consultants communicate integral involving client building effective teams communication client surveys conducted adl communication often cited important aspect relationship either key success area improvement excellent communication begins clear mutual understanding goals approach project continues regular updates establish manage expectations ongoing exchange information parties including updates client consulting firm presentation results often action summarizing progress reporting results actually stimulates enriches process synthesizing results leading insights clearer directions perhaps point communication critically important dynamic evolving nature consulting projects course implementing strategy uncommon variety aspects change including economic conditions market conditions operational results political developments emerging technologies given consulting also discovery process uncommon project team uncover entirely new aspects inside minds challenge midst addressing requires close communication among team members sponsoring client keep apprised developments frame expectations make adjustments toward revised goals relationship management although adl broad spectrum relationships companies many sizes wide variety industries firms tend achieve greatest benefits longterm relationships cut across one areas expertise consulting firm fact designed complementary nature typical business operation companies hire individuals particular areas expertise required manage routine aspects business effectively include research product development well strategy planning daytoday management adl assemble staff individuals broad range relevant areas expertise required help client change innovate providing industrywide well crossindustry perspective specialized management organizational knowledge familiarity broad variety technologies dynamics startup operations leading consultants given wide spectrum possibilities impractical client companies maintain staff new relationship working client long absence homework determine whether client organization good fit strengths direction portfolio services set goal example work leading biotechnology players health pharmaceutical industries weve developed capabilities connections keep us front edge innovation fields start working client organization already understand greatest needs needs best fit us whether longterm relationship many engagements client starting new relationship focus specific needs client process frame needs understand clients objectives client able address gaps relative importance filling gaps estimate timing determine explicitly tackle get done manage expectations evaluate results measure value satisfy clients defined needs inside minds key goal developing relationship longer term build true partnership even shorterterm projects important work close conjunction client firm melding perspectives areas expertise party building formal informal lines communication short term long term partnership model greatly enhances effectiveness relationship party develops deeper appreciation communication improves stronger sense mutual buyin emerges teamwork critical forming cementing relationships worked jointly project teams made client representatives well adl staff develop mutual understanding respect allows us move varied engagements clients longer history engagements make sure help technology product portfolios new growth arenas theyre charting developing cases well also help clients form alliances hot new leading technology players extending relationships broader network start working client consistent ways frame clients challenges first leading consultants timing determine important need clients nearterm longerterm strategic priorities also consider problem lies within defined business operating unit across multiple groups clients organization even potentially outside enterprise work understand dynamics complexity involved achieve results consider elements capabilities needed strategy organizational set issues operational related rd management product management innovation management maybe environmental management elements problem might lend product development technologies also size problem terms might find sources good ideas solutions develop clear understanding expertise team certainly staff know industry domain whether healthcare energy chemicals telecommunications example may also staff actually worked client organization understand dynamics culture many instances bring staff help discover might solution ideas leaders industries already working solve kinds problem client facing inside minds maintaining creative edge accelerating pace change world business community international research community society general developing maintaining expertise constant challenge consulting firm intellectual practical satisfaction maintaining edge however one great rewards profession consultants tend read voraciously seeking new ideas insights emerge around world many dimensions problems address important read broadly deeply international firm real plus regard allows staff keep abreast trends developments markets throughout world clients colleagues research many consultants also write leading industry business professional publications well including adls publications prism highlights achievements thinking staff well client partners addition uncommon firms prepare white papers key topics trends industry technology society often said writing thinking indeed action writing white papers articles important opportunity leading consultants synthesize broader lessons emerging work keep name associated thought leadership key fields important us strategically truth every case consulting firm undertakes learning experience key function many firms knowledge management organization cataloguing case experiences use proprietary resource future cases essential organization capture essence experience insights form remains within company inevitable event staff turnover staff turnover common throughout consulting profession individuals pursue new different challenges firms industries obviously turnover sometimes inconvenient time minimum level turnover say percent critical renewing enriching talent pool high performers also often net gain company since brings new ideas new experiences new areas expertise regularly bringing fresh faces fresh minds helps keep organization toes provides opportunities adapt quickly changing world networking must one key people skills consulting staff must ability maintain strong inside minds network relationships firms alumni universities journalists others staff must stay deeply touch marketplace talking listening variety companies clients network keeps abreast current thinking also used resource advice perspective contacts assistance hire good consultant youre getting individual range networks business academia keep fresh ideas fresh perspectives flowing contacts consultants learn absorb information see patterns put together new ways leading new insights approaches takes tenacity discipline make calls necessary keep checking networks hunger learning whats hearing others challenging others thinking key part consulting dynamic whole host collaborative tools appearing help consulting firms maintain edge number firms including adl spinoff developed internet based tools complex project management allow disparate groups work together realtime multifaceted projects software packages make easier teams set goals share information report progress synthesize data respond dynamically leading consultants inevitable changes new developments course project practices well help consulting firm stay sharp training important course regular formal channel designed keep flow new learning experience coming company serves spread experience new staff well rising career stages time time also run bestpractice surveys attend meetings conduct number business roundtables executives run workshops clients others stay touch universities occasionally sponsoring initiatives research finally client feedback crucial aspect process staying competitive edge many firms adl maintains welldefined process soliciting assessing clients views performance presents clearer picture right also better leadership management turbulent times live world times turbulent either first great lesson st century last great lesson previous century accelerating inside minds pace economic social political environmental technological developments todays world change become norm businesses course presents host challenges opportunities consulting firms clients seek understand nature emerging developments either accommodate leverage innovative fashion marketplace change advising managing particular province consulting firms organizations strategies buffeted much clients particular challenge industry stay step ahead management businesses well advising others economy goes cycles advances science engineering open promising business opportunities new businesses industries emerge mature industries struggle adapt reinvent must prepared assess importance changes clients key elements summarized help company maintain steady course midst push shove todays competitive marketplace leading consultants leadership becoming senior leader adl important embrace differences management management consulting running company even consulting company running consulting project mentioned skills insights consultants complementary clients serve consultants provide knowledge experience management technology required help firms innovate adapt change anticipate change requires broad deep context technological developments industrial practice company operations local national economies organizational change best coaches sports necessarily best players best managers always best management consultants nonetheless lessons consulting much bring task leadership face challenges opportunities turbulent world applying insights experience however easier said done organizations accustomed dispensing advice receiving moreover consulting firms inherently outward professional focus concentrating energy client challenges internal needs may neglected inside minds overriding philosophy mine leader servant organization whole leader serve manner group whole better advancing achieving goals promoting good organizational health vibrancy businesses leader consulting firm must vision personally organization must deliberate effective execution must strong people skills need good listening building consensus youre building team also recognize decisions made expense consensus shared values successful teams go hard work understanding characteristics qualities shared beliefs inherent work goals theyre striving achieve agree roles expectations contributions team members relate participate team common major goal vision stretch capabilities flexibility takes playing full reach adls shared values emerged long history include genuine drive innovate passion leading consultants excellence spirit collegiality commitment integrity values consistently formed underpinnings approaches marketplace evolved time point vital companys success years crucial part attracts holds employees company able preserve institutionalize core values sustained us many changes indeed become part adl brand balancing strengths smart consulting organizations maintain portfolio clients industries time mix industry sectors client organizations help firm normal client business cycles also useful maintain range services may appropriate helping client tighter times help company take advantage better times deep strengths energy sector telecom sector example years ago energy sector tough time lot work help oil gas clients solve problems problems resolved lulls clients redirected focus telecommunications business started massive inside minds growth cycle last several months telecommunications sector facing rough times weve shifted focus clients current needs meet time weve strong energy business energy sector growing becoming highly profitable balancing strengths inherently dynamic process businesses go cycles underlying technologies driving innovation spring mature fade away balance strengths also crucial client relationshipbuilding process remains important times whether company well tightening belt whether engaged specific project keeping touch firms times keep aware challenges facing offer assistance current emerging capabilities overlap needs setting business goals goal setting constant iterative process setting goals company activity periodically refresh think sessions work sessions top staff brought top leadership team also leading consultants provocative thinkers business part periodic strategy budget operations planning cascade plans goals business way invites input response process enriches vision direction company also helps set context promote clearer understanding specific goals measurable objectives metrics use track business communication constantly reinforce goals objectives values accomplishments well communications staff head global communications company works closely business leaders frame internal communications staff also external communications along major dimensions business strategy operations achievements people business constantly evolving refreshing communicating plans seeking input staff keeping open channels communication formal informal essential business relies cooperation participation network partners associates inside minds taking risks taking risks key anticipating future although essential dependable healthy practices count must also take risks push ahead new domains growth areas gambles pay well others considered strategy risktaking go long way toward promoting long term success example early mids adl invented field flavor analysis led significant portion business also first develop concept environmental auditing recently firm active creating spinning companies capitalize ideas generated inhouse partnership firms hiring another form risktaking hiring individuals often looking people given free rein go extra mile developing novel approaches addressing client challenges similarly important maintain enough flexibility consulting organization allow individuals test new ideas approaches markets experimentation pose risks also lead better job satisfaction innovators better results clients new opportunities company leading consultants future consulting arthur little dropped massachusetts institute technology three years founded company idea industry may time time need help exploiting potential emerging technologies businesses indeed technological advances everything plastics pharmaceuticals computers electronics new approaches manufacturing formed cornerstone vast variety business innovations th century virtually every industry today ever technology remains cornerstone business innovation increasing pace developments growing range areas including semiconductors biotechnology telecommunications renewable energy advanced materials name advances continue major implications strategy organization product mixes marketing approaches new business development industries ranging retail energy resources accelerating pace change coupled increasing worldwide competition means growing need business figure make use advances happening labs gain edge existing operations move entirely new directions inside minds information technology exceptional potential widespread application business computers software first technology broadly embraced specialty consulting industry late enormous new consulting market burst scene help companies exploit power telecommunications internet outgrowth information technology promises expectations outpaced reality however leading collapse market casting pall entire consulting industry dotcom bubble however underscores strong need organizations cut hype provide realistic substantive advice potential emerging developments question internet telecommunications advances transformed business worldwide continue reaping rewards transformation require keener understanding broad combination underlying technical management communications issues many dotcom firms sprang exploit technology great deal technical expertise enough knowledge experience business management able capitalize effectively help clients capitalize effectively side many client companies grasped upside business potential leading consultants hired dotcom firms help didnt technical expertise exploit combination fueled bright expectations disaster one legacies dotcom phenomenon companies looking depth quality found mainstream consulting firms moreover looking consultants solid business experience days freshly minted mbas advising corporate giants past todays clients seek consultants time hone skills insights industry consulting business continue st century ever important companies work consulting firms sift burgeoning array emerging technologies determine commensurate goals best fit business technology end means end real goal incorporate appropriate element overall business strategic plan especially exciting finding ways move technology applications one arena another enable us open new frontiers interesting note makers vacuum tubes recognized potential semiconductors entirely new companies biotech burst scene inside minds mids university labs caught many established pharmaceutical companies surprise applications computers semiconductor chips expanding new areas almost daily basis information technology crucial element emerging fields bioinformatics proteomics ability harness opportunities depend people deep expertise areas also skills people skills implementation skills work multiple diverse groups make happen going see companies realize cant solve problems weve seen myriad merger acquisition waves every industry well different patterns alliances partnerships many achieved minimum overall results disappointing lot new effort work across enterprises harness existing skills insights innovations technologies explore ways chart path turning relationships exciting valuable profitable business propositions broadly key challenge consulting firms deliver clear value clients particularly tighter economic times times mounting competition client companies want ensure receive significant benefits money spend consulting today time fads results leading consultants past company might able make promise client basis image reputation today challenged explicit around managing demonstrating value proposition ability deliver value proposition assurance based hard economics quality depth personal relationships make partnership consulting firm client demand substance accountability reinforces need consulting firms develop working partnerships clients getting immersed implementation well analysis accommodate complexity inherent business challenges partnerships may involve parties complementary expertise well armslength relationships past likely become less prevalent increasingly clear may new fresh insight today might previous years half life three six months date matter weeks succeed individuals firms best anticipating next set changes adapting working effectively across enterprises many types people putting ideas practice accountable results moving meet next set changes successful consultants inside minds able help client companies place bets take options theres single answer approach world winners ones flexibility creativity shape approaches meet demand even grasping changing needs emerging opportunities consultant arthur little years pamela mcnamara became ceo august acting ceo mcnamara cut corporate costs nearly million restructured adls management consulting operations improved companys profitability point maintains healthy backlog sales ms mcnamaras areas professional expertise include operations product management launches supply chain management business process redesign tenure adl served head adls north america management consulting operations leader adls global health care practice managed largescale projects multinational clients pharmaceutical medical products industries served firms board directors since leading consultants overlap circles maximizing three elements strategy consulting business dr chuck lucier boozallen hamilton chief growth officer senior vice president inside minds people passion profits consulting business first foremost helping people succeed people inside client organizations well people firm intelligence deep expertise analytical skills matter course theres shortage smart analytical experts across leading firms like boozallen firms success depends sincere desire consultants help others succeed enjoying enabling successes people always distinguished truly great consultants clients course come first boozallens market research confirms successful consultant knows senior executives select consultants trust work trust grows mutual success collaborative efforts consultant helps clients organization repeatedly achieve significant performance improvements pressure shortterm performance executives cant afford consultants merely rubberstamp ideas need consultants listen understand empathize challenges collaborate develop implement successful answer successful consultants combine ability help client organization win sincere interest helping individuals within organization succeed leading consultants consultants best clients always people already helped succeed putting clients needs first individual organization consultant ultimately becomes trusted advisor client ive worked occasionally past years called recently said really need help considering major acquisition make break business involved personally trust doesnt get better helping people inside firm matters best colleagues like best consultants people helped succeed top management consulting firms recruit truly amazing young people fun part challenging people stretch try accomplish think career know grow learn every day try stimulate rapid continuous development everyone boozallen course requires time commitment part senior consultants recruiting process make personal commitments people would like hire promise join boozallen ill help grow successful possible career whether boozallen elsewhere many colleagues boozallen well many clients people kept commitment inside minds consulting especially strategy consulting apprenticeship business people learn consulting skills observing great consultants assuming increasing levels responsibility watchful eyes experienced seniors helping others grow fun enlightened selfinterest altruism didnt motivate master craftsmen medieval guilds take apprentices motivates recruit new associates consultants like master craftsmen old need apprentices help get work done skilled apprentice becomes freeing experienced master concentrate demanding tasks help colleagues develop superior skills concentrate activities best team succeed profession business make mistake starting point may helping people consulting business like business measure success bottom line profits matter turns helping people good business fifty years ago jim allen one founding partners boozallen hamilton marvin bower man shaped mckinsey engaged famous debate leading consultants fundamental nature consulting profession business bower arguing side consulting profession insisted consulting firm like successful law firm focus right things clients people development ideas industry firm fulfilled obligations profession business would take care allen took opposite position consulting argued business like successful business like clients allen argued consulting firms must offer attractive value propositions stakeholders deliver short term performance transforming long term success allen bower right doesnt matter start profession right thing business offering attractive services answer one joys consulting right thing always right thing people matter profits matter real understanding consulting industry requires discipline strategy consultants bring client work inside minds structure consulting industry traditional segmentation consulting industry strategy operations technology never made sense confused clients confused recruits confused consultants strategist group large consulting firms three segments different economics based different approaches different sorts problems strategy firms accounting consultancies call application consultancies strategy firms mckinsey boozallen hamilton boston consulting group bain focus developing unique answers problems highest risk greatest longterm impact business unit strategy prototype sustained superior profitability requires strategy distinct competitors grounded underlying economics skillfully executed clients pay premium prices strategy consultancies help craft implement unique competitively advantaged strategies course strategy consultants dont limit business unit strategy tackle strategically important problems require unique solutions eg organization customer relationship management pricing strategies large strategy firms derives majority revenue one types service offerings mckinsey overhead value analysis overhead cost reduction bcg leading consultants reengineering focused winning timebased competition boozallen supplychain management crossfunctional solutions strategy firms seek work people inside organizations make support strategic decisions decade ago meant fairly small group people ceo coo business unit general managers bugms strategic planners today intensifying competition flatter organizations pushed strategic decisions broader set individuals within client organizations opportunity work larger diverse set people within given organization accounting consultancies accenture andersen deloite touche price waterhouse use standard repeatable approaches help clients achieve operational improvements quickly minimal risk reasonable cost typically involving selection implementation information technology kinds operational improvements require tailoring eg links legacy systems focus primarily delivering general capabilities rather unique solutions broader scope given standard approach greater accounting consultancys revenues cases majority revenues types firms accrue single business problem year ie computer programs unable deal dates inside minds installation enterprise resource planning systems sap baan outsourcing corporate information technology departments scaleintensive overhead functions also major growth engine consultancies economics accounting consultancies depend standardization whereas strategy consultancies average eight staff per partner accounting consultancies staff per partner low leverage ratios strategy firms enable senior staff partners stay intimately involved details analysis recommendations contrast high leverage accounting consultancies defines economic model way provide partners compensation want clients prices expect generating fewer margin dollars across much larger number staff environment standardization way ensure quality accounting consultancies target cio functional managers traditionally lucrative target cio one functional executive spent significant consulting dollars line managers become computer literate cios making fewer decisions consultants accounting consultancies focusing business unit general managers leading consultants third segment ones call applications specialists kearneyeds ibm hp oracle eycap gemini sas consulting divisions hardware software companies companies consulting supports base business creates demand hardware software products increases value customers receive hardwaresoftware accelerates customer use latest releases hardware software raises customers cost switching competitive hardware software generates additional revenue profit stream typical consulting activities include selecting installing applying hardware software example sas consultants helping clients marketers use software data mining addition three segments large million revenues consultancies plethora small niche players represents half consulting industrys revenues majority firms single individuals consultants left large firms retirees consulting former employers remaining small players concentrate one two specialties defined either industry functional area principal advantages firms stem size minimal overhead human scale everyone knows everyone else inside minds small firms suffer three significant disadvantages first suffer feast famine cycles individual rainmakers tend alternate periods intense selling periods work hard maintain balance selling hard pay bills rainmaker selling phase cycle contrast many rainmakers large firms move different cycles ensuring better use staff second small firms cant help major corporations affect change globally since neither breadth skills required necessary geographic footprint since major corporations represent percent consulting market small firms serve limited portion market third small firms provide suboptimal development opportunities people chance work extensively one area opportunity develop broad skills enable person become general manager consequence disadvantages small consulting firms experience enormous turnover one individual may consult two three years move something else another individual decides become independent consultant leading consultants evolution consulting industry three broad trends reshaping consulting industry growth technology changes serve clients consolidation technology particularly information technology become pervasive business information technology either enabled driven companies strategic priorities last years result itrelated consulting accounted much consulting industrys growth surprise applications specialists represented fastestgrowing segment period followed accounting consultancies slowergrowing strategy segment firm taken different approach boozallen created strong information technology business linked strategy work information technology represents onethird revenues commercial clients even larger proportion work government clients mckinsey tried unsuccessfully far since mckinseys acquisition small firm icg failed gone back trying develop skills organically bain accesses skills series alliances called bainnet bcg continues eschew technology remaining focused strategy inside minds second less obvious trend reshaping consulting successive waves change transformed nature work clients people usually talk waves terms new service offerings business process reengineering bpr ebusiness far powerful think terms changes nature valueadded consultants rather terms new serviced offerings introduced joined industry provided clients advice delivered reports im proud clients implemented least tried implement recommendations industrywide reality recommendations werent implemented advice course still constitutes important part consultants valueadded center mass consulting activity shifted fundamental way time toward valueadded next three paragraphs deliberately oversimplifying industry describe changes late consultants began including clients integral members consulting team embracing change management disciplines understanding buyin client organizations increased clients genuinely tried implement industrys recommendations still struggled interpretation implementation example ceo client many years said beginning leading consultants every month reread strategy three years ago think ive finally figured meant dot point pointed page report right saying bpr wave consultants began directly helping clients change way business worked clients build capabilities knowledge business processes supporting information technology required deliver value customers clients benefited two ways first working together client affect change closed gap interpretation implementation second shifting giving clients answers improving ongoing performance provided greater recurring benefits analogous old chinese proverb give man fish feed day teach fish feed lifetime recent wave ebusiness consultants moved beyond capabilitybuilding began partnering clients develop business fees increasingly became function clients results equity share venture dotcom crash brought wave premature conclusion contributing recent slowdown growth consulting industry united states inside minds third trend changing consulting industry consolidation concentration ratio consulting industry didnt change proportion industrys revenue represented top five firms top ten firms top firms didnt change past six years however number firms revenues million dropped significantly financial pressure falling revenues contributing decline mediumsized consultancies collapse ebusinessoriented consultants scient viant provides spectacular examples pressure medium sized firms far lasting trend mergers mediumsized firms extremely strong one geography industry service offering larger consultancies example two years ago carta one leading management consultancies scandinavia merged boozallen merger extremely successful carta retained local client base together weve significantly increased share global business multinationals based scandinavia pressure mediumsized firms course classic symptom industry consolidation however broad consolidation consulting industry slow megamergers principal vehicle rapid consolidation industries dont work consulting view nomerger two major consulting firms successful long term mergers may leading consultants succeed years principals acquired firm continue drive business acquiring firm typically insists three fiveyear earnout ensuring principals active initially earnout period complete principals leave value acquired firm plummets people business whats value firm without best people future consulting future consulting changing client demands fueling fundamental change consulting industry clients demanding increasingly tangible lasting results fast results contribute companys competitive advantage today customers shareholders best employees need demand rapid improvements performance organizations naturally produce example united states decade median average performer among sp sustained annual earnings growth percent annual revenue growth percent three times growth rate global economy also addressing greater expectations workers citizens increasing organizations ability change meet rising demands stakeholders challenge leaders inside minds consultants face challenge raise game help clients raise game one client told us last year old ways dont work need ideas actions paradoxical elements need synchronized harmonized clients need clear solutions complex world longer luxury addressing issues sequentially dealing cost reduction recession example focusing growth later need immediate performance yield lasting advantages old paradigm developing insight first acting second longer makes sense effective strategies evolve series actions create exercise options major decision stimulates new strategic insight drives nearterm actions example understanding possibilities limitations technology crucial development strategy realizing benefits technology requires interrelated changes strategy organization operations marketing change paradigm implies redefinition consulting industry traditionally clients hired strategy consultants create insight accounting consultancies help actions never effective division labor accounting consultancies implemented systems created business value strategy consultants sometimes leading consultants created recommendations without recognizing difficulty implementing today clients need consultants truly combine strategy technology insight action shift toward delivering tangible value pricing consulting industry midst irreversible change management consultancies traditionally charged fixed fees weekly rates based number expected hours team would work increasingly fees depend value clients receive either fees explicitly tied results consultant equity share aligning client consultant incentives winwin clients avoid paying big fees unsuccessful consulting engagements consultants always deliver highquality work earn consultants motivated accept engagements confident adding great value believe client able make requisite changes realize benefits bain industry leader nontraditional pricing starting bain capital lbo fund years ago bain accenture leading ongoing changes industrys fee structure past years consulting one innovative industriesdelivering significantly greater benefits clients per dollar consulting spend fueled double digit growth also increased inside minds compensation consultants industrys future depends continued rapid innovation theres doubt significant innovation occur innovations powerful consultancies benefit open questions consulting culture consulting firms remarkably different cultures remarkably business serve clients hire places differences also remarkable put clients first communicate similar ways perform similar analyses biggest differences course segments strategy firms organize operate around partners know institutions strategy consultancies strive two degrees separation people firm partners know partner knows eight staff nearby anyone reach anyone contrast accounting consultancies given focus standardization emphasize size organization structure formal processes number partners much larger partners cant know firms employ formal tiers partners rights others finally application consultancies leading consultants divisions major corporations significantly hierarchical processdisciplined strategy accounting consultancies differences culture within segment nearly great across segments question better worse right wrong cultures different example within strategy consultancies bain early embraced culture said team unique view world spend time together socially buy suits place much alike thats good thing lets us kind impact changes world boozallen extreme far heterogeneous large firm three segments people could fit firms segment result also many people wouldnt work one strategy consultancies embrace diversity boozallen culture says great thing place different love work people know stuff dont know projects learned ones outside area square peg round hole boozallen allows actually requires people shape career paths find mentors committed success inside minds highlight different dimension firms like mckinsey operate locally wherever possible people staffed engagements near home cities people must comfortable working variety issues multiple industries opportunity work people contrast boozallen operates transcontinentally ie across us across europe good news person better chance finding opportunity matches wants needs greater opportunities specialize industry functional area learn broad variety people bad news travel likely greater art consulting art strategy consulting cant speak segments expressed developing workable recommendations based objective analysis help stimulate beneficial change client organization wheres art statement weaving together three independent strands activity objective analysis development workable recommendations stimulating beneficial change client organization twenty years ago sequentially first objective analysis development recommendations leading consultants finally managing change organization even consultants art thinking three strands integrated way although engagement might start broad set diagnostic analyses consultants quickly narrow analysis issues make material difference recommendations might evolve possible analysis possible recommendations could powerful enough justify additional analysis recommendations theoretically interesting really relevant client implementability recommendations matters outset key client executives share view emerging analysis difference view really affect recommendations analysis demonstrate view right obstacles implementation recommendations reshaped increase likelihood successful implementation clients might zealots lead implementation recommendations concerns continually juggling analysis recommendations change challenge best times real art consulting bring three strands together difficult situations situations consultant add value example inside minds strategy engagement head one general electrics business units someone division years believed business performing well possibly could required corporation engage consultant atypical circumstance analysis quickly pointed major improvement opportunity business unit general manager refused believe could help business unit change face adamant opposition general manager case concentrated believed one absolutely crucial analysis refining refining clients accounting department absolutely sure accurate beyond possible doubt spent hours manager oneonone working sidebyside conference table went every number answered every one questions analysis held convinced general manager proceeded drive rapid implementation broad change program doubled divisions profit within months know focus quickly one analysis know analysis confident rolling sleeves working analysis manager would change mind thats art consulting strategist often help companies change rules game industry exciting work seeing leading consultants clients change world personally rewarding kind work demands true artistry analysis looks backward showing world worked past combining analyses creating powerful models possible understand key levers might change rules game industry ultimately one prove something one industry done given limits analysis shape recommendations client might help leaders client organization mobilize company try something never done art consulting become consultant become consultant consulting weird business despite industrys best efforts none us able effectively communicate really like consultant result experience cant really evaluate whether youd successful consultant consulting firms limited ability judge potential consultants longterm success even strategy firms percent people hire become partners accounting consultancies proportion much lower hire people believe inside minds potential prosper consulting make relatively hiring mistakes people hire successful associates next six seven years percent people decide would successful happier pursue different career much uncertainty doesnt make much sense individual try assess longterm success consulting sure pay good opportunities growth excellent question people considering consulting ought becoming consultant next three four years maximize career options employability value proposition consulting recruits continue fast track corporate senior management successful managers large corporations startups call zealots capable simultaneously delivering todays results increasing organizations competitive advantage tomorrow motivating people fulfill future vision past corporations defined distinct roles manager strategist change agent todays faster pace change greater demands performance roles cant separated leader continually trade improved performance today changes improve tomorrow since measurement reward cant evolve fast enough people trust leader recognize reward leading consultants new behaviors required company enough zealots consulting especially strategy consulting attractive career ever ideal place learn zealots skills recent research learning suggests takes hours practice become gifted amateur hours become leading professional interestingly amount practice required similar wide variety pursuits including golf music chess hypothesis amount practice necessary learn skills business three years consultant attain gifted amateur status strategy leadership experience would take two three times long acquire corporation admittedly managerial skills pl management dont develop much faster consulting firm corporation since strategy consultancies entrepreneurial five years consultancy sufficient attain gifted amateur skills management along professional level skill strategy leadership worlds best training zealot lifestyle principal downside consulting career strategy consulting unpredictable work demanding urgent problems problems clients often wait long address unusual ceo call ask meeting saturday sunday ask inside minds team begin immediately good news engagements address clients urgent important issues challenging rewarding consultant bad news never know client call need immediately became consultant college professor professor home kids every night coached little league soccer consultant cant commit coaching athletic teams theres much danger client call away wont able fulfill responsibility work hard help people manage lifestyle limit days away home increasing proportion people work parttime levels including partner weve created career paths predictable hours travel lifestyle continues one major reasons people leave consulting difficult part consulting least lifestyle isnt difficult part consulting lifestyle manageable draw enforce lines home birthdays anniversaries dont come back vacation traveling interesting places take family significant stay weekend words find ways make consulting leading consultants lifestyle work consulting provides host unique experiences take advantage difficult part consulting delivering tough messages people firm since isnt one standard career path boozallen provide frank feedback whats working isnt people chart productive course feedback sessions positive honest constructive feedback enormous value person receiving even people leaving boozallen dialogues almost always positive vast majority people leave firm make natural transition consulting general management either great offer cant refuse change desired worklife balance thats happy event us alumni among best clients isnt always easy truly painful important aspect helping someone understand would successful career consulting learned importance early career one smartest recent hires couldnt figure art consulting started encourage look opportunities outside consulting pleaded even theres onepercent chance ill successful boozallen want continue try although made significant progress inside minds following year painfully clear would much successful general manager turned true become extremely successful manager hightech business however didnt good job counseling colleague suffered unnecessary year us delayed start hightech career best advice consultant best advice someone consulting overlap circles circles think three elements strategy consulting business clients team intellectual capital circles new consultants assume tradeoff among three circles hours day spend developing clients dont time develop ideas team thats wrong sure theory strategy firm could develop three circles using differentiated roles focus people development ill bring clients susie develop best ideas practice strategy firm differentiates roles way every consultant needs clients essence consulting every consultant needs ideas find unique answers clients need develop people part large teams deploy tackle clients complex multifaceted problems leading consultants strategy consulting people strongest three circles simultaneously easy think gift studied successful consultants found behave different way people less successful overlap circles action took simultaneously contributed developing clients ideas people tradeoff example ideas publish stimulated client work often write articles clients deepening relationships write teammates helping develop skills publications cause new clients call us also stimulate intellectual growth people offering juniors chance assume seniors responsibilities simultaneously provides development opportunity junior frees seniors time client idea development working client team educates teams theyre great development opportunity presenters us audience discussion stimulates new ideas broader understanding clients challenges agenda team able add value engagement principle overlapping circles also helps worklife balance example kids college led boozallens recruiting kids schools inside minds winwin firm valued time spent universities getting know faculty making presentations meeting students also spent time kids went schools visit children also made effort meet students faculty whenever feel overwhelmed done look ways better overlap circles ideas knowledge throughout chapter ive focused people inside firm clients strategy consulting also knowledge ideas ideas knowledge raw material strategy consultants use craft powerful unique strategies clients twenty years ago michael porter argued companies could pursue one three generic strategies low cost product differentiation brand today successful companies innovate applying knowledge technology business models craft execute newto theirindustry strategies knowledge increasing exponentially field strategy today far broader porter imagined leading consultants said important recognize consultants like engineers scientists scientists develop test powerful new theories strategy consulting thats role academics handful gurus try play consultants like engineers try make things work using theory wherever possible experimenting creating rules thumb theory inadequate business help clients successful use new theories created academics gurus theyre powerful absence theory develop rules thumb based experience consulting firms firms chief knowledge officer well current role growth officer im responsible boozallens creation use knowledge target several major studies year descriptive understand companies thinking largescale efforts create test new theories however studies small part knowledge activities exception handful boozallen gurus systematically look outside firm new science powerful ideas apply internally focus understanding clients changing needs new powerful solutions weve developed one client may applicable clients arent competitors new adaptations inside minds methodologies rules thumb literally hundreds improvements innovations year knowledge usually connotes explicit understandings however strategy consultants important knowledge better reading latest theory access person whether inside outside boozallen help adapt apply theory specific situation better statement methodology expert help adapt clients issue world class engineers consultants hours experience class problems central competitive advantage strategy consulting firm ensuring best expert area addresses demanding problems simultaneously provide best possible answer clients problem enhance experts learning even ideas strategy consulting people helping people dr chuck lucier senior vice president boozallen hamilton based new york part boozallen years dr lucier selected consulting magazine one influential consultants leading consultants dr luciers client work focuses corporate business unit strategy issues clients variety industries addition client work dr lucier boozallens chief growth officer responsible firms marketing commercialization intellectual capital author coauthor book articles appears frequently speaking platforms dr lucier served variety leadership positions boozallen including firms first chief knowledge officer leader consumer products retail practice managing partner cleveland office eight years twice member firms board directors dr lucier launched awardwinning strategybusiness magazine place find best ideas business sponsored boozallen prior joining boozallen dr lucier assistant professor university iowa holds ba wesleyan university phd university rochester sm management sloan school mit leading consultants art consulting figuring right dietmar ostermann kearney chief executive officer inside minds challenges management consulting profession think industry today think really two sets challenges enduring ones part management consulting since professions infancy new set created unprecedented amount change washed business world last ten years daytoday basis id hard pressed name another profession challenging management consulting work many different industries varied challenges youre called upon solve countless types problems even clients industry would seemingly problems individual companies invariably different culture organization process solving respective problems entirely new theres routine follow second continuing challenge profession issue recruit develop motivate talent asset management consulting firm possesses people work one chief priorities attracting retaining best people field good ideas means need smartest creative consultants leading consultants far new challenges go perhaps first amount specialization required years ago management consulting like general practitioners medical practice consultant dealt variety clients hurting tried apply problemsolving ease troubles kind generalist approach become thing past industry become mature highly educated specialized consultants today consultants need deep industry expertise even asked table addition need specialized skills expertise mergers acquisitions example maturing market brings set challenges opportunities geographically industry maturation market penetration varies widely united states united kingdom australia probably saturated consulting markets today fact little growth market united states parts europe different story particularly italy france spain percentage gdp management consulting developed united kingdom united states accordingly markets experiencing significant growth example enjoyed percent growth rate inside minds italy year france number probably percent percent biggest growth potential asia view japan korea china offer huge potential japan second largest industrial nation resources investing management consulting still relatively insignificant though economic problems japan experiencing business community opening beginning take advice outside management consultants american business community years thats translated percent growth rate us korea slightly different story unlike japan easier market global consulting firms americanized asian nations traditional business structures korea conglomeratestyle chaebols breaking creates significant restructuring issues result korean businesses hiring consultants left right opinion korea offers lucrative nearterm opportunities management consultants china course offers biggest opportunity right away soon perhaps five ten years worlds populous market kearney taking action seize opportunity leading consultants todays technology overshadowing changes course complexity todays technology technology become integral part business indeed inseparable business added new layers complexity consulting profession consultants constantly need adjust go solving problems nature solutions provide changing technology consulting longer forms separate category become embedded every strategy operational engagement isnt business process hasnt touched internet today therefore cannot credibly provide company strategic operational consulting unless understand internet particular business fundamental critical regard kearney well positioned parent company eds relationship gives us capability understand internet business processes today thats think strategic alliance made eds six years ago great thing us eds help people understand deploy technology way able first years existence inside minds technology become integral part management consulting engagement going lead industry consolidation consulting profession future management consulting without ability understand implement technology also major driver growth industry supplychain integration online procurement ebusiness strategy formed huge markets last ten years seeing next generation come along internet wake call every single process changed must understand changes risk giving clients wrong advice need understanding become dramatic time ease information gathered technology clients becoming experienced field management consulting learning measure results accurately believe future fees service arrangements changed success feebased structure already see today contingency arrangements thats another reason consolidation private partnerships cannot finance arrangements leading consultants art consulting techniques success common industry describe management consultants merely problem solvers management consultant listens issues finds root causes problems analyzes develops solution thats full story often companies dont hire management consultants simply solve problem actually help implement solution engagements people skills project management skills relentless drive get project implemented finished become critical also often help clients manage succeed turbulent markets process much less mysterious might sound isnt industry company cant make money economic environment right figuring right art profession current downturn united states economy well advised adequate capacity flexibility products services offer consulting firms clients alike obviously growth situations identify different parameters learn much many industries good times well times economy gets inside minds better worse learn consultants adapt different situations working sidebyside clients kearney extremely resultsoriented quality focused thats essence brand kearney stands results quality consulting work want known executive circles whole company consultants brought tangible bottomline results increased economic value client company assignment growthoriented want show created new markets increased share assignment focused cost savings want show increased profits working processes want results measured improvements efficiency productivity thats handson toearth approach also pride broadest depth quality system consulting world recently gave another boost putting internet thanks available times quality commitments largest accounts currently serving based input clients every morning go work check dashboard see status take appropriate action thats measure success leading consultants consulting skills need particular set skills successful consultant first course must intellectually curious sharp otherwise problemsolving piece doesnt work well intellectual brilliance definite plus cant outspoken delicate balance must achieve sell work also need socially competent people business sell implement solutions results well clients constantly interacting people team clients team knowing read people get along important intellectual capacity must able move organizations next stage constantly contact team client convincing persuading influencing questioning information get back depends quality questions ask need drive desire succeed speed flexibility things change quickly must able respond accordingly inside minds also critical us populate teams experts know clients particular industry operates need people deep domain knowledge analyze problem assemble people content expertise required solve financial problem need someone background finance problem operations call someone manufacturing supplychain knowledge global organization percent business outside united states always local representation teams consultants highly capable individuals intellectual social skills usually grasp concepts quickly also walk around organization making individuals feel comfortable drawing understand problem much better surprising management consultants drawn top mba schools profession truly requires best talent world consultants incredibly hardworking expect lot drive consultants hire dont work eighthour day usually work hour days clients problems critical need fixed timely basis usually time client decided use consultant behind schedule always said start second shift clients go home leading consultants effective team allowed access information client company trusted clients pay well management consulting services since expect great deal return usually realize open access information necessary problems adequately addressed limiting access information usually limits success operating business wouldnt successful least percent percent consultants werent busy time number people available engagement limited hope everyone busy assignment client urgent problem going wait three months us able start assignment time want start yesterday consulting lifestyle best advice received father inlaw accomplished football coach said look behind theres one chances youre leader remember every day thats advice gave best advice give others balancing life work thats critical issue dont foresee ever resolving good inside minds management consultants time constantly demand youre working heart larger corporations problems cant suddenly say im taking two weeks vacation call two weeks meantime company runs deep trouble thats way go medical analogy child born youre obstetrician someone needs major operation emergency needs take place two weeks similarly bound management consulting profession started consulting years ago chic hardworking person private life consultants reached age called kids kids would say dont time im meeting friends suddenly children grown hard working consultants hurt see theyve missed like believe doesnt way father four children two eight years old time management skills professional life also private life important thing much quantity quality believe smaller amount time leading consultants spend family highquality intense many people spend longer periods time families cant assume youre going home every night six doesnt happen profession every weekend unless firm crisis entirely free family wife likely disagree adhere schedule percent time important history leadership im sure im qualified tell best way reach top business consultants usually necessarily best managers theyre ones analyze problems recommend solutions successfully running company requires rigorous management style execution followup two different skill sets people managers great intellectual strategic thinking problemsolving capabilities consultants managerial talent usually ones happen rise fast achieve management positions case simple happened right place right time three times first became inside minds head german office three years later head europe one year ceo great respect predecessor fred steingraber grew business million billion started endeavor kearney middlelevel chicagobased manufacturingconsulting outfit fred vision growth management consulting industry back million revenue fred said billion firm achieved vision wild vision grow company much years supplying kind vision ceo must leadership kearney fred stood vision incredible growth also spearheaded globalization firm moving first europe japan rest asia fred opened offices anyone else kearney ceo chairman eds report dick brown also shown incredible strength managing eds thats eds needed twoandahalf years ago came changes dick made processes rigorous leading consultants golden rules clients consultants would say three golden rules clients first consultant selected critical establish open trusting partnership need room breathe successful micromanage consultants afraid might spend instead better advised hire consultants first place second theres thing consultant project every project shared consulting fails heavily supported ideally led client team results owned organization implementation becomes much easier third need frequent heavy interaction keep effort right track consultants drive project usually work best people client organization consultants tremendous amount push client advised daily weekly interactions team remain current make appropriate decisions consulting assignment takes unanticipated turn consultant think two key pieces advice inside minds first flexible interested constant challenge like things set stone dont go profession wrong choice need someone seeking new challenges every day life thats industry rewards tremendous second fun consulting consider longterm career instead steppingstone another career industry need bit experience really good profession hire best mbas possible takes two five years really understand industries understand methodologies become really effective profession much rewarding youre long run dietmar ostermann appointed chief executive officer kearney management consulting subsidiary eds november reports directly eds chairman ceo dick brown ostermann fifth youngest ceo first european head kearney year history ostermann named managing director kearneys operations europe may previously served kearney unit head central europe responsible operations austria czech republic leading consultants germany hungary poland russia switzerland prior managing director kearney germany earlier served new yorkbased leader firms north american automotive industry practice mr ostermann served client officer several kearneys largest global automotive manufacturing accounts consultant specialties include manufacturing strategy product development corporate transformation efficiency improvement unit head led kearney doubledigit percentage growth revenue first germany later central europe ostermann joined kearney elected officer firm following acquisition kearney eds joining kearney manufacturing engineer bmw plant analyst daimlerbenz worked kearney offices d\u00fcsseldorf prague new york southfield michigan served client engagements throughout europe north america well china japan brazil argentina hamburg native mr ostermann earned bs manufacturing engineering mba university hamburg ms industrial engineering university southern california leading consultants discipline client value luther j n ussbaum first consulting group chairman chief executive officer inside minds exciting side consulting people whove business career taken several business environments ive executive cummins engine senior vp marketing operations businessland coo ashtontate great jobs working great people things changed important way took job ceo evernet systems national systems integration company evernet got services field became door consulting business love find ideally suited abilities temperament lot energy lot curiosity high degree selfdiscipline personality consulting field seems particularly reward several things get excited consulting one diversity assignments never boring never work highintellect people youre surrounded people challenge thinking environment ive encountered worked immense variety people learned taught smart committed people challenge thinking go logic carefully invariably wind better answer although kind supercharged environment pretty stressful cant think day ive gone home without learning something new leading consultants something makes think things little differently sort consulting fcg potential longterm impact individual clients two important industries healthcare life sciences major motivator fcgs employees call associates industries deal literally lifeanddeath issues healthcare united states lot problems industry leaders looking hard ways solve part solutions energizing theres strong shared moral commitment pure business point view competition exciting im pretty aggressive competitor fcg grown moved services well consulting begun compete major players industry cap gemini ernst young ibm accenture csc compete win companies stature real victory enjoy know associates sense consulting ideal business relationship dont succeed unless clients much flows teamwork sense shared fate shared inside minds pride accomplishments find whats actually possible clients colleagues things change although business like human activity progressive sense generation builds accomplishments last progress viewed believe upward trend line series cycles certainly true consulting things change remain ive long think things really changed go cycles revolutions mainly people havent full set cycles think anything new unprecedented first consulting group information technology consulting services experienced series long waves last three four decades case new technology arrives disrupts existing business patterns resolve new patterns periods ranging year two decades depending technology effect deep shallow mainframe computer personal computer wrought profound changes years technologies localized effect recently weve gone first phase dotleading consultants com wave absorbed business entered consolidation period things slow bit awaiting next phase dotcom wave next technology combination believe alwayson alwayspresent network driven wireless miniaturization time healthcare life sciences going cycles healthcare tough two three years side healthcare speak getting healthy part first time information technology absorbed quite deeply industry historically lagged behind industries united states regard healthcare responding combination economic scientific regulatory forces adopting information technology changed processes broader scale effect seeing separate evolutionary cycles technology healthcare begin converge believe outcome major changes way care delivered similar forces though driven industry consolidation new discoveries basic science changing life sciences industry great extent consultants service providers help clients deal profit technology cycles helping understand cycles objective similar military strategy keep reinside minds fighting last war pc wave delivery applications individual user offered different options mainframe wave internet wireless support radically new applications offer still different options selling delivering value clients one level best definition value leading consulting firms bring clients common getting results ultimately clients arent buying consulting hours advice reports implementations theyre buying results client aware number reasons cant get results buying decision likely get results want becomes matter evaluating potential consultants work consultant turn fundamental question organize firm approach work clients goals issue us show prospective clients achieve goals get done first foremost us concentrate specifically two industries healthcare life sciences industries different business models healthcare primarily services life sciences research leading consultants manufacturing distribution needs serve closely related regard single industry within space fcg brand well known understood deep domain knowledge deep technology knowledge walk people awareness fcg brand helps enormously lay specifics deliver depending kind client academic medical center pharmaceutical company biotech company healthplan payer initial way engaging prospective client first want sure understand fcg brand sell greatest strength regard fcgs long track record client satisfaction regularly score top independent client satisfaction surveys beyond want confirm fcg brand space want deal qualifications kinds projects weve done space able cite pretty impressive references based exceeds expectations performances carefully nurtured longterm client relationships explain team going bring client depth knowledge experience team bring matter presenting unquestioned ability achieve results client looking inside minds like many aspects consulting position somewhat paradoxical bring deep knowledge clients business problems objectives time external detached perspective people want solid empathetic knowledge circumstances outside view perspective external business suspends conventional wisdom youre client organization talk people day day become convinced know youre talking stop looking new ideas bring consultants provide outside view challenge thinking bring knowledge whats done successfully unsuccessfully bring five cases instance show people tried something doesnt work even though may sound conceptually neat bring detailed knowledge systems implementations usually three four things say configuring software setting internal processes youd known beforehand youd done differently bring key knowledge bring discipline people often hard time accepting new ideas people work closely frequently consultant outside seen least provisionally credible fact one challenges leading consultants us get really longterm engagements avoid becoming closely identified client cost us outside aura bring focused applied research capability emerging practices group based boston constantly look market technologies work turn knowledge deeper insight improved techniques bring variable cost resources people gear project without bring people onto payroll lay project hire us come get results send bill go home avoids obvious costs disruptions associated workforce churning also avoids hidden costs bring people speed new project new environment although every project little different weve done anything work effective moment hit door knowledge management important us several reasons first allows us reduce cost services developed large base standardized tools techniques apply custom approach required costeffective client reside kite knowledgeinformationinside minds technology exchange kite huge highly organized accessible collection electronic documents tools techniques operationalizes approach knowledge take done add value put back others use core knowledge base core set methodologies call first steps discipline structures take clients get much better results product experience since contents kite constantly circulating projects constantly updated standardized tools course adequate every phase every project projects nearly large ones components require customization project plans adapted fit client capabilities process designs reflect client wants deliver care business perhaps useful see standardized tools literally help client build lot different houses dont reinvent hammer job good knowledge management also supports important source client value knowledge transfer consultants often accused hoarding knowledge make indispensable prolong engagements tactic classic shortterm thinking results lot resentment approach opposite transfer leading consultants knowledge client ensure client self sustaining leave aspects practice aimed getting results meeting possible exceeding client expectations leaving satisfied client rearview mirror ideal client relationship ideal client relationship one developed long term based value delivered candor trust first foundation relationship value add client results help client achieve course support relationship value must evident client one reasons must perform must also communicate constantly client aware value candor essential enduring client relationships good consultants offer wise clients demand respect easy short term tell client think client wants hear tactic defeats sides first may well wrong client may something different mind second clients spot selfserving language consultants inside minds quickly youve lost credibility third even get away cheated client one highest values consultant bring honest independent judgment client wrong consultant accomplice failure fcg value candor highly associates formally evaluated willingness say truly think one ever sanctioned ever final decision course always clients naturally respect obligation client help inform guide decision best way trust every consultant knows hard win easy lose partly practical matter matter confidence produce results enhance clients value engaged pretty much evident trust extended us work goes roughly proportional many promises weve able keep partly trust ethical matter consultants best interests client heart merely fees client encounters much consultants practical ability culture fcg developed pretty rigid code behavior client comes first reflected lot specific business practices go extra mile meet clients needs make mistake fix even client isnt aware leading consultants staff manage work according clients needs according revenue targets obviously hurt us short run short run isnt interested take long view business client relationships ethical business isnt right good business business thats sustainable long term like stay clients longterm couple reasons first obviously reduces cost sales administration second makes us effective longer relationship client better understand business culture good example risk preference clients innovators want leading edge believe pioneers get great land others believe pioneers get arrows want see something thats demonstrated sites implement get flavor client characteristics much client important point continuing relationship definitely imply nonstop consulting clients close years occasional work us maintaining close relationships matter continuing contact multiple levels whatever purposes appropriate example helped create participate inside minds scottsdale institute nonprofit association leading integratedcare delivery organizations work institute research projects provide knowledge expertise gain valuable market insights return well make fcg available services consulting work members longerterm relationships also improve effectiveness first project client get levelone understanding relatively quickly expressed needs preferences basis typically bring project successfully take longer especially major client highly complex organization gain depth understanding allow us anticipate client react political chemistry organization affect long term success especially true largescale system implementations hospital clinical transformation work highly sensitive physician nursing attitudes extensive business process improvement work hmos insurers multiple business constituencies stakeholders brought board get away expecting idealized implementations youre working real human organization sorts politics people leading consultants intricate interrelations make sure project socializes culture facing difficult issues project matter well planned managed going run occasional snag certainly good planning management reduce likelihood size problems ive always placed lot importance ready happen problems staffing issues delays disagreements anticipated others client business problems unplanned project staff turnover thirdparty failures often cannot first key heading problems make sure understand client really wants client says want sometimes theyre things careful probing back candor independent perspective uncover difference getting right necessary setting expectations client critical part every project without exception setting managing expectations doesnt begin project planning course begins sales call client success relationship expectations believe consultants projects undone creating inside minds unrealistic expectations point almost mistake urge overpromise get job figure later strong especially smaller firms almost invariably suicidal approach fcg opposite underpromise overdeliver moreover manage expectations throughout project beginning managing expectations really part another firm principle mine communicate communicate communicate simply cant overcommunicate theres bad news youre lot safer telling client hiding praying miracle three months oneyear project see project going completed end year tell client going take months instead client says ok understand theyre happy wait th month tell youre going tack another three months conclude youre control good job way rule applies internally project team well good project manager wants hear bad news theres still time something problem options run another problem anticipated staffing conflicts turnover several kinds cases chemistry may right happens leading consultants simply swap consultant cases consulting firms included tempted time time pull person project theres another one person really needed need maintain resources sense continuity client project project plan matter formulating right project plan plans require many innovations pose problems youll try manage issues always set appropriate expectations every successful project plan includes foresight contingencies unexpected impossible course list things go wrong plan along two dimensions likelihood severity problems illness project team likely severe managed others severe likely major business disruption business failure client unlikely lowseverity contingencies get attention likely highseverity ones vendor software delivered late full bugs get lot attention project risks appears manage along client probably good idea redesign delay even cancel project delayed cancelled project usually revived failed one usually cant inside minds measuring success clients client success measured different ways depending clients want projects us fundamentally want client satisfaction well go long way achieve regardless expectations want people say met closer get result related top five factors client believes strategic success tactical better like know going meaningful impact clients perform better marketplaces nonclients thats ultimate measure success perspective determining fcgs direction creating vision organization deciding direction terribly complex talk lot people get conventional wisdom ignore time conventional wisdom everybody understands far trend meaningful anymore read lot look opportunities looking highimpact undertakings things really significant meaningful believe well make way well leading consultants setting direction matter integrating two tactics single strategy first following market second leading years old started strategy work clients sitting looking next three five years see systems needed led us get selection said need patient accounting system clients responded well patient accounting system helped make selection clients said help us write contract said help us implement evolves relationship clients natural migration yearandahalf two years ago got outsourcing side things clients said help us run youve helped us assemble got infrastructure work implementations broke infrastructure keep going migrating moving evolving progression reinforced learning early clients tend prefer consultants take entire systems cycle planning selection implementation management operation weve extended capabilities along cycle weve inside minds identified opportunities built firm lesson clear let client needs guide dont get far ahead market offering services one wants least yet time however consultants expected leaders tried identify areas new technology new applications offer real promise substantial improvements clients operations course easier technologies market segments others hospitals example culturally conservative riskaverse historically skeptical getting far technology curve physicians tough sell dont see clear immediate value patients practices approach create market hypotheses test constantly reality trying shape reality bit working industry segment leaders early adopters new ideas technologies get hearing best chance success course occasionally backed wrong horse wrong price trying stay front thought computerbased patient record would penetrate healthcare much rapidly example computerbased physician order entry would catch soon got easier use fact turned adoption applications leading consultants driven much regulatory qualityofcare concerns applications intrinsic appeal lesson clear part leadership willing take sensible risks fcg always sought always seek leadership position strategic risks worth taking risk part business venture factor every strategic decision risktaking gambling careful calculation potential gain loss made much information practical get note didnt say possible get risks allayed information available within time horizon decision point ive found accept residual risk resign game part fcgs growth evolution learning take risks context services offer markets serve ones take us since high risk high reward tend go together matter taking higher risks greater rewards historically biggest disappointments taking significant risks things small impact clients firm built launched inside minds new services example find less demand thought would accomplish client expected sometimes guilty read market capabilities clearly enough cases market changed events intervened latter course pure risk consequences things could reasonably foreseen two faces strategic risk decisions first likely given risk grave potential consequences second things go wrong way unlike old joke doctors bury mistakes consultants like business people live disappointment financial loss painful staff reductions continuously trying define practice around bigrisk bigreward smallrisk smallreward try make sure portfolio risks digestible financially business cycle still trying dramatically improve performance assessing risk time though many things want avoid start trying play defensive youre effective history american business littered failures companies developed fatal resistance risk oriented walk leading consultants clients office list want want accomplish try think negative things ought avoid like standing tee water front saying dont want hit water last thought exactly ball goes really avoid thinking terms one area calculating risk carefully extending services nonhealthrelated markets financial services manufacturing distribution weve learned past forays example healthcare delivery consulting europe lost lot money seemed like good idea risky build large expensive delivery capability advance knowing whether serve new market effectively makes sense think undertake small carefully defined projects new market subject rigorous evaluation go avoid making major resource commitments sure market belong hand one risk well take identify solid opportunity fastevolving new market acquisition logic simple since take several years good job building new specialized practice scratch practical way field good team fast buy one inside minds fcg grasped extent healthcare becoming drugbased result acquired integrated systems consulting group iscg firstrate technical services firm large pharmaceutical life sciences client base entrepreneurial informal culture like fcgs first acquisition going public almost doubled fcg size overnight although took little time work organization great success managing turbulent market consulting market quite turbulent notoriously even modest economic downturns markets serve result much deeper downturns consulting clients stretch projects downsize eliminate altogether reduced revenues intensify competition constraining salaries benefits make harder retain good people although pharmaceutical life sciences market percent business pretty profitable stable healthcare works much smaller operating margins gone though several tough years government employers struggle hold healthcare expenditures public firm fiduciary responsibility shareholders addition associates leading consultants clients way managing turbulent times tier response threelevel hierarchy level bottom cashoriented level profitabilityoriented level growth profitabilityoriented go cycle turbulent times revenues fall drop hierarchy begin focus profitability might drop focus cash preservation get resources aligned demand spend energy collecting receivables delay absolutely essential capital spending manage cash flow cycle market turns adept enough stop dwelling things helped preserve space say six month ninemonth period side become expansionist build staff capabilities begin taking risks figure business going grow profitably important communicate actions everyone firm weve cut discretionary expenses reduce staff weve honest try hide pain people find anyway lose trust manage turbulent times communicate organization youre tight cashflow condition appropriate things youre time growthandinside minds profitability appropriate things associates need understand youre running one side boat youre inevitable response cycle turbulent times essentially fcg done last couple years healthcare industry went though period severe revenue constraints rising costs side business got hit pretty hard take fairly stringent measures manage cash including pruning lowdemand services laying people something go great lengths avoid none fun necessary preserve base expanding important thing recognize downshift speak promptly delaying hoping best common response one humanly sympathize compounds problem might minimal downsizing reductions attrition winds massive layoffs hurt laid also leave morale productivity problems wake leave investors dubious credibility leading consultants finding opportunities turbulent markets turbulent times consulting firms revenue problems clients revenue problems clients think cant afford consultants either fire dont hire odd thing theyre often wrong consultants good investment whenever organization confront change good times change welcome client bad times happens anyway good consulting firm develops skills industry perspective help client manage either scenario difficult times cost always common denominator times difficult youre going toward cash clients probably going toward cash well cutting expenses provide services meld immediately theyre might focused growth profitability six months ago theyre saying projects theyll consider help reduce costs improve cash flow respond immediate needs youll great shape acquisitions old saying applies time raise money dont need able put together war chest cycle buy companies cycle theyre far less inside minds expensive dont treasure chest cash currency stock price dropped acquisition isnt less expensive shareholders amenable paying high dollar amounts think share price depressed matter exchange rate two companies attractive might look conceptually acquisitions really hard sell speak time successful consultant fcg fcg goaldriven company every level every activity firm directed specific objectives reviewed periodically effectiveness isnt hitting objectives change process reconsider goals time highly collegial teamoriented culture virtually everything importance accomplished groups whose leadership identifies objectives manages towards ability work successfully environment key factor recruiting relative setting goals individuals fcg person typically member several different teams point might member client team practice team business unit team leading consultants might task force relative changing something within firm teams set goals want individual contributions team want report progress individual report progress team highly complex terms envisioning measurement systems required weve managed build set routines systems works pretty well people firm fundamental belief describe easily carefully concisely people want well get percent better performance leave fuzzy illdefined unclear goals extremely important getting clear goals individual level linking goals various teams individual part linking goals teams purpose firm complex critical shortly joining fcg got involved human resources task force coleading individual whod around redesigned whole professional compensation development system firm articulating wanted consulting set six silos set skills abilities every associate formally evaluated every year inside minds foundation skills must able write well speak well handle complex meetings dealing conflicts sorts issues technical skills involve industry domain knowledge technology often combination practice relationship development skills consulting ultimately revolves around able sell team teams people clients project management skills able manage projects extremely disciplined way leadership abilities need leverage drive business decisionmaking ability people see ten facts make one type decision another see ten facts make much higherquality decision doesnt seem teachable seems innate people better making higherquality decisions others given set facts silos complemented set core values also evaluate associates include accountability integrity commitment quality achievement orientation adaptability things work embed firms culture hiring promoting accordance leading consultants successful teamwork team leadership successful teamwork fcg skills come together technical skills also ability perceive read people well ability communicate effectively ask better questions somebody else probe deeply understand clients business put together project successful meeting needs team youre looking technical skills variety intangible skills team leadership pull disparate people together consultants nature strong egos strong sense presence strong views need good leadership make sure every one heard call get alternatives voiced understood decisive setting direction leading consultants make happen great leader exudes discipline discipline discipline youre responsible delivering project set level commandandcontrol really get discipline established carry project creativity often needed early part project establish youre trying accomplish deadlines great leaders really get inside minds disciplined commandandcontrol structure deliver final result leading consulting firm like leading group lawyers educational institution set organizational goals inherently complex require high level communication collaboration also group highly energized independent extremely talented people leading people give purpose beyond individual accomplishments important fcg high purpose something thats noble achievable beyond individuals could accomplish consulting thats partly establishing fcg brand ultimately impact industry serve keep edge leader im perceptive good instincts think way able head modern consulting organization like one intuitive see able leap least see trends see whats moving cant rely much whats written get frustrated people ask something written time usually late even respond find theyre saying gaps sometimes clients havent even recognized cant talk see whats leading consultants happening see trend know whats happening ahead time look ahead healthcare life sciences many ways american healthcare superb physicians probably worlds best diagnosticians lead world medical technologies innovative pharmaceuticals get sick america either good private insurance form government coverage youll get generally good care delivered excellent dedicated people healthcare industry united states recovering period fairly serious revenue cost pressures facing difficulties american healthcare number fairly serious long term problems provide healthcare nationally uniform system insurance patchwork government programs employerfunded coverage leaves lot population vulnerable people selfemployed employers forced reduce benefits face rising costs result around million americans health insurance leaving without reliable source medical care time costs rising steadily driven largely growing reliance inside minds increasingly sophisticated drugs turn acute diseases chronic ones extends life spans increases overall healthcare consumption two effects expensive drugs longerterm usage compound effect costs threatens push people employerbased coverage especially move period slower economic growth healthcare also fairly serious quality problems documented institute medicine largely result fragmentation care delivery united states slowness implementing information technologies prevent kind errors occur incredibly complex informationsaturated environment information technology problem addressed initiatives individual insurers care delivery organizations employer initiatives leapfrog group fragmentation problem much deeper structural roots although information technology help provide degree clinical integration cannot solve underlying structural problems true well internet although internet immense help changing business processes empowering consumers supporting kinds clinical information management cant overcome fundamental weaknesses healthcare leading consultants system roots national policy decisions economic forces becoming clear current approach healthcare change long term replace probably sort thing americans prefer mixture private government initiatives larger government component including believe form universal insurance coverage probably combining private government funding consumer influence healthcare grow steadily pharmaceutical life sciences industries believe golden age discoveries basic sciences genetics biochemistry occurring almost faster assimilated applied drug companies encountering consolidation pressures legislative restrictions applied research directions note recent controversy stem cell research think many directions success example personal medicines based individuals genetically programmed responses drugs allow us eliminate trialanderror prescribing weve forced aim drug exactly disease pharmaceutical industry absolutely transformed healthcare lifetime alone expect transformations continue inside minds look ahead consulting industry think consulting industry sitting similar around consulting took pause went backward little waves late carrying little see another really strong period think society business institutions become exponentially complex fluid based technology consultants stock trade ability apply highly specialized knowledge skills combined independent perspective exactly long needed become central world continues evolve consulting going golden period far developing hotbeds around technology concerned think back waves think major new areas continuously open know people enamored wireless wireless technology really movement application much better ride big waves application crm erp process reengineering dotcoms fully integrated systems major implementations tend drive market pretty strongly new technologies implementation though still leading consultants important tend drive market less significant way massive waves things make people want try understand people common take businesses waves happen consulting peak waves normal sharing best practices innovations specialty knowledge experience pause whitehot area go waves think another whitehot wave dont know best advice best advice ever got school hard knocks ive learned far mistakes ive ever learned somebodys advice counsel cant really learn something till youve experienced understand truly implications making bad decisions daughters long recovery nearfatal automobile accident several years ago changed life dramatically people comment probably handle bad news well anybody else took awful lot bad news inside minds learn dont get uptight listen news figure daughter sitting talking long ago said shed like go back time could michael j foxs delorean back future scene accident let happen much positive happened accident found husband family really pulled together ive changed mellowed theres much good came dramatically turned around applying personal business say lets go figure make something positive golden rules consulting couple fundamental rules first empathetic client put clients shoes take shoes apply broad enough perspective see client outside client sees cant schizophrenic see things ways wont successful see things consultants broad perspective client ought leading consultants wont understand enough help change ive often said understanding way earn right recommend change thats probably important rule serve consultant luther j nussbaum chairman chief executive officer providing leadership first consulting group fcg member million public consulting firm leading provider consulting systems integration outsourcing healthcare pharmaceutical life sciences industries nussbaum year veteran computer industry served recently president chief executive officer evernet systems inc national network systems integration company nussbaum twice named computer reseller news top executives computer industry prior evernet mr nussbaum president chief operating officer ashton tate microcomputer software development company entered computer industry senior vice president marketing operations businessland inc worldwide reseller personal computer products services inside minds decade senior management cummins engine company nussbaum received ba rhodes college mba stanford university serves boards emergent information technologies two private entrepreneurial companies olson company command packaging leading consultants giving clients expect bradley mith milliman usa chairman inside minds question clients ask conceptually consulting pretty simple business believe clients ask one question contrary popular belief much going cost project going completed although many clients ask questions question clients ask think think reserve think premium rate think pension liability comes question think many implications question respect successful consultant one implication question think expert something expert continually changing environment object question changes time creates many challenges consultant also makes consulting rewarding exciting know world changes course career always need consultants think solutions difficult questions believe consulting business changing much faster pace ten years ago subject question think would stay longer period time today subject question changes leading consultants constantly one reason consulting challenging well rewarding past six months two years clients going asking questions ask today solving problems today consultants simultaneously reinvest knowledge base prepare answer questions clients asking tomorrow consultant continually reinvest knowledge experience base keep amortizing assets whole second ramification question think clients care think consultant must expert given topic clientele potential clientele know youre expert consultants insular inwardthinking constantly replenishing knowledge base communicating anyone expert given topic area want successful consultant expert given set topics potential clientele need aware expertise therefore responsibility consultant threepronged complete current assignments satisfaction clients inside minds reinvest constantly amortizing knowledge experience base communicate clients expert ever changing environment consult short constantly requalify expert given marketplace making people aware done art consulting delicate balance considering requirements clear successful consultant quite demanding however believe true art successful consulting career finding balance personal life professional life balance isnt everybody individual find works everyone different comfort level different position respect life cycle cannot impose values balance individuals let consultant find comfort level consultant need understand important individual recognize every volleyball game miss every gymnastics meet cant make missed opportunity may come around leading consultants make judgment calls tradeoffs face times every consultants life stuck somewhere family events going miss assign appropriate level importance personal obligations opportunities meetings clients fact clients understand cannot available certain periods time willing schedule around events balance key longterm consulting career success know successful consultant generally know successful upon completion given assignment client asks another question gives another assignment generally asking another question happy work stop asking questions start directing questions others reasonable chance completed assignment successfully client comfortable confidence believes capable answering particular question continue seek counsel inside minds said times client asks consultant thinks told client disagree consultant cannot take disagreement personally remember always right clients right wrong allow clients make choices based upon information input give act way contrary advice given accept may know particular aspect decision may right may wrong let wrong times loyal clients clients disagreed time time going successful consultant add value multiples fees enough add value equal fee add value well excess fee three five ten times fee clients gain confidence ability add value asked broader questions respect business many times client knows needs help know question ask assignments fulfilling allow consultant add substantial value one critical skills needed successful consultant ability listen leading consultants client know question ability listen abstract issues one valuable contributions obviously identify questions issues facing client proceed providing solutions staying touch consultants well others profession participating industry meetings committees another important component successful consulting career personally written number papers spoken number industry wide meetings consultants asked think activities translate development business typically answer dont know sure would want risk growth experienced writing speaking likewise staying involved contributes value add given profession even cant sure contributes commercial success consulting business results speak consultant keeps existing clients happy grows client base long term priori evidence successful consultant willing listen impose first five minutes conversation articulate conclusions based upon understanding issues clients confronting typically successful consultant consultant understands inside minds need listen ability communicate need reinvest knowledge base typically successful long term cookiecutter solutions another ramification question think think cookiecutter solutions anymore world become complicated everyones issues different ability listen extract issues critical success consultant great extent consulting involves addressing client issues basis want answer percent question percent time times consulting get absolute completion project also implications way perform job expertise topic consulting enter assignment tailormake answer specific companys issues broad knowledge base need basic background ahead time well prepared answer question client asking ask probably receive assignment advance preparation key leading consultants firm believer strong fundamentals fundamentally sound whether athletic endeavor business practices performance flawed ultimately excel fundamentally sound capable blocking tackling willing prepare advance individuals succeed long run thing difficult reaching top remaining top things get always somebody wants replace maintaining strong fundamentals leads continued success communication fundamental ability communicate effectively writing orally absolutely necessary become firstrate consultant often meet students lacking one basic skills smartest person cant communicate clients think issue succeed consultant good communication skills necessary attribute successful consultant also one critical skills admit bias voracious reader firmly believe reading everything get hands inside minds assisted greatly consulting career consultants need anticipate questions clients ask one way anticipate questions read reading make large component consultants time helps consultant gain insight business whole well particular businesses consulting read questions companies asking countries questions may asked united states read industries focus consulting practice legislative regulatory environmental business issues affecting industries dont typically consult may help address questions clients may eventually ask reading also help improve refine communication skills reading key requisite keeping edge opportunities sometimes economic environment creates greater need consultants consultants may brought work internal staff would done prior downsizing clients hire consultants need fire dont consulting variable cost opposed fixed cost economy create opportunities consultants leading consultants likewise lot questions faced clients consultants address business isnt going well consultant therefore position answer questions markets best advice firm milliman usa years old best piece business advice ever received milliman consultant view firm tool tool used add value clients reach personal professional goals however grandfather took tool workbench sharpened oiled used replaced need leave tool ie consulting firm better shape found every consultant firm takes kind ownership makes kind commitment clearly growing profitable successful firm long period time consultants firms dont serve clients well hurts consultants likewise consultants perform well pie gets larger consultants always strive give client expects given assignment whether fixedfee timeandexpensefee job always give client expected inside minds firm structure firms organizational structure ownership structure culture dictate kind people comfortable successful instance milliman usa firm multiple profit centers profit centers merely mechanism splitting pie end day however contributed creation firm ultimate meritocracy consultants relatively young compensated consultants older firm longer period time contribution make given period determines compensation goes equity principals firm way clerical staff organizational structure tend attract entrepreneurial aggressive individuals consulting relatively simple business capitalintensive business assets people focus getting people best address questions issues clients face believe ownership organizational structure allows us attract best people consulting firms succeed long run ones attract highest caliber people believe firms owned operated consultants well leading consultants positioned future long run attract disproportionate share best people consultants firm participate ownership return well return generated consultative efforts illustrate lets assume consultant considering joining firm firm b firm allows extract ownership return whereas firm b sold ownership return external owners whether public offering another firm believe best people attracted firm compensated efforts directly participate ownership return consulting environment technology made consulting easier well difficult although technology cuts amount time takes complete assignment also increased client expectations sometimes unreasonably respect amount time needed complete given assignment pace consulting partially technology much faster used questions changing faster pace technology created higher expectations inside minds important understand market want consult well expectations analogy exists retailers one extreme retail marketplace walmart successful market serve successful best selling highquantity lowmargin items hand nordstrom highvalueadded highmargin operation said walk nordstrom pm five minutes close need pair shoes stay open long necessary pick shoes business typically consultants highvalueadded highmargin businesses consulting firm wants high valueadded business need understand requirements model implications client calls friday afternoon wants complete assignment deliver monday morning need willing work saturday sunday complete project mean work every saturday sunday means willing work saturday sunday necessary complete assignment clients satisfaction likewise work every night client asks satisfactory completion assignment demands willing invest leading consultants time otherwise highvalueadded consultant make commitment available short notice hours day seven days week doesnt mean work hours clearly impossible available clients want consulting client service business consultants need understand keep clients happy going stay business long important understand goals individual consultant well firms goals big fan shortterm goal setting think important focus longterm goals address want individual firm three years five years ten years understand want five ten years shortterm tactics seem apparent times people make mistakes overemphasize shortterm goals thereby something meet specific shortterm goal wouldnt otherwise ramifications choosing clients work discriminate clients believe add value cant dont think add value potential client need pass opportunity inside minds focused shortterm revenue growth goals may lead bad decision regard accepting assignment cannot add value think people going enter consulting field industry attempting lower fixed costs consequently reduce staff positions industry continue reduce fixed staff costs transforming variable consulting costs therefore believe consulting industry grow substantially next decade consulting industry constantly challenged litigious society operate answer gave consultant may well thought appropriate answer given time three five months later retrospect may prove right answer mean advice given time bad constituted malpractice necessarily actionable legal standpoint consultants cannot ultimate reinsurer particular outcome clients must understanding recognition fact consulting continue viable profession long run ultimately management needs accept responsibility thinks appropriate considering consultants advice biggest threat consulting industry right rise litigation fact risk accepted consulting leading consultants firms cost transferred economically client recognize accept consulting none us lives vacuum momentous events world stage alter business know consequential impact advice give clients substantial core business milliman usa involves development projections include projections net income cash flow projections insurance companies pension employee benefit costs liabilities types enterprises well demographic projections governmental entities world events unfold certainly impact work advice give clients maintaining enhancing relevance markets serve biggest challenge faced consultant professional consulting firm maintaining relevance involves identification areas skills consultant utilized add value multiples client identified consultant must develop capabilities research allow add value clients potential clients one dangers faced consultants working projects satisfying current demands clients invest time inside minds resources necessary maintain relevance future specifically invest knowledge base lose touch marketplace fail research necessary serve marketplace tomorrow next month next quarter next year golden rules consulting golden rules consulting always give clients expect make sure understand consultant firm want go long run maintain balance life consistent makes happy continuously reinvest knowledge experience base recognizing constantly amortizing assets importantly fun bradley smith graduated university illinois highest honors smith fellow society actuaries member american academy actuaries fellow life management institute loma formerly served leading consultants board governors society actuaries joined milliman robertson inc known milliman usa april open lifehealth practice dallas practice involves aspects life health insurance including insurance industry mergers acquisitions product pricing financial statement preparation served member millimans board directors may may may elected position milliman usa chairman board directors joining milliman mr smith vice president chief actuary jcpenney life insurance company heavily involved directresponse marketing analysis list segmentation product development corporate planning working jcpenney life mr smith worked product development reinsurance departments republic national life leading consultants tailoring solutions meet client needs thomas j ilveri drake beam morin chief executive officer president inside minds art consulting ive involved industry one form another years started price waterhouse public accounting excellent base learn price waterhouse spent decade advertising public relations business various finance administrative positions im drake beam morin worlds leading career transition consulting firm serve companys president ceo ive always personal services business personal service sector really gives charge everything grounded good educational background theory practice one needs active listening skill able adapt book knowledge knowledge gained experience implement effective solutions work customers always find exciting part job everything tailored meet needs organization want go youre always dealing different people youre always dealing unique challenges solution set customer never really get deal human capital element something every consultant really want job well consultant youd better like working people leading consultants youd better like interface youd better good listener able impart knowledge way accepted youre consulting always biggest reward enjoy stayed whole career would urge anyone wants get business today loves interpersonal interaction take look consulting sector career path art consulting requires mastering art listening set problems organization individuals quickly efficiently assessing organization developing rational approach getting organization wants go also requires make sure solution set provide keeping organizations culture needs directions competencies youre successful youll able move agenda youre working quickly efficiently constantly changing world work another integral part job customers often look solution problem fact youre facilitator solution customers tend feeling theyve turned problem problem going get solved thats something manage front end perspective important part active listening inside minds understanding customers expectation managing early relates possible deliver never ever overpromise credibility line organization thats hiring line investment line never overpromise underdeliver defining success consulting depends role youre talking perspective role ceo leader consulting company define success able company execute many recommendations procedures possible way ultimately moves agenda forward success repeat business success moving forward organizations agenda use time resources course speaking ceo want way profitable want way allows growth development people practice constantly moving forward forefront whatever coming next best definition success repeat customer activity means secured relationship customer provided valueadded contribution want use us leading consultants methodologies general go sales process constantly using specialists attempt provide valueadd customer base understand enough customer base quickly bring valueadd table perspective dbm spend significant amount time behind scenes talking competencies provide valueadd solution set goal focus competency cant provide valueadd quickly efficiently customer wants pay learning dbm religiously focus skill set match quickly industries solutionset methodologies provide valueadd customer opportunity youve identified solution set youve identified competency skill set bring want make sure know enough customer able clearly understand precisely articulate solution set early enough process theres degree comfort thats way successful weve spent lot time internally describing think matters much organizations today need know provide inside minds valueadd immediately process start say way handle well think youll immediately turn customers customers look valueadd look specific set solutions want immediately articulate way brings solution table spend lot time think successful result dont want everything everybody times well turn business well refer business others know know cant consultant need sit strategy direction assess skill set first know provide valueadd know play internal resources set business strategies way convince people permission effectively bring solution marketplace internal mindset place easily convince customer dont wallow around world consulting successful focus lot energy really strengthening relationships dbm truly reliable trustworthy partner given nature business lot leading consultants say sensitive deal company culture issues know gets structural foundations organization strength depth oneonone relationships customers really keyed around success often customers traumatized types initiatives need implement engage get restructuring exercises laying workers need know agenda find impact individuals ultimately affect theyre going job providing valueadd providing valueadd process need follow within strategic planning involves talking provide skill set let give example represent several companies hightech business going considerable restructurings time gives us opportunity work variety customers many similar though exactly challenges pull knowledge base people worked programs know exactly market best provide valueadd customer market best secure career transitions employee base weve inside minds accumulated knowledge identified strengths execution knowledge customer easy approach hightech company going saying leading consultants career transition issues go say understand problems surrounding placement employees within industry potential path result issues solutions weve thought makes sense engage way think secure revenue growth customer acceptance spend lot time planning process fostering understanding skills internally selling sell know best convincing customers able answer many questions customers walk first meeting getting speed requires frontend approach consultants must considerable amount work walk request proposal rfp presentation made front customer involves learning much company public sources well gathering information preinterview process sit identify needs outcomes individuals asked us come leading consultants even walk door though want good sense companys issues company expects meeting management requires frontend investigatory process consultants processes help facilitate information gathering consultants use databases information immediately track historical data information career transition trends industry important systems place organization people effective execution sales endeavors would let team go presentation without completed frontend process wouldnt successful pitfalls golden rules experience consulting found direct correlation number people front customer profitability firm essentially means want put companys efforts resources toward customer form facetoface contact marketing sales activities external research form continued development put resources internal office space inside minds elaborate internal systems keep back office minimum always provide external focus meetings limit internal process meetings successful think successful consulting arena view company big organization entitlement culture allowed exist think major pitfall consulting best business advice give people line front customer better understand ultimately business driven valueadd contribution give customer activities around geared toward customer keep focus youll successful thats weve built company dbm six imperatives filter every business decision make share common vision worldwide think act globally see eyes customer client maximize employee talent leverage technology sense urgency purpose decision cannot easily seen eyes customer valueadd dont leading consultants doesnt mean dont equipment allows people jobs token dont want sense value internally generated external marketplace people tools jobs something buying something keep someones title exclusively profitability company successful also im going mention hazard focusing cant think lot effort expended creating solutions arent core companies forming planning platform stay focused organization core competencies meet regularly constantly challenge retest thinking think organization wants successful really needs extraordinarily rare see consulting organization able play full spectrum potential consulting advice counsel may play arenas specific skill set focus move forward smaller company would wise limit pinpoint valueadd situations really play opposed saying consultant never play area dont valueadd contribution thought advance never overcommit customer ability deliver product suggest never surprise company amount inside minds bill youre executing program overdeliver opposed underdeliver stay touch whether youve completed assignment maintain develop relationship never know come back managing turbulent times im different business traditional consulting perspective business helping people career change times economic change particularly world economies recession activities extremely brisk fact could almost called countercyclical service need assistance economy well organizations realizing need rightsize align workforces declining revenue streams conversely turbulent times economy strong much support around career transition organizations arent taking people understand ask help situations skill set apply demand given economic climate strength career transitions supplying support counsel around hr solutions market leading consultants enhance weve used many programs weve implemented careertransitioned employees help organizations theyre going change might actually involve career transitions example executive coaching retention issues areas competencies play already skill set solution set need provide think organization need balanced product service customers turbulent times quite well economy good balance customer need means helping organizations change weve looked organizational resources know strong arena us retention executive coaching areas provide valueadd organizations struggle need refocus business quickly think core competencies consumer looking gear service already strength competency companies need fast fluid important look small company matter size provide quick solutions area crisis dbm million company today operates million company fast well make changes needed marketplace consulting company successful longterm unless ability change inside minds people individual successful need broad experience base strong interpersonal skills need wellrounded individual desire ability communicate listen react ability way driven best interest customer im looking people strong overall skill set around written oral communication im looking people want something different provide change people motivated therefore successful leader whose experiences developed personal services sector industry thats brought interested sitting internal meetings trying move career forward way id rather front customer enjoy whether personal level customer relationship level external practice development level whether tradeshow new business want interrelate job satisfier dont want interaction consulting business stay business without ability interrelate enjoy youll rather limited role within consulting organization need communication skills whether oral written intense desire help people look forward leading consultants best consultants intense desire execute customer responsive needs way makes customer feel though theyre part company instead vendor relationship ive seen excellent presentations excellent executions havent customer focused presenter used book solution solution set thought well educated individual worked customer way company understood could execute best consultants understand work company know responsibility get company helping execute solutions care company care responsibility process work management company execute strategy stay engaged even experience good consultants probably right answer come good strategic thought around solution dont understand culture nuance person paying service result dont provide type support necessary get program dbm think leadingedge learning organization one criteria desire personal responsibility grow professionally need inside minds devote period time becoming stateoftheart forward career dbm know dealing highly talented people organization want need drive toward development desires continued learning situation provide funds end train along lines successful business need mindset job execute well today job execute today learn todays challenges address tomorrows solutions best people time well company time way find constructive whether specific industry specific weakness want address need successful personally accomplish balance rigorously maintaining two nonwork facets life take time get away business occasionally work hard balancing business family time like take one week every three months get away sit think read put week book make sure secretary doesnt fill time slot need time outside daytoday rush think business going best supported going forward would urge employees something like taking day every friday summer enough get see forest trees thats handle longterm leading consultants needs balance life important give extra time go early morning sometimes im office get home late night work emails night im im gone im gone also children extraordinarily important achieving balance life leave three afternoon days son plays baseball high school varsity team go take lawn chair sit watch play pm game starts pm phone im sitting watching game watching son gives balance doesnt bother work early working email night time son important take time would advise every person organization find balance people differently different organizations people get early people turn computer leave thats night leave weekends methodology important result future consulting youre going see continued explosion consulting business next five ten years inside minds companies going outsource theyre going looking specific expertise drive organizations forward theyre inclined sitting organization organizations adapt recombine merge business today future continue see explosion industry organizations inclined get specific data need need organizations willing pay premium opposed keeping workforce fixed basis get dayin dayout think business good one bet think growing absolutely see corporate dynamics favor consulting organizations growing growing take example talents skill sets necessary todays solutions complicated today often crossfunctional one alone create solutions appropriate environment team reach appropriate solution also question demographics people leaving workforce leave spaces organizations fill organizations fill spaces internally look externally trend look externally people less inclined tied one organization inclined leading consultants responsible careers much easily consulting environment one organization increasing trend working home telecommuting play role leading consulting organizations going forward consulting business going continue expand upcoming years im glad part exciting vibrant industry thomas j silveri chief executive officer president drake beam morin dbm position assumed april responsible handling daytoday management companys global operations assuming role mr silveri chief operating officer dbms us operations also previously held position senior vice president finance administration responsible dbms accounting department financial planning analysis group information systems facilities management functions joining dbm mr silveri obtained years experience specialized fields media business public relations advertising research previously mr silveri executive vice president finance inside minds administration hill knowlton prior controller jwt group leading consultants future marketing consulting david frigstad frost sullivan chairman inside minds direction marketing consulting future marketing consulting industry looks positive many trends technologies come together enhance relationship consultant client information side see accelerating integration internet competitive intelligence crm market intelligence kms integration combined increasing demand ethics market competitive data collection support companies efforts outsource strategic informationgathering strategy formulation primary consultants relationship consultant client become much seamless future information shared among players given projects including global enterprise external partners include consultants vast number emerging disruptive technologies rapidly globalizing economy significantly increase demand multitalented consulting teams possess many specific skills make projects successful traditional internal teams skill sets perform successful global projects time frame meet financial success demand specialized market technical consultants working close cooperation strict confidentiality clients much leading consultants common coming years appear consulting companies ready transition exciting things consulting tremendous amount fun working different executives completely different cultural backgrounds one day youre germany next day youre china youre japan everyday everyone looks business different perspective go kinds challenges really great pleasure learn cultures meet people hard say exciting crosscultural interaction lot fun rewarding changes business environment biggest single shift business environment toward globalization started project germany german market project japan japanese market always regionally focused percent clients come us want every region world covered wasnt happening ten years ago inside minds trend toward globalization means consulting company completely reconfigure global team analysts specialties even makeup years ago probably percent staff american british today less half staff born united states really need multicultural focus business clients asking whats going different countries second biggest change internet internet given clients incredible leap valueadd integration knowledge management techniques principles simply couldnt paper going interesting internet causing pure flow information never world based paper lot papers large consulting companies could draw suddenly internet puts large consulting companies great risk client looking specific technology specific issue go internet exposed hundreds companies focused need forced go large brand name consulting companies get intelligence think one result fragmentation business might happen huge impact large companies grow slowly many boutique leading consultants firms going forward least theres big risk happening another big trend toward integrated approach client applications see lot clients frustrated get customer information market share information companies polling customer base theyre getting market information analysis strategy frost sullivan get regulatory news government news newsletter get econometric data economic forecasts suppliers get customer demographic information companies beyond none information integrated even though correlates well customers dont time make sense different data great pressure going forward integrate information something holds together leveraged help client create strategy frost sullivan founded focused competitive data started customer survey centers collect data looking closely econometric forecasts data industry adding demographic tables integrating information makes sense conflicting clients use rapidly think trend toward clients wanting consultants integrate broader spectrum information well strategy inside minds success means good marketing consulting much focused marketing aspect clients portfolio sit longterm clients go projects weve done lot work new product development product launches things nature see success terms killing bad idea making new product launch effective clients sometimes hard time relating stopping rd project seeing great success point stopping bad ideas success even though write quite bit rd investment go back look roi project including future expenses project see positive return stopping doesnt make sense promoting something make sense measuring success difficult thing however consultants become partners larger clients youre working closely marketing associates ceos business development executives partnership becomes little harder measure success even though know speed decisions integrate information better provide new insights strategies end day smile face ceo stakeholder tells youre right track leading consultants measuring marketing consulting success become lot harder time clients expectations integration data knowledge management helping implementation increased significantly client teams gotten larger past would deal one person one company suddenly dealing global team project development managers harder measure success youre trying keep people integrated happy satisfied youre instead one definitely gotten harder measure success know youre right put lot pressure companies constantly improving today least twice good five years ago think consulting companies following track well opportunities consulting lot opportunity sits application consulting studying job functions within client understanding enough make particular executive powerful impact company really first understand objectives executives title applications go along objectives need consulting methodology applications often see research design inside minds methodology applied application applications different dont get accurate results good strategies emanating onesizefits approach one way realize opportunity really finetune consulting process specific application think thats probably difficult thing learning really great get top one example acquisitions companies poor job conducting due diligence acquisitions poor job understanding acquisitions position within customer group within landscape specific methodology analyzing things application acquisitions increase companys success rate see consulting firms using methodology regardless challenge real opportunity develop expertise one applications successful methodologies know application youll know go beginning either identify challenge client key application going thats identified find pertinent data address challenge leading consultants think lot consultants fall apart say youre launching new technology level important get proper data entire client population least statistically significant sample size depends segment client population part methodology importantly questions ask forum ask often done internet surveys telephone surveys depending application might need go facetoface surveys might need look focus groups five six different ways segment client population five six different research instruments get information population addition youre working customer groups competitive landscape theres regulatory landscape add mix lot options permutations look youre trying solve problem could end using five six methodologies depending application one methods really specialize getting right information client base product looking also look competitor products disruptive technologies really round whole spectrum strategic options one methodology found useful quite clients using measurement like brand recognition inside minds today theres increased emphasis brand recognition equity brand value go clients interview competitors clients customers well ask questions brand recognition brand recall find largest clients customers cannot remember companys name product really shock client tendency within company successful product arrogance grows grows point become completely blind whats going marketplace look brand value going looking diverse section consumer database come back reality check brand really provided tremendous value lot clients suddenly realize thought point theyre actually point c creates valueadded discussions strategies get back track keeping pace markets think tremendous advantage employ analysts track nine different industrial sectors fulltime youre constantly talking vendors talking customers talking regulators probably countries around world keep pace going helps keep leading consultants focused strategic challenges well facing consolidation pharmaceutical industry generic pharmaceuticals current global economic recession studying analyses go see ceo vp business development already information know keeping morning thinking cant go client ask kind consulting needs today go say wed like talk company addressing problem challenge opportunity usually gets positive response multimillion dollar billiondollar impact company differences among consulting companies different types consulting certainly huge boom consulting implementation end business recent years dont really put realm boom made companies like accenture successful management consultants like boozallen mckenzie theres marketing consulting look place inside minds consultant pertains new product development emerging technologies market strategies things nature first easiest way segment consulting industry functional expertise separating marketing finance techs etc go next reasonable segmentation would industry example mckenzie believe different industry segments groups third dimension matrix segmentation strategy would application would categories new product launch product development mergers acquisitions compensation consulting compensation consultant depends type application youre working example suppose youre working implementation project believe companies want fixedprice contract rather hourly contract go hourly charges youre putting pretty big hole boat things go way budget someone pay either client great way lose client send bill didnt expect leading consultants types projects financial side clients strong preference pay whats saved various processes systems payment much riskbased payment sector consulting side prefer work clients annual subscription base call strategic alliance partnership know exactly much capital going get month year client allows us use money get client needs actually unproductive one level us continually involved bidding process projectbyproject basis many different models pricing think least effective projectbyproject model consulting side put price cover fact might get agreement also include sales marketing expenses client thats value added part equation best characteristics consultants integrity important trait consulting firm thats company really stands behind work behind people inside minds identify clients consulting companies integrity dont end legal squabbles consulting partners dont long contracts sign penalties work handshake onepage letter agreement ones respect arent many ones run businesses like awe managing turbulent times company certainly touchy year managing economic slowdown several client groups would call deep recession couple years look closely trying develop system match salary expenses bonuses pay employees end day virtually client revenue goes back staff make know succeed succeed client pays salaries company focus making clients happy generate repeat business slowdown like alter salary packages decrease base pay increase incentive pay success course motivating economic downturn everyone understands leading consultants economic slowdown think whole consulting industry experiencing certain amount right also manage consulting approach turbulent times like customers viewpoint goes five years next quarter working closely find customer pockets want find economic forecasts countrys gnp specific market sectors medical ultrasounds specific types memory chips example customers proactively calibrate business shortterm prospects going look like make clients proactive market changes theyre going save hundreds millions dollars continue produce higher market turns sales drop theyve already lost money two three months theyre going lose money another two three months restructure get consultants see changes advance tell clients start proactively recalibrate business according markets going save hundreds millions dollars managing growth really important companies well recession well youre proactive recession economy booming every company going aggressively acquisition programs inside minds acquisitions expensive boom times economy slowed time companies aggressively acquiring new companies get incredibly good bargains right prices companies happens instead though companies run together like lemmings people using good strategies right everyone pulling horns instead taking advantage situation merger acquisitions front great opportunities increase market share get rid key competitors balancing risk frost sullivan given point time like percent investments highly risky places terms product development services clients expansion partners derive fun life challenge business taking risks seeing ideas work firm unique company owned handful partners dont think partners motivated money far motivated seeing ideas work valueadded programs clients work always investing way think take tremendous amount risk think leading consultants prudent consulting companies wouldnt take make big mistakes future unrolls exciting times ahead exciting ideas pipeline every dime make reinvested risky future ideas would say probably balance risky side best advice best piece advice ive received high school gymnastics coach looked said dave cant make steak hamburger probably first ten years career spent way much time either bad projects people werent wellsuited consulting industry tried turn firstclass consultants thought coachs message caused much much aggressive developing consulting team similar passion want committed trying accomplish see people dont fit team dont spend time trying indoctrinate apologize sounds little cold think people really passion make jobs easier best piece advice regarding balancing life work person said businessman inside minds deathbed never says wishes spent time work despite saying think consultants unhealthy lifestyle including right ive hotel last days working project wife family arent exactly thrilled best advice keep lifes bigger picture front us time see role remember god didnt put us earth run consulting business think gets balance consultants leadership running consulting company puts profound pressure developing leadership skills consulting industry change projects every day clients every day industries every day staff bright individuals lots ideas difficult people manage bright leader consulting company tremendously strenuous hugely challenging ive sat leadership post frost sullivan happens time weaknesses highlighted move forward almost dont gain confidence leader learn great leadership leading consultants one skills commitment conviction direction youre taking company many varied viewpoints disagreements arguments take company dont really lot time rethink companys direction every time theres problem keep edge industry important leader go see ceos client base consulting companies demands put keep top game enormous ideas another ceo give minutes worth youd get month two company best way stay edge live clients company take time spend time consultants another thing learned cannot communicate enough cannot let communication slow point people know company going major objectives status objectives give large doses positive feedback accomplishments going company inside minds staffing good team think passion underlying component everyone good team second thing greatly increases clients satisfaction even goes well beyond satisfaction developing crossfunctional team multiple disciplines goes segmentation mentioned earlier several people indepth knowledge different applications many cases crosscultural team asia europe north america south america different experience backgrounds think past consulting companies homogeneous race background think big consulting companies starting see doesnt always make client base companies work getting revenues world theyre facing multi cultural issues application issues world increase probability youll find every problem address every problem meet every challenge good team working projects least likely succeed managed one two people similar background two people get along well good little friction leading consultants golden rules consulting sounds trite important customer focused get inside clients mind able look consulting company customers eyes look client eyes sounds obvious us competitors one biggest golden rule hard develop insight consulting companies success grows arrogance arrogance grows blindness thats rule number two resist arrogance seen attitude know everything top everything many consulting companies even doesnt work anymore consulting industry intimidating clients educational background knowledge industry accepted anymore david frigstad began career marketing consulting analyzing trends hightechnology asian european direct investment united states department commerce began supporting european manufacturers electronic equipment entering us market cofounded market intelligence research company mountain view california company specialized hightechnology inside minds marketing consulting research strategy market intelligence acquired frost sullivan combined company called frost sullivan offers full line consulting services competitive benchmarking corporate training employs professionals worldwide frigstad designed market engineering consulting process extensive worldwide consulting business experience process creates foundation methodology frost sullivan performs consulting research work market engineering measurementbased marketing system designed drive marketing efficiency improvement market position frigstad lectures tr ains throughout world frost sullivan market engineering system career mr frigstad authored several books including venture capital proposal package market research forecasting healthcare industry market engineering competitive engineering customer engineering cost effective market research high technology market research market research forecasting industrial markets currently working new book entitled strategy engineering measurement based strategy development systemleading consultants mr frigstad lectured trained extensively around world competitive benchmarking market engineering customer engineering business strategy popular speaker many industry conferences including competitive benchmarking telecommunications industry medical device industry annual conference automotive aftermarket annual conference frigstad holds bachelor science degree mis management received masters degree japanese business administration japan american institute management science association sophia university tokyo japan also holds masters degree business administration double concentration international finance international marketing indiana university leading consultants rules changed john c cauliffe general physics corporation president inside minds excitement consulting exciting aspect consulting constant change clients present new challenges every day theres constant motion always new ideas unique issues dynamic business good consultants people embrace new challenges fact much related helping clients manage constant change become part everyday business life theres real sense satisfaction comes provide solution client save money make efficient productive advent learning management systems created great deal excitement learning education arena systems implemented development critical business processes ability deliver critical training using technology grow significantly also provides opportunity outsource large components training function providing customer high level expertise significant growth gp biggest changes advances technology biggest drivers consulting everybodys trying things better leading consultants faster thats going continue pace technological improvement continues increase weve always hired best brightest specialists available consultants extensive backgrounds engineering specific technical areas days really place great emphasis keeping people ahead technology curve technology aside quality consulting always come real human beings working closely together using experience create innovative solutions benefit customer really tools pace change history worked predominantly regulated industries law dictated lot work today requirements arent weve transform organization provides solutions companies need reduce costs improve use technology forced us creative show measurable return investment services provide see lot situations may compensated award fee rather strictly fixed fee lot situations days metrics developed evaluate performance thats good consultants customers alike inside minds art consulting artist sees world unique way good consultants good consultants look client situation eyes expert rapidly identify issues preventing reaching goals quickly delivering innovative solutions implementing creativity big part visualizing big picture details building better system mind transferring customer via training technology true success comes conduct assessment upfront analysis prove solution performing actual implementation delivering set recommendations akin painter producing sketches wed rather deliver complete proven piece consulting firms capable implementing recommendations going successful companies going forward consultants must also proficient art relationship building people person specific industry needs must able communicate effectively customer speak language rely us advice experience industry thorough understanding customers concerns critical building trusting relationship leading consultants understanding industry going important keep track industry look outside world every staff performs necessary research keep us aware trends occurring inside outside current market sectors also subscribe research analysts fact nobody crystal ball business change second based happens economy customers thats try stay close client even currently assignment regular interfaces client help us understand theyre going want go issues theyre grappling also reminds value relationship obviously part trade organizations helps certain degree internally conduct periodic strategic planning meetings make sure heading right path share knowledge related industry future business prospects ideal client relationship know weve become partner client theyve made us part strategic plan means weve earned trust respect judgment inside minds always best brought front coming late game difficult many cases things previously overlooked things change costing customer money client looking learning resource management system want help analysis assessment look current processes discover processes need change system implemented always better start relationship clean slate things right first time methodologies assessment follow many branded processes whether assessing training program learning management system ability within organization design develop training use combination proven processes along customized solutions depending situation key assessment process rigorous structured also flexible organization different assessment must blind new situations generally speaking take look size organization type training might needed technology might available deliver training leading consultants reporting logistics requirements relating objectives organization wants reach perform assessments tell best way run training function experience weighs heavily weve developed considerable arsenal best practices based experience may recommend outsourcing training delivering inhouse may someone administer program provide vendor management function may take whole training function organization also determine business model used best evaluate measure training function whether cost center profit center whether provide services internally organization look outside resources getting speed gp hire worldclass subject matter experts people understand specific industries extensive experience software package technology drives current assignment gives us leg also count fair amount indoctrination knowledge transfer client andor vendor providing software technology inside minds people rapidly get speed software technology needed company theyre working part assignment really enough subject matter expertise minds people finished weve transferred subject matter expertise minds clients differences firms large consulting firms example accenture niche players thats fit expertise certain market centers education arena technical area versus price waterhouse coopers might much broader based consulting firm nature consulting market sectors operate ability bring market expertise probably key differentiating factor us place like accenture place heavy emphasis implementation pure consulting assessment components larger consulting firms geared toward assessment component consulting environment leading consultants turbulent markets turbulent market crisis important stay focused clients core market sectors weve tried grab market share arenas versus trying branch significantly dont want mile wide inch deep tough market place best operating number core market sectors core clients weve done good job able grow presence weve make sure workforce somewhat variable keeping fulltime employees parttime consultants go ebbs flows come turbulent market dealing clients strive reduce costs increase efficiency quality clients focused slashing costs stay focused helping make technology people efficient effective allowing drive waste organization easy profit turbulent economy one things helped us ability provide outsourced services companies trying make workforce much variable move cost base revenue swings outsourcing way inside minds really focused consulting learning resource management area learning resource management different way saying outsourcing learning resource management systems enterprisewide software systems help large organizations put hands around whole training function helps logistics scheduling recordkeeping development delivery training organization companies outsource noncore activities also access expertise training core competency us customers get training initiative run like business experts field customers able free burden fixed costs receive topnotch training initiative time risk risk ingrained business theres way avoid take chances choosing customers want focus market sectors services want focus consulting organization constantly providing new different services weve tried keep aware market sector client base service needs theyre going looking future allow us allocate dollars right places leading consultants whether development new services hiring new people advertising marketing things many decisions many possibilities guarantees last couple years weve tried gather much information making decisions past things going well didnt wing might done much research gained much knowledge making decisions today dont want take risk percent chance success good times could things tough times bad decisions magnified leadership intelligence important leaders get right information make prudent decisions leaders confidence taking risks willing make tough decisions many leaders get whats called information gridlock get situation make tough decision cant bring make leaders need fortitude make decisions regularly sometimes even gathering input associates allowing people voice process inside minds decision deviates recommendations honesty openness communication critical point explain youre going take direction youre going take tough wellreasoned explanation goes long way toward getting people onboard leadership model gp tries follow servant leadership leaders expected everything ensure success organization model prompted corporate climate survey conducted determine effectiveness existing leadership teamwork practices actually turned focus time subjecting company tough assessment climate survey needs assessment identified specific shortcomings leadership behaviors leadership boot camp designed developed rolled immediately address leadership training development teamwork battlecry boot camp leadership teamwork drive performance top three tiers corporate leadership trained second climate survey administered results indicated dramatic positive change occurred dramatic lasting culture change gp valuesbased employeedriven environment every employee welcomed business partner fellow steward responsible accountable companys success leading consultants sometimes leadership means taking risk someone backing employees new idea giving people freedom job way suits best great leaders earn respect employees provide environment fosters every individuals growth leaders must understand people treat right people willing come leadership support need consulting business dont treat people right youre business youre really nothing without employees building team weve instituted behavioral interviewing process within gp try make sure people hire fully understand job theyre going looking people willing travel thats unfortunate part existence something people understand need people willing take new different challenges weve worked hard make sure people understand expected overall looking people specific industry expertise people strong communications skills new employees trained understand dedication customer service consistent corporate values inside minds core internal training course exceptional customer service stresses importance carefully managing relationship managing every transaction customers internal external believe best way foster teamwork understand everyone deal customer number one customer also lot training areas negotiation internal performance management conflict resolution hope things combined given people tools necessary handle difficult situations first foremost though tell everybody best way deal conflict address directly important make sure issues arent hidden pushed side make sure engage honest open communication customers internally critical make sure individuals working team bring different strengths project giving customer access personnel diverse proficiencies knowledge people may technically oriented others may business process oriented others may relationship oriented like able make sure team covers bases completely thats always easy many times well dealing lot individuals different agendas different ideas assignment really leading consultants important people mesh well client organizations culture well goals plans unique process organization goals planning threeyear plan update annually looks next year also year year years ago went alignment process took leadership organization refined vision statement aligned unified force direction agreed arranged pieces organization fit vision established set corporate values based alignment process importantly participate leadership boot camps twice year intensive training instills leadership company corporate values ensures everyone aware strategic goals company boot camp format allows input everyone inclusion continual strategic planning company inside minds future consulting use technology going expand arena ability deliver training web key implementing maintaining learning management systems going growth area industry whole think whole idea implementing solutions non core competencies going important read paper every day people laid united airlines american airlines companies want much variable cost base better manage times outsourcing key ten great years virtual growth companies got habit costconscious business models allow ups downs teach us lesson industry variable cost base golden rules consulting know customer subject matter expertise key consultants must understand details clients business issues industry technology leading consultants consultants must excellent communicators may best answers world cant articulate theyre worthless solutions consultants bring clients must tangible results must measurable return investment whether increased productivity reduced cost new technology getting current technology customers spend lot money services deserve excellent return investment stick values good times bad times really easy tough times abandon things made successful bad times remember made successful company individual keep mind tough times generally brief companies stick values come right people get roles leadership get theyre generally pretty intelligent also theyre willing work hard working hard means working smart balance life times time go home cant feel guilty didnt work hour day days okay work less matter life needs balanced long term youll better inside minds person better employee life isnt balanced problems going creep work life major impact read everyone industry lot reading keep things work hard touch customers consistent basis know youre youre hearing problems youre hearing issues internally important stay touch people constant discussions within organization president general physics gp john c mcauliffe guided strategy operations made gp world leader performance improvement services gp provides consulting training technical engineering services fortune companies named president mr mcauliffe served companys chief operating officer chief financial officer addition member board directors gps corporate parent gp strategies corporation joining general physics mr mcauliffe worked arthur andersen graduating loyola college baltimore maryland quarterly issue focuses pressing business issues trends emerging opportunities marketplace affect every industry way another ordering massachusetts please add sales tax order including shipping handling ordering outside us additional per year charged shipping handling costs issues paperback shipped soon become available sorry returns refunds point 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Development.json @@ -0,0 +1,5 @@ +{ + "filename": "Introduction to Brand Colors in Theme Development", + "department": "Design", + "cleaned_text": "introduction brand colors theme developmenteveryone nick hubspotand today wanted talk abouthow brand colors impact athetics ofyour theme youre developing forthe template marketplace youreprobably asking nick isthat even important well number one itsimportant arequirement number two importantbecause directly impacts theusability theme comes tocustomers building pagesinteracting theme settings orjust interacting themeoverall lets take look theunderstanding requirement brand colorsrequirement currently acceptedinto template marketplace themeyou minimum two colorfields must inherit colors theaccounts brand settings doesthat mean brand settings meaningsettings within brand kitnow unfamiliarexploring brand kit impactwith brand kit workswhat test portalinside test portal lets assumeim customer ihave brand kit set companylets say sell widgets mycompanys brand kit youll find thebrand kits account setupaccount details youll see upat top youve got brandingtab thats brand kits willlive mine hs test kitwhich test kit myfictitious company within imgoing specifically focus thecolors brand kits usedthroughout hubspot want focusin colors inheritingthose colors theme affect theaesthetics affect thecustomer interacts theme sounder colors tab isi primary color selected immagenta color widget companyits primary color magenta canalways add colors brand kitand take away haveto primary colorhere set let show youhow particular color itsinherited theme affects theaesthetics affects userinteracts theme haveediting theme colors practical examplehere test developerportal ive done ive made acopy boilerplate ive renamed super awesomeand im looking currently right atthe fields json file ive doneis ive made one edit file online ive done ivechanged forms title background tothe brand settings primary color thatis magenta showed theprevious tab point youreprobably saying okay nick cool knowhow edit text thats really greatwhat apotential problem well let show youthe problem color overlap themeswhat changing setting actually doesto theme important notetoo example theforms background color set tothe magenta go little bitfurther youll notice textcolor set themes set secondaryfont color right thats line thats going important asecond im going show whylets take look lookslike actual theme settings whenyou go editthem ive done ive taken acommon module form ive draggedit onto page ive created withthe homepage template theme youcan see background colorcomes perfectly right theresthe magenta youre also goingto see title sits top ofthat background color alsomagenta ishowed title font whythis important happensright particular theme thatsecondary color global fontspulls primary myprimary pulls brand settingsprimary color magenta thati referenced previous tab whatthat end user createsmagenta text top magentabackground creates poor userexperience someone drags infor first time form letssay looks like somethings missing itlooks like title justlooks like one big blob ofmagenta doesnt supply tothemes youre developing individualmodules fall sameproblem reason bring isthe importance planning color inheritancebecause really important aboth module theme developer toreally take time plan whereyoure going inherit brandcolors directimpact end user go touse theme whether thats draggingthe modules like case ifyoure dragging common form moduleyoure going get magenta onmagenta comes editingthe theme settings alone whathappens lets say overuse theprimary color within theme istart applying multiple multiplecolor options youll end gettingat certainpoint page fullmagenta default content whena user first makes page yourtemplate want give reallygood example template cando template theaesthetics template canprovide set everything onesolid color like really doestake away work youve doneso suggest youredeveloping theme templatemarketplace inheriting 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crucial ambition passion boundless energy relentless commitment hard work true across different musical genres opera folk music jazz pop rock band chamber ensemble sheer effort drive needed artist search success illustrated many case studies detailed report another story tell well collaboration investment working behind scenes many great performer supporting infrastructure offering funding expertise resources advice oftentimes infrastructure provided record company advances recording funds royalties artists need especially early career recording industry also offers artists assistance professionals help promote artists produce recordings license distribution finished product find opportunities funding sponsorship live performance brand partnerships collaborations also possible example artist management company efforts promote music depend protection copyrights intellectual property musicians producers music without protection investment forthcoming collaboration investment defining qualities music industry play vital role helping artists pursue career course digital era brought dramatic changes believe made investors music less important even age internet selfpublishing much easier artists past technology alone cannot ensure artists work heard appreciated artists continue work partnership record companies management others develop careers bring music widest possible audience report ifpi tells story invest support artists also economic importance sector whose investments enormous ripple effect society bringing growth jobs many industries enriching national music cultures across world important material governments report well copyright laws protecting artists producers rights reviewed many countries investing music reminds us endeavour creativity industry goes producing culture never taken granted produced free rights artists producers must paramount continuing debate copyright digital age chairman ifpi pleased introduce report illuminating industry remains important vital investor artists talent introduction pl\u00e1cido domingo chairman ifpi investing music video introduction investing music pl\u00e1cido domingo seen wwwifpiorginvesting music highlights working inside music business seem simple truth behind highly visible world artists performers touch peoples lives less visible industry enormous diversity creativity economic value report shows particular role record companies major independent play around world discovering nurturing promoting artistic talent investing music quite simply record companies parties music business scale focus take responsibilities risks backing artists seeking benefits shared success also accepting financial consequences failure time record companies remain great pressure digital piracy continue committed investing talent highly competitive market breaking new artists ultimate ambition many working record labels artistic talent always need investment funding history provided different means achieve private patronage earlier centuries heyday large advances global superstars late th century today relationship artists performing music investors supporting subtly changed continuing evolve traditional model significant advances marketing support larger recorded companies artists remains widely place greater emphasis partnership shared skills shared revenues record companies services skill sets adapting artists want need sustain career within record companies digital marketing promotional activity mainstream function many record companies forced reduce workforce overall revenues declined shift digital also created new jobs business models across sector claim artists forge career music live performance alone little empirical evidence support argument established artists benefited years investment record labels enjoy successful career performing back catalogue developing artists achieve scalable success without attention generated recorded music true digital world helped empower artists greatly widened options opportunities without label yet glance charts every market worldwide shows artist wishes sell music significant volume attract large audiences need support major independent record company surprising anyone working business understands fundamental lasting relevance companies whose expertise unlocking commercial value talent artists investing music sets major independent record companies use tools disposal help develop artists careers explains artists need help support dedicated team champion music shows record companies operate today people clearly see transformed meet digital age commentary frances moore ceo ifpi alison wenham chairman wininvesting music record companies discover nurture promote artistic talent far largest upfront financial investors artists careers also bring huge range expertise experience bear campaign bring new artist broad audience industry player currently offers access levels investment skills behind breaking new artist dynamic combination creativity talent teamwork strategy finance course luck project requires significant investment research development well marketing promotion record companies estimated invested us billion worldwide artists repertoire ar combined marketing represented per cent industry revenues four major labels combined around artists rosters tens thousands artists signed independent labels new talent lifeblood industry one four artists new signings signed last months record labels able reinvest proceeds successful campaigns discovery nurturing next generation talent majority artists still aspire signed major independent record company research multitude anecdotal evidence support survey unsigned artists us reverbnation digital music news found threequarters wanted sign record label may ifpi partnered unsigned guide almanac information unsigned artists seven ten unsigned artists uk per cent said wanted record deal threequarters per cent believe record deal important artists career cited factors wanting signed included promotional support tour support payment advance similar evidence importance record company unsigned artists comes germany september ifpis affiliate bundesverband musikindustrie conducted similar study cooperation five independent bodies popb\u00fcro region stuttgart vw sound foundation popakademie baden w\u00fcrttemberg local heroes soundgroundberlin found per cent unsigned artists professional ambitions wanted recording deal top reasons cited important marketing promotional support tv radio contacts ability focus creative process tour support payment financial advance findings supported countless personal accounts provided report articulated editor unsigned guide addressing thousands members without significant investment industry expertise creativity business obviously talent music extremely difficult break artist band popular culture mainstream music markets diy demonstrates ability approach industry correct manner still substitute experience industry move project forward artists approach labels wanting different types support may career development financial support team champion creations hugo scherman creative director cosmos music group biggest independent music company nordic region says want help whether assisting creative process opening doors work great producers supporting right marketing campaign distribution strategy us billion invested new talent revenues artists major labels tens thousands indies one four new signing seven ten unsigned artists want record deal breaking artist major market cost us millionthe cycle investmentinvesting music manager could put team people together around artist various roles record company theyd record company hamish harris artist manager uka record deal matters say unsigned artists unsigned artists aiming signed record company unsigned artists thinking record deal important developing career source survey unsigned artists uk compiled ifpi unsigned guide may ed sheeranshakira filippo sugar president italian independent label sugar music believes artists benefit support label across breadth career artists need lot people help create record promote need champions need people believe recorded music produce synch deals strike drive awareness artists interest live performances financial muscle record companies enables invest artists could finance atlantic records uk signed artists including ed sheeran plan b rumer artists come every section society says chairman max lousada give artists shot chance change lives incredible opportunity society way artists marketed promoted changed last decade costs involved breaking act remain high julie greenwald chairman coo atlantic records us works artists including bruno mars bob explains involved every part artists career many avenues go including digital social marketing costs involved breaking artist also remain constant according greenwald costs reduced dramatically weve reallocated funding example spending ever tour support atlantic believes long term artist development keeping artists road connecting fans cheap ticket record companies adapted changing environment last years sign process slow martin mills chairman independent beggars group record labelsincluding xl recordings adele worlds biggest album seller signed adele achieved spectacular success album topping charts countries mills foresees mix continuity change record labels artists always need people things record companies currently market could become diverse could see companies working artists wouldnt currently define record company could see record companies becoming something new hamish harris owner twist management works artists including tyson jamie woon believes labels evolving performers always need support manager could put team people together around artist various roles record company theyd record company new services artists industry changes model investing music new generation deals labels artists evolving record companies maintaining ability invest talent securing share broad range revenue streams many decades record labels operated model saw pay advance artist hope recoup investment sales albums singles label would also spend heavily marketing promotion drive sales maximise possibility recouping investment today label investment incorporates much wider range services live merchandising relationship evolved flexible partnership revenues shared across wide range new activities new broader rights partnerships reflect expanded role record companies recognition upfront investment required artists less likely recouped sales albums singles alone local repertoire global reach recording industry global scale local repertoire predominantly invests seven top markets recorded music local repertoire accounts half sales top albums see table opposite industry also increasingly investing new parts world focusing artists developing countries using skills aim international audiences max hole chief operating officer universal music group international stop investing kill business jesus lopez chairman chief executive universal music latin america last years made per cent revenues countries change next years emerging economies overtake established markets max hole chief operating officer universal music group internationalhow musics global ar investment compares sectors rd investment rank sectoroverall sector rd intensity pharmaceuticals biotechnology software computer services technology hardware equipment leisure goods healthcare equipment services electronic electrical equipment automobiles parts aerospace defence chemicals industrial engineering source eu industrial rd investment scoreboard european commissioninvesting local repertoire countrylocal repertoire percentage top album sales usa japan germany uk france brazil italy source nielsen soundscan us oricom cds media control official chart company albums snep abpd gfk based top rumer sa dingding says investing local repertoire emerging markets key priority last years industry made per cent revenues countries change next years emerging economies overtake established markets one example developing investment strategy china hampered high levels digital piracy universal music operated time beijing built significant roster artists singing mandarin helps develop local production ar expertise hole says best way prepare better environment invest mandarin artist roster thinking investing five year basis maintaining investment ar new talent lifeblood music industry ar one crown jewels ar budgets fiercely defended budget cuts forced record companies due declines revenue recent years jesus lopez chairman chief executive universal music latin america iberian peninsula explains stop investing kill business margins may lower go painful process reducing overheads losing staff struck right balance approach replicated record companies key markets around world nick gatfield chief executive sony music uk former member band dexys midnight runners says nothing changed terms level investment artists fact countries increasing investment new talent lifeblood business building catalogue building legacy industry even begins take level rd risk recorded music investmentintensive business proportion revenues invested record companies ar activity remains exceptionally high compared almost industrys investment rd according data members ifpi estimates record companies worldwide invested per cent revenues ar activity comparison eu study published eu industrial rd investment scoreboard covering industries eu us japan showed even pharmaceutical biotechnology sector globally invested per cent revenues rd industry even begins take level rd risk nick gatfield chief executive sony music uktour support cost major record company us backing band orchestra required bob adeleinvesting music funding talent breaks recording deal different common areas investment usually feature particularly agreement involving emerging artists payment advance funding recording music video production tour support promotional costs pop acts usually require largest investment develop tend involve multiple songwriters higher recording costs expensive photos videos placing stylists payroll often higher travel costs perhaps covering parents chaperones well artists genres dance urban classical music different cost profiles contrast pop development artists performing folk alternative rock music cheaper record smaller marketing costs stylists generally less expensive videos produce addition fans genres usually buy albums rather singles easier secure return investment folk act payment advances competition record labels sign certain artists intense inevitably drives levels advance offer payment advance typically enables artist give day job concentrate writing rehearsing recording performing music advances recoupable artists royalties sales recouped sales fail reach certain level thus record company primarily bears risk investment typical advance major label new pop act major market estimated around us go much higher competitive situations cases advances small nonexistent artist benefiting revenuesharing upfront expenditure record company financing recording costs recording costs vary widely individual projects involvement producers session musicians professional mixers studio engineers effect costs investment recordings benefits wide community musicians technicians recording costs incurred major markets vary us us significant project production videos video costs range widely project project expensive involve highprofile directors large crews days filming cost us us produce two three videos promote tracks album major markets high expenditure always needed videos produced much cheaply approach depend needs individual project tour support emerging artists often need heavily supported record companies level tour support required highly dependent nature artist typically tour support one area rock acts require greater investment pop acts artists require backing band orchestra drive highest costs area tour support cost major record company upwards us marketing promotion marketing promotional costs usually largest expense record company heavy promotion brings act wide audience enabling develop broad fan base opening opportunity artist secure revenue wide range sources live touring merchandising record company spend us us trying break artist major market competitive market recorded music market competitive highrisk minority acts signed achieve significant commercial success estimates success ratio vary across industry however common estimate cited senior music company management success ratio one five commonly estimated one ten ratio decade ago reflecting generally higher success rate previously norm definition commercial success varies say breaking artist gold platinum status individual market others believe campaign success upfront advance recouped others believe success simply satisfied artist bills paidtypical investment major record company newlysigned artist investment made record companies new artists vary widely country country individual cases typical range cost breaking new pop act major market set advance us recording us two three videos us tour support us marketing promotionus total us milliondiscovering signing best artistic talent motor keeps record company running breaking acts protecting ar always lifeblood culture heart every conversation says david joseph chairman ceo universal music uk fierce competition record companies discover sign best new artistic talent ar teams constantly scouting performers potential develop career music highest level traditional ar methods today complemented ways finding signing talent way find talent nowadays completely different years ago bars small venues places find artists musicians says afo verde sony musics chairman ceo latin region spain portugal multitude different ways end day matter find talent someone making music someone feeling emotion creates internet often first port call ar executive looking find top performers tomorrow andreas weitk\u00e4mper ar director warner music germany whose artists include peter fox udo lindenberg says internet made preselection much easier instead travelling every gig lot groundwork online checking bands homepage myspace youtube beggars group international independent group record labels range artists including xl recordings adele best global selling album simon wheeler director strategy says internet first hear buzz around artist sort label looks someone whos got two million hits youtube look online buzz internet cut legwork ar executive viewing artists online substitute seeing live developing personal relationship evaluating artistic talent subjective process label executives agree looking something beyond technical competence searching act sign glen barros president chief executive concord music group us independent label whose artists range jayhawks esperanza spalding sir paul mccartney says looking artist move music fans im looking empirical evidence connection audience artist teresa labarbera whites senior vice president ar columbia records worked artists including beyonc\u00e9 britney spears pnk says vital artist star appeal want able take eyes want hear everything going sing star appeal raw emotional human connection makes star regardless formal music training andreas weitk\u00e4mper warner music germany also looks signs drive artist first foremost need distinctive voice also need right personality strong push forward career discovering signing talent matter find talent someone making music someone feeling emotion creates afo verde chairman ceo latin region spain portugal sony musicinvesting music internet made preselection much easier instead travel every gig lot groundwork online checking bands homepage myspace youtube andreas weitk\u00e4mper ar director warner music germanythe internet substitute seeing artists live developing personal relationshipsome record labels specialise particular genre music others want broad roster artists colin barlow managing director rca uk says belief great record label broad ive got varied record collection think important label variety artists signed signing deal ambitious artists looking record deal invisible line business amateur professional says keith harris years experience artist management working performers stevie wonder someone invested time money could agent manager record company amateur side line truth one interested amateur theyre interested professional artists typically manager lawyer place help negotiate best recording contract possible deals evolved fast last years many record labels offer greater upfront support variety artists activities exchange share revenues broad range income streams andreas weitk\u00e4mper warner music germany sets thinking behind contracts measures used build establish artist recording live concerts merchandising interlock promote overall product every investment label risk needs justified need consider sources income start tony wadsworth bpi chairman formerly chairman ceo emi music uk ireland echoes point artist successful label earns recorded music sales artist generate many types income synch deals live touring performance rights corporate gigs merchandising others yet pivotal act breaking artist record happens aladdins cave open investing music someone invested time money could agent manager record company amateur side line keith harris artist manager digital channels help gaining first impression artists ultimately network personal impression still crucial ute fesquet vice president artists repertoire deutsche grammophonno substitute personal contact digital channels enable ar executives cut legwork jobs still substitute personal recommendation case jan lisiecki proves lisiecki canadian classical pianist age came attention berlinbased ute fesquet vice president ar deutsche grammophon alerted talent scout fesquet says received tipoff jan checked online established contact digital channels help gaining first impression artists ultimately network personal impression still crucial attending numerous concerts meeting jan personally signed lisiecki deutsche grammophon roster label worked nurture talent involved building artists ground strive longterm partnership handinhand stage career great responsibility artists strive live jan delighted signed label heritage feel happy privileged record company catalogue reaching back years containing names great performers left artistic souls us performed venues carnegie hall seoul arts centre sharing stage artists including emanuel ax pinchas zukerman debut album features mozart piano concertos performed symphonieorchester des bayerischen rundfunks performance highlights include performing orchestre de paris season opening concert paavo jarvi making new york philharmonic subscription debut performing recital debuts berlin brussels hamburg munich zurichinvesting music unlocking talent france sexion dassaut french urban hiphop collective came attention st\u00e9phane le tavernier managing director sony music france releasing mix tape le tavernier says sexion dassaut one creative innovative bands seen long time delighted signed us pleased able help take mix tape sold copies first album sold copies sony music france ran conventional media marketing campaign also helped create videos bring music fans using online social networks band massive online social media presence one largest facebook followings france million record company also financed fashion venture wati b become one talked youth fashion brands france le tavernier says band released second album track sell copies looking use position global company partner best international talent advance career beyond france guys talented sky limit exciting start story artists looking use position global company partner best international talent advance career beyond france st\u00e9phane le tavernier managing director sony music franceeliza doolittle professor green investing music artist label despite rise broader rights deals still homogenous model deals done artists labels record companies chosen adopt broader rights fact artists choice ever want kickstart careers record companies place great emphasis tailoring services needs individual artists whether help established artists new areas brand engagement traditional fullservice support required developing artists andria vidler chief executive emi uk ireland says deals range work professor green every aspect campaign handled inhouse artists work music services team noel gallagher peter gabriel dont need ar support see real benefit services offer marketing without label myth vs reality misconception age digital selfpublishing developing artist longer needs record company build career music fact still extremely rare see artist build career without support label established acts course long able generate income simply live touring benefiting brand built throughout recording career max lousada atlantic records uk says artists realistic need support record company new generation artists understand value amplification record companies provide see internet buzz doesnt generate career realise need expert help break environment reach mainstream audience true artists approach record labels slightly later stage career generated interest performances maybe released recordings see videos youtube put together young artists using technology since says teresa labarbera whites columbia records generation unprecedented resources fingertips help develop craft one wellworn myth artists survive live performance income without needing pursue recording career yet reality recording springboard successful live music career overwhelming beneficiaries live music income established legacy acts manager keith harris says live industry thrived established artists benefited investment take level took artists live industry would collapse view echoed martin mills beggars group make career live music promoters want see artists record deal want see activity makes easier sell tickets recorded music also offers artist chance build legacy glen barros concord music says artists survive live performance want leave legacy endures survives past lifetime recordings pivotal act breaking artist record happens aladdins cave open artist label tony wadsworth chairman bpi see videos youtube put together young artists using technology since teresa labarbera whites senior vice president ar columbia recordstop live acts rank artisty ear first album released u bon jovi take roger waters member pink floyd taylor swift source billboard recording springboard successful live music careersigning frida gold warner music discovered fourpiece pop band frida gold thanks tipoff ar man stephan mattner looking bands website label realised dealing exceptional sound unique voice well great german lyrics captured spirit times team went see frida gold open concert bosse andreas weitk\u00e4mper director ar warner music germany says even today seeing artists live irreplaceable experience demo deal warner frida gold agreed produce album together label used network develop act found right producer suited parties actively involved band process weitk\u00e4mper says frida gold looking unique international pop sound bands warner music uses network songwriters publishers producers bookers live experts play vital role longterm career planning artists company actively promotes artistic encounters introducing performers udo lindenberg jennifer rostock weitk\u00e4mper says whether eventually end working together course artists frida goldwhile record companies always looking discover break new talent also want develop longterm relationships artists sign part role ar team help successful artists develop career music record labels help developing artists opening door work best talent music business backing reassure studio producers session musicians featured artists project worth becoming involved max lousada atlantic records uk explains others industry know bring serious thoughtful creative campaign gives confidence outside world us atlantic records decided partner bruno mars bob travie mccoy projects would introduce public julie greenwald atlantic says ar guys heard bruno studio thought would great pair bob helped generate lot interest people wanted know man great voice singing hooks song nothin process repeated travie mccoy recorded billionaire meant could start digital campaign around bruno year debut album released collaborations transcend geographical borders well artistic boundaries brazil country singer paula fernandes achieved number one hit home country working overseas artists expand fan base performed duet american singer taylor swift helped introduce taylors music brazilian fans built awareness paula anglo world says jesus lopez universal music latin america iberian peninsula also performed duet colombian artist juanes helping reach spanishspeaking latin america increasing profile portuguesespeaking brazil paula fernandes says experience singing taylor juanes important seeing music moves unites people different cultures groundbreaking artist theres click personal musically artists writing process flows shows final result exchange artists conquering new markets strengthens song writing pleasure working talented sensitive people brilliant successful careers fans received warm welcome paths two way street juanes adds work paula fernandes wonderful unique experience powerful sweet voice addition charisma professionalism made unforgettable experience record labels put promising young performers studio established producers help develop craft uk colin barlow president rca uk cites example rebecca ferguson come second x factor television series barlow says unearthed incredible narrator life didnt see tv series sang covers take someone tv series believe songwriter huge risk put together eg white incredibly talented songwriter producer four days studio rebecca said shes interesting agreed executive produce whole album shes sold half million records uk breaking globally countries italy australia nurturing talent ar important part process important youre never going spend money julie greenwald chairman coo atlantic recordsinvesting music others industry know bring serious thoughtful creative campaign gives confidence outside world max lousada chairman atlantic records ukrecord labels help developing artists opening door work best talentjulie greenwald atlantic records says process heart record companies ar important part process ability allow artists go fantastic songwriters producers even time write case bruno mars important youre never going spend money shaping album record labels work developing artists help put together body work may involve developing tracks artist written commissioning new music songwriters offered music publishers creating cover version artist brings qualities track previously recorded sometimes process involve frank exchange views glen barros concord music says sometimes people around artist afraid speak believe artist heading wrong direction feel give open honest respectful feedback objective view way well achieve mutually aligned goals quite simply everyones best interests developing longterm relationships record companies want develop longterm relationships artists sign role successful ar teams help artists work develop musical careers many labels also conscious want develop historic catalogue built many years colin barlow rca says building heritage includes elvis louis armstrong today working america artists alicia keys beyonc\u00e9 pnk around long time uk look paloma faith artist believe could signed rca next years need artists longevity constantly evolving want go journey withatlantic records building relationship singersongwriter ed sheeran british artist released grown social media understood could convert millions youtube views career without support label max lousada says role understand artists wishes opportunities available make global infrastructure work helping artists break new markets major way labels add value artists careers alejandro sanz spanish artist universal music signed wanted break latin america decision taken launch album autumn meantime sanz became coach mexican version television show voice jesus lopez says able build revenues role series private performances putting strong position launch album partnership action swedish indie speaks hugo scherman creative director cosmos music group biggest independent music company nordic region previously family tree music involved discovering nurturing breaking great talent years scherman says companies worked appeal artists want deal one broad ranging company takes small proportion wide range revenue streams rather several companies need take greater share individual revenue streams economically viable conversely artists prefer rely opinion one person company forging career works large number mixers producers well performers means ideal position bring talented musicians producers together project doesnt big budget ask mixers producers work arent engaged elsewhere get involved know well push promote album get involved example approach recent collaboration swedish singer andrea kellerman known firefox ak signed family tree music worldwide licensing deal four music producers lasse m\u00e5rt\u00e9n bj\u00f6rn yttling produced hit albums lykke li sarah blasko resulting album color trees attracted four music germany sign international distribution deal scherman says symbiosis us artist producer creative process people helping also giving time develop know well push promote album hugo scherman creative director cosmos music group investing music paloma faith firefox ak rafael gualazziinvesting music right partnership italian case study raphael gualazzi signed deal italian independent sugar records filippo sugar chairman ceo sugar music says worked another label tried package tightly italian clich\u00e9 realised incredible talent enabled make sort record wanted gualazzi made jazz influenced album sugar records worked find right song bring music broader audience resulting single follia damore received critical acclaim sanremo music festival label secured three synch deals gualazzi partnering oil gas company eni car manufacturer fiat telecom italia also entered eurofestival music stood different winning second place label coordinated live performances across europe result attention generated live performances synch deals set sugar records appearance eurovision song contest gualazzis album reality fantasy went platinum italy sold well across france germany sugar says first time several years new italian artist broken outside italy come long way short time looking forward working next album realised incredible talent enabled make sort record wanted filippo sugar chairman ceo sugar music helping artists break new markets labels add value artists careerthe marketing promotion artists one largest items spending record companys budget competitive market essential artist enjoy promotional support opportunity connect wide audience media mix used promote artists existing potential fans changed dramatically last years social media channels complement traditional gatekeeper media radio television head one record label estimates four years ago per cent marketing spend aimed broadcast advertising proportion fallen per cent resources diverted online promotion expected balance broadcast online would long dion singer senior vice president international artist development warner music worked artists including michael bubl\u00e9 green day josh groban reflects change social marketing constantly evolving released green days album st century breakdown drew list top ten things needed promote youtube video facebook campaign certain kinds viral marketing seven channels exist previous album american idiot released five years earlier also true released latest album uno september add several new platforms mix growth online media meant record companies spend increasing resources supply content channels need colin barlow rca says content create digital world probably double four years ago people hungry julie greenwald atlantic records agrees clever social marketing artist real organic come artist cant corporation feeds fans whats message coming get consumer used digital department people much artists content music david joseph universal music notes new media channels offer opportunity dialogue fans internet become new television immediate feedback reaction two promotional campaigns colin barlow rca says wonderful thing music industry formula instinct taking risks record companies relevant bastions music take risks anybody else promotional activity often cover broader range activity traditionally case many artists want become involved range areas according andria vidler emi artists want create clothing ranges bringing fashion experts tinie tempah pro green swedish house mafia wanted sort advice invested testing learning investment worked well tinie tempah involvement disturbing london fashion range im overwhelmed delighted response feedback public contemporaries people admire world fashion says artist new skills marketing classical music record companies extending successful techniques pop genres including classical max hole universal music says marketing classical music old fashioned many ways involved great marketing promoting talent simple promote artist get music heard everyone would martin mills chairman beggars group investing music wonderful thing music industry formula instinct taking risks colin barlow president rca global success music television programming provided new platform promote artists work months record album putting energy heart soul work team ensure resonates public shym wouldnt sign branding deal money worth andrea vidler chief executive emi uk irelandgotye one direction core audience promoting artists new audiences trying rejuvenate way promote classical music reaching wider audience without sacrificing quality approach seems paying dividends young classical artists montenegrin guitarist milo\u0161 karadagli\u0107 companys deutsche grammophon label hole says bringing orthodox pop promotion bear milo\u0161 recorded album promoted toured didnt always happen classical world debut album guitar sold copies debut classical artists used typically sell copies album creating content new media channels involves partnership artists labels antoine gouiffesyan marketing director warner music france cites example pop rb singer shym worked label create shiminutes dedicated web tv channel present youtube social networking sites shym committed keeping channel fresh updated regularly producing great content go viral artist praises collaboration work months record album putting energy heart soul work team ensure resonates public teams make record companies vital ally artists potential social networks means promotion particularly visible asia use social media exploded recent years sandy monteiro president universal music south east asia says weve signed distribution deals korean indies taken artists markets airplay music concert sales gone roof phenomenon also noticed hugo scherman nordic independent company cosmos music group says promotional push digital platforms spotify wimp help song surge services push song banner ads spotify people start linking facebook page twitter feed see surge interest effect spotify social networks helped break swedish language rb radio picked populargrowth brand partnerships brand partnerships increasingly important artists record companies source revenue way positioning performer introducing new audiences andria vidler emi music convinced approach pay dividends right placement right brands really help artist artists professor green eliza doolittle made money first albums released brand partnerships helped position fans pro green iconic british urban act looking go global brand partnerships part mix help achieve puma deal accidental professor green says brand partnership relationship puma uk continues grow develop late im seeing increasing interest outside uk side increases international exposure allows enter markets may opportunity regularly vidler cautions market record labels become involved without clear idea want achieve artists easy reject many deals accept wouldnt sign branding deal money right artists career worth antoine gouiffesyan warner music france takes similar stance notes shym dance avec les stars nrj music award many brands became interested company interested ones gave creative input signed deal yot watch company shym became brand ambassador worked create shym branded watches fully involved deal engaged creatively werent interested signing deals brands wanted use image brand partnerships struck major labels martin mills beggars group says want see brand partnerships deliver value artists decent level compensation round credibility artist important thing cannot undermined right synch deal take artist song warp speed otherwise might taken longer time break andrew kronfeld president global marketing universal music group weve taken one direction become global phenomenon based worldwide platform nick gatfield chief executive sony music ukalejandro sanz milo\u0161 karadagli\u0107 synchronisation deals go mainstream synchronisation deals grown dramatically last years commercial arrangements see music used films television programmes well advertisements record companies income synchronisation deals increased per cent us million accounting per cent overall revenues andrew kronfeld president global marketing universal music group says synch deals good platform right synch deal take artist song warp speed otherwise might taken longer time break case ellie goulding highlights power synchronisation deals first album lights went platinum uk started come end initial sales cycle universal music sold department store chain john lewis concept goulding singing cover sir elton johns song part bespoke synchronisation deal track added album went sell another copies go triple platinum dion singer notes synchronisation deals also provide greater financial security artist one synched bands work sitting camper van touring states landed us deal said turning would crazy since used synch deals help boost financial security malaysia independent label kru studios benefits entertainment company also produces films norman halim artist also executive president kru studios says means synch artists music latest films producing signed jaclyn victor former winner malaysia idol able put music two films one englishlanguage film aimed international market offering opportunity reach new audience success tv platforms record companies played key role rise global music television franchises effective platforms new talent also showcase established artists music television rebooted modernisation talent show format programme pop idol idol franchise established almost countries programmes ranging american idol vietnam idol voice idol number developing platforms enable us discover new talent take existing talent put front new eyeballs says andrew kronfeld president global marketing universal music group x factor franchise launched countries including india audience tops million voice originated netherlands one latest international franchises airs almost countries worldwide nick gatfield sony music notes tv platform acts also capable breaking one market cites recent success band one direction put together x factor uk went top billboard album chart us weve seen successes television shows often confined markets weve taken one direction become global phenomenon based worldwide platform norman halim kru studios says increasing amount artist discovery malaysia involves tv platforms akademi fantasia involved introduced artists sung cover versions shows inhouse team songwriters producers enabling forge career performing original material talent scouts recognise role reality tv malaysia riding wave future may sources record companies continue adapt reflect breaking us market need army david guetta international superstar didnt mean easy break america worlds largest music market greg thompson executive vice president marketing promotion emi music north america says electronic dance hadnt enjoyed success us europe process continuous investment promotion break artist us need army executives focus sometimes couple years emi worked across traditional broadcast print media well engaging music fans social networking channels thompson says fragmentation geography us make difficult cross sales threshold needed break bring best research bear finding artists connect analyse different groups look next opportunity guetta toured us performing festivals coachella california thompson adds helped make performances events seen lots gatekeepers signed retail partnerships released numerous singles show ultimate hit producer one hurdle overcome guettas diary thompson explains david massive global franchise worldwide touring commitments question balancing time campaign paid guettas fifth studio title nothing beat becoming first top five album us major record companies infrastructure deliver global campaign artistsdavid guettataking talent global audience many artists signed record companies want international career international success also vital commercial music economy helping create revenues ploughed back developing new acts artists want global success says afo verde sony music latin region spain portugal helped bring artists including shakira ricky martin worldwide audience dream every artist work known world enthusiasm hard work rest company worldwide helps make reality artists often perform one language help build international fan base hugo scherman cosmos music group says artists approach independent label want reach broadest possible audience swedish artists sing english ultimate aim get music released internationally want artist want artist worldwide sweden many artists want break us worlds largest music market sandy monteiro universal music south east asia says girls generation became first kpop band sell us released first single late psy enjoyed massive success hit gangnam style kpop stars record labels also looking breaking significant music markets worldwide universal music recently brought large number kpop artists venues brazil uk many spanish artists want break latin american market benefit infrastructure international record company example cited emi latin america pablo albor\u00e1n successful career spain wanted boost profile latin america emi worked management company crack latin american market invested touring promotion merchandising live tours publishing rights pablo albor\u00e1n says debut album pablo albor\u00e1n promoted lot hard work close attention detail resulting achievements perhaps would possible without support secured three latin grammy nominations saw songs album placed tv programmes argentina el elegido la que pod\u00eda amar made promotional visits argentina chile mexico puerto rico miami meeting great reception label gone truly believed music beginning soon visiting countries second third time upcoming tour works dream come true nature modern communications means easier break artists internationally additional demand according greg thompson executive vice president marketing promotion emi music north america live global market thanks internet act mass appeal cant live bubble record companies large small ability deliver global campaign artists belgian born singersongwriter wouter de backer known gotye signed eleven australian independent label universal music global distribution deal andrew kronfeld president global marketing universal music says great relationship label early stage said looks really good guys signed rest world went number one single europe north america started happen asia shows happens global network ar marketing people take something one market make global somebody used know gotyes duet new zealand singer kimbra johnson became first single australianbased artist top billboard hot us singles chart years live global market thanks internet act mass appeal cant live bubble greg thompson executive vice president marketing promotion emi music michael bubl\u00e9 going global music sold people turn michael bubl\u00e9 hails british columbia canada path global fame routed south africa dion singer senior vice president international artist development warner music working company south africa first heard bubl\u00e9s music thought nothing like people wrongly identified jazz singer hes hes pop artist bubl\u00e9s album reached gold status south africa sold canada singapore australia new zealand singer thought canadian performer quirky sense humour appeal commonwealth countries might connect europe bubl\u00e9s manager bruce allen credited singer one best business said tour asia wrapping sending back vancouver called people across europe said get michael bubl\u00e9 weekend italian guy called back said didnt anything lined didnt want miss chance would set something trusted put bubl\u00e9 plane got onto leading italian radio show loved song used promote show suddenly moondance number one italy became real pop star italy teenage girls screaming figured works italy might work spain sure enough able use momentum go even markets michael bubl\u00e9 gone enjoy global success selling million albums worldwide singer stresses mantra music sold people turn like artist well move heaven earth get new digital services digital added new dimension services record companies provide artists digital accounted per cent record companies trade revenues major services expanded reach countries year services amazonmp itunes effectively replicate physical format market consumers buying albums singles others deezer spotify vevo rely either advertising income people paying monthly subscription fee combination services still early stages development offer opportunity global scale subscription services june estimated million subscribers globally number almost doubled last months many streaming services relatively recent startups one largest services spotify opened germany worlds third largest music market march spotify developed sweden large numbers consumers use paidfor subscription tier service hugo scherman cosmos music group believes positive effect sweden spotify changed music business made happy place work large numbers people premium account revenue stream fantastic people listen album song put playlist wont stop listening itll giving artist record company revenue stream years people listen album song put playlist wont stop listening itll giving artist record company revenue stream years hugo scherman creative director cosmos music groupkorea kpop explosion kpop phenomenon swept asia promoted worldwide bringing kpop acts girls generation recent phenomenon gangnam style psy huge global audience four years ago south korean government introduced comprehensive measures tackle digital piracy creating positive investment environment helped labels begin signing acts formed second wave kpop many record companies active investing kpop one example universal music struck partnership independent label cube january sandy monteiro president universal music south east asia says timing perfect measures brought government created positive environment start kpop explosion saw return investment within year universal concentrated boy band beast girl group minute went multiplatinum south korea sold platinum gold across five markets asia first album second albums sold even widely monteiro says helped bands investing recordings music videos marketing campaigns distribution across asia kpop styling fashion goes music one recent phenomenon emergence kpop bands nonkorean members missa kpop girl group signed independent media entertainment company jyp consists four members two chinese minuteinvesting music performance rights income artists record companies increased sharply last years music licensing companies licensed record labels collect revenues broadcasters commercial operators use recorded music distribute artists producers performance rights income accounts per cent record companies trade revenues worldwide particular importance developing regions latin america revenues increased per cent alone although big disparities among major markets performance rights income brazil argentina account significant shares overall revenues per cent respectively contrast mexico due difficulties enforcing rights performers producers earn much less public performance broadcasting record companies performers alike receiving fair return use music never taken granted nowhere continuous fight recognition value music better illustrated australia australian artists seeking benefit performance rights commercial third parties use music register phonographic performance company australia ppca organisation collects royalty payments distributes relevant record companies registered australian artists ppca undertaken number highprofile campaigns recent years ensure registered artists labels fairly benefit commercial third parties use music secured increased payments nightclubs fitness centres restaurants freetoair telecasters use recorded music enabling significantly increase payments registered artists record companies currently working secure fairer payments australian subscription television broadcasters lynne small general manager ppca says system help artists unlock revenues would able access independently artists smaller record labels would administrative capacity handle venues licensed public performance australia equally businesses thousands restaurants hairdressing salons licensed ppca would able identify locate deal hundreds artists labels covered ppcas blanket licence small notes developing artists might find difficult separately negotiate fair payment corporate radio sector would hard performers individually negotiate royalty rates commercial radio stations use music attract listeners generate advertising revenues capacity drop individual artists playlists conversely would impractical inefficient radio stations negotiate licences trackbytrack basis breadth ppca blanket licence allows enormous flexibility tailor amend playlists moments notice artist lindy morrison formerly gobetweens adds performance rights income increasingly important recording artists invest recorded performances create music used businesses draw customers increase revenues fair paid reasonable amount benefits deliveredperformance rights performance rights income increasingly important recording artists invest recorded performances lindy morrison swedish house mafia investing music managers view keith harris worked artist management years perhaps best known managing legendary stevie wonder son hamish run company twist management five years working artists tyson jamie woon keith spent much career across negotiating table record companies believes transforming adapt new environment manager ive fair share runins record companies easy quote industry years ago something cut crowded market assumption youll reach people youve put something wrong record companies still inject considerable money also expertise spent impact hamish says manager identify needs done try answering phone dealing emails record companys offices different countries around world help know local market keith believes record companies changed business models adapt digital environment record companies started develop new business model built around idea sell fewer records still financially successfulhamish adds even go back five years totally new era right even amy winehouses back black could still work old model spend lot money making albums go sell today need go build fan base even youre making record men believe evolving nature record deals positive hamish says think natural move towards partnership management companies look together structure deal individual basis dont need everyone global superstar artist could tour fans sell limited edition merch cds profitable artist could career keith adds recently deals set stone necessity record companies become flexible seen make money areas flexibility enables creation commercial deals make sense us father son agree record company funding still vital artist aspirations hamish says think investment record companies important generation fathers need investment develop artist keith concludes easier get investment day lot money around important today ever waspicture credits cover art james andrews page pl\u00e1cido domingo john marshall page frances moore marek paczynski page bruno mars andreas laszlo konrath page shakira jaume iguana ed sheeran wmg page rumer wmg sa dingding um china page adele mari sarii bob wmg page rebecca ferguson jason bellpage eliza doolittle brooke nipar professor green desmond muckianpage frida gold robert wunsch page paula fernandes guto costa page raphael gualazzi marco craig firefox ak razzia records paloma faith sony music entertainment ltdpage david guetta rick guest page gotye elevenmusic one direction sony musicpage alejandro sanz umg milo\u0161 karadagli\u0107 margaret malandruccolodgpage david guetta rick guest page michael bubl\u00e9 wmgpage minute um korea page swedish house mafia carl linstromm ifpi data copy images subject copyright subject statutory exception may reproduced transmitted made available without written permission ifpidesign band london bandlondoncouk twitter bandlondonifpiorg twitter ifpi winformusicorg" +} diff --git "a/L-Creativities, Innovation, and Networks in Garage Punk Rock- A Case Study of the Erupto\314\210rs.json" "b/L-Creativities, Innovation, and Networks in Garage Punk Rock- A Case Study of the Erupto\314\210rs.json" new file mode 100644 index 0000000000000000000000000000000000000000..10991c548de98d57444a8334a94539e7cf043640 --- /dev/null +++ "b/L-Creativities, Innovation, and Networks in Garage Punk Rock- A Case Study of the Erupto\314\210rs.json" @@ -0,0 +1,5 @@ +{ + "filename": "L-Creativities, Innovation, and Networks in Garage Punk Rock- A Case Study of the Erupto\u0308rs", + "department": "Marketing", "Manager", + "cleaned_text": "project muse gmtartivate journal entrepreneurship arts volume issue httpartivateorg pp copyright authors creativities innovation networks garage punk rock case study erupt\u00f6rs gareth dylan smith institute contemporary music performance alex gillett york management school university york abstract two authors members punk rock trio erupt\u00f6rs also teach higher education one popular music management marketing writing experience erupt\u00f6rs present case study band draw theoretical perspectives respective intersecting fields explore erupt\u00f6rs entrepreneurship collaborations networks creativities diy underground punk rock scene paper provides crossdisciplinary insights internal external cultures erupt\u00f6rs proposing teaching case authors conclude students scholars practitioners music education popular music studies related disciplines fields involving entrepreneurship could benefit engaging reflexive entrepreneurial practice explores incorporates ideas models syntheses discussed paper keywords creativities innovation networks diy punk rock introduction methodology erupt\u00f6rs threepiece rock band sonically aesthetically influenced punk garage rock punkmetal crossover bands mot\u00f6rhead gluecifer electric frankenstein hellacopters defining output rock authors paper members erupt\u00f6rs classic power trio instrumentation consists guitar alex gillett bass geoff irwin drums gareth dylan smith three us responsible vocals irwin gillett share lead vocals smith joining gang vocal sections songs erupt\u00f6rs share creative responsibilities evenly possible working collaboratively ways burnard p terms collective creativity writing rehearsing performing music together production creativity making recordings albums together intraband creativities support enabled entrepreneurial creativity burnard p marketing music carving niche band collaboration external agents ways similar identified typical necessarily entrepreneurial musicians hundreds years hallam gaunt menger weber paper authors use selected frameworks scholarship business marketing approach richer understanding erupt\u00f6rs entrepreneurship multiple creativities rashidi p states punk rock genre formulated critical thinking advocates selfawareness reflecting cooks observation p rock musicians prefer intuitive approach creativity toolboxes account present reflexive postfacto framing ways erupt\u00f6rs worked rather explicit representation past strategies seek claim erupt\u00f6rs experience exemplifies epitomizes garage punkmetal crossover bands uk anywhere else rather aware work band members musical activities including working bands various sorts one us popular music higher education many bands work similar although different necessarily unique practices burnard mckinna shank smith project muse gmtsmith gillett perspectives arts entrepreneurship part common punk bands punk musicians assumptive frame reference tiryakian p jorgensen acknowledging wepole orientation tiryakian p emic perspective feleppa p ways working share others punk community increasing emphasis literature music education especially higher music education preparing students portfolio careers music bennett halla gaunt parkinson smith b musical lives external institutional education eg partti majority literature popular music studies focusing commercially successful bands coverage mainstream media also privileging artists performers highly visible audible general public smith b pp hope offer alternative authentic mckinna p account band statement reflecting cases popular music studies higher music education john berger p observes huge gap experience living normal life moment planet public narratives offered give sense life bennett p asserts students higher education need form entrepreneurship even studying authors thus hope paper might help bridge gap thereby serving higher music education broader higher education community helping orient students towards conceiving entrepreneurs bresler stake p advise music education need experiential understandings particular situations argue types understanding offer paper likely helpful educational contexts beyond music musicians exist fieldspecific epistemological vacuum reminded miles hubermans p observation case always occurs specified social physical setting cannot study individual cases devoid context context position paper crossdisciplinary involving music education business propose therefore interdisciplinary study may helpful teaching case least marketing popular music education contexts authors respective pedagogical contexts marketing higher popular music education applied realworld experience collaborative musicianentrepreneurs affords us bourdieu passeron p termed pedagogic authority credibility ascribed learners arguably essential certainly highly beneficial teaching environments perhaps especially important current climate employability become dominant concept value purpose higher education rationalized official discourse uk parkinson smith press bourdieu passeron p go explain real learning situations recognition legitimacy act transmission pedagogic authority transmitter conditions reception information even accomplishment transformative action capable transforming information mental formation training therefore encourage colleagues higher education discuss analyze examples others interdisciplinary practice music domains similar ways erupt\u00f6rs collaborative innovation network searching means frame way members erupt\u00f6rs collaborate smith gillett perspectives arts entrepreneurship part especially drawn peter gloors work collaborative innovation networks coins coin model applied fields wideranging medical research gloor et al collaborative editing wiki sites iba et al concept often applied largerscale collaborations introducing model gloor p also uses example trio collaborative musical composerperformers illustrate functions coins indicating coin construct applicable musicians others working networks various sizes gloor p observes groups people behaved ways framed research hundreds years many us already collaborated coins without even knowing erupt\u00f6rs seen quintessential example functioning coin model captures much termed punk musicians diy approach explored gloor tells us coin knowledge workers collaborate share internal transparency communicate directly rather hierarchies innovate work toward common goals selforganization instead ordered gloor p certainly true erupt\u00f6rs swarm creativity erupt\u00f6rs website erupt\u00f6rs states band members play respectively lead guitar lead bass lead drums position leaders competitors superiority show equal importance parts whole ideas equal validity equally control none us achieve bands goals without members want part erupt\u00f6rs order realize shared individual collective goals share expertise knowledge skills openly gareth dylan smith wants drummer erupt\u00f6rs two members band want drumming part context contribute collective individual good gain ways unachievable type working together gloor identifies swarm creativity taken studies insects bees ants work individually together colonies fast recognized highly efficient productive modus operandi human interaction gloor p gloors terms erupt\u00f6rs share goal convinced common cause coin members develop new ideas team whole much greater sum parts gloor p burnards terms pp thus band realize collective production creativities writing rehearsing performing music making recording albums together erupt\u00f6rs moneymaking project rock band exists make rock music find inherently worthwhile although erupt\u00f6rs financially motivated venture order write perform record produce generate interest band necessary interact elements business explore detail reference relevant concepts theories peers musicians fans rock originals band scenes understand raison d\u00eatre probably never hit song undertake major world tour become household names never objective band also typical coin characteristic people initially join coins fascinated challenge care deeply goals primary currency reward peer recognition gloor p number peerfans erupt\u00f6rs music small band members pleased music produced band large extent reward notion unpopular project muse gmtsmith gillett perspectives arts entrepreneurship part popular music like discussed smith c p ehls describes collaborations erupt\u00f6rs social exchange processes long organizational stimuli inducements greater equilibrium individuals objectives individual continue participate make contributions words long organization provides sufficient benefits attract participants contribute organizational objective ensure success coalition ehls pp dawkins p calls commitment bands cause sakes logic selffulfilling labor ethos common among doityourself diy practitioners milne course limited punk music scenes observed among niche communities online andreini cassia p theorized literature across domains including crafting human computer interaction scholars emphasized pleasure expressiveness communicative practices involved rather utility end products ability generate profit tanenbaum et al p functioning coin gloor identifies three characteristics define behavior coins collaborative innovation networks innovate massive collaborative creativity collaborate strict ethical code communicate directcontact networks gloor p look erupt\u00f6rs meets characteristics innovation massive collaborative creativity extent erupt\u00f6rs could described innovating debateable visual aural aesthetic perspective consciously pay homage music interests influences burnard p observes quite normal band fact able identify garage rock punk outfit places us firmly recognizable canon stylized rock music arguably little real innovation several decades music around said erupt\u00f6rs certainly created new music songs albums exist created although idea three people bass guitar drums playing loudly fast genuinely novel half century sense erupt\u00f6rs business rather renovating rock innovating deal evolution rather revolution type innovation identified sustained opposed disruptive gloor p descriptions collective creativity action among originals bands burnard p finds originals bands involves players individuals critically members longstanding collective finely tuned musicians able improvise embellish jam pick others brains group interactions band rehearsals performances erupt\u00f6rs involves precisely practices processes contexts burnard identifies well exercising production creativity burnard p smith gillett perspectives arts entrepreneurship part recording studio creating music later comes define experience others us collective record live gigs band comes together record erupt\u00f6rs hq co cork republic ireland goal usually capture much material short timeframe usually determined members commitments dayjobs means writing learning songs together archetypal rock band informal writing learning practices explained well greens classic text popular musicians learn meet record usually also write songs prior recording written guidelines erupt\u00f6rs composition sound like contain come assumption idea comes erupt\u00f6r worthy others attention collective creative effort toward realization member contributes anything onebar riff drum rhythm lyric idea share see idea become experimented collective quality controls deciding factors whether song worth recording whether play song b feels like erupt\u00f6rs song despite ostensibly punkmetal band recently recorded couple tracks sounded almost country problem us like played erupt\u00f6rs song share understanding band noone tells anyone else erupt\u00f6rs teach one another riffs andor song structures written individually another member hears riff differently plays wrong wants use half accept part groups collective creativity burnard p understand collective comprised precisely individuals attitudes preferences limitations predispositions creativities musicalities burnard smith shafighian erupt\u00f6rs sounds like erupt\u00f6rs follow similar process creating mixes adding lyrics songs one us expecting mix sound certain way sure agreed certain take given song find one members mixed song differently included something someone else band initially disliked able stand back say yes erupt\u00f6rs song sounds like us part bigger picture defer creativity collective swarm creativity action gloor bands music ends somewhere none individuals would wanted chosen could foreseen accept ultimately better band type behavior results sennett p identifies group collectively operating subjunctive mood people allow possibilities make suggestions wait things move along noone committing position sennett explains useful kind discussion dialogic conversation defined conversation resolve finding common ground erupt\u00f6rs combine disparate musical elements perspectives creating new common ground rather adhering preconceived consensus accept collectively produced outcome ultimately agree reached little step might individually refuse would perhaps make easiest closelyfitting musical choice commonality lies higherlevel cooperative tacit neverbeforenowarticulated decision differences make us work whole course sometimes things proceed synchronously outcome musically obvious means less desirable working creatively ways crucial erupt\u00f6rs sound sennett acknowledges p subtle dance dialectic discussion project muse gmtsmith gillett perspectives arts entrepreneurship part moving toward clear consensus dialogic discussion leading open innovative product best creative collaborations occur science journalist ed yong puts thats beauty part swarm even dont know youre going still get yong p sennett productive meaningful conversations collaborations happen empathic relationships empathy mature response another individual difficult manage close cousin sympathy sympathetic exchanges one person tries mimic another feel speak behave similarly empathic relationships contrast person listens tries understand responds unique way situation thus inviting indeed requiring deeper considered response turn sennett p observes musicians players sound entirely page performance texture complexity still players sparking one another true classic chamber music jazz garage punkmetal crossover rock thus deeper mutual musical understanding embedded individuals opportunity develop collective benefiting exponentially person brings describes empathy sentiment curiosity people erupt\u00f6rs creativities thrive collaboration strict ethical code erupt\u00f6rs never discussed shared ethical code per se tacitly understood wish intend succeed collaborations help us achieve band domain punk rock gloor p describes delicate balance reciprocity normally unwritten code ethics adhered tao coins gloor p tao coins constitutes shared understanding pull weight motivated deeply intrinsically shared goals band burnard p observes practice group composition broader group collaboration inspires popular musician sense higher purpose partti explains generously individual contributes expertise improve practice community may benefit participating practice community junction generosity selfinterest p result feeling sense higher purpose members erupt\u00f6rs willing contribute resources discovered independently band groups collective benefit one member able offer opportunity resource good ensemble eager take advantage benefits us collectively therefore individually relish process product participation band members connected range third parties making us many times capable whole explored assumption member band part tao coins others use network contacts mutual benefit collective feel strong sense stake band individual networks contacts thus valued member band since connections individuals make possible better work whole erupt\u00f6rs entrepreneurial creativity burnard p work alex gillett string lead electric guitar vocals connected visual artist created artwork erupt\u00f6rs first two albums designed printed merchandise including tshirts underwear connection alexs also saw compilation songs released japan title microwave massacre named record company owners favorite horror film gilletts colleagues print webbased smith gillett perspectives arts entrepreneurship part zines saw erupt\u00f6rs music reviewed underground music press gilletts knowledge contemporary marketing strategies saw band way substantial web presence discussed detail irwin string lead electric bass vocals costfree access recording studio rural cork band refers erupt\u00f6rs hq access numerous musical instruments microphones amplifiers borrow cost hire cheaply recording network able musicians actors appeared recordings augment soundworld gareth dylan smith lead drums vocals cowbell sourced bass player willing learn songs perform us live london found record label released first two albums facilitated opportunities us perform popular bands venues london initially mutual membership individual fandom another band erupt\u00f6rs formed irwin smith playing irish punk band london called neck gillett attended necks gigs london irwin gillett decided transform rebrand previous band erupt\u00f6rs asked smith join thus tao erupt\u00f6rs coin established spring communication directcontact networks swarm creativity gloor provides wide variety case studies coins function digital corporeal realms actualize burnard p calls entrepreneurial creativity without recourse management lines consultative hierarchies members equally empowered lead bass lead guitar lead drums thus liberty make decisions regarding future coin amongst authors elaborate worked erupt\u00f6rs functioning independently contracts record companies marketing teams agents promoters managers gloor emphasizes coins utilization internet achieve optimum performance team writing p coin cyberteam selfmotivated people collective vision enabled web collaborate achieving common goal sharing ideas information work working together physical space real time rejected coin construct rather traditional modes operation viewed part essential functionality group collaborators embrace working practices potentials offered internet become nimble thereby expanding opportunities success fairly certain without extensive use internet erupt\u00f6rs would survived band long erupt\u00f6rs came function internetsavvy coin specifically sought way working owing mundane factors irwin returned london live co cork ireland whence hailed felt correctly turned would find work musician better life back home gillett left london native teesside closer university studying live less expensively london smith remained london family financial logistical ties bandmates radius miles away easiest cheapest effective way us communicate via internet using democratized technological practices identified part broad cultural shift people engage technologies diy maker cultures tanenbaum et al p punk culture within band operates cowbell references comedy sketch nbcs saturday night live aired april project muse gmtsmith gillett perspectives arts entrepreneurship part discussed remains via email three us work musical collaborations two us wrote paper underlining parallels rashidi p observes punk musician academic since erupt\u00f6rs written arranged recorded produced released three albums bad time good time seduce destroy eruptorsculo boca split album californian punk band culo boca well microwave massacre compilation demo recordings released japan one albums entire membership band present majority recording process first album headed erupt\u00f6rs hq heart rural cork record drums guitars vocals record many bass guitar parts lead vocals occasion irwin able contribute recordings gillett smith flown home postcork emailed downloaded discussed various takes mixes occasionally even used telephones confer one another latest music sent irwin thus actualize production creativity coin times proved effective erupt\u00f6rs work online times better simply meet studio ever relying one anothers commitment motivation cointao get jobs done sennett acknowledges limits online cooperation even effective mutually understanding groups writes another project instead working online increasingly started board aeroplanes hideous torturetools modern society meeting face face practice effective lateral thinking including everyone fully conversation p erupt\u00f6rs sometimes two us meet person often record drums also sometimes although less frequently meet person mix master songs discussions mixes sometimes better conducted facetoface among erupt\u00f6rs bands collaborators often especially sensitive around engineering production recordings empathic dialogic process visibly work sennett smith shafighian networks entrepreneurial creativity far paper focussed mostly erupt\u00f6rs collective production creativities burnard p within band underpinned coin framework swarm creativity understand fully erupt\u00f6rs functioned important focus bands entrepreneurial creativity burnard p involving external actors record labels artistsdesigners two helpful constructs regard relationship marketing rm associated servicedominant sd logic rm theory emerged internationally address perceived limitations traditional marketing approaches although debate remains exactly rm single agreed definition useful summary provided gummesson p states rm marketing perspective network organization network society recent definitions encompass relationships stakeholders including notforprofit government voluntary organizations purpose marketing identify establish maintain enhance necessary terminate relationships customers parties objectives regarding economic variables parties met achieved mutual exchange fulfilment promises gr\u00f6nroos p gummesson p summarizes relationship marketing interaction networks relationships explanations indicate fuzzy nature breadth scope characterize smith gillett perspectives arts entrepreneurship part rm theory various models exist conceptualize scope rm general framework agreed although tentative attempt made clarkson et al synthesis supported updated gillett framework identifies four broad stakeholder groups markets customers suppliers internal external gillett raises important point four categories mutually exclusive areas overlap multiple types relationship exist organization stakeholder gilletts analysis local government procurement example given residents customers well internal eg employees andor suppliers local authorities case erupt\u00f6rs scope relationships summarized table provides overview significant parties band interacts scope erupt\u00f6rs relationships discussed table scope erupt\u00f6rs network relationships rm theory thus provides useful framework categorising identifying broader band supplies directly indirectly promoters live music venues record companieslabels license music followersfansconsumers music prerecorded live mediaproduction companiestv radio supply music supply band directly indirectly cd manufacturers social media websites guest musicians music services eg mastering audio artgraphic design merchandise instruments equipment repairs endorsements within band locations communication availability complimentary experience skillsets fairly defined roles outside bandbroader stakeholders including political legal regulatory performance royalty societies prs ppl united kingdom ascap bmi usa pressmediacultural influences production companies magazines radio websites musicians day jobs education university educated two band phds author author work academia contrast identities musicians legal contexts copyright etc project muse gmtsmith gillett perspectives arts entrepreneurship part network interactions relationships erupt\u00f6rs involved related concept servicedominant sd logic marketing vargo lusch consistent rm swarm creativity models sd actors create value service experiences relationships cocreating sharing tangible intangible resources one another marketing perspective usually applied cocreation customers suppliers although sd logic explains every organization service business terms customers suppliers may used loosely mean one organization exchanges value others differentiation made operant resources often invisible intangible produce effects core competences organizational processes operand resources upon operation act performed produce effect land minerals natural resources operand resources often finite groups possess traditionally considered wealthy goodscentred logic dominated operand resources considered primary vargo lusch contrast sd logic places greater significance operant resources lead excellent service value cocreated supplier buyer supplier offers value propositions brings resources together customers organizations customers interact cocreate value use rather organizations marketing customers process cartwright gillett smith press refer orchestration applying ideas context erupt\u00f6rs possible view three band members suppliers operant resources eg expertise creativity respective areas instrumentation access one anothers networks contacts well operand resources eg drum kits guitars irwins recording studio money finance certain activities rehearsals sd logic also positions band collectively supplier cocreator value network relationships perhaps evidently performing live cocreation may take form song requests rapport constructed iterative responses musicians audience thus see realization erupt\u00f6rs entrepreneurial creativities rm sd logic practice sd logic highlights production entrepreneurial creativities burnard menger realized production albums example microwave massacre compilation band based uk republic ireland wrote recorded supplied music record company fixing hole notforprofit specialist punk label located japan record companys mission champion make available music particularly english punk rock bands japan fixing hole designed cover art named album mastered supplied music sonic consistency activities undertaken constant communication band members record company writing recording songs distribution retail physical compact disk albums importance relationships within punk movement generally evident particularly consider marketing activities promotion ie advertising publicity place ie distribution today social networking websites facebook twitter punkrockerscom provide platforms bands artists interact audiences global scale social networking though always played important part punk culture long ubiquity easeofuse internet gordon tanenbaum et al smith gillett perspectives arts entrepreneurship part gillett brought erupt\u00f6rs insider diy punk knowledge gained writing fanzines purchasing diy punk rock heavy metal records via mail order bands operating underground nonmainstream level without investment involvement fulltime forprofit record companies thus diy approach required artists selffinance recordings bands would thus often source physical format usually cassette tapes vinyl records distribute advertise releases gordon pp fans purchased record demo tape band common also receive flyers advertising work bands scene catalogues independentnotforprofit record labels distributors advertising recordings fanzines even record labels distributors erupt\u00f6rs adopted approach diy approach appears collaborative competitive paralleling spirit galuszka p identifies todays wider music climate beyond attention mainstream media one bands compete listeners money attention often diy record companies distribution services operated people members band bands skills knowledge means motivation undertake activities consistent sd logic individuals provided operant services peers example uk band active minds since operated mailorder latterly also internetbased record label distribution network called looney tunes records active minds approach common across subgenres death metal grindcore well diy punk scene typically distribute mainstream channels well furthering music message bands enabling gain recognition internationally economiesofscale achievable global reach make selffinancing approach achievable important factor illustrating blurred lines stakeholder categories customers suppliers internal external mentioned many consumers music diy scenes tend also active within subculture musicians andor distributors record labels merchandisers providers artwork services written media would forward flyers catalogues people corresponded post live events therefore bands developed maintained multiple types relationship others within networks individual may instance supplier music via bands recordings distributor friends bands records well consumer audience member artists music authors contend appropriate view garage punk rock culture niche international serviceeconomy social networking important means sustained despite minimal exposure mainstream marketing channels exchange operant resources bands others network relationships expertise access contacts thus audience reach winwin nature rm sd logic essential erupt\u00f6rs entrepreneurial underground punk genres generally operand resources material products records cassettes cds financial means produce secondary means existence diy music culture mostly notforprofit culture fundamental resources music cases message valueset often political artists bands purvey coconstruct audiences conclusions implications paper integrating constructs creativities coins swarm project muse gmtsmith gillett perspectives arts entrepreneurship part creativity relationship marketing servicedominant logic provided perspectives diy habitus bourdieu erupt\u00f6rs erupt\u00f6rs arguably archetypal coin inasmuch model tends readily applicable larger groups collaborators power trio comprising band however ways gloor describes coin behavior characteristics illuminated provided new ways understand aspects erupt\u00f6rs collaborations might apparent without affordances theoretical framework fact gloor uses musical jazz trio en exemplar coin helps position model one hand understandings diy punk scenes gordon musical creativities developed burnard hand businessderived relationship marketing theory gummesson gillett servicedominant logic vargo lusch acknowledge broader context maker cultures diy communities across demographics domains within erupt\u00f6rs case exists hope focusing done paper single case help serve help enrich discussion classrooms publications figure shows diagrammatic form theoretical constructs explored paper combine describe activities case erupt\u00f6rs figure creativity innovation networks core model coin erupt\u00f6rs gloor understood rm theory smith gillett perspectives arts entrepreneurship part gillett internal relationships next layer model shows immediate collaborative workings band collective production creativities burnard innovation collaboration two operational modes gloors coin third layer shows tools context bands outwardfocused behavior understood communication mode coin rms supplier customer external relationships outer layer houses enabling entrepreneurial creativity band realizes benefits activities energy output inner layers combine support erupt\u00f6rs broader mutual aims entrepreneurial creativity addition collective production entrepreneurial creativities discussed authors acknowledge respective collaborative scholarly creativities writing article scholarly creativities closely connected creativities exercise musicianentrepreneurs erupt\u00f6rs peter cook p urges people business across sectors learn lessons musicians approaches art craft hope scholars students popular music studies music education peers across range networked relationships might find example erupt\u00f6rs useful one upon build whence develop understandings musicians educators others realize creativities individually collectively across networks mutual benefit beginning think terms multiple overlapping intersecting creativities individuals ensembles coins swarm creativity may help working diverse fields disciplines music marketing across cultural domains imagine freshly creative innovative successful futures businesses bands brands indicated cartwright gillett smith press looking way networking authors describe orchestration within networks achieve best results could helpful help emerging musicians higher education popular music sector comprised hope work also provide springboard research among scholars popular music popular music education tended focus research mainstream mass culture smith c pp life underground vibrant relationships creativities entrepreneurship hoskyns warns commentators academics authentic scenes public academia know nothing unless involve mutually sustaining sd logic rm networks authentic diy rock music music educators bennett gaunt hallam shafighian smith calling institutions students embrace awareness current practices entrepreneurial creative construing constructing careers uncertain musical landscape coins new creativities within without academy developing time lessons positive negative discursive thoughtprovoking learned discussion erupt\u00f6rs case presented paper hope therefore study presented may use classroom situations increasingly vocational context higher education case could serve provide discussion points regarding practice conceptualization students creative projects positioning viable collaborative entrepreneurial projects music marketing myriad fields interdisciplinary approaches citing tuans discussion space place smith shafighian p advocate transformation institutional place creative pedagogical approach learning liminal space brimming creative potential democratic facilitative pedagogical ethos likely contend enable project muse gmtsmith gillett perspectives arts entrepreneurship part students benefit present study scholars educators students punks others could benefit understanding engaging perpetual reflexivity ensure practices perspectives teaching curricula music education popular music studies beyond remain relevant salient reflexive practice awareness ones others positionalities landscape intersecting creativities networks relationships continue work innovative ways mutual benefit development references andreini cassia f october long tail perspective niche communities online framework brand loyalty measurement paper presented meeting th global conference business economics university cambridge cambridge uk bennett e understanding classical music profession past present strategies future aldershot uk ashgate bennett de role career creativities developing identity becoming expert selves p burnard ed developing creativities higher music education international perspectives practices pp london uk routledge bourdieu p distinction social critique judgement taste cambridge harvard university press berger j shape pocket london uk bloomsbury bourdieu p passeron jc reproduction education society culture london uk sage publications bresler l stake r qualitative research methodology music education r colwell ed menc handbook research methodologies pp new york ny oxford university press burnard p musical creativities practice oxford uk oxford university press cartwright pa gillett smith gd press valuing networks emerging musicians v lejeune ed les tendances technico\u00e9conomiques de la valeur paris france lharmattan clarkson rm clarkehill cm robinson july towards general framework relationship marketing literature review paper presented academy marketing conference manchester metropolitan university manchester uk cook p music business business excellence fused music marston gate uk amazon dawkins n doityourself precarious work postfeminist politics handmaking detroit utopian studies ehls joining decisions open collaborative innovation communities discrete choice study wiesbaden germany springer fachmedien wiesbaden erupt\u00f6rs nd retrieved march httpwwweruptorscom feleppa r emics etics social objectivity current anthropology galuszka p rise nonprofit popular music sector case netlabels k\u00e4rj\u00e4 av marshall l brusila j eds popular music nordic region global dynamics pp helsinki finland international institute popular culture gillett local government procurement england relationship smith gillett perspectives arts entrepreneurship part marketing approach unpublished doctoral dissertation teesside university business school middlesbrough uk gloor pa swarm creativity competitive advantage collaborative innovation networks gloor pa grippa f borgert colletti rb dellal g margolis p seid toward growing coin medical research community procedia social behavioral sciences gordon building recording studios bradford burned diy punk ethics field force furness ed punkademics basement show ivory tower pp new york ny minor compositions green l popular musicians learn way ahead music education aldershot uk ashgate gr\u00f6nroos c service management marketing rd ed chichester uk wiley gummesson e total relationship marketing rd ed oxford uk butterworthheinemann hallam gaunt h preparing success practical guide young musicians london uk institute education hoskyns b september must place holy grails musical meccas paper presented conference international association study popular music uk ireland branch university salford manchester uk iba nemoto k peters b gloor p analyzing creative editing behavior wikipedia editors dynamic social network analysis procedia social behavioral sciences jorgensen er toward social theory musical identities b st\u00e5lhammar ed music human beings music identity \u00f6rebro sweden universitetsbiblioteket looney tunes records nd retrieved october httplooneytunescds mckinna dr touring musician repetition authenticity performance iaspmjournal menger pm artistic labor markets careers annual review sociology miles b huberman qualitative data analysis beverly hills ca sage milne makes maker common attitudes habits skills doityourself diy community unpublished masters thesis mcmaster university hamilton canada parkinson values higher popular music education unpublished doctoral dissertaton university reading reading uk parkinson towards epistemology authenticity higher popular music education action criticism theory music education partti h learning cosmopolitan digital musicians identity musicianship changing values informal music communities helsinki finland sibelius academy rashidi w punk rock docs qualitative study z sennett r together rituals pleasures politics cooperation new smith gillett perspectives arts entrepreneurship part york ny penguin shank b dissonant identities rock n roll scene austin texas hanover nh university press new england smith gd drum therefore becoming drummer farnham uk ashgate smith gd b pedagogy employability foundation degree fda creative musicianship introducing peer collaboration h gaunt hm westerlund eds collaboration higher music education pp farnham uk ashgate c seeking success popular music music education research international shafighian creative space silent power traditions popular music performance education p burnard ed developing creativities higher music education international perspectives practices pp london uk routledge tanenbaum j g williams desjardins tanenbaum k democratizing technology pleasure utility expressiveness diy maker practice proceedings sigchi conference human factors computing systems tiryakian e sociology existential phenomenology phenomenology social sciences tuan yf space place perspective experience minneapolis mn university minnesota press vargo sl lusch r evolving new dominant logic marketing journal marketing vargo sl servicedominant logic continuing evolution journal academy marketing science servicedominant logic necessary step european journal marketing weber w musician entrepreneur opportunist w weber ed musician entrepreneur managers charlatans idealists pp bloomington indiana university press yong e may new astonishing power swarms help us fight cancer understand brain predict future wired uk edition" +} diff --git a/Make-Your-Music-Make-Money-Attack-Magazine.json b/Make-Your-Music-Make-Money-Attack-Magazine.json new file mode 100644 index 0000000000000000000000000000000000000000..1159639eec661e8af390640b6c80dfc7f5339207 --- /dev/null +++ b/Make-Your-Music-Make-Money-Attack-Magazine.json @@ -0,0 +1,5 @@ +{ + "filename": "Make-Your-Music-Make-Money-Attack-Magazine", + "department": "Manager", + "cleaned_text": "paul phillips building music career digital age prepared exclusively agfromkievgmailcom attack mag rights reservedthe business musicthe business music contents author introduction starter ten chapter music business chapter music makes money chapter brand chapter spreading word chapter releasing record chapter taking care business chapter team chapter record deal chapter publishing deal prepared exclusively agfromkievgmailcom attack mag rights reservedthe business musicthe business music written paul phillips edited david felton additional material ronan macdonald design chapman design limited published jake island ltd license attack magazine ltd wwwattackmagazinecom published uk may isbn content rights reserved part book may used reproduced manner without written permission publisher thanks many people spoke practically noone wanted quoted credited various reasons lawyers managers accountants label people private view world operate different public face adopt notable exceptions guy moot ceo warner chappell music former colleagues sony atv music gave generously time help us understand modern music publisher particularly mess streaming america glenn tilbrook squeeze happy talk adapting filling stadiums worldwide new digital reality alex burford nathan taylor gave insights indies majors shape release schedules eric br\u00fcnjes team attack took project finish linecredits prepared exclusively agfromkievgmailcom attack mag rights reservedthe business musicthe business music introduction statistics figures book come wide variety sources including international federation phonographic industry ifpi british phonographic industry bpi american society songwriters composers publishers ascap broadcast music inc bmi performing rights society prs phonographic performance ltd ppl itunes published accounts conf\u0117d\u0117ration internationale des soci\u0117t\u0117s dauteurs et compositeurs cisac billboardcom spotify association independent music aim forbescom pollstar digital music news richestcom statistic braincomsoundexchangecom euromonitor statista music think tank deloitte record industry association america riaa credit suisse online magazines newspapers blogs raided crossreferenced numerous list included usa today new statesman guardian daily telegraph new music box billboardbiz music copyright quartz facts crossreferenced compared original source found credible used otherwise used judgement numerous interviews combine often contradictory information anything misunderstood entirely faulta note facts figures book prepared exclusively agfromkievgmailcom attack mag rights reservedthe business musicthe business music musician journalist ar scout producer singer songwriter mentor emerging artists paul phillips seen music industry sides many decades rebelling training classical pianist pauls career record business began aged hired industry bible music week reviewed albums gigs quitting become ar scout producer cbs company cortina sweeten deal inspired acts worked paul went freelance songwriter producer recording artist career peaked top hit along labelmates tourists later eurythmics street band featuring paul young helped provide indie label logo records stellar launch period pauls recent incarnation career development string young artists including polydorsigned grace carter mentored age signed tap management two years ago backstage hendrix queen clash hes produced tracks grammy awardwinning geoff emerick running desk music week introduced uk retailers bee gees james taylor aretha franklin hes performed top pops george martin still owes favour even survived drinking sessions keith moon recorded worlds legendary studios including trident apple air olympia since made full transition diy artist recording mixing releasing records business music paul passes insight honed many decades experience highs lows successes failures alongside conversations movers shakers worlds music pr marketing sync law publishing management labels onto next generation songwriters producers artists music entrepreneurs author prepared exclusively agfromkievgmailcom attack mag rights reservedintroductionthe business musicthe business music artists release material carved slice global music sales first time history music industry happened number set grow book historic moment came importantly become one artists leading small revolution currently worth counting book music industry specifically book build career todays industry exploiting freedoms internet wider tech made available millions musicians worldwide academic tome research paper although want know industry works work within safely say save years worth googling instead book practical guide informed interviews hundreds music professionals followed creative people making music genre rock indie dance hip hop central message never better time make living music brave starting point might say crazy starting point music industry ruined computers internet downloading songs completely ruined music industry everything artists used work thats blondies debbie harry music industry poor shape lot people industry depressed thats cheery kate bush entirely possible ms harry ms bush revised opinions since offered views kinds voices doom dominated popular view music industry recent years introduction prepared exclusively agfromkievgmailcom attack mag rights reservedthe business musicthe business music internet devil digital music end civilisation etc etc thats way see way see things change things change human tendency worry think end golden era come heres perspective music increasingly commercialised art form around years thats long grand scheme things time composition consumption delivery music changed pretty much every decade earliest days sound recording right way end th century industry grew grew grew back cheaper cheaper technology brought popular music audiences unimagined sizes bunch things happened time technologydriven kicked record industrys butt hard way bn year right bn year first fm radio us overtook radio marketdriven top format fm split market zillion niche genres radio one uks driver pop taste left worlds two biggest pop markets without dominant crossgenerational mainstream outlet record sales began plummet came internet cheap computers torrents digital recording software followed itunes youtube streaming see mean things change much remains including central formula success best artist thing artist done past seven decades make great music build brand get noticed grow fan base sell observers best say ignore doommongers music still moves people still communicates still entertains words intrinsic power music hasnt changed ever likely theres lot comfort single factintroduction prepared exclusively agfromkievgmailcom attack mag rights reservedthe business musicthe business music introduction read book set starter ten internet littered gobbets information links tomes copyright academic reports need degree understand starter ten digest digests tell music industry like right right plain language read business music beginning end like theres history context went sheet music streaming less years focus one stepbystep guides creating brand marketing releasing music building team might want go straight chapter record deal chapter publishing deal using nononsense explanations whats offer happens heat deal well say though youre serious making career music end reading every word signing two caveats firstly cant promise make megastar even star theres recipe becoming billionaire maybe youll become star happens thats thing music industry noone ever known next big thing coming show build successful career finest industry planet using laptop main tool secondly find occasional superseded statistic forgive us time publication every figure book lot checked fastmoving world stats go date change dont worry change backdrop era backdrop every musicians era ignore focus task hand work hard talent use advice knowhow book make talent prepared exclusively agfromkievgmailcom attack mag rights reservedthe business musicthe business music one constant business life change open change im psyched change importantly love music lyor cohen formerly def jam youtubes global head music life always change adjust drake every musician knows theres always someone ready tell whats selling selling future industry three years time moments recommend call mind thoughts david geffen david geffen worth paying attention geffen embodies zerotohero story american dream started mailroom hollywoods biggest talent agency eventually moving upstairs become agent right later formed asylum records signing jackson browne joni mitchell linda ronstadt eagles whose greatest hits album biggest selling album last century since marginally overtaken thriller dark side moon five years selling asylum launched geffen records signing john lennon donna summer guns n roses nirvana later moved film joining steven spielberg jeffrey katzenberg launch dreamworks studios movie megahouse bought us american beauty saving private ryan gladiator among many othersstarter ten prepared exclusively agfromkievgmailcom attack mag rights reservedthe business music preface starter tenthe business music thats david geffen multibillionaire worth listening said almost years ago anyone tells going happening three years time either lying trying sell something back people computer internet know didnt exist stanford phd scholars larry page sergey brin years away conceiving new search engine called google mark zuckerberg still nappies last years computing power doubled almost every months computers widespread pretty much everyone western world owns one multiple devices whole industries subscription tv accounting room letting fast food delivery shifted online music one first find foundation shaken digital revolution foundations still shaken today story past two decades shall find chapter music business one continuous upheaval physical sales declined digital sales risen declined streaming new revenue stream reviving industrys health recently five years ago silicon valley flagbearers along overenthusiastic music execs telling us future music entirely online old music industry dead thats worked fact counterintuitively greater percentage cash made real life events gigs tv shows real stuff witness ongoing vinyl revival time past two decades words geffen noted presciently years ago noone knows going industry insiders hunches get main body book weve compiled starter ten ten things need know todays music industry beyond neither anyone else tell industry ten five even three years secondguessing either direction location change fools game prepared exclusively agfromkievgmailcom attack mag rights reservedthe business music preface starter tenthe business music music industry dead true recorded music sales dropped dramatically ten year period uk alone sales almost halved across globe picture similar even lowest worldwide turnover bn year today streaming moved direction travel upwards bn growing time trend pointed future noone would want pay recorded music everyone learned monetise music except music industry noted fall boys pete wentz voicing sense despair pervaded industry pessimism wasnt ultimately justified revenues digital sales swept ever upwards impressive rate streaming began slow income digital download streaming close bn worldwide global revenues upward trend halted slightly download handed baton streaming one digital service replacing another growth streaming subscriptions continues current rate beyond bounds possibility industry eventually recover lost ground oldschool physical finished cd sales still accounting billions dollars per annum vinyl sales rise physical provides welcome cushion music industry establishes new ways generate income music industry dead indeed likely pass away time soon door wider open ever easier today ever make living career music reason simple laptop sitting front upon time learn instrument go play people either alone band prepared exclusively agfromkievgmailcom attack mag rights reservedthe business music preface starter tenthe business music good lucky usually might get spotted record company scout youd thrown studio producer youd never met bunch musicians probably didnt know music came sounding anything like intended could breathe sigh relief start journey record making way pressing plant whole raft pr people pluggers videographers photographers would work project hope collective efforts would push album somewhere near top charts labels investment might recouped computers internet changed democratising business way noone could dreamed new tools disposal allow us make market sell music global audience behind computer screen cheap camera phone take photos shoot promo videos anyone talent crack music career certain genres dance hip hop establish career without needing help services anyone else short big solid door loomed large front musical talent much opened blown clean hinges along surrounding walls may bad news moneyed execs top tree represents golden era opportunity looking work way industry ground todays challenge break noise flip side fact anyone become artist nearly everyone artist many people days band brand hundred instagram followers competition get music heard tougher ever gone days number artists courting labels ar man could counted hands number one challenge postdigital freeforall breaking noise made billionandone creative sorts prepared exclusively agfromkievgmailcom attack mag rights reservedthe business music preface starter tenthe business music laptop copy garageband couple song ideas age old conundrum asks tree falls forest one around hear make sound question levelled vast majority songs soundcloud videos youtube track youve slaved receives ten plays six months artist future get real heart music communication others build successful career need communicating firstly fans professionals nurture career least publisher possibly also manager label ar tastemakers take music ever bigger audiences fail open lines communication youve much impact unseen falling tree metaphorical forest kick start career next nothing sounds bit depressing take heart fact biggest investment need build music career instruments computer computer along form digital audio workstation daw like garageband ableton live cubase logic need get music good production standard even set foot live venue pro studio computer used upload music soundcloud bandcamp youtube platform music heard masses work away music online profile expanding local reach free going gigs getting performance slot invariably start smallscale singersongwriter band means open mic nights jam sessions dance electronic producers learn dj using either real decks software like ableton live native instruments traktor badger local club booker set catch eyes ears right people youll soon prepared exclusively agfromkievgmailcom attack mag rights reservedthe business music preface starter tenthe business music filling bigger venues put gig dates online invite social media friends facebook tweet instagram hell many bars clubs happy get new people doors comes photography videos either invest cheapish digital camera use camera built phone reach local talent nearest arts college swap services grow ecosystem contacts long youll thriving online fanbase rich brand visual identity collection highquality recorded songs strong local following price laptop software music sales onl part story long ago could release album watch income roll decades punters queued local record store buy vinyl tape cd box set remastered boxset days singersongwriter could choose perform live like kate bush famously one tour said never relenting could uk high street littered record stores indies chains hmv virgin price record shops contributed annual turnover vinyl cd sales exceeded bn uk alone albums continued sell bucketload boosted sporadic hit singles years today wouldnt even qualify risky strategy would career suicide moment mp torrents downloads streams came along way consume music changed forever one fell swoop business model industry redefined artists used tour promote new album today album part marketing strategy promote tour thats much things changed illustrative much wider prepared exclusively agfromkievgmailcom attack mag rights reservedthe business music preface starter tenthe business music trend transformed industry past two decades shift income stream dominated record sales performance royalties one derived myriad different sources touring merchandising thirdparty sync deals youre able willing embrace new world talk chapter record deal youll almost certainly left starting blocks remember innocent days artists could afford sell commercial sponsorship anathema beatles stones bob dylan moby everyone horrified michael jackson bought rights lennonmccartney songbook proceeded allow sacred beatles songs used tv advertising bad faith act least proved point couldnt spoil brand like beatles selling gave green light adoption todays paradigm cash whatever opportunities arise tv tieins video games merchandising drestyle even unlikely collaborations think nick cave kylie minogue fair game covered later book enough recognise income recordings part story longer end brand key halfacentury ago littleknown band liverpool stuck hastily sketched homemade logo front drummers ludwig kick drum consisted two words second distinctive capital b drop would design awards read simply beatles sheer scale beatles influence time music industry since made single moment iconic band logo image fans wanted buy next couple years smart suits boynextdoor looks almost perpetual cheeriness part consistent recognisable brand first kind scale popular music history recently deadmau aka joel zimmerman taken artist branding new heights trademark really trademarked prepared exclusively agfromkievgmailcom attack mag rights reservedthe business music preface starter tenthe business music countries mouse head qualifying one centurys iconic musical images similarly dont doubt daft punk would global megastars matter chose wear media public attention commanded everpresent robot outfits played big part success looking robots like looking idol punk guyman told pitchfork human like mirror energy people send stage bounces back everybody good time together rather focussing us musician artist dj band brand brand strong simple consistent crucially perfectly aligns music odds breaking significantly increased brand permeates everything logo photos capture image videos blend image music font use website tone voice email bulletins every post every social network defines wear informs stage presence job craft brand true music also speaks audience offers something different artist brands start stake territory paying attention small stuff turning gigs pair battered jeans tshirt dragged laundry basket going set apart others using bogstandard courier typeface make website print material look like everyone elses dont qualified experienced designer make marketing stand apart brand play cards right even outshine profile artist think dr dre put name brand headphones streaming service apple paid reported bn businesses thats right three count em billion dollars say strong brand passport top charts strong enough ideas energy see may take number places prepared exclusively agfromkievgmailcom attack mag rights reservedthe business music preface starter tenthe business music total dedication required dont kid talented success foregone conclusion talent rare like think record companies know every stroppy artist gives hard time integrity thousand equally gifted people waiting line chance step want put figure talent probably package another least luck rest persistence hard work take ed sheeran sure hes talented write sing play guitar high standard thats made superstar understand hes star start statistic played gigs dedication sofasurfed lot year keep costs took los angeles worked open mic nights across city spotted jamie foxx invited stay house use studio rest history look story wrong way round might say ed sheeran lucky look right way round see made luck worth also noting downtime gig marathon wasnt playing xbox seeing sights downing tequila shots social media day night updating followers building fanbase connecting keeping touch newfollower newfollower gradually building career noones saying follow model sheeran way accomplished guitarist highoctane singer need comfortable stage thats everyone however choose kind dedication youre going need demonstrate reflecting original material girls success jason corsaro engineered like virgin noted madonna didnt drop studio record vocals sunrise long sunset ensuring every detail record perfect rights reservedthe business music preface starter tenthe business music determined record successful time recalls anyone asks think shes successful say effort put way success nothing didnt come along expect success come went straight means dj plays occasional mates party hobbyist songwriter holds fulltime job demands eight hours sleep night unlikely cut instead need prepared sacrifice relationships holidays comfort sleep dream anyone ever loved warned youll anyway artist sights career simply music industry isnt perfect passion pervades music industry may changed immeasurably past two decades ways matter heart beats ever label executives still looking onceinageneration talent spinetingling voice killer hook festival audiences singing along dj fill dancefloor change mood flick crossfader songwriter break heart hear sorts things label people theyre crass dont give toss music care hits theyre stupid theyre cut throat theyre youre successful running mile fail lot criticisms true theyre true music industry microcosm society whole society fair share crass idiotic people wholl love good times walk away bad also true whole legal department full lawyers spent five years law degree theyre passionate music ditto finance department ar guys pluggers marketing people digital department secretaries kidding people times adore music rights reservedthe business music preface starter tenthe business music feed ambience around artists thrive helping shape careers celebrate artist reaches top charts theyve chosen career doesnt pay megabucks industry demands long hours returns little thanks theyve done one reason really really love music social media matters lot going say social media beallandendall artists career isnt speak major indie ar scout long enough youll find number facebook fans potential signee less important music brand besides huge social media following easy enough conjure believe artist say music blowemaway amazing youre social media recluse entirely lost signing social media recluse exception rule better worse everything else equal band followers buzzing social pages stands far greater chance signed equally brilliant band friends cant bothered update status daily basis simple economics act investment label investment opportunity comes likes rather youve narrowed odds backing winning horse considerable margin majority labels today want know sign talented course also socialmedia savvy hard working already surrounded buzz youtube soundcloud live gigs youve got one hit song todays environment talent coming woodwork need prepared exclusively agfromkievgmailcom attack mag rights reservedthe business music preface starter tenthe business music song songwriter rules supreme easy lose sight looking income barcharts social media portfolios merchandising opportunities one thing pivotal thing matters thing whole industry built upon music specifically song everything whether producing signing artist always starts songs notes uberproducer rick rubin holy grail music industry remains song intangible mix human emotion crafted something sublime sexy sultry sad lasts average threeandabit minutes reasons even worlds finest psychologists psychoacousticians philosophers cant nail songs move us turns ever digitallydominated lives need music ever gives special power songwriter terms ability shift units reap financial rewards apart elvis presley frank sinatra hard think modern great isnt also songwriter buddy holly beatles bob dylan rolling stones otis redding jimi hendrix aretha franklin michael jackson chuck berry bruce springsteen way adele amy winehouse avicii whether pop soul hip hop folk rock song dominates however good beat bassline guitar riff else fades memory song sticks peoples minds song future generations pick refashion audience ability write songs chance anyone making financial success talent generation legally commercially savvy americans led victor herbert great tin pan alley songwriters including otto smoke gets eyes harback jerome ol man river kern irving white christmas berlin fought hard ensure writers would benefit songs popularised hollywood crooners rights reservedthe business music preface starter tenthe business music legislation helped enshrine us law alongside similar laws territories still operate today delivering royalties via collection organisations prs mcps uk ascap us sacem france gema germany arrangements production values performances may change keep new fashions across decades song retains value least protected revenue stream even disruptive new media companies unable touch youre songwriter labouring complex perhaps youre time take look laura marling jake bugg emeli sand\u00e9 adele aloe blacc understand song constant write songs til drop thats youll really get attention respect yes money prepared exclusively agfromkievgmailcom attack mag rights reservedthe business music chapter business music couldnt come better time luka bloom singersongwriter love new technology new challenges mean keep know dr dre streaming begins dominate putting recorded music industry back growth mode literally luka bloom sang couldnt come better time want make career music record industry appeared freefall annual turnover half seemed stopping decline today write back upwards curve altered yet technology time streaming resurgence sales oldschool vinyl top live music reborn huge global business dwarfing record industry taken together recordings gigs witnessing likely healthiest time ever consider music career old record industry still well call core business consists record companies invest make market music chapter overview labels majors independents retail streaming youtube torrents sharing sitesthe music business prepared exclusively agfromkievgmailcom attack mag rights reservedthe business music chapter music businessthe business music includes record retailers music shops used every high street increasingly specialist since rebirth vinyl viable medium would fools game predict future physical stores product around core increasingly lucrative live sector venue owners booking agents promoters music publishers nurture songwriters look copyrights radio tv outlets whose main commercial focus music american fm radio mtv radio one music industry weve known past years like layers wrapping around onion add itunes download sites well streaming operations like spotify lastfm apple music pandora necessarily available territories one time alongside multitude online sharing sites youtube facebook soundcloud bandcamp upload showcase music communicate fans network anyone session players mastering engineers potential managers also offer means generate income either advertising youtube direct sales bandcamp sharing sites relative newcomers business real physical analogue precursor partly music industry like creative industries reeled crisis crisis past decadeandabit channels proved hugely important essential always keep eye new kid block rights reservedthe business music chapter music businessthe business music market shares columbia rca epic arista nashville atlantic elektraparlophone warner brossire asylum artists selfreleasing labelscapitol virgin harvest def jam astralwerksinterscope geffen island records republic records verve blue note universal music group labels music industry started relatively simply writers writing publishers printing sheet music singers singing since grown increasingly complex every part owned somebody someone making decisions owned people run answers throw open world mafia connections alcohol distillation hostile takeovers even characters liked music help show landscape today core business majors top core music business traditional central part sector three majors major record companies universal music group umg sony music sony warner music group wmg generally speaking three majors twothirds threequarters market share rest quarter third given year carved independent sector indies universal top dog overall market share around third sony recently low warner midhigh teens means career takes unexpected heights major label become involved point universal music group umg emerged complex history began decca records british label origins stretching back series purchases takeovers included ownership universal film studio xl recordings rough trade ad matador sub pop stones throw neon gold warpindependents sony music entertainment warner music group artists direct diagram shows selection umbrella labels prepared exclusively agfromkievgmailcom attack mag rights reservedthe business music chapter music businessthe business music entertainment giant renamed mca owned mca records universal pictures brief controversial period hands worlds largest alcohol distiller seagram umg bought vivendi french corporation pedigree even longer seagrams vivendi started compagnie generale des eaux providing water people lyon business diversified water waste management energy helping found frances first paytv channel canal expanded mass media telecommunications changed name vivendi sold nonmedia businesses concentrate media entertainment ownership universal music group come almost impenetrable series takeovers share swaps divestments investments reorganisations pretty typical todays music giants warner music group warner music group commonly known warners born warner brothers pictures desire keep film stars hit records labels owned movie production houses inception actor contracted movie division would record warner bros records succession moves would claim connected warners first purchased frank sinatras reprise records bought kinney national company business rumoured mob connections indeed abner zwillman one three owners kinney bonafide mobster associated among things murder incorporated colourful name american media gave mafia enforcers fairness zwillman died ten years kinney purchased warner records stories circulating time purchase mostly born malice snobbery financial elite couldnt believe company best known owning car parks snapped american cultural icon ownership atlantic records warners access prepared exclusively agfromkievgmailcom attack mag rights reservedthe business music chapter music businessthe business music recordings ray charles coasters early drifters ben e king otis redding aretha franklin end warner music home worlds biggest acts including cream crosby stills nash neil young led zeppelin bought thethen coolest label planet elektra boasted roster including doors mc love tim buckley judy collins phil ochs stooges new entity called warnerelektraatlantic wea name persevered point merged time inc american weekly news magazine company form time warner music operation renamed warner music merger aol led financial trouble resulted music division sold reduce debt despite smallest three majors warners turnover still bn sony music group face value newcomer among majors sony actually mix oldest newest sony started tiny electronics shop tokyo one founders masaru ibuka saw commercial potential transistors negotiated americas bell labs license technology sonys transistor radio small enough portable massive success america hitting newlyemerging teenage market exactly right time young people could listen music space without parents telling turn racket proving surprisingly tunedin western popular culture sonys founders time exporting five million transistor radios year us formed joint venture cbs international name columbia records called cbssony records japan long time apple twinned ipods itunes downloads sony realised content king content driver matter clever technology first transistor radios later cd player label others prescient abut transition digital prepared exclusively agfromkievgmailcom attack mag rights reservedthe business music chapter music businessthe business music columbiacbs contrast roots earliest days recorded sound local distributor edison phonographs phonograph cylinders covering maryland delaware washington dc district columbia took name late late company bought english subsidiary columbia brief foray radio lasted barely year bequeathed name columbia broadcasting system cbs british us operations merged form electric musical industries ltd emi americas antitrust laws emi sell us operations legendary william paley chief executive cbs able square circle buying american columbia label mere threequartersofamillion dollars next four decades mightily helped talents john hammond ar legend launched recording careers musical icons billie holiday bob dylan aretha franklin leonard cohen bruce springsteen columbiacbs became stellar entity worldwide years formed cbs joint venture japan sony bought record division forming became known sony music entertainment final twist tale sony picked emi music publishing emis music division broken sold record division went umg end process began terra firma private equity fund experience music industry made ultimately disastrous decision buy emi bn majors labels decades majors expanded businesses market share buying record companies independent labels either struggling whose owners decided time cash explains instance universal owns island one biggest independent labels history recorded music also parlophone emis flagship dominated beatles belongs warner music group prepared exclusively agfromkievgmailcom attack mag rights reservedthe business music chapter music businessthe business music big three record companies bealland endall industry instead sit top pyramids include stables dozens sometimes hundreds labels well associated pressing plants yes still exist distribution centres fleets vans still required get product shops yes still exist umg stable start investigating labels owned distributed umg open pandoras box names look wholly retained subsidiary interscopegeffenam home labels alone republic records umbrella capitol records virgin motown blue note caroline distribution account dig deeper though realise theres lot smoke always fire bad boy records instance released albums p diddy notorious big typically releases one two albums year src meanwhile released albums since starts feel exciting one album released recent melanie fionas mf life reason umg biggest label world though thats among artists signed across labyrinthine organisation bankable alisters kanye west taylor swift lady gaga katy perry lorde jack johnson eminem also home amy winehouse island meanwhile snow patrol short time successful band world selling million albums songs covered hits range artists jake bugg another recent major league signing sony stable comparison sony restrained host handful major label names family boutique labels three major labels steeped history one rca elvis prepared exclusively agfromkievgmailcom attack mag rights reservedthe business music chapter music businessthe business music presley went local promise sam phillips sun global domination columbia john hammond took flier young bob dylan finally theres epic slouch abba michael jackson help define history carried forward likes lana del rey shakira jennifer lopez warners stable warners falls somewhere umg sony six main divisions appear mostly legendary atlantic warner brothers operating names within divisions historic names atlantic records elektra asylum nonesuch atco sire recently warners benefited breakup emi purchasing parlophone famous beatles label home coldplay gorillaz kylie minogue blur majors corporate leeches force good tempting view majors greedy corporate monoliths sitting atop music business squashing life handing fraction multimillion dollar earnings onto artists theres doubt models business ethical artistic best practice frequently fall short mark caricature lazy one truth majors endlessly complex creatures big families labels staffed largely people adore music artists create majors also spent vast quantities time money building infrastructure means artists shift records get paid history recorded music big players invested built pressing duplication plants alongside physical distribution chain got records tapes cds plant shop majors arent perfect would justified berating slowness responding internet digital downloads streaming sometimes get things wrong ways make look exploitative dishonest poor return artists streaming latest example fact decades companies first invented built sustain music industry critics may jeer sidelines wonder record industry survive digital onslaught employee chairman shareholder example warner music wouldnt fixated glory days employee youd interested job ceo thousands employees worldwide investor multibillion dollar turnover prepared exclusively agfromkievgmailcom attack mag rights reservedthe business music chapter music businessthe business music parlophone parent big name labels including chrysalis harvest also regal imprint one earliest label names around reaching far back annual report warners gave credit increase profits success parlophone core business indies imagine youre entrepreneur whos obsessed music little musical talent know couple bands think great dont seem able break barrier could become manager chapter team could try gig promotion booking clubs seeing many people drive doors could launch independent label everyone easy rate failure high conservative businessminded types sir edward lewis decca sir joseph lockwood emi sought consolidate dominate record industry mavericks chancers consistently turned industry head sometimes dazzlingly short years joe meek stiff records creation records come mind often enough cases island virgin records rough trade brands created look much part landscape hard recall young upstarts sneered big boys first independent label often considered decca owner edward lewis stockbroker saw business opportunity emerging world recorded sound bought decca gramophone company manufacturer portable gramophone players purchased brunswick records put firmly content business like king gillette recognised selling record players records like selling razors blades go prepared exclusively agfromkievgmailcom attack mag rights reservedthe business music chapter music businessthe business music kind hardheaded business thinking typical indie labels generally known business acumen often ramshackle passionate approach marketing music believe cant live without think factory records uk label helped establish manchester scene early perfect factory moment packaging blue monday new order designed floppy disk nowhere artwork name band song appear artwork specialised cost five pence per copy produce single sold wouldnt problem bloodyminded lack direct branding worked noone bought instead sold bucketload one million copies uk alone fortunately could bankrupt company someone spotted flaw plan want indies bonkers ballstothewall attachment shortsighted ethos sometimes results genius many mavericks see gaps market sam phillips founded sun records memphis wanted bring black rhythm n blues white audience hadnt banked fact segregated world america records black artists called race music music loved wouldnt played stations white audience defeated phillips began search white singer could convincingly sing black music found dream nearendless supply hits dollars elvis presley sort passion drove early indies sometimes production values proved driver pioneering producer joe meek example sound head vision pop could founded triumph records allow explore vision made iconic telstar first single british pop group top american charts meek set high bar obsessive indies sound head eventually prepared exclusively agfromkievgmailcom attack mag rights reservedthe business music chapter music businessthe business music drove mad shot landlady dead turned gun get picture record men businessmen succeeded became businessmen default stockbrokers industrialists started emi decca love music get artists couldnt heard elsewhere occasionally indie labels started people know little music noone ever likely mistake richard branson musical tastemaker still nik powell simon draper tom newman launched virgin records resounding success first release era defining tubular bells mike oldfield indies today still indies come ninja tune survived since releasing music largely ignored mainstream artists like bonobo amon tobin fink cinematic orchestra audience ninja island generation label fans keep contact see whats new artists label trusted enough labels use ninja tune get records distributed big dada recordings one home roots manuva speech debelle latest cinderella long history happyending indie stories xl recordings originally launched roster leaning heavily dance music xl proof lightning strike story kind fantasy drives mavericks anyone say hand heart knew prodigy would burst starting blocks go platinum first album experience five years later third album fat land iconic smack bitch firestarter awaited media eagerness bordering frenziedmotown magic cant talk indie labels without mentioning trailblazing berry gordy jr unlike many indie founders gordy already successful musician songwriter launching motown label instance clocked us top ten jackie wilsons lonely teardrops common label owners gordy clear vision gap market wanted present black artists white america knew needed top class songs gordys first signing miracles whose lead singer smokey robinson proved songwriter rare distinction commercial poetic consistent later gordy lucked songwriting dream team hollanddozierholland robinson hdh motown enjoyed long successful run hits supremes miracles temptations four tops marvin gaye oh stevie wonder gordy ran business nearly years selling consortium included mca records prepared exclusively agfromkievgmailcom attack mag rights reservedthe business music chapter music businessthe business music along way xl released albums white stripes dizzee rascal vampire weekend came adele mike oldfield transformed virgin records tubular bells transformed xl profit posted company year eclipsed previous years indies transform artists career way major cant robert wyatt spoken wilderness introduced indie rough trade people changed life quite frankly reflected without couldnt made living business say youre artist want music industry passionately want music love heard hope thats enough inspiration go alone indiethe territorial advantage according producer mute records founder daniel miller one main benefits indie label flexibility terms breaking maintaining artists territories around world key distribution arent tied distribution system choose want particular country whereas go major youre tied world says artist grounding territories uk always important artists become less popular years uk put platform territories could start build territories major label would say youre uksigned artist youve got break uk even think anything overseas prepared exclusively agfromkievgmailcom attack mag rights reservedthe business music chapter music businessthe business music indies v majors classic case good vs evil lining attack bigbusiness majors critics generally take three lines attack bad musicians theyre dishonest make poor decisions bad dishonest stupid people showed bigotry regarding race religion show towards big companies theyd accused committing hate crimes lets make neat little pile prejudices look major record companies good good firstly big doesnt necessarily mean bad means successful debates merits capitalism aside hard get success one thing means money invest new acts big necessarily mean dishonest dont imagine moment indies havent stiffed artists royalties stitched unfair deals thats going since day dot stupid ok lets take closer look one people work big businesses generally brighter anyone else problem big businesses room dumb people hide small business incompetence rooted much faster people working see workload chances success impacted big companies sometimes appear make stupid choices since big companies tend dominate business sector also dominate sector organisations consequently sometimes appear entire industry going hell handcart ask whether label like xl releases adele uk could provided global support needed become phenomenon answer need look xls cofounder richard russell confirmation signed adele worldwide deal licensed music columbia release america central south america says columbia better equipped handle radio promotion marketing large scale possible cake eat sign indie wish ensure deal set way music promoted sold even label strength even presence prepared exclusively agfromkievgmailcom attack mag rights reservedthe business music chapter music businessthe business music retail labels business selling music back day meant pressing vinyl cassettes cds distributing stock retailers height old analogue record industry retailers uk alone worldwide total figure probably hit close half million record shop practically every high street main street haupstra\u00dfe boulevard came chain stores already existed course hmv uk woolworth america music sideline spread like wildfire golden days industry cash registers ringing thousands branches hmv price virgin tower records stocked catalogue tens millions came digital revolution retail digital world words written impact internet music sales anyone time read even read going date combination torrenting sharing streaming changing consumer habits united perfect storm took industry several years begin weathering graph right produced outlines need know impact digital revolution post period global revenues halved also shows need know folly prediction music sales format bn bn bn bn bn bn l global turnover l cds l digital downloads l streaming l vinyl forecast prepared exclusively agfromkievgmailcom attack mag rights reservedthe business music chapter music businessthe business music final three years forecasts showing industry apparently flatlining around bn mark fact global sales bn annually official figures released music analysts proved wrong almost every respect three years ago noone would predicted end digital downloading forecasting advice take notice forecasts watch happens act accordingly streaming industrys saviour see graph projections showing streaming revenues crossing bn mark reality december approaching bn streaming discussed detail later chapter downloadingtoown survive digital music sales bn dropped bn latest estimates went press put itunes activity heading south weve yet hear hires download specialists tidal hdtracks itrax prediction game possible aiff flac dsd formats show resilience vinyl audiophiles physical formats remain important countries downloadingtoown never really took hold cd sales continue dominate see graph cds forecast dip around half billion dollars vinyl limps along bottom line actually physical sales still accounted worldwide revenue vinyl sales predicted pass bn mark thats increase five years ago better forecast cds still worth billions yes sales continue fall bn physical sales cd vinyl still represented almost quarter total global recorded music revenue consequently realworld retailers back dead height music industrys success record retailers uk alone five years ago number nosedived depending believed today estimated nearly uk outlets selling vinyl cds dvds bluray nothing ever fat lady sings relative balance physical digital shifts prepared exclusively agfromkievgmailcom attack mag rights reservedthe business music chapter music businessthe business music genres jazz classical industries example older audience sell far physical units dance music sector still large audience djs dance continues press fairly high volumes vinyl see signs recovery vinyl story left paraphrase mark twain rumours physical musics demise greatly exaggerated hard market still worth almost one quarter global bn recorded music makes standards thats lot money money music industry going give easily answer question point last van leave last pressing plant deliver last music shop answer time soon music retail digital era landscape music retail still evolving five years ago itunes global download market thirtynine companies fighting remaining average market share less today downloadtoown market massively reduced size territory barely worth fighting artist starting none really matters exposure important often income reason get tracks outlet available see chapter releasing record first port call unsigned act looking put music front audience soundcloud basic model free use although also two payment options give adfree access useful extras get properly serious sites though keep eye tech trends soundcloud experienced financial difficulties hence introduction subscription models new platforms signs recovery vinyl story ongoing irony granddaddy music formats vinyl wont go away indeed one physical format whose sales growing pressings past nine years records pressed worldwide accounting album sales uk surge previous year uk saw vinyl sales reach first time since growth forged usual suspects dance indie labels issuing djfriendly collectible limited editions major acts arctic monkeys jack white pink floyd david bowie still love plastic even environment isnt record store day helped theres resurgence desire physical ownership theres definitely diehard contingent music lovers always value sound feel vinyl final analysis even retailers scratching heads happy mystery rights reservedthe business music chapter music businessthe business music emerge neardaily basis reading remembers myspace even back friends reunited send us selfaddressed envelope claim free oap bus pass bandcamp takes things little letting create microsite sell music basic service free pro account want take advantage extras offer theres also course youtube creating video go music another way grabbing attention time writing creating youtube channel uploading video still free charge bear mind though none options beall end getting music heard chapter spreading word talk need direct fans music online chapter releasing record well introduce aggregators services make music available biggest artists world doubt music piracy hugely detrimental effect music industry revenues although meaningful figures almost impossible come research various territories suggests anywhere fifth third music consumed illegally even claim piracy responsible drop record industrys global revenues major offenders age group streaming seems resulted steady decline piracy latest research suggests musiclovers finding pirating longer worth effort although research suggests one third music download streaming illegal uk instance yougovs music report says one illegally downloads countries including sweden norway even america supposedly number one country illegal downloading also seeing downturns fifty seven million americans fewer internet access involved piracy back downloads reckoned illegal spotify claims successful convincing younger generation abandon piracy pay legal service claim borne yougovs uk research respondents talked inconvience piracy claimed mostly download illegally tracks cant find onlinetorrenting matters less prepared exclusively agfromkievgmailcom attack mag rights reservedthe business music chapter music businessthe business music streaming music industry recovering earthquake digital retail second shockwave hit even bigger impact way music consumed streaming dust slowly clearing latest change long history change landscape different even five years ago hindsight apparent revolution digital downloads seen relatively small step mp ultimately another format streaming though plays rather buysyoutube streaming service youtube video hub sharing site streaming service answer bit advertising revenues playing increasingly important part labels revenue streams founder md cooking vinyl martin goldschmidt told guardian label makes average per million views youtube plays richard leach digital distribution manager label added instead focussing apparently paltry perstream payments take macro view streaming income unhelpful get hung perstream rates better focus aggregate figure really healthy exact proportion revenue passed googleyoutube rights holders unclear something tech giant seems reluctant clear current consensus around kept youtubegoogle handed rights ownerlabel songwriterpublisher final earned video shown official fangenerated videol free service million users l paid subscribers million users block represents million people listening streams music via spotify given year encouraging news musicians represented orange blocks show numbers paying spotifys premium subscription service april growth spotify september lllll september lllllll december lllllllllllll december llllllllllllllllllllllll august lllllllllllllllllllllllllllllllllll lll december lllllllllllllllllllllllllllllllllll lllllllllllllllllllllllllllllllllll lllll december lllllllllllllllllllllllllllllllllll lllllllllllllllllllllllllllllllllll lllllllllllllllllllllllllllllllllll lllllllllllll december lllllllllllllllllllllllllllllllllll lllllllllllllllllllllllllllllllllll lllllllllllllllllllllllllllllllllll lllllllllllllllllllllllllllllllllll llllllllllllllllllll december lllllllllllllllllllllllllllllllllll lllllllllllllllllllllllllllllllllll lllllllllllllllllllllllllllllllllll lllllllllllllllllllllllllllllllllll lllllllllllllllllllllllllllllllllll llllllllllllllllllllllllllllll december lllllllllllllllllllllllllllllllllll lllllllllllllllllllllllllllllllllll lllllllllllllllllllllllllllllllllll lllllllllllllllllllllllllllllllllll lllllllllllllllllllllllllllllllllll lllllllllllllllllllllllllllllllllll lllllllllllllllllllllllllllllllllll lllllllllllllllllllllllllllllllllll llllllllllllllllllllll prepared exclusively agfromkievgmailcom attack mag rights reservedthe business music chapter music businessthe business music apple entered streaming market learned spotify model millions people worldwide willing pay monthly subscription b free adsupported model might inhibit subscriber takeup hence free service apple music let spotify pioneer way wilderness almost seven years thought apple users worldwide would quickly assert dominance fact according apples numbers subscribers less half spotifys total gap appears wideningthis despite apples presence countries versus spotifys matters apple would undoubtedly like dominating market previously itunes nearly global share significant contributor bottom line predictions us might happen next spotify offering music merchandise sale chances apple could merge itunes apple music also offer single user interface itunes revenues plummeting bn projected wouldnt bet itstreaming enjoyed widespread takeup thanks accessible technology everfaster internet connections see growth spotify diagram pointer future bear mind spotify share streaming market september number subscribers paying stream music heading one quarter billion users even lowcost mps delivered tangible returns labels artists returns streaming services started lower less quantifiable provoking widespread anger particularly among artists pandora instance withdraw markets outside america couldnt make free service compliant local copyright laws meanwhile spotify biggest musicdedicated streaming service margin got even rockier start started free failed attract much way paid advertising returns artists often low point insulting consequence number alist acts including beatles led zeppelin pink floyd refused allow music service later spotify quitters included thom yorke memorably likened service last desperate fart dying corpse taylor swift apple music taking bite streaming market prepared exclusively agfromkievgmailcom attack mag rights reservedthe business music chapter music businessthe business music diplomatic telling wall street journal valuable things paid artists ed sheeran coldplay employed different strategy releasing music streaming maximising cd download sales first thousands smaller artists spotify streaming sites seemed another pointer future consumers expected music free didnt help many artists believe labels struck poor deals streaming companies major labels actually shareholders sony bmg universal music warner music merlin stakes spotify neverthelessbeggars group chairman marin mills one many high profile indie figures came support spotify et al noting even early respectable groups digital revenues came streaming since streaming become driver growth exceeding even optimistic predictions returning higher higher amounts money record labels publishers good news right well rights holder necessarily artist signed record label rights holder vast majority record contracts relate years pre digital least decade impact digital barely comprehended dont reflect reality music consumed st century even recently updated contracts skate around problem two things happen put right managers lawyers already demanding specific streaming clauses new contracts demand far higher percentage streamed plays youre looking signing record deal make sure shopping list essential subjects discussion see chapter record dealthe value music among myriad changes defined digital age one fact almost music commentators agree perceived value music fallen worst equated generation young people believing music free musicians havent helped value erosion uploading songs sites like soundcloud youtube artists complicit devaluing music us gift album songs innocence added apple devices free proved even successful acts immune lure socalled freemium promotional activities thread silver rather large cloud thirst authentic musical experiences either live way unique physical purchases bringing money ever paidfor streaming removes inconvenience piracy turned record industry back decline growth end day matters people still cant get enough music prepared exclusively agfromkievgmailcom attack mag rights reservedthe business music chapter music businessthe business music enough artists get angry revolt films first released video writers actors cut new revenue stream video never foreseen medium part writers actors contract understandably peeved writers went strike actors supported within space months hollywood found difficult get film made didnt take long studios see argument fairer contracts something similar likely happen streaming fact taylor swift already achieved something like withdrawing music spotify highlighted poor returns artists standing apple backed plan pay artists three month free trial music streaming service sure may unwitting figurehead wider industry pressure nevertheless viva taylor advice dont streaming holdout plenty artists youve never heard earning year pandora youtube spotify others slightly better known names iron wine zac brown mean much generating revenues well year streaming rights reservedthe business music chapter music businessthe business music sharing sites far chapter dealt musical equivalent donald rumsfelds infamous known knowns digital retail streaming aside overview industry would recognisable industry watchers past decades rumsfelds terms sharing sites like soundcloud youtube facebook vimeo bandcamp known unknowns radically changed music discovered consumed play key role daytoday decision making throughout industry importantly emerging artists opened entirely new potentially powerful channels selfpromotion marketing purple cow rules online billions people connected internet day night every day schedulebound hundreds billions listening viewing choices filter drives song video unpalatable truth filters one biggest benefits web democratising effect anyone get artopinionreviewbigotry front worldwide audience flip side democratisation glut content vast one statistic suggests would take around years watch material currently youtube theres day hours new content uploaded every minute heres analogy throw bucket water sea go find drop water cant purple cow approach comes q field black white cows one stands purple one google purple cow whether like artists become businesses miniature need cultivate kind focussed business thinking prepared exclusively agfromkievgmailcom attack mag rights reservedthe business music chapter music businessthe business music virgin records cofounder serial entrepreneur richard branson embodies create business choose name unless people know youre going sell products creative challenge digital age break white noise become heard known swim ocean online content seen waves become one rare purple cows make people turn take notice exactly go purple almost certainly start great music live performance backed support relevant taste makers attention across social media covered detail chapter spreading word social media drives radio play may think music something world waiting hear taking every opportunity heard live online living fantasy land five years ago first far aware time journalist managed get seat table witness music shortlisted uks popular music station bbc radio one radio one playlist committee group music lovers meet week portland place london decide new songs played following week committees decisions single important component driving early chart success uk c list records played rotating different time slots say eight ten times week b list records say list say kind rotation model used bbc may change time time station station country country atypical provides notable example whichever territory make music injournalist nadia khomami allowed meeting sending begging emails told guardian saw deciding whether keep current playlisted tracks discussion moves new additions snatch song blares speakers head music lists artists youtube views soundcloud hits shazam ratings twitter followers facebook likes got played new music snatch anyway committee interested probably stats social media platforms radio used tastemaking machine tastemaking begins online means playlist compilers largely following rather leading thats say never take chance gut feeling time time absolutely time time would take chance career gut feeling longer prime driver playlist compilationhow social media drives radio play prepared exclusively agfromkievgmailcom attack mag rights reservedthe business music chapter music businessthe business music pushing boundaries wont hurt either like things unique extreme notes superproducer rick rubin edgy things tend get attention heres advice agent manager whos broken acts youre going use sex really use youre going controversial really controversial set offend really offensive purple cows dont things halves prepared exclusively agfromkievgmailcom attack mag rights reservedthe business music chapter business music longer music business doesnt exist multimedia business scooter braun justin biebers manager chapter offers overview music industry industry currently worth bn rising bn come various strands contribute figure critically artists make money different ten years ago different years ago back artist could expect bulk earnings record royalties sales vinyl tape cd supplemented performing royalties radio broadcast plays publishing income writer recordings sometimes income gigs gigs usually promoting album acts wouldnt expect tour make much money model turned head today single promotes album album promotes tour expect earn large slice income albums youre headline star youre earning tour might troublein chapter gigs merchandise royalties history copyright performance mechanicals collection agencies record sales self releasing advances streaming sync deals brand endorsementshow music makes money prepared exclusively agfromkievgmailcom attack mag rights reservedthe business music chapter music makes money youthe business music merchandisemusic sales touringgigging one part todays socalled model includes royalties includes downloads increasingly less streaming increasingly addition todays acts increasingly filling hole left falling record sales merchandising exploiting sync rights use music films tv programmes sponsorship deals infographic shows four key areas income artists write perform music smaller blocks show else share income stream artist note managed artist money go manager deduct commission paying youhow music makes money four main royal tyrevenue streams record labelvatmanufacturing publisherdistributionretail artistbooking agentroad crewsupport band promotersound lightsvenue hire artist manufacturerartist artist licensor publisherpublishing possible revenue sources sync licensing ringtones youtube partner sponsorship product endorsements prepared exclusively agfromkievgmailcom attack mag rights reservedthe business music chapter music makes money youthe business music gigs start musician fees gigs typically main source income fees likely fairly small paid direct cash venues play sums usually even smaller dj sets many artists earn nothing live endeavours gain reputation locally profile rises live income bigger betterattended gigs hopefully increase attract attention booking agent booking agent team income receive gigs longer money used go directly venue owners hand filtered booking agent see chapter team take total gig fee early career agent take around audience size increases money increases agents cut subsequently fall wont complaining manager joins team require cut live income manager take everything earn transition taking home gig fee third carved commission tough indeed short period transition may less cash pocket youll soon playing bigger venues meaning bigger fees delegating business tour arrangement third party getting bigger better paid gigs default youll also freed large chunk time concentrate important matters prepared exclusively agfromkievgmailcom attack mag rights reservedthe business music chapter music makes money youthe business music merchandise brave new digital world stuff real physical stuff still sells fact selling ever new generation music lovers happy pay next nothing mps streams many happy dig pockets often gigs also artists online stores buy merchandise international licensing industry merchandisers association lima estimated worldwide merchandise merch market worth bn growth year year meanwhile uk musicians union report close suggested much bands live takings came selling merch branding pr benefits well conceived realised merchandising approach best merchandising makes money also builds brand recognition generates buzz every aspect brand much chapter brand essential start fan base thinking merchandising ideas audience largely comprises cashstrapped students example theyre unlikely market lavishly produced vinyl accompanying hardback book youre marketing tshirt fashionsavvy clubbers make sure sufficient quality aesthetically physically warrant price tag risk losing money also garnering reputation ripoff merchant starting fanbase means ensuring merch fits brand identity story chapter doesnt risk muddying brand waters divorce brand merch goes far also risk labeled sellout folk band singing authentic living likely get short shrift selling cheap massproduced figurines good news highend merchandise isnt something need concern start music career initial financial investment required significant need gigging sizeable venues regularly enough able shift serious units begin merch offering may simple branded tshirts prepared exclusively agfromkievgmailcom attack mag rights reservedthe business music chapter music makes money youthe business music boxful cds gig tshirts remain main breadandbutter seller artists meet greet expectation gig attendees need adjust mentally new postgig norm fans queuing say hi shaking hands posing selfies gently guiding merch counter see importance merch edible skulls postgig cds standard rules retail apply merchandising keep profit margins wide gigs online two key shopfronts obvious place sell merchandise usually gigs america country music stars long known value setting table gig fans queue autograph buy latest album interacting fans keeps feet ground also highly effective means fostering maintaining loyal fanbase aftergig shop financial nobrainer gigs offer captive audience fans whore buzzing performance theyve seen take stuff home without faff postage costs seven daywait merch sales channel although fanbase likely start local long youll fans regions countries wholl never make gig potential merchandise buyers given stock churlish make available worldwide buyers cue online store setting online store easy enough plenty third party templates make relatively straightforward start wixcom godaddycom anyone email address accept online payments via paypal also sell merch directly bandcamp even spotify streaming numbers high enoughthe main challenge particularly selling overseas getting postage costs right research keep track changing charges youre careful end losing money running small despatch operation like takes time time spent making music money pocket takes hour week early days far fledgling business goes time well spent merch starts demanding time rope supportive relative friend incentivising need share revenue sounds like much headache idea filling bedroom tshirts fills dread might choose follow lead acts like mumford sons metallica mogwai use service like music glue job musicgluecom directtofan platform allows musical artists sell digital content merchandise event tickets multiple currencies languages print demand tshirt service stock despatch management well web based shop templates looked music glue removes much burden merchandising shoulders charges fair transparent around commission time press prepared exclusively agfromkievgmailcom attack mag rights reservedthe business music chapter music makes money youthe business music possible balance economies scale realistic production runs ie make much merch get unit cost low possible actually sell revenue breakdown selling merchandise early days simple pay print tshirts cds limited edition vinyl set sale price profit goes pocket someone manning stand may also ask paid receive share profit every youll come across venue owner wants cut merch sales shock first time youll realise pretty normal wouldnt offer share would ask dont fight everyone needs make living without gig youve got nowhere sell tshirts might course want counter owners request one maybe negotiate suggested cut ask share bar takings pro rata number extra people youve brought door dont ask dont get dont need stick ubiquitous tshirts cds limited edition vinyl runs figurines place mats jigsaws signed photos posters usb sticks edible skulls explored contributed towards bottom line artists making music every conceivable genre make sure nothing costs make fans willing able pay merchandising licenses youve got record deal youre touring larger venues box cds tshirts longer going cut cue merchandising license point third party merchandising specialist take hard work making selling hands take away risk investing stock expand range stock offer carry risk ensure maximum effort made sell much possible gigs online knew thered didnt share merchandising revenue go go dramatically rights reservedthe business music chapter music makes money youthe business music importance merch edible skulls post gig cds idea taking merchandise next level appeals look inspiration oklahoma psych rockers flaming lips quick perusal online store reveals truly bizarre items alongside tshirts hoodies notably silver trembling fetus hanging christmas tree ornament according bands wayne coyle rumoured scientifically proven give vibrations help humans progress towards intelligence explosion sure probably helped bank account progress thousand bucks longer lips catalogue sure go watershed moment music merch culinary history gummy skull lifesize human brain made whatever gummy bears made encasing flash drive four latest tracks installed yup thats right eat way music paid opportunity silver trembling fetus gummy skull pale mundanity though next lips halloween venture outthere merchandising push release hour song skies h put track flash drives installed real human skulls sold piece band make grand endeavour every rock website blog internet reported story giving healthy pr injection course dont push boat far make money build fan base merch glenn tilbrook squeeze remembers days paid little attention merchandising archetypal artist money great wasnt drove naive wanted make music naivete cost band dear two weeks receiving k advance merch sales squeeze line split consequence ended saddled debt years today former stadium favourites sustainable selfrun business significant part control merchandise runaway merchandising winner selling recordings gig audience attended within minutes concert ending band members leave stage go bands popup shop venue foyer chat fans pose photos sign autographs meanwhile four cd towers linked mixing desk already burning nights performance disc eleven discs per tower ready sale ten minutes tilbrook understands importance contact fans digital age yes shop window internet says also concept postgig popup shop works people respond open fair buy nothing youre still giving something even time dont buy anything order say hello whatever people buy something fact staggering per cent audience buy cd key fob drive containing evenings performance according tilbrook fans interested studio recording prepared exclusively agfromkievgmailcom attack mag rights reservedthe business music chapter music makes money youthe business music unusual merch company demand much total sales thats sales even profit negotiating power strong audiences know attract booking agents larger audience lower percentage merchandise company ask seventy per cent big deduction make mistake selling stuff essential part successful income model see chapter record deal point career want concentrate writing careerdefining songs putting great shows becoming worlds successful tshirt vendor even though percentage share merchandise dips dramatically model everything goes according plan actual income merchandise increase licensed merchandise unavoidable career moves gear presents challenges aware getting firstly drop minimum audience number gigs stated license contract merchandiser may want make difference expected income actually achieve lets say example expect per audience member spent merchandise base sales forecasts minimum audience ticket sales dont go well people turn right assuming theyre asking cut sales share income wiped secondly youve received advance merchandise income merchandising company likely right cancel deal may also want advance returned good news long merchandise deal lands desk manager lawyer whose job mitigate risk facing either situation prepared exclusively agfromkievgmailcom attack mag rights reservedthe business music chapter music makes money youthe business music royal ties gig fees merchandise easy enough understand deal tangible play gig get paid sell cd take fiver royalties hand conceptual easy grasp since make significant share successful artists income important understand best place start looking came brief history ownership term royalty dates back th century back rights granted british monarch royalty geddit royalty rights allowed individuals corporations exploit certain enterprises monarchs control several centuries authors composers thought work written wind people granted royalty rights made money works means duplication distribution meant printers publishers first example would think copyright law generally thought statute anne reigning monarch time queen anne required royal assent placed statute book april statute designed pass ownership written work printers authors big win artists kinds britains involvement influence america time principle also took hold america prepared exclusively agfromkievgmailcom attack mag rights reservedthe business music chapter music makes money youthe business music copyright statute anne didnt specifically cover musical composition potential quickly spotted law grew scope coming decades statute enshrine law rights creator work author composer playwright licence work copied right copy copyright general distribution return share income copyright act enacted uk repealed former laws clarified authors whether books music plays first time owned work could therefore subsequently license exploit financially late th century well th exploitation dominated sheet music songwriters would assign rights song publisher means printing distribution hand publisher would take original manuscripts duplicate distribute sell paying original songwriters share royalty earnings phenomenally successful model even farflung rural areas people would gather round pianos learn sing latest songs sheet music sold millions composers reaped rewards next royal ty performance things began change populations left villages cosy communal singalongs live towns cities people started congregating instead music halls burlesques theatres hear popular music day longer music enjoyed select consumed hundreds sometimes thousands time sheet music sales today sale manuscripts remains significant revenue stream musicians music publishers day every publishing agreement includes provisions printing selling sheet music demand manuscripts remains high many classically trained musicians players cover bands say legions musical learners rely scores perform hit tunes film scores songs musicals publishing agreements include clause stating right print upload sale online scores normally publisher business partners also stipulate royalty rate associated revenue collected rate typically different rate agreed mechanical performance royalties often leaves less writer publishers share wouldnt unusual prepared exclusively agfromkievgmailcom attack mag rights reservedthe business music chapter music makes money youthe business music running concerts making small fortunes composers seeing income manuscripts sold musicians stage composers powerful publishers saw missing trick people getting rich intellectual property owned wanted paid time one works performed live set lobbying governments ensure musical rights holders benefited financially sales printed music also performances music exposure royal ties radio effect radio traditionally biggest medium promoting popular music might feeling heat streaming services radio remains linchpin income songwriters strange contemplate humble beginnings wireless telegraphy often conducted along railway lines james maxwell predicted possibility wireless electromagnetic waves fifteen years later heinrich hertz gave first practical demonstration become known radio waves young italian named marconi began experimenting broadcasting sending signals feet wasnt long able transmit across distance two miles hills mids small beginnings grown start american commercial radio system restrictions distance wireless signals could travel meant stations eventually numbered thousands serving local communities rather national audience began find big audiences music rights songwriters recorded versions songs already enshrined law began add musicians earnings also local found success playing local tastes country music rnb found way mainstream dominant format top radio three decades world war built massive market sales singles along came fm radio high definition stereo djs began play album tracks even whole albums helped shift record sales singles albums little decade fm audience top format way today fm radio remains popular ever supplemented thousands online stations catering manner tastes best known apples beats seeing potential pushing sales singles albums itunes via online station apple launched beats june running hours day anchored curated djs zane lowe ebro darden julie adenuga beats part apple music paying subscribers making potentially biggest radio station world though apple never revealed listener figures one things unarguable though importance radio exposure royalties artists stages career emerging talent global stars prepared exclusively agfromkievgmailcom attack mag rights reservedthe business music chapter music makes money youthe business music seed right sown france early group authors formed society collect administer money due playwright performances around country fifteen years later january kernel idea ratified law louis xv establishing frances sacd collection societi\u00e9 became model todays collection agencies ascap bmi america prs mcps ppl uk various agencies europe around world see prs join mechanicals enter fray entered first quarter th century become established songwriters work entitled share sales printed versions work entitled paid wherever whenever music performed new even significant revenue stream open thanks mechanical development would shape music listening next half century invention phonograph first time history experience listening music longer dependent human performers instead could buy mechanical windup machine hence term mechanical rights job way publishers going cut particular piece pie uk copyright act consolidated prior legislation conferred copyright sound recordings well british empire height act reverberated internationally st century rights history intellectual property characterised societal technical consumer developments repeatedly changing people use pay entertainment prepared exclusively agfromkievgmailcom attack mag rights reservedthe business music chapter music makes money youthe business music usually existing rights simply rolled expanded upon take account new circumstances occasionally tussle ensues happened video film studios decided precedent paying actors writers viewings home actors writers went strike new film television shows could made solved problem happening streaming discussed later chapter even though way consume music today may seem million miles away forebears dusty phonographs principles rights established century ago pretty much unchanged songwriter work agree terms publisher exploit work financially case artists selfrelease selfpublish songwriter entitled share revenues sale sheet music broadcast performance work public sales music mechanically reproduced recorded versions radio artist performance rights holder songwriter streams song rights agencypublisherhow artist recieves royal ties syncsperformer rights agency downloads prepared exclusively agfromkievgmailcom attack mag rights reservedthe business music chapter music makes money youthe business music specifically songwriter entitled share revenue sales recordings songs whether cover versions broadcasts music radio tv paidfor streams music public transmission music bars workplaces shops telephone hold music etc live performance music others also gigs sync deals oneoff uses song commercial soundtrack film tv show say commandment see starter ten take control songwriting song songwriter rules supreme always serious money thats say theres money elsewhere performers contracted play sing recording whether solo artist band also rights paid royalties certain territories america major exception afforded financially elevated status creators work perform paying royal ties heres breakdown payments receive source come make recording song youve written gets played radio andor sells copies via retail label receive royalty based record sales streams physical digital artist band contracted perform record labels typically pay royalties twice year depend record deal youve signed publisher receive royalty writer song record publishers generally pay twice year localown countrys songwriting society prs uk receive royalty writer song time played radio tv half paid direct half goes publisher prepared exclusively agfromkievgmailcom attack mag rights reservedthe business music chapter music makes money youthe business music collection agencies work theyre going way agencies around world collect distribute money collect differs continent continent country country digital age process also differs used necessarily better uk instance used periodic negotiations agree much radio station would pay record played station would report every play record making easy tot number plays multiplied perplay fee today many radio stations around world many sources income public transmissions bars caf\u00e9s vape bars etc radio stations outlets generally pay one licence fee much pay licence depends range factors radio station example pay fee based size audience number records played broadcast hour stations still able report per play per record known census others heres gets little unfair record played census station unlikely receive much payment radio play plays show data rightful royalty payments dont account census masked algorithm works pattern play received local country collection agency joined let see stations account census make sure pluggers concentrate stations thats going stop trying explain collection agencies calculate much pay would book lot bigger boring one could point existing book like ron sobel dick weissmans music publishing roadmap royalties first secondly seven years old thirdly havent got song write understanding intricacies collection agency algorithms unlikely make penny richer leave royalty academia mssrs sobel weissman concentrate career time far better spent recent development recording music usage comes courtesy underground club scene electronic music played djs clubs always nearroyaltyfree area anything wicked going reliable reporting method make sure performance royalties made way producers pockets technology changing although still concencus universal method pioneer recordbox helping producer djs track music clubs theres imogen heaps visionary mycelia project aims link creators earned income directly quickly meanwhile sync library world services like tunesat constantly scouring tv channels websites track music usage ensure writers publishers paid accordingly bet wont long something like mycelias blockchain applied across board including worldwide radio play streaming revolution may televised recorded prepared exclusively agfromkievgmailcom attack mag rights reservedthe business music chapter music makes money youthe business music accounts share songwriting societies typically pay quarterly uk example prs distributes royalties april july october december localown countrys performance agency ppl uk see ppl works become member might receive additional royalty performer record time played radio tv noted countries including america pay broadcast royalty performers uk main annual payment ppl uk income money generated internationally additional rights paid intervals throughout year royal ties record sales youve made far put kettle give pat back know many musicians royalties many ways royalties sales music record contract money make every time cd record download paid easiest understand dont get straight percentage income simple heres actually happens label signs artist record contract gives right make copies work either physically digitally usually pass percentage royalty made sales artist rate royalty enshrined contract record label lets say royalty anyone offers less royalty record deal run mile far good million dollar question likely notamillion dollars cause ongoing royal ty example itunes price itunes takes label share artist itunes pays mechanical royal ty irrelevant itunes may become easy way show money gets eaten get share never going get royalty rate say pence every rights reservedthe business music chapter music makes money youthe business music grumpiness among artists lets forget moment itunes way really simple example end money diminishes payment system gets might think instance could expect cents every album downloaded via itunes youd wrong heres album sells itunes see diagram itunes takes share leaving cents mechanical royalty automatic payment goes directly publisher song leaves record label artist royalty paid album many artists wonder theyre still breadline even selling albums note selfreleasing whole chapter releasing record dedicated selfreleasing record sake clarity rights subsequent royalties outlined far chapter whether release material release label difference label andor publisher assign rights therefore income people selfreleasing song digitally model outlined changes follows itunes retailer take cut typically around rrp see right pay somewhere zero aggregator talk chapter releasing record whats left itunes aggregator take cut remainder selfreleasing royal ty model itunes price itunes split aggregator split cut prepared exclusively agfromkievgmailcom attack mag rights reservedthe business music chapter music makes money youthe business music assuming also songwriter self publishing aggregator payment schedules tend regular record companies collection agencies means album rrp say expect see around per album big improvement cents typical record deal everything relative one million copies cents worth ten times copies million album sales live audience scores thousands note aggregators charge commission charge straightforward fee putting tracks online extra services like promotion packages cost extra covered chapter releasing record performer royal ty performer royalty relates performance record paid perform record singer guitarist drummer different performance royalty collected prs bmi etc specifically broadcast transmission performance record public countries notably america pay performer royalties paid considered performers singer band contracted record deal organisation collects money uk phonographic performance limited ppl see box right check online regional equivalent money collected ppl distributed among record company members performer members yearppl works become member ppl collects royalties sources prs collects behalf record companies performers performer successful record write song still expect royalty cheque radio tv play public broadcasts record bars shops factories prs joining ppl easy go website click register today link fill form follow instructions main qualification demonstrably contracted performer record commercially released opposed session musician bought day selfreleasing process applies cut musicians lieu session fee say also register interest track prepared exclusively agfromkievgmailcom attack mag rights reservedthe business music chapter music makes money youthe business music streaming latest controversial royal ty streaming newest area royalty earnings growth importance industry phenomenal industry turning bn spotify contributed equivalent industry grown bn spotify contributed bn equivalent move digital streaming accelerating google music battles apple music niche services growing including deezer features live sessions addition recorded music tidal qobuz offering music files cdquality better subscription streaming future apple staked claim accident majors financial stake spotify translate royalties artists things confused unpalatable truth doesnt prs join performing rights society prs uk collection agency gathers payments radio tv film public broadcasting sources behalf songwriters music publishers every country equivalent qualify songwriter prs membership write andor compose songs music commercially released andor performed register go website follow links currently costs member accounted four times year paid according distribution formula signed publisher receive income broadcast music direct prs remaining goes publisher pay balance owing selfpublish receive payments uk prs joined forces used separate collection agency mechanical copyright protection society mcps mcps collects money mechanical public performance playing recorded music bars offices etc behalf record companies publishers pays members monthly become member prs automatically eligible royalties collected mcps long record company publishing company members advise check signing deal prepared exclusively agfromkievgmailcom attack mag rights reservedthe business music chapter music makes money youthe business music streaming revenue relies complex models govern traditional music sales weve seen complicated enough anyway worlds biggest streaming service country mile youtube example historically youtube hasnt paid rights holders based views copyrighted material paid instead based views clicks advertising run alongside uploads ads appear start video banners float consequence youtube constantly war rights holders rightly claimed company places monetary value number ad viewsclicks generated upload rather number views music video gets thing viewers actually see spotify yet pointed future competitor youtube introduced adfree subscription service spotify standing start garner paying subscribers imagine youtube might achieve next five years bn user base work numbers enormous dua lipas new rules streamed spotify alone one billion times youtube official video viewed bn times ed sheerans shape video almost four billion views youtube two billion streams spotify sheerans divide album broke pop charts streaming numbers meant nine placings top march musicians havent jumping joy performers songwriters seeing little money generated streaming recordings discuss chapter music business taken music one taylor swift shows sign caving corporations signed new record deal towards end one clause written contract universal would distribute artists share money might make selling shares spotify best way view controversies surrounding streaming historic context next big musicconsumption shift require prepared exclusively agfromkievgmailcom attack mag rights reservedthe business music chapter music makes money youthe business music new royalty payment solution like invention sheet music radio gramophone rights holders musicians tech companies consumers lawyers even governments currently jostling way towards solution throughout process musicians back foot signs sooner expected power financial balance beginning even since principle paid public performance artists work well established big issue streaming isnt whether artists paid fairly paid accounted artists writers stream like sale download radio play question lot money depends lay chapter looking signed label make sure manager wit influence insist streaming royalties paid rate headline royalty buried somewhere either radio play mechanicals giants like youtube amazon customers worldwide billions joining subscription model future looking damned sight brighter even four years ago way selfreleasing selfpublishing streaming revenue generate come via aggregator signed artist included statements record company prepared exclusively agfromkievgmailcom attack mag rights reservedthe business music chapter music makes money youthe business music sync deals getting song placed tv show advert film covered synchronisation sync license another source income high end earnings scale licensing track bigbudget ad global reach earn artist millions also transform little known song chart topper little known artist superstar room track make luv example would likely another noughties disco house tune instead huge popularity boost bestowed placement ad lynx pulse rocketed top uk charts sat four weeks truly lynx effect also made sampled vocalist oliver cheatham household name years last appearance charts uk use music ads reached zenith socalled john lewis effect artists see significant uplifts sales well insignificant license fee using music stores annual christmas ad past years paloma faith never tear us apart fyfe dangerfield shes always woman ellie goulding song smiths please please please let get want slow moving millie seen huge singles sales soundtracking annual campaign established acts able take slice sync pie agencies like hookline specialise placing music new talent much unsigned tv ads radio placement right artists income benefits big music publishers inhouse sync departments singersongwriter charlotte emma aitchison aka charlie xcxs relative unknown outside east london rave scene one sync changed tv show girls featured collaboration swedish dj duo icona pop love sync love sitting respectable enough swedish charts following january girls appearance song went global peaking billboard hot uk within space six months single tv tiein shifted charlie xcxs career several gears prepared exclusively agfromkievgmailcom attack mag rights reservedthe business music chapter music makes money youthe business music world library extra buck bang long ago term library music brought mind insipid lightweight aural tat produced wilfully outoftouch musicians used help artless corporations peddle washing powder spam canned meat unsolicited marketing emails rest tv radio today far culturally savvy audience endlessly diverse base contentcreating clients library music agencies put quality top agenda skilled producer theres significant money made without compromising aesthetic integrity lot composers claim writing library far freeing creative writing commercial world youre restricted certain genre fanbase demographic says industry consultant rachel menzies native dynamic music hand lot instances writing specific briefs written agencies production teams creative potential may hindered respects understanding world production music important understanding writing brief understood go getting signed library music agency really good research says menzies youre folk writer approach library specialises trailer music youre going fall first hurdle find libraries align style get touch album concept think add value catalogue libraries work nonexclusively writers signing writers deliver whole albums others single tracks present library something add value catalogue fill gaps repertoire really big clients library music always going second choice major artist sync deals still growing industry career musician overlook always place library music media platforms introduced world need background music menzies concludes due budget restraints forcing agencies production companies creative music choices seen trend authentic emerging artist syncs equally amount library music broadcast around world tv online apps via media still vast lucrativegenerated several hundred thousand new fans process kinds syncs offer mean generating additional income fans record sales profile existing catalogue money made writing direct sync form library production music anything corporate videos radio jingles stings require original music typically licensed specialist libraries like kpm apm dynamic boosey hawkes audio networks many biggest prepared exclusively agfromkievgmailcom attack mag rights reservedthe business music chapter music makes money youthe business music libraries owned partowned record labels libraries commission original music composers genres aggressively market music buyers production houses around world new services block including likes istockmusic allow anyone upload music paying back percentage every time licensed good news dont need superstar earn good money tv film musician able record produce high quality music able earn syncs wider library production music industry recordings stand alongside commercially released tracks genre run comparisons brutally honest plenty opportunities around new companies springing month hungry music talent youd good company plenty well known songwriters take creative break main artistled projects pen library tracks keep publishing income stable forthcoming rainy days trick course knowing present music persistence key start searching online library music prs useful page libaries look contact pages find submit demos start approaching companies like look feel welcome demos library sector may feel like unsexy end music industry plenty talented musicians make good reliable income music might otherwise never heard sure everyone part balanced portfolio earnings sync worth investigating youd company smiths phil collins charlie xcx oliver cheathamhow music libraries work music libraries generally commission tracks full album within given genre specific theme might ask upbeat house driving rock songs fit concept breakfast boogie spend minutes listening catalogues major library companies websites get feel expectations youre selected work library typically given brief project manager guide writing production process asking edits final submission album released library secure usage depending deal either see usage fees paid directly library performance royalties time track used potentially mechanical royalties libraries offer typical deal give library exclusive rights exploit music library taking publishing prepared exclusively agfromkievgmailcom attack mag rights reservedthe business music chapter music makes money youthe business music brand endorsements point career might asked wear particular item clothing play specific guitar get free clothes free guitar likely also additional fee ensure wear play product rather higher ladder toptier artist may invited become brand ambassador often brands deep pockets think avicii volvo rhianna puma william intel even ellie goulding pantene ever lucky enough find thirdparty commercial interest knocking door main question whether brand keeping see chapter brand brand instance lofi indie brand ambassador laura ashley would natural clever fit youre edm producer dj signing face wiltshire farm foods unlikely good idea matter much cash organic muesli table said justin bieber might seemed like obvious choice star endorser calvin klein start particular partnership made parties stacks cash also enabled bieber update mature public image via advertising billboards world engaging brand endorsement help rebrand risky strategy highly effective works clothing instruments cars coffee makers headphones possible pegs hang theyll make money theyll also save cash fully aware though aligning brand another brand big deal serious consequences career things go wrong wouldnt want end rita oras ahem shoes example dragged court ultimately settling photographed pair converse contract superga consider case mary j bliges disastrous partnership burger king resulting commercial widely lambasted reinforcing prepared exclusively agfromkievgmailcom attack mag rights reservedthe business music chapter music makes money youthe business music africanamerican stereotypes hastily canned deal cancelled blige made profound public apology notes luke mitzman ex vp jho management key us find brand doesnt compromise artists integrity badging exercise kids see second wont even register create allround experience brand say steer clear nonaligments forge organic fit brand artist brand endorsements extremely lucrative artist like almost everything career saying yes one thing one thing looking number one future mixed portfolio making ends meet dance producer surprise moneymaking potential average live band generally greater average electronic artistdj ways solo producer turn profit beyond releasing tracks gigging comfort home studio versatility key career brit breakbeat producer hedflux demonstrates skype tutorials workshops music schools sample packs various sound design jobs among things bring money shows remembers early career first four years tough financially feast famine six years im getting hang workshops sample packs library music didnt get music production kind thing well yes actually want realistic shot making career musician stuff keep afloat wage longerterm campaign crack charts none feel like chore either theres plenty creative satisfaction producing sample library designing sounds local arts council media project hearing library music used tv ad dont see way youre going either grin bear get really lucky singles releases ideally want something thats going pay says hedflux help learn grow artist get outside musical comfort zone expand repertoire serve content uniquely gifted passionate maintain independence jobs big labels whatever going everyone people want simple life paycheck big label deal might best ive learned owning music staying independent important prepared exclusively agfromkievgmailcom attack mag rights reservedthe business music chapter brand unless absolute clarity brand stands everything else irrelevant mark baynes exglobal cmo kelloggs kelloggs say whats fraks music got cornflakes answer better worse artists bands brands kanye post malone sia mia go brand justin biebers brushes controversy law whitney houston discovered crack cocaine rarely good news career marketing advertising industries billions dollars millions words spent theorising researching even reverse engineering finding people think want inventing product think want pursuit scientific rather creative approach branding youre starting dont need need recognised want name recognised people hear also see need brand lots dirty words associated art commercial profit sellout compromise branding another like words branding denotes deliberate might say vulgar attempt attract audience god forbid make moneythe business music chapter brand brand building brand nine step programme brainstorm name game creating story logo photos sleeve artwork video social media website starts ends music prepared exclusively agfromkievgmailcom attack mag rights reservedchapter brandthe business music thats feel business creativity pure unsullied commerce means skip chapter good luck hobby youre serious establishing artist act want music heard many people possible better worse youre going take brand seriously may come naturally crafting lyric delivering floorrocking set solid brand much strong set tracks springboard career launch optional extra importantly youre putting effort best writer singer performer dj owe serious brand worlds successful companies know brand infuses everything true musicians everything brand lyrics write music release tone voice website facebook page clothes wear even way stand stage nothing wrong everything right going extra mile creating public image instantly recognisable two three halfadozen views branding word brand derives old german word fire brandaz branding used mark thieves burning mark skin everyone knew werent trusted family heirlooms nowadays word readily associated cattle branding american west ranch owners brand animals avoid confusion rivals animals identification event cattle rustling cases branding one thing identification humans time immeasurably complex pretty simple beings much information bombarding us business music industrys always right music reverse engineering unnecessary year year decade decade public puts money music industry continuously tries give public clearly likes industry wrong many times right robbie williams record label said angels wouldnt hit took song focus groups loved went sell twice platinum perpetual tension artists record companies know think know best artist inevitably find odds label times remind record industry way times would beatles dylan hendrix sex pistols angels robbie williams prepared exclusively agfromkievgmailcom attack mag rights reservedchapter brandthe business music every second day latch onto find comfort simple recurring imagery best brands simple instantly identifiable good undertheradar example singersongwriter fifi rong look presence twitter instagram facebook youtube similar launched paloma faith myspace page look accidental carefully cultivated deeply considered image blends chinese heritage vintage hollywoodmarilyn monroe style way following footsteps others carefully crafted brand image think boy george marilyn manson lady gaga fifi rongs logo follows image taking inspiration heritage mixing aesthetic chinese typography font easily read western eyes logo everywhere recordings merchandise website facebook page anywhere fifi logo sure may major name pop fifi rong quietly built brand career writer producer skeptas konnichiwa album also recorded tricky yello forging image logo fifi following long music tradition way back beatles dropped logo first appeared ringos kick drum still used today recently sex pistols cutout newspaper type public enemys crosshairs daft punks scrawly lettering instantly recognisable iconic logos even oasis hardman posing understood value branding look back sleeve beatles seventh album revolver youll see remarkable resemblance hairstyles sunglasses sported oasis years later logo dont second believe youre interestingcooldifferent creating brand good enough bunch hardliving counterculture mancunians went make multimillions good enough prepared exclusively agfromkievgmailcom attack mag rights reservedchapter brandthe business music building brand nine step programme purposes chapter assuming music good good music starting point think better spend time refining songs mixes beginning branding journey music already blowemawayfantastic youre ready establish brand following failsafe nine step programme outlined coming pages step brainstorm first critical step need access powerful piece opensource freeware currently available humankind brain using pencil paper well start retro youll spend enough time front laptop move branding process let thoughts flow free want viewed cool hot pop rock metal indie techno write words apply act artist dont restrict maybe youre fusing hip hop rock youre shoegazing folkie put piece paper stage thought wild idea absurd dont censor creative outpourings ramblings jot note write scribble doodle draw fill blank page goal fully formed rounded story act artist include notes personality onstage presence visualise rough image aesthetics image never forget story must rooted music thats need music first brand diverges far music wont make sense cerebral gets branded unlike early german thieves midwest cattle spared physical burning flesh get message across although love music enough theres always option tattoo skin aside branding appear everywhere including facebook instagram twitter soundcloud bandcamp youtube social media pages use website gigs fliers music artwork merchandise prepared exclusively agfromkievgmailcom attack mag rights reservedchapter brandthe business music live electronica threepiece sporting hobnail boots biker leathers going come across confused well plain wrong really doesnt mean cant toy conventions cute lily allen witty badmouthed lyricist lucius fivepiece fronted two usually identically dressed girls presented like bubblegum pop singers music though often dark wild means challenge audience social expectations understand even openminded music consumers tend like things make sense make sure music artistband name branding fit together consistency story key good visual sense innate understanding makes special initial brainstorm wont take long youre struggling dont fret ask friends help fancy designers studying art fashion media studies even better invite round evening ply cheap lager ruthlessly exploit initial brainstorming process couldnt important start real hard work creating logo visual identity dont want wasting time trying remember want fully formed understanding brand youre writing press release talking pr agency brainstorming visuals video know everything know image identity values step name game probably important part branding process deciding whether right name real name billy bloggs want see billboard advert first gig youre already way establishing persona want create unlikely billy simplicity brand aspiration albert einstein said cant explain simply dont understand well enough dont understand noone else either simplicity golden commandment branding design industries best brands appear simple values summed three words fewer challenging engaging exciting cool current vintage classic underground identifiable logos simple apple bite stylised bluebird need persuading virtue simplicity take note advice producerto thestars rick rubin eminem kanye west johnny cash lady gaga shakira theres tremendous power using least amount information get point across whether branding songwriting production less often much much prepared exclusively agfromkievgmailcom attack mag rights reservedchapter brandthe business music bloggs taken seriously sex icon public would absolutely buy guynextdoor turn starts dictate bbs brand elegant high fashion lotech friendly accessible see element feeds next part process decide bb cant sex symbol aspire decide call something birth name youre band brainstorming group name number one piece advice keep simple easy drinking brandy three unleash inspiration come outlandish name truth vast majority successful acts simple memorable names consisting one two words see simplicity choosing name right may course tempted call band weve got fuzz box gonna use wacky right people smile forget semiunpronounceable name thatll never trip djs tongue one thatll fit average gig flyer weve got fuzz box gonna use actual band name way good luck also actual band name takes things step names unpronounceable unsayable unsearchable try googling see comes back name remembered searched online spoken serious practical considerations trump heatofthemoment silliness pretension idealism youve decided name examples sake lets go delinquent hustle give speak loud test imagine dj saying air imagine big billboard imagine small itunes icon imagine big intro play hyde park still working time final checks simplicity choosing name youre doubt wisdom keeping artistband name simple highest earning acts time beatles abba elvis presley led zeppelin madonna elton john eagles acdc pink floyd rolling stones golden rule applies latest generation stars uss ten biggest moneymakers according billboard magazine u garth brooks metallica bruno mars ed sheeran lady gaga billy joel gun nroses roger waters coldplay proves want swing winners youre best either one two word name weve got fuzz box gonna use make top ten prepared exclusively agfromkievgmailcom attack mag rights reservedchapter brandthe business music performing various tests saying loud imagining billboard etc chosen name still working switch laptop type name search engine see comes back delinquent hustle already exist probably return drawing board unless theyre tiny youre certain chance getting bigger b theyre active musical genre different make confusion impossible even tread carefully dinosaur jr werent always dinosaur jr started life dinosaur potentially ruinous legal bustup psych rock supergroup dinosaurs comprised former members grateful dead jefferson airplane country joe forced j mascisled rockers add jr suffix delinquent hustle isnt already artist band name check domain names start wwwdelinquenthustlecom thats taken try tweaking wording andor domain see theres something nearly good wwwdelinquenthustlecom say wwwdelinquenthustlecouk theyre gone find seeking evermoredesperate iterations wwwdelinquenthustlebiz wwwdelinquenthustlethebandconz honest get stage best return drawing board remember point make easy possible fans find compromising allimportant web address means youre moving away target youre longterm favours get url want something close usually fairly easy get relevant facebook page twitter handle soundcloud youtube bandcamp pages ensuring brand unique early stage save lot time money sanity linesafety checks chosen name step creating story legend mind youve got brand name unique music thats one hardest thing get right youre good start time work building biography establishment brand creation story crucially story true artists take alias thats suitable style music notes tinie tempah alias grounding reality frequently altered version bob dylan arrived new york fully formed working class hobo orphan whod road since little richard bobby vee rights reservedchapter brandthe business music except reality middle class jewish kid hibbing minnesota whose family owned string cinemas hes never responded questions officially put record straight mismatch story reality carried making stuff recognised earlier press prints wants inventing truth doesnt pass muster dylan played game continues half century later need pretty big cojones carry todays press less forgiving press years ago probably best stick truth something close truth unless quick mind cope branded see liar impostor story crumbles around also easier dylan come remote part vast country considerably harder youre cheltenham english county gloucestershire rolling stone brian joness home town joness attempts bad boy rock star soon revealed spoiled behaviour bored teen stifling english town recreation impregnation local girls parents terribly disappointed keeping real authenticity matters people inherently like authenticity like know stand friends brands analysis starbucks built coffee empire author howard schultz writes everchanging society powerful enduring brands built heart real sustainable companies lasting authentic authentic need mean perfect many companies want brands reflect idealised image notes virgin records cofounder richard branson consequence brands acquire texture character public trust true warts something fans respond well clean living jonsi took youtube show fans make vegan food kanye west pontificates public even concert first thing comes head miley cyrus hannah montana generation disney channel devotees looks ways shock hypersexuality reason probably successful storymaking takes real real collective band goes town interesting differentflamboyant aspects consequently storyyou real arent different story simply extreme version still rooted real rights reservedchapter brandthe business music dont start creating brand youre shy dont consider interesting feel supremely ugly aversion showing face public maybe youre politician unlikely sideline edm superstar consider option virtual brand one focused human kind artificial construct daft punk done iconic robots deadmau done mau persona lesser extent damon albarn jamie hewlett virtual band gorillaz kind branding hard pull need absolute belter idea get right liberating allowing legitimately make kinds stuff backstory career gets far also benefit allowing go local supermarketmorningafterpill clinicnudist beach without mobbed judgedpappedwhere start begin create story returning hopefully fullycovered sheet looking inspiration think heritage anglosaxon celtic caribbean chinese even partly relevant music brand youre building think kind music played house grew influence youre think school cleverest kid class expelled lily allen several times drinking smoking primary school think want seen badgirl rocker underground techno think branding endpoint relate back story going invent story ensure ways cant checked regularly post love mum facebook theres point pretending youre orphan worlds worst childhood youre tempted overfabrication dark side consider cautionary tale heather mills second wife paul mccartney whose selfformed legend involved series inventions could easily disproved including father dead became proper inconvenience contacted press offered show happy family holiday videos hungry media virtual brandband prepared exclusively agfromkievgmailcom attack mag rights reservedchapter brandthe business music moral story life isnt interesting want spruce bit introduce lies cant checked age social media already given away far possibly remember family social life school friends media find visuals youve got music name youve crafted brand concept story time tackle visuals four order importance logo sleeve artwork least one press photos video two essential useful important logo step make logo logo simple rendition name specific typeface symbol like ed sheerans x illustration like apples erm apple starbucks logo incorporates three nikes tick recognisable name uses either together top brands spend billions logo sitting eye wateringly expensive meetings top designers long discussions whether sans serif font really speaks target market whether orange blue yellow best sums companys values fair amount complete baloney certainly nothing need worrying event headstart musician youre creative default noone expects expert bad behaviour public eye way behave much part brand anything else indeed tabloids sites define brand johnny rotten sid vicious sex pistols behaved way behaved felt trying establish cabaret act would killed careers dead musical ethos totally line punk attitude bono built brand global campaigner good causes back u brand imagine difficult would u bandmates broken ranks reveal hypocritical exploitative wanker lawyers reading definitely saying contrarily fed oasis brand loud brash whoyoulookingat gallagher brothers kept fighting stage media gaze even studio artists behaviour one biggest brand identifiers brand boynext door goodytwoshoes dont falling drunk crashing cars justin bieber rights reservedchapter brandthe business music typographer visual id whizz instead good visual sense well innate understanding brand really need develop logo youre happy generating logo simple playing different fonts layouts colours might also consider adding kind visual icon like whos male symbol essential want outsource logo design sites like fiverrcom logojoy com useful getting lowpriced logos artwork dollars commissioning make designers work easier giving visual pointers relating story shortlist logos like youre able creative ideas logo step press photos need press photos clues name moment start garner press interest among blogs magazines even label ars youll asked photos reason lies incessant interest human beings hear song love want know story person wrote want know look like people nosy like means theres public press imperative pictures artistband imagery used everything decking various social channels facebook page soundcloud tumblr instagram sending press releases designing cover artwork plastering fliers rest imagery dont think taking photos youve got comprehensive understanding brandstory everything photo shoot clothing expressions mood makeup location true brand dress appropriately pick place shoot emphasises means wearing laura ashley dress standing meadow wildflowers think brooding drum bass producer cant afford pay professional take photos ask talented friend everyones photographer days really dont need much way highend kit least one wellknown film director boasted prepared exclusively agfromkievgmailcom attack mag rights reservedchapter brandthe business music shooting multimilliondollar ad using iphone dont think need highgrade dslr produce pictures right calibre indeed resurgence lofi vintage aesthetics beautifully realised hifi imagery largely offtrend moment anyway age outoffocus selfie gonzo postpolaroid snapshot even second hand iphones camera enough create characterful shots far important concepts behind shots study musical genre online inspiration general visual feel used urban industrial rural fast slow pretty challenging specifically check locations used beachstationdecaying urbanscapecornfield b clothing worn c expressions appearing additional props used make note think might work brand pull together shoot big day arrives take plenty pictures digital might well experiment different locations try fun end day pick three four shots best encapsulate brand youre done upload chosen images anywhereeverywhere people start either feeding back look amazing theyll buy next record look like muppet cornfield eithers fine stage least people starting take notice step sleeve artwork unless youre glutton typographical punishment kind graphic design sadist logo creation process leave feeling never want visit another font library life fortunately creating artwork launch single album usually easier fun early soundcloud uploads fine use images like around web though check theyre royaltyfree obviously comes launching brand far better use single album covers partly keeping right side copyright law prepared exclusively agfromkievgmailcom attack mag rights reservedchapter brandthe business music last thing want angry photographer demanding removal image nabbed central new single campaign mainly wider branding picture want every piece branding collateral absolutely someone elses imagery vision supports centred around story sense single album artwork pivotal part brand unlike logo memorable enough accompany career sleeve artwork well call even plans appear physical sleeve change story music evolves first ep sleeve moody townscape leering camera might reflect angst debut musical offering next youre happily settled farm nebraska might legitimately star apple orchards pastel sunsets sleeves anything goes photos illustrations montages screenprints simple text world art embrace explore long remember golden maxim true brand sleeve artwork cover inspiration case simplicity years record covers inspire comes designing cover artwork tracks internet gives instant access sleeves pieces art right look history record sleeve youll see get away far less effort indeed iconic covers practically blank big difference cover trying noticed record shop among hundreds even thousands others thats really important today whatever choose put cover clear visible spotify digital store nobody browses online covers artwork either go itunes buy track small number cases find following banner priority design something easily identifiable even small needs work social media soundcloud bandcamp itunes look us war artwork massive attacks mezzanine interest look clashs london calling cover wholesale copied elvis presley album cover look also states cover nofrills blue pink outline numbering something simple always going work short dont feel like go complex unless youre confident designer photographer image manipulator prepared exclusively agfromkievgmailcom attack mag rights reservedchapter brandthe business music gives lot freedom logo still needs anchored music story logo sites like fiverrcom give access talented illustrators designers willing work low budgets get best look designers portfolios reviews give clear brief willing receive couple misses every hit step video youtube essential weve said well say soundcloud facebook aside important channel getting music pivotally brand yts ability showcase imagery makes even powerful branding vehicle soundcloud easy feel like youre ready youtube youtube artists pay insignificant sums pro video get mindset ready even videos still picture rolling lyrics get huge audiences kind video obvious low budget startersforzero feature still picture usually alreadycommissioned sleeve art press photos slightly advanced version video uses basic free cheap software like screenflow add bit movement momentum creating slideshows moving images around adding lyrics theres engage eye next step video live performance many reasons live videos worthwhile apart anything else potential managers ar execs almost always want see evidence live persona either visiting gig person better hectic schedules watching couple performances online prices sandi thom virtual reality littleknown scottish singersongwriter sandi thom deal viking legacy records wasnt selling enough copies wish punk rocker flowers hair justify releasing debut album inspired successful live webcast gig edinburgh thom came idea virtual tour basement tooting flat consisting gigs recorded webcast around world nights tooting massive success viewing figures reaching peak shortly rca offered thom deal wish punk rocker rereleased went uk ireland australia cued release album smile confuses people sold copies worldwide accusations highpowered pr involvement aside theres denying initial idea kickstarted thoms controversial successful career winner also one anybody could rip using online service provider like ustream livestream think prepared exclusively agfromkievgmailcom attack mag rights reservedchapter brandthe business music high quality high definition camcorders low hundreds rather thousands asking friend film gig two high list phones make good stab job gigging means djing split screen time audience capture energy night camera make sure youre something interesting cueing scratching record pummelling beats midi pads firing crowd enthusiastic armwaving rather staring laptop incidentally live videos also give artist chance study themself stage see improvements made performance near start live career start develop sixth sense moments lose audience studying video see happening lost got back nextlevel video cheap simple shoot stripped back effective miming track location shooting band studio add second camera nice edit higher quality results rotten tomatoes tips better live videos ninety per cent amateur footage live concerts looks sounds appalling badly framed shots concertgoers standing front camera poor lightingexposure overloadeddistorted sound andor shaky camera work comes shooting live steps make difference use tripod ensure always clear line sight camera ensure onstage lighting good critically artist inside light pool run audio feed desk hd recorder feed one audience hears immeasurably better cameras builtin mic make friends onsite tech advance see something theyre happy good hd recorder bought cheaply ensure enough battery power get gig theres nothing worse redlining half way killer set access two cameras ask second friend grab cutaway video people audience closeups edit final video cut scenes break away main camera feed make end video interesting show viewers youre cut competition trial run home see look like camera refine screenstage persona rights reservedchapter brandthe business music equally talented video artist right time patience inclination teach theres nothing stopping getting hands dirty kinds videos stopframeanimation conceptual short films case equipment easy part idea matters youve got good one theres chance little promotion lot luck efforts virally rewarded beyond skys limit terms investment ambition step social media requisite visual imagery name biography time personalise various social media pages many different sites start first prioritise time writing facebook instagram must haves always keep keen eye next big thing social media b constantly aware controversies might affect health chosen platforms dont want spend time defending moral political faux pas soap brand lush example ditched much social media rather face daily onslaught propagandists taking brands agenda social media place communicate fans share content music videos photos order importance choose allow upload logo photo push comes shove choose logo image logo carries name name recognition important visual recognition music uploaded soundcloud paying pro version allows customisation storage instagram useful additional tool brand particularly visual enjoy photography also becomes important bigger finally set youtube channel upload live footage prepared exclusively agfromkievgmailcom attack mag rights reservedchapter brandthe business music promo footage youve shot accompany specific songs possible use text us sections example dont reinvent wheel use strapline biography youve already created use different parts different sites avoid repetition thats already fair amount keep date sites like bandcamp give opportunity sell music direct fans finally worth noting part job brand manager noticing whats happening world social media better worse changes frustrating regularity sites fail succeed remember ping vine jumping onto every new outlet may tempting beware law diminishing returns maintaining lively presence three four biggest networks productive lacklustre pages three dozen pages update less time spend making music say stay top whats going ensure youre pivotal networks dont lose embracing every platform get music brand addition sites create content upload music showcase platforms pay invited professionally filmed performing live often studio among best ont sofa sbtv reload sessions secret sessions mahogany sessions research platforms carefully suitable style music pick right ones sbtv see video makes career right instance started outlet jamal edwards camcordershot videos freestyle rapping local grime music video makes career jamal edwards founder sbtv feted admired individual frequently invited events designed inspire others musician want involved music model learn longer costs arm leg buy good handheld high definition video camera come equipped professional quality stereo microphones inputs plug external mics live vicinity vibrant live music scene jamal edwards acton west london opportunity looking exploited great thing music constant supply new artists new songs youtube channel facebook page promotion could way millionviewed channel estimated million fortune friendships stars might even end mbe jamal awarded new years honours list prepared exclusively agfromkievgmailcom attack mag rights reservedchapter brandthe business music likes dizzee rascal tinchy stryder since branched gritty urban beginnings youth lifestyle broadcaster description incorporating wider range music get point sbtv wants channel definitely road somewhere step launch website youve done youll already pretty expansive web presence bother website good question answer stability searchability website one piece media belongs solely good url keep page date site likely come top rankings people search name dont everything musicians absurdly talented across artistic landscape yes may make great music theyre also fantastic photographers imaginative filmmakers understand people arent amazing everything dont job fantastic artist dj band member producer fact dont know difference type leading horizontal spacing going bar hit instead musicians starting rope friends contacts complementary talents stuff cant maybe friend knows design logos already software take visit local art college seek someone willing work youre good face face meetings visit online forums marketplaces like fiverrcom creative people offer services able view work filter dont think give want often youll able swap skills write track upandcoming film makers new movie shoot first video sometimes students happy work free help build portfolio musician island one immense pleasures music industry artists able work equally talented people creative sectors design film photography dance enjoy meeting minds rights reservedchapter brandthe business music also worth bearing mind outside site cant know exactly happen online decade ago musicians spending hours cultivating myspace page facebook came along work friends pretty much abandoned happen better mitigate obsolescence one space uniquely one central digital home entirely control links profiles social pages end day hub true home page website also offer something unique artwork doesnt appear anywhere else qas artist photos studio collectible demos blog links social media homepage importantly homepage newsletter signup field collect fans email addresses study study shown direct communication email brand brandlover effective form communication better number tweets facebook posts start collecting emails day one time get day emails wild west may big day europe storing third party data introduction general data protection regulation gdpr remember day every website youve ever interacted suddenly bombarded new data agreements yup gdpr coming effect postgdpr longer wild west days internet could collect email addresses simply send unsolicited marketing emails much liked risk hefty fine although legislation governing storage use personal data including email addresses territorydependent countries strict rules collect store email addresses market even someone directly contacted email must still explicit consent store subsequently email one easiest ways making clear invite email contact use email contact news offers future also important give fans opportunity unsubscribe every time contact gives contacts total control interaction gdpr fundamentally two rules thumb doubt dont email check countrys rules prepared exclusively agfromkievgmailcom attack mag rights reservedchapter brandthe business music email list boot youll direct access tell fans new gigeptshirts plenty options comes creating website simple templatebased sites like wixcom tailored options allow sell music even merchandise like bandcampcom musicgluecom finall starts ends music way branding journey unlikely youll sit exhausted depressed cry tennents super thought meant music happens dont lose heart keeping real cheap skrillex story dubstepedm music legend eight time grammy award winner skrillex aka sonny john moore claims spend little money branding marketing theres doubt phenomenal success isnt genredefining music dont pick almost facebook fans without putting serious ahem face time skrillex brand begins combination innovative edgy sounds characterful haircut also centres general air accessibility unusual electronic music web presence website social media friendly open amount engagement fans impressive constantly keeping date daily touring adventures personal life also instrumental success brand skrillex unlike many djproducers really handle writing production giving cachet musicians musician keeping side chin stroking set well raversskrillex slouch comes marketing either prior launch debut longplayer recess released mobile game rewarded certain amount play ability stream tracks album limited time showcase recess within fun brandappropriate context also gave album release event quality garnered plenty pr process perhaps importantly though skrillex frequently gives away music videos via soundcloud youtube pretty much qualify bonafide fan without spending penny openly suggests cant afford buy music pirate sounds like commercial suicide fact clever way positioning antiestablishment maverick cares audience bank balance dont doubt genuine position either maybe falling hype prepared exclusively agfromkievgmailcom attack mag rights reservedchapter brandthe business music easy become overwhelmed branding thing really matters music bear mind every stage various processes youre trying make cleverest website break facebook records collect instagram followers ariana grande last time looked heart everything music thats reason youre music comes brand never way round means must take control branding online life let work way round everything running try limit hour day updating chatting engaging posting get back music end day youre supposed making music reinventing digital wheelbranding guitar even instrument part branding everyone else playing big gibson telecaster ed sheeran went small distinctive mahogany martin lxe almost bottom martin range great little guitar theres lxe ed sheeran signature model prepared exclusively agfromkievgmailcom attack mag rights reservedthe business music chapter business music anyone knows anything music industry knows music isaac hanson success music industry isnt something wait hope something create day day simon tam music business hacks see taylor swift ed sheeran pharrell williams radio shows tv interviews think wandered street thought might fun really think saw ariana grande looking brighteyed bushy tailed breakfast tv sofa wanted maybe occasionally artists undoubtedly enjoy media spotlight others whod rather gigging rehearsal room pretty much anywhere except tv studio getting blusher applied repeating anecdotes theyve told thousand times stark reality promotion part package take become artist newcomers perennially na\u00efve sometimes think music theyre wrong selling part deal big part dealspreading word chapter start gigs touring new music matters live network online promotion social media interaction building profile buying likes viral effect electronic press kit blogs local media radio courting tastemakers pick battles marketing emails ways get noticed mass media prepared exclusively agfromkievgmailcom attack mag rights reservedthe business music chapter spreading wordthe business music think film stars turn chat shows promoting new film done enjoy chewing fat kimmel leno ellen usa graham norton jonathan ross uk andreu beunafuente spain laurent ruquier frances nest pas couch\u00e9 theyre part tightly planned schedule rigidly staggered tie release film around world repeating exercise ad nauseum scores different shows dozens countries theyre theyve spent six months making film theyre contractually tasked spending next months travelling world appearing show first time theyve talked film wonder interviews read like celebrity car crashes different music artists write record tour promote write record tour promote treadmill wherever career see future artist learn pace treadmill manage time start take account writing recording touring promotion well journey top become easier also break big cant afford sit around day day creative instead youll need make time creative rest time spent taking care profile brand chapter brand realistically part process take least much time writing playing often increases successful become releasing music cover detail chapter releasing record building profile artist typically involves working three distinct strands gigstouring online promotionsocial media interaction blogslocal media papers fanzinesspecialised radio strands feeds profile builds theres point example ploughing hours online promotion unless youve got something promote like gig new song artists profile increases significantly fourth strand emerges mass media tv magazines newspapers national radio prepared exclusively agfromkievgmailcom attack mag rights reservedthe business music chapter spreading wordthe business music start youve read taken action chapter brand youre good start youve got assets tools place time start using go live website ramp facebook profile start tweeting earnest add songs soundcloud page upload track two youtube talk chapter purple cow make mistake entering overcrowded field gets crowded day early days music career size crowd feel overwhelming dont get mired selfdoubt demoralised size job ahead make job immeasurably easier two things filtering noise continually moving forwards fil ter noise musicians job make noise sometimes noise made others building profiles talking success posting endless selfies adding yet another beautifully shot video youtube drown really matters voice voice gets lost maelstrom easy become disheartened frustrated jealous straightout depressed sanity productiveness learn early filter much background noise possible mostly deciding millions deluded artists youtube awash cover versions pop classics x factor wannabees aim wanted x factor voice wouldnt reading book people still part noise fact majority crowd trying rise filter dont waste hours youtube watching x factor obsessively watching kind media feeds insecurity besides waste time youre artist youre supposed creating passively watching prepared exclusively agfromkievgmailcom attack mag rights reservedthe business music chapter spreading wordthe business music sahpreem king tells story take comfort king background bigleague producer songwriter lot success latin america also blogs speaks upandcoming artists meets touch reality talk sound compromising theyve recorded anything let alone put release arrogant people talking nonsense loudly often sounds convincing make feel like youre something wrong filter dwelling others saying tried tested shortcut crazyville matters means look others pr ideas innovative merchandising initiatives even songwriting inspiration kind creative cross pollination lifeblood musicians since first song sung around stoneage campfire dont get bogged truth youre never see light day every day hundreds musicians give dream falling number hurdles continue head focussed way finish line look competition wrong wrong attitude dont talent think theres easy way get cue tv talent show road road lot less traffic concentrate road ahead ones others keep moving forward matter making career professional musician hard know youre challenge single best piece advice making great music course building longterm career keep moving forwards matter music industry demands stamina recruits many long hours woefully lowpaid profession whether youre pr exec major label artist delivering second criticallyacclaimed album prepared exclusively agfromkievgmailcom attack mag rights reservedthe business music chapter spreading wordthe business music see work hard stay focussed stamina rewarded take knockbacks get back weather inevitable gig humiliation experience creative black hole writers block feel heartbreak frustration dreams dissolve ambition stumbles never ever stop moving forwards keep writing keep gigging keep recording keep instagramming facebooking keep talking fans online keep building profile dayin dayout watching number followers slowly steadily increases rights reservedthe business music chapter spreading wordthe business music strand gigs touring best marketing tool artist long way live performance doesnt matter band singersongwriter dj number one means establishing profile growing fanbase appearing front people playing music jonathan dickins manager among others adele rex orange county pulls punches point grassroots artists fanbase live side doesnt matter career live performance essential youre starting even worlds biggest stars ticket sales rather album sales money lies see rule starter ten u example grossed mammoth two year show tour still highest grossing concert tour history december demonstrating touring isnt lucrative middleaged one direction raked shy tour even top ten biggest grossing tours taylor swift whose reputation stadium tour grossed nearly finally way new numberonealltimegrossingtourrecord ed sheeran whose tour began scheduled continue summer takings close hitting whod bet dj arena figures considerably less jawdropping reckoned calvin harris earned per almostweekly las vegas gig contract hakkasan group proving electro house indeed always win according netflix documentary started martin garrix earned skrillex steve aoki tiesto david guetta calvin harris ruled waves say regardless genre profile audience best thing make success musical career perform everything starts reaching new audiences building fan base earning dollar auditioning new songs see works rights reservedthe business music chapter spreading wordthe business music benefits firstly gigs successful driver potential fans social media secondly present perfect opportunity capture material uploading youtube see chapter brand thirdly often best way getting front music execs ar scouts may go fewer gigs used mainly theyre busy scouring youtube colors grm daily sbtv ontsofa theyve seen online interested next step often see live besides ar scouts get free time passion music theres good chance youll taking least one gig month outside work indeed notable examples label ceos visit gigs every night every week brighton band royal bloods signing warner chappell direct result ar exec back room impressed performance pretty much signed spot let understated gigs holy grail marketing dont need cost penny beyond travel expenses youve established even small local following gigs able provide regular reliable source revenue rare win win win situation clocking cash new fans social media interest time gigging regularly early days two three gigs month probably minimum move ladder occasionally get ripped like told end night theres money ticket sales went badly noone buying drinks youll learn deal avoid venues future stage fright every musician natural stage surprising number greats admitted paralysing stage fright including john lennon adele brian wilson annie lennox simply dont personality get front let alone people play songs tragic nick drake whose recordings legendary couldnt cut live stopped gigging effectively ended career bob dylan still tours singing tenminute songs wrote years ago remembers every word bryan ferry uses tv monitor check lyrics thought getting front mic dozens expectant eyes cameraphones terrifies youre good company discover performing live lost concentrate instead writing finding people collaborate learn skills engineer producer use talents help acts shine music industry broad church room kinds talent prepared exclusively agfromkievgmailcom attack mag rights reservedthe business music chapter spreading wordthe business music gigging dance musicians genres lend live performance better others singersongwriters bands shortage opportunities get front audience playing front others second nature dance music producers different boat much creative work done alone studio front computer embrace live scene taking small rig road opportunities much rarer logistics costs involved make considerably complex proposition turning local open mic night guitar couple songs nevertheless golden rule gigs offer number one opportunity grow profile applies dance music much genre sector music industry reckoned worth shy bn year large whack comes live sector artists daft punk deadmau skrillex basement jaxx show wellconceived tour artists profile financial bottom line launching album youd hard pressed find alist dance artist chooses tour particularly theyre backed major label lower pay scale live vocal showcases east london raves springboard charlie xcxs career thought packing host expensive hardware van alongside midi cables bringing rash take heart fact daft punk et al multinational megabucks tours djing although taking dance music live possible closest comparison pub gig djing local nightclub platform gives djproducer space means develop skillsset following following becomes large enough doors start opening everlarger clubs festival venues profile increases journey becomes even easier make music dj residency give regular opportunities play music front prepared exclusively agfromkievgmailcom attack mag rights reservedthe business music chapter spreading wordthe business music producer dance music looking get tracks front audience djing one thing recreating tracks live using form mobile studio crowds eyes makes far compelling experience fundamentally ability tailor experience based real time events way djing cant says producer remixer sharooz room losing energy easier inject elements performance revitalise interest easier customise experience depending crowd room vibe whats secret creating successful live show studiobased electronic project time experience persistence says techfunk producer hedflux gigs testing grounds learn improve every show someone said difference producer dj producer play whatever hes made djs job choose right track right moment continues dj long producer like maintain performance style whilst taking advantage extra creative live possibilities ableton provides hedflux set built seamless blend onthefly mixingarrangement djing might sound like complex proposition one software like ableton live makes easy bring two together created live set mastered tracks tracks label friends stems tracks best worlds explains dj dance dancing important often overlooked part dj performance occasionally tweak things go deeper live experimental territory start mixing stems tracks key using loopers fx importantly play whatever feels right time show technology means lines djing true live performance longer clear cut important honest promotional materials youre offering better put great dj set mediocre live set many cases dj set made artists tracks played ableton mixing says sharooz never billed live show often studio album widely received poor form tour album playing tracks laptop live musicians proper machines involved audience pays lot attention youre something dj set many djs make sets infinitely interesting live shows dj shows fundamentally different beasts dj set fundamentally selection live set artistic representation self create amazing buzz known much amazing electronic live act productions clear though theres nothing wrong solely djing thats option dont feel like makes sort second class musical citizen long music heard many people possible live setting mission accomplished hedflux concurs different producers different stages journey music good play however want totaking electronic music road prepared exclusively agfromkievgmailcom attack mag rights reservedthe business music chapter spreading wordthe business music crowds provides invaluable chance get realworld feedback mixes arrangements also gives access music djs simply cant play course every dance producer djs wants dj fine long youre interacting djs getting music heard clubs radio shows approach sending tracks djs care attention every aspect musical career asked likes tracks submitted potential playing dj producer hedflux couldnt clearer response send music thoughtful well written email provides context music youre sending thats much likely get listened link short message right ill usually know within seconds turn wont reply first impressions count services like fatdrop allow producers labels pr agencies send prerelease tracks djs journalists tastemakers also building personal relationships mailing lists djs appreciate music ultimately music heard clubs potential audience youre going nowhere fast winning audience enough simply get gigs relate audience gigs matters need selfcritical fact relate audience theres one notable current touring act naming starts audience absolutely side theyve heard records theyve paid money see says little stage looks like hed rather originals vs covers perfect scenario build audience original material record label cares smoking notefor note cover house rising sun halo might easy crowd pleasers need harder work winning audience approval material say covers forbidden either gigs youtube label going sign covers band unique take song makes undeniably means go think hall oates cant go reimagined bird bee mad world gary jules practically turned new song unless youre going invest cover version blindingly original new vision stick songs covering song written karaoke name prepared exclusively agfromkievgmailcom attack mag rights reservedthe business music chapter spreading wordthe business music somewhere else doesnt even acknowledge band end gig less lost audience start music critically well favoured massive hes stagecraft leaves audience feeling like dont matter even among widely adored audience unforgiving proximity performer fans live context devastating impacts things go wrong consider experience techno legend richie hawtin whose apparent frustration new york gig resulted pushing speaker onto fan social media fallout predictably pr disaster enough simply get gig need shine gig job stand expectant crowd sell brand music convert audience expectation pleasure make audience love whether theyre new sound fans decades manage rewards terms fanbase music sales bank account considerable gigs demand new music release new music time write six words put postit note desk constant reminder audience wont wait two ten years craft masterpiece album height beatles never released fewer two albums year apart one year gap revolver sgt pepper singles came thick fast least half albums words kept worlds attention frequent regular new music thirteen albums seven years would unthinkable today expected back even chaotic rolling stones drugs death kept output least one album year first ten years singles period current paradigm album every two three even four years unsustainable hangover analogue era biggest recording artists determined would deliver new product rather prepared exclusively agfromkievgmailcom attack mag rights reservedthe business music chapter spreading wordthe business music whim demand record label era digital overload short attention spans super superstars adele coldplay daft punk beyonce madonna one waiting new album indeed music buyers dont even want whole album absolutely want new music means forget allconsuming bigevent album focus efforts instead constant engagement growing fan base daily basis social media word mouth live performance keep audience happy new material aim new song every six eight weeks video match two months passes new songs give hefty welly rear music industry one hangs around fans build live network right right live unless youre godforsaken rural outpost vibrant music scene going nose get involved make friends create contacts build network seek open mic nights jam nights networking events go support musicians simply seen among important things artist increase profile early stage forging relationships musicians may become longterm collaborative relationships youll soon get handle best places live appearances time comes youre music college usually dozens readymade collaborative opportunities tutors successful bands dont look like looked teachers school theyve want talk learn show respect work students even think youre different better important learn manage musical relationships easy fall trap thinking artists competition thats miss long proud history collaboration example history yardbirds john mayalls bluesbreakers prepared exclusively agfromkievgmailcom attack mag rights reservedthe business music chapter spreading wordthe business music fleetwood mac history british blues music spanning years taking eric clapton jeff beck cream led zeppelin barely scratches surface various local uk music scenes years became national even global phenomena thanks concerted frequently collaborative efforts bands involved obviously theres liverpool beyond think manchester bristol late mid first spawned likes stone roses happy mondays charlatans second saw massive attack portishead tricky way west et al blueprinting eclectic triphop genre bands toured together guested others tracks albums ultimately perceived listening public cohesive creative cultural movements immense collective benefit noone deny music industry competitive making right connections open opportunity possible change musical history secure place prepared exclusively agfromkievgmailcom attack mag rights reservedthe business music chapter spreading wordthe business music strand online promotionsocial media interaction youre gigging developing relationships real world building online also critical though generating likes building social media profile reach may feel like easier work lugging kit around venues upping number fans followers often easier said done start going lowesthanging fruit people already know family close friends example following relevant social media fan platforms facebook soundcloud youtube twitter instagam bandcamp extension friends dont soft beg borrow dont buy see make happen think exponential chess board one grain rice first square two second four third eight fourth th square grains rice board simple basis one becomes two two becomes four steps away well followers course simple real life without taking first steps youll get nowhere next lowesthanging fruit fellow musicians build relationships local scene musical niche follow bands artists social media theyll typically follow back gentle reminder never goes amiss secret getting likes see adele facebook likes skrillex tempting wonder secret upping ones social reach artist rumours abound bought likes truth discussed label staff made interact ad nauseum emerging artists social media make look hyped actually forget sobering truth majority likes friends fans legitimately earned becoming artist people want engage voluntarily given real fans means real secret behind building vast social media following simple exceptional artist gigs releases great music regularly get bits right fans follow prepared exclusively agfromkievgmailcom attack mag rights reservedthe business music chapter spreading wordthe business music remember musicians boat know important online interaction many like tracks comment twoway street return favour stage career dont worry whether facebook friend genuine fan guitarist sometimes hang like like like one major caveat see buying likes real likes better see numbers talk right finally college attending conferences likely lecturers inspirational guest speakers time scale youre working youre unlikely get better opportunity interact established industry player dont hang back ask email address send link facebook profile best youtube video alongside personalised message youve picked many lowest hanging fruit need start trickier business adding fans whore social musical family circle strands profile building come gig punters like friend radio listeners enjoy profiled track visit youtube channel subscribe social media details need marketing material sent fliers business cards electronic music kits see later chapter fan tries fails engage unlikely try second time make transition gentle interest fanforlife easy time see benefit reallife interaction profile raising transforms social numbers buying likes money well spent years ago stories artists celebrities bought facebook friends twitter followers popped media regular basis numbers talk put mind record label executive youre thinking signing one two artists first facebook friends youtube fans vibrant regularly updated soundcloud account artists music better arresting musicianship exceptional production great going sound amazing radio theyre recluse spend life studio polishing songs perfecting mixes theyve never time set facebook page let alone maintain theyve way busy getting music recording right think youtube soundcloud timepoor label exec needs bankable artist going sign prepared exclusively agfromkievgmailcom attack mag rights reservedthe business music chapter spreading wordthe business music september metrics company pagedata revealed facebook purging fake accounts rihanna losing likes lady gaga shakira justin bieber buying likes easy online search less add fans social media platforms tempting eh likes gives us apparent clout given importance record execs place social media wonder bands brands regularly succumbed dark side even us state department admitted buying bogus facebook likes fan base rising respectable far weve argued organic approach building social media adding new fans day discover music andor see live weve argued approach realistic achievable thats ignore coveted elephant digital room supersize youtube facebook fanbase need song post usually video go viral social virality digital age marketeers wet dream video spreads like wildfire add millions fanbase space days cost next nothing pop act ok go couldnt believe luck homemade ultra lowbudget video song million ways emailed fans became one downloaded videos time clocked around views date topped goes views shall pass piece content goes viral shared around world chance viral success need something worth sharingin music terms typically video uniquechallengingfunaddictively entertainingmassively offensive business magazine forbes identified key factors videos gone viral including short play times upbeat mood inspirational mindsetmessage theres secret formula best marketing minds might struggle create viral content left reeling childish gambino racks half billion views yes weve come long way since ok go america unknown korea breaks web three billion views psy gangnam style odds video going viral heavily stacked even upworthy sharing site viral rate less youve got great idea means aim top keep video channels fresh lively plough daily work increasing fanbase keep refreshing video channel odds hitting viral jackpot racing certainty wont youre even runningsupersizing social channels viral effect prepared exclusively agfromkievgmailcom attack mag rights reservedthe business music chapter spreading wordthe business music end bought fans real fans invariably people sitting socalled click farms nothing day tap thumbsup buttons retweet comments many arent real people know nothing music rarely ever make posts interact real fans make youtube comments never ever buy music social media industry theres big difference raw numbers engagement engagement liking comments shares matters big players industry look choosing content feed timelines onto real fans pages indeed algorithms used facebook google twitter et al constantly tweaked lower impact pages artificially ramped numbers fans raising relevance pages show real interaction means buy fans facebook twitter realise youve done could find page falling dramatically edgerank value rankings translates lower profile fewer real fans addition discovered fake likes simply deleted profile meaning worst case scenario lose investment edgerank advantage save money brand keeping fans comments real longterm youll better social media everything else industry shortcuts faking making talent hard graft drivers costs prepared exclusively agfromkievgmailcom attack mag rights reservedthe business music chapter spreading wordthe business music strand blogslocal media papers fanzines specialised radio easy feel demoralised faced vast apparently faceless might worlds biggest media organisations mtvs bbcs world new york times guardian q mojo hell get support illusion get support big players career shift gear mass media targets another day another year stage career media support far profile infinitely easier engage remember cutting edge yet kind long established artist apple spotify mtv national radio network playlist people give lift right bloggers specialised radio djs journalists local smallscale online fanzines magazines newspapers well future tastemakers matter starts tastemakers become known corner universe need become known tastemakers genre sub genre djs aside typically music lovers arent musicians audience decide get behind use influence reach get music audience hugely important early part artists career know tastemakers writing playing promoting sort music make prepared exclusively agfromkievgmailcom attack mag rights reservedthe business music chapter spreading wordthe business music electronic press kit essential part media communications electronic press kit epk epk emailable constantly updated document word format better pdf distils range information assets see chapter releasing record single place make life easier growing list media contacts hear protesting ive got website need epk answer stage career dont want put barriers rise fame people wholl help way journalists radio producers djs venue managers busy professionals dont time inclination root around looking information website social media anticipating needs fulfilling efficiently possible makes life easier thats need epk make someone others enjoy working pay slightly different versions epk tailored specific recipients needs instance radio stations epk needs short bio details forthcoming gigs make sure gigs happening broadcast photo even though radio presenters like know look like link mps track link website direct listeners itfor gigs short bio photograph andor logo use inhouse promo backline requirements venues may drum kit piano integrated sound system important know lineup equipment bring press online short bio choice photos link hires jpeg tiff format higher quality better link latest recordings links online videos link website list upcoming gigs couple things note firstly compiling epk single zip file ensure large files tracks videos hi res photos provided links many organisations limits download file sizes noones interested stuffing network mb material secondly note difference epk standard press release see anatomy press release chapter press release narrow focus concentrating specific story new tour new release epk hand broader information pack brand every press release contain link epk means youre leaving chance recipient need come back ask anything every time prepared exclusively agfromkievgmailcom attack mag rights reservedthe business music chapter spreading wordthe business music already reading blogs tuning radio shows podcasts youre simple enough online searches search top genre tastemakers top genre blogs top genre radio stations top genre podcasts start following chosen tastemakers twitter facebook get name known liking content retweeting adding comments blog posts join conversations constructive input short leave footprint followed think web vast landscape make mark need become visible developing areas leaving footsteps many places tastemakers find interesting enough follow back result first stage establishing relationship people making uploading music ever separating wheat chaff maddeningly difficult need guidance tastemakers never greater although print media still place big readerships days found online among group influential blogs websites every aspiring musician band aware chief among new tastemakers pitchfork launched owned publishing giant cond\u00e9 nast generally considered primary reference point indie music fringes mainstream pitchfork renowned quality journalism sometimes makeorbreak influence reviews album sales famously arcade fires funeral went print week got many orders record according merge records employee interviewed chicago tribune travis morrisons travistan bombed critical savaging pitchfork big puts festivals chicago paris prints real magazine every quarter pitchfork review dedicated best longform music writing photography design comics might biggest pitchfork isnt site web prioritising indie alternative music easy google influential music blogs find detailed descriptions find suit stylesituation best disparate electronic music scene doesnt equivalent pitchfork resident advisor around since probably best known online resource ra serves news reviews interviews features well documentary performance videos podcasts listings ticket sales clubs around world including ra residence nights theres attack magazine earmilk many others look many bear figure best suits music focusthe new tastemakers prepared exclusively agfromkievgmailcom attack mag rights reservedthe business music chapter spreading wordthe business music early stage whatever dont annoy look type tweets directly askbeg listen music bombarded requests every minute every day instead think tastemakers equals build discourse based mutual respect playing long game working blogs magazines work tastemakers worth engaging especially true bloggers publishers smallreadership magazines blogs example may tiny disproportionally influential readership others read tens thousands may make scrap difference career online media like music experienced democratisation every stereogum earmilk hundreds barely read worksin progress put together well meaning wannabee hacks ambition readers know look publications facebook following many likes level engagement many comments accompany posts short tastemaker clout one thats worth time ultimately gut instinct serve every major tastemaker starts followers like vibe one go make mistake bloggers power make career chillwave forerunner washed making hazy beats uploading myspace years carles hipster runoff blog championed music went generate interest among much bigger media outlets gorilla vs bear pitchfork youre starting important cultivate blogger make outright bid coverage keep engaging sooner later blogger come recognise digital friend relationship feels comfortable twitter often best place make direct pitch send private message asking theyll listen track note selfrespecting blogger going respond song link left public comment would signal readers thats thing rights reservedthe business music chapter spreading wordthe business music learn also people avoid one music industrys prolific bloggers bob lefsetz unless youre already long way along path stardom stay way lefsetz people like even talented newcomers wannabes time show radar youve already made full stop bob going help right hes one dont waste time guys yet people need get close take pride pointing way rather waiting youve arrived radio countless offline radio stations podcasts welcome new music new talent good bad news bad news proliferation majority targeted stations unlikely make star theyre run music radio passionistas listenerships often hundreds rather millions enjoyed bbcscale nationals good news never easier get onto playlists marketing emails email database chapter brand gold dust direct contact list committed fans numerous studies found marketing emails generate higher responses almost amount social media people spent time filling signup form website clicking thumbsup button might also add addresses bandcamp page fans email create separate press list tastemakers radio djs journalists openly publish email address marketing emails telling fans new video track gig simple lines text along links obviously designed newsletters made using online platforms like mailchimp whatever stage career avoid bombarding fans mails one every two three months enough importantly give mailers character reflects brand narrative voice speaks directly fans mailer piece branding like website facebook page keep brand personal engaging remember warned chapter brand make sure emails compliant new rules laid general data protection regulations came effect may prepared exclusively agfromkievgmailcom attack mag rights reservedthe business music chapter spreading wordthe business music speaking prs magazine bbc radio dj tom ravenscroft said getting radio lot easier lot opportunities back day handful shows send stuff many shows getting music onto radio essential widening fanbase benefits becoming part radio culture good training day invited interviewed major broadcasters might even find pennies feeding prs account see chapter music makes money although note internet radio stations play ball tastemakers know stations active popular niche youve got new track get touch raison detre championing great often new music hits grade theyll want feature tom ravenscroft need find djs think likely listen music like send dont forget badger people stop sending stuff im fucked indeed local online radio rare exceptions media acceptable sensitively bombard epk latest tracks get radio play tell world tweet added stations playlist link directly radios facebook page reciprocate youve added social media numbers grown another link everbuilding ecosystem finally get support dont forget thank station specific presenter simple polite steps like make repeat plays far likely prepared exclusively agfromkievgmailcom attack mag rights reservedthe business music chapter spreading wordthe business music pick battles whatever youre spreading word wherever career concentrate efforts effective lower rungs impact internet radio newsstyle blogs desperate content even mediocre artist could fill days interviews watch recording career come grinding halt think carefully want direct marketing efforts limited time resources single interview wellchosen high profile blog times much impact dozen interviews great unreads reserve best content outlets know pay profileraising dividends might interview titbit youve shared new remix free downloads exclusive windows two weeks one month feature latest material dont ignore slightly leftfield options publications like music radar attack magazine feature studio tours interviews concentrate techier side music making attract different audiences result dozens new fans time pay attention music musicians influential tastemakers listening possible attend gigs artists introduce tell stopped mr ms tastemaker recommended theyll impressed took trouble wont difficult follow reallife meeting exchanging instagram twitter details online contacts someone touted people respect one step closer tastemaker although steps might feel superfluous goal getting epicentre scene space influential bands djs managers bloggers tastemakers reside gives far greater chance capturing attention people critical next stage career almost amount compositional tinkering studio chinstroking ways get noticed music competitions easy sneer deserve sneering homework pick right ones entering prepared exclusively agfromkievgmailcom attack mag rights reservedthe business music chapter spreading wordthe business music start give useful exposure well occasional prize live performance competitions competitions avoid survive entrants ability put bums seats regional heats expected bring friends family attend couple figure game plan talent crowdsourcing yay nay crowdsourcing good way finance anything single album tour merchandise clear contracting pay money return must give offer cd mail free download ticket gig return cash heres cautionary tale crowd sourcing spectacularly successful also backfire epic saga amanda palmer begins initiation kickstarter campaign targeting cover costs forthcoming album tour fans pitched passing target amount six hours ultimately handing dresden dolls singer solo artist wife contemporary literature demigod neil gaiman cool album theatre evil released later year tour went ahead everyone whod donated got everything due means end story prior tour kicking palmer enraged press punters alike via blog began recruitment drive brass string players join stage every gig unpaid feed beer hug highfive pick poison give merch thank mightily adding big noise planning make wrote among storm vitriol came way lightning bolt legendary producer outspoken industry grump steve albini nirvana page plant highest voltage obvious gotten million dollars effort plain rude ask indulgences audience like playing backing band free saw breakdown money went almost everything absurdly inefficient including paying people take care spending money seems like crazy moebius strip waste highlights breakdown included recording fees personal debt design team bewildering vinyl pressings interview forbes palmer gave side events dirty secret kickstarter actually loss leader leading patreon almost deliberately wanted fans trust shit palmer since gone become one successful musical ventures patreon according forbes fans pledged pay total per thing new song video piece longform writing lessons learned one hit crowdsourcing jackpot make sure youve got enough paid band members put gig two keep specifics expenditure three try keep vinyl pressing costs control yhear prepared exclusively agfromkievgmailcom attack mag rights reservedthe business music chapter spreading wordthe business music clearly issue issue many tickets selling popular entrants rocketing heats supported busload fans infinitely talented artists whove turned straggle semisupportive friends fall first hurdle check pedigree contest past winners havent heard since probably best give miss songwriting competitions many competitions songwriters google songwriting competition get nearly million results million handful worth entering checks easy enough first look whos running label youve heard major drinks brand established broadcaster second look names associated judges sponsors organisations companies like brit trust roland uk yoko ono bbc nobrainers entering songwriting competition digital age could scarcely easier usually case uploading track details thing worth noting free others demand registration fee dont let put make sure money well spent production competitions talents lie mixing dozens remix competitions happening one time rudimental put stems track baby soundcloud invited allcomers go check pedigree dont want ploughing weeks worth production work track worse gets cursory listen best gets barelymarketed digital release nothing profile also note small print competitions deliberately unclear ownership track unusual forfeit publishing may major concern winning exercise profileraising get tied label artist clout days work immediate financial gain may time well spent pr story stark illustration breaking traditional pr rules sometimes work wonders release beyonces eponymous album released without buildup without publicity announcement artist record label one day wasnt next day beyonce account terrified think supersassy confident mind possibility existed noone would care surprising rather sweet nearly surprising though fact era celebrity gossip newsforsale one worlds biggest pop stars managed record new songs make videos without anyone long production chain breathing word course shouldnt try home youre beyonce need fanfare muster new release one day maybe able test fan muscle rights reservedthe business music chapter spreading wordthe business music later career strings attached winning may onerous accept business cards digital age dont write power printed word business card social media links something looks good shows youre serious added benefit infinitely reliable means passing contact details barely legible email address drunkenly scrawled onto napkin gig put card keep simple artist name social media urls email address usually suffice many companies like moocom solopresscom offer high quality personalised cards competitive rates flyersposters live local music scenes often surprisingly reassuringly oldschool flyers posters remain best marketing tools filling venues see artists advertising watch local venues market likely candidates accepting flyers posters include musicfriendly pubs bars music shops student halls unions notice boards industry events proliferation industry events worldwide think amsterdam dance event years old think ims ibiza think south southwest sxsw austin texas one trends age events offer networking fellow artists also offer access industry professionals business card taped usb flash drive music placed right hands could transform career thinking outside box comes purple cow nothing makes bigger splash unique marketing idea executed well everybody right mentality plenty stamina might try something totally wall almost guaranteed bring attention imogen heap example delivered media kudos doublewhammy crowd sourcing sounds even lyrics forthcoming album sparks idea simple enough engaging audience simultaneously fuelling creativity idea new media picked backed sent interest new high fans loved prepared exclusively agfromkievgmailcom attack mag rights reservedthe business music chapter spreading wordthe business music brainstorming kinds ideas dont let nagging doubt cynicism set anything fair game indeed definition need thinking outside box find original idea first place heres one idea set target visit every pub country called rose crown play minute set revolutionary nice enough idea thats likely generate lot media social media interest across whole swathes country exercise requires careful research planning start need check example good percentage landlords welcome play pub name youve chosen doesnt mean play gigs achieve goal need least sporting chance youve got original achievable plan place start announcing intention local media newspapers pivotal bloggers radio stations back additional pr music publications although might difficult first first month road interest grow people becoming ever impressed commitment realistic goal end journey would generated enough publicity youre invited onto local radio tv stations goes without saying cant leave pr third parties alone blogging every pub go adding pictures supporters instagram uploading video diaries gig clips onto youtube travel round country yes theres lot work involved even relatively easy idea concept solid different engaging give pr time dedication needs short period hard graft may need put map key always original killer idea get right rest follow rights reservedthe business music chapter spreading wordthe business music strand mass media unless youre one brave souls migrate nearest capital city thats action talkin bout ed sheeran follow long tradition building following locally spreading wings try never forget roots early local fans worth weight gold theyll back forever touring world move big time lose youll immensely poorer treating mean also downright stupid last thing want youre global star national press start snooping around home town told ungrateful bastard dropped home following moment charts beckoned time ambitious artists roadmap one transitions local national international support local venues bloggers enough shore early fans step level youll need engage mass circulation magazines national local radio tv requires far sophisticated approach one youve adopted make local bigshot want know hard get heard national level try getting kind traction music journalist daily newspaper busy people enough hours day identify next big thing instead rely close network people trust record companies longtime pr mates even festival organisers feed names new acts national radio stations present even tougher target get music heard record companies employ pluggers specialist promotions people balls egos livers titanium whose job nurture relationships programme producers presenters push records scheduled release months line words massive filtering system mass media unlikely get near without dedicated pr fortunately time youre ready transition next level place already point say welcome big time prepared exclusively agfromkievgmailcom attack mag rights reservedthe business music chapter business music initially record industry struggled lot digital media lot aspects potentially destroy industry paloma faith record industry generally gets bad rap lot wellearned one biggest complaints recent years failing keep digital age truth course witnessed industry dive high bn low bn year climbing one reasons recovery industry learned use digital media build campaigns around release new material whether single album first half chapter take break ityourself tell pros starting reallife case study show adapt knowhow make best music release wild chapter majors case study selfrelease selfrelease selfrelease release music digital aggregators streaming lets get physical countdown release stepbystep guidereleasing record prepared exclusively agfromkievgmailcom attack mag rights reservedthe business music chapter releasing recordthe business music majors case study theres enduring stereotype record companies staffed psychologically flawed egocentric drugsfuelled narcissists thats true occasionally also highfunctioning logistical precision multidepartmental cooperation required break even lowly emerging artists new single remarkable record releases finelytuned operations rigorously timetabled across many months numerous teams contributing skills nailbiting day record goes live bigger artist impressive behindthescenes build star players marketing pr promotions plugging video design social media departments add individual brush strokes genius final artistled masterpiece release daft punks album random access memories offers textbook example close decade since duos previous studio album human fans wondering duo hung helmets good cue one music industrys celebrated pr builds past decade january guymanuel de homemchristo one half duo announced new album way carefully measured promotional campaign cover territories worldwide began media old new used appeal wide fanbase possible billboards tv spots including second commercial episode saturday night live revealed first album title release date online speculation went overdrive april official random access memories website launched collaborators series documentaries album contributing musicians reflected duos values aka story perfectly passion cinematography coupled oldschool musicality classic recording techniques would infuse album clips spread across internet like wildfire prepared exclusively agfromkievgmailcom attack mag rights reservedthe business music chapter releasing recordthe business music later month pr machine stepped gear video preview lead single get lucky screened unannounced coachella valley music arts festival california master stroke iphone videos event uploaded youtube hype stepped level take advantage stoked hunger single get lucky released week later result get lucky became bands first uk streamed new song spotifys history point single subsequent album critical sales successes less marketing build become case study launch album also revitalise artists image fortunes daft punk beneficiaries nile rodgers giorgio moroder pharrell williams also received boosts andor revivals careers common threads major indie releases release like get lucky might feel million miles away kind campaign pull together two things matter firstly megasuccess release shows talk music industrys demise wildly overstated secondly looking campaign help understand mechanics even smallestscale release happen although theres thing typical single release threads common almost releases indie major labels across almost genres drawn upon putting together release schedule important threads particularly new artists single primarily promotional tool sales music declined biggest victim single time record companies learned view promotional tool rather revenue stream prepared exclusively agfromkievgmailcom attack mag rights reservedthe business music chapter releasing recordthe business music single plays crucial role building artists brand fanbase raising awareness artist upcoming gigs tours also supplies momentum run album release done right results spectacular witness dua lipas new rules bn streams spotify alone bn views youtube record industry shows resilience adaptability meanwhile helping show way turn negative positive labels single often loss leader single mainly promo tool amount time energy put servicing coupled small amount income likely claw back means singles lose money label isnt viewed problem loss recouped elsewhere album sales instance artist signed deal see chapter record deal touring merchandise revenue note still lucrative writer hit single single part release discussing releases todays label bosses like talk assets video asset press photos accompany single assets mixes assets even single asset sure song prime asset without rest meaningless whereas years ago single mattered years ago video single today single shares limelight video social media campaigns viral marketing memes single part artists story chapter brand talk creating story professional marketeers pr people get hands artists story weave everything add new release think new release chapter book part wide story latest albums arent end point mainstream singles part build towards album release mindset doesnt dominate among indies dance music example label may drop artist single ep three four times quarter album horizon purpose singles different arent building towards album instead servicing dj needs continually building artists following generating regular incremental radio play crafting release schedules context everything geared album model one many end point album release many majors activity momentum needs build moment genres album unlikely recoup costs rolling release schedule designed steadily build artist brand likely effective prepared exclusively agfromkievgmailcom attack mag rights reservedthe business music chapter releasing recordthe business music chapter comeback special guest performer track story weaves assets marketing collateral every piece publicity around single must say thing repeat message tell story industry release day isnt used used simple labels would ramp activities towards release day monday single would go onto shelves hmv price woolworths tower records yes would radio support video trails beforehand build interest maybe even top pops exclusive building towards release day model history today release week typically occurs midway schedule release different formats download stream video staggered across different platforms stores several weeks instead efforts focussed one day bursts activity peak throughout week campaign song dripfed new platforms song widely available final impact week used release week little notional end date campaign importance press activity availability single hangover past fact impact week often remains week physical product hits shelves labels start see income impact work matters consumer meant aware everbuilding excitement around single radio tv blogs press maybe tour contributing maelstrom love single artist thats plan anyway single remains important device build hype around artist singles sales may plummeted charts aint used ageold single remains hyping distributor indie labels particular important middle man process selling music distributor operations crucial physically delivering cds vinyl high street retailers distributors keen anyone else back winning horses getting support product shelf space banners profiled release placement involves label persuading distributor release worth getting behind distributor headsup weeks ahead release theyll updated regular progress reports label weve got interview nme adding youtube views day label needs excite show tangible evidence records gathering momentum eventually distributor start making calls retailers label stoked enough interest new release calls lead retail support prepared exclusively agfromkievgmailcom attack mag rights reservedthe business music chapter releasing recordthe business music effective instrument industry getting new music front public simple reason always easy focus radio stations remains easy focus worlds audio video streaming supreme peg hang marketing campaign shortcut flurry radio airplay streams huge like new rules sell whole tour signal rebirth bandbrand build hype towards highgrossing album every one things time rewarding loyal fans garnering new ones process even tectonic thing fixed schedule release schedules rarely fixed dance music schedules particularly flexible new singles timelines govern release constantly tweaked respond market feedback first activity around dance single get dj feedback feedback awful unusual label shelve release djs back single tested clubs doesnt connect label may decide pursue blowing label enough evidence suggest may onto winner theyll find extra cash start promoting single among tastemakers love green light likely given spend bigger bucks video assets social media pluggers ahead proper release month line journey records impact measured every step way execs constantly asking well enough justify time cash investment ongoing measurement impact sole domain indie dance labels major labels continually measuring singles impact making decisions back whether go hard copy cd even vinyl increasing promotion marketing spend constant feedback reduces risk potentially costly mistakes also allows marketing promotional activity shaped fly singles proving triumph underground failing impact radio example label may throw money plugger lessons selfreleasing artist firstly flexible release schedule set stone instead shaped fly respond singles journey schedule secondly keep thinking bottom line artist suddenly gets invite onto jools holland label thinking exploited could new jools mix made available may clich\u00e9 jungle think guerilla warrior keep moving think feet make sure release dont get stuck prepared exclusively agfromkievgmailcom attack mag rights reservedthe business music chapter releasing recordthe business music plates beneath industry torn apart humble single continues deliver goods week week week singles generally work around week cycle cycle length time start single campaign end among majors cycle typically weeks sometimes extended weeks rarely less different genres require different cycles dance single might need weeks chartaimed poprock typically requires whole weeks end week cycle next cycle begins service next single typically leading album patient world isnt waiting album watching development artists like dua lipa jorja smith mabel sigrid youll see two years several singles album release fact sigrids case working towards first album nearly six years dermot kennedy grace carter sell tours album bag world desperate album age streaming noones dropping needle listening track one end st century album simply collection single tracks might stream big others barely get listen prepared exclusively agfromkievgmailcom attack mag rights reservedthe business music chapter releasing recordthe business music selfrelease youre one tiny percentage acts catches eye eager ar scout early career releasing record never cross radar every step way taken care ways described far chapter team supporting work alongside make best music within budget youre camp selfrelease offers means getting music onto world stage boutique online stores also big players like itunes spotify selfrelease offers event around build marketing also means generate income good news never easier release record anyone everyone whats hard pushing noise getting people stream buy sufficient numbers make impact two challenges tackled comprehensive plans combat laid chapter brand chapter spreading word look selfreleasing starting crucially selfrelease good time selfrelease youve recorded something worth listening recorded mixed high enough standard worth listening bit inevitably subjective think brilliant wouldnt writing songs trying get heard need realistic releasing track requires work time least financial outlay wasted track bad even bit meh releasing substandard music brand subsequently career artist favours track released part story part history rights reservedthe business music chapter releasing recordthe business music number one reason demos binned ars music playing scratch save time effort speak trusted friends preferably friends also make music seek honest feedback get thumbs majority commit releasing track high enough standard hand measured objectively difference good bad recording mix worlds apart good mix reveal colour life movement songs arrangement relationship artistry song craftsmanship recording mix usefully summed formula great song great recordingperformance great mix great prospects exceptions number great songs mixed badly kick ass mixes songs never made past rehearsal room small indeed abandoning art sake career flip side releasing track early releasing youre compulsive tinkerer perfectionist youre either youre good company plenty musicians groups perfectionist streak means youll always pushing better artistic output theres point legend head endlessly refining sound editing lyrics tweaking mixes fine point somewhere line need free music confines studio let stand two feet remember artist ever built career hard drive full song ideas one ever hears dont overwhelmed amount work say five six tracks presents better releasing one track month six one go take one track time finishing ready release remember sites like soundcloud give ability overwrite old versions songs youre committing forever hit upload button course formally releasing track itunes instance doesnt give option end unhappy least bar set next release even worlds best artists bemoan quality early work polar opposite perfectionist impetuous cannot wait world hear latest work heartbreaking genius us take comfort maxim guided artists generations credited anyone e forster leonardo da vinci work art never finished merely abandoned prepared exclusively agfromkievgmailcom attack mag rights reservedthe business music chapter releasing recordthe business music youre interested one noteworthy example great song mixed badly metallicas single one surprisingly timid drums allbutnonexistent bass review justice album allmusics steve huey commented records weird bone dry production cold flat sound engineer fleming rasmussen oversaw studio recordings laid blame sound final mix squarely producers steve thompson mike barbiero dont ask happened wasnt mix observed richard buskins classic tracks certainly sounded lot fatter recorded starting musicians lay demo tracks perform basic mixes laptop fine youre refining craft uploading selfmixed demos clearly labelled demo soundcloud formative part establishing identity early days plenty artists use home setup record tracks ready selfrelease engineers mindset reasonably equipped project studio means go producers manual buy attackmagazinecom outlines need get great results home youre band drums record high energy guitarists powerful amps probably better finding local studio engineer understands needs demands signal fidelity audio separation along skills equipment required example mic drum kit mean getting even passable results using home setup tough youve recorded raw tracks youve got three options comes mixing mix song studio using inhouse mix engineer take bounced stems separated audio files home mix song ordance hip hop exceptions prove rule advice picking studio producer assumes band artist backing band youre singersongwriter nice microphone welltreated space theres reason cant get good results recording home equally dance producers either mix box small selection outboard ever require services pro studio hip hop lies somewhere middle production work usually happens home studio professional space may hired vocals end long quality final mix high doesnt matter takes place cases need independent mastering recommended good mastering engineer may comment mix advise make better mastered track finalised correct level media broadcast download streaming added gloss cohesion takes new level prepared exclusively agfromkievgmailcom attack mag rights reservedthe business music chapter releasing recordthe business music send stems thirdparty producer mix mixdown makes huge difference final sound record metallica found one poor choice producer mix engineer ruin even brilliantly recorded song difficult finding experienced mix engineer producer ask around local music circles online search freelance producer mix engineer search mix engineer listings fiverrcom hundreds producers wholl take stems mix also dozens virtual studios offering range services recording mixing overdubs using inhouse session musicians look discogs see produced records like sound reference discussing sound youre prospective engineer even hire afford challenge looking producer find someone gets music enough theyre pro tools wiz vintage neve console todiefor studio far important theyve worked records similar genre share vision want mix music achieve production integral aspect brand want sound aggressive powerful haunting ethereal admire slick production style mark ronson lofi washed kind sound producer doesnt understand vision risk frustrating outcome wellmixed track isnt picking right producer start clearly communicating youre trying achieve minimise risk expensive heartache youve got mixdown youre happy time get track mastered ever listened one demos alongside commercial mix wondered sounds goddamn quiet live recording best kind release almost always new track professionally mixed mastered socalled studio release theres another option live recording chapter describe possible plugging hd recorder sound desk gig get decent sounding live recordings means dont time inclination learn record home money go professional studio live performance offers alternative source material fans stringent quality rules apply live recordings studio ones mean good equipment experienced mix engineer topnotch performances actband get right market accordingly fans gigs often good market live cds live recordings fill blanks scanty release schedule add financial bottom line time prepared exclusively agfromkievgmailcom attack mag rights reservedthe business music chapter releasing recordthe business music thatll partly track isnt mastered mastering lastinline process brings track similar loudness level commercial mixes also correcting tonal problems adding final subtle sheen polish mix best performed specialist mastering engineer producers mix engineers may offer mastering service skillset experience required different every tracks mastering needs unique depend medium plan release mastering vinyl releases involves different processes mastering mp lesser extent genre music make taken alongside high level skill required get good job means argue case chapter team using professional since get track mastered abbey road whole album guy mastered led zeppelins digital reissues online would risk anything less best longwinded way answering opening question right selfrelease answer summed succinctly follows time right selfrelease track good enough sit alongside professionally recorded mastered tracks second equally important answer question regularly every month least see chapter brand self release obvious answer obvious question get great music course make money youve got loyal fanbase thats good reason answer long way touched introduction releasing new track one best marketing hooks book selfmade story justifies indeed demands press release much social media noise make youve got established prepared exclusively agfromkievgmailcom attack mag rights reservedthe business music chapter releasing recordthe business music relationship tastemakers new release excuse get radio play onto blogs matter releasing track also good way signalling intentions particularly early days career making music available buy key step creating complete picture savvy engaged creative artist record label ars andor managers start taking interest fact tracks spotify apple music itunes elsewhere video three youtube demonstrates take seriously importantly demonstrates recognise business like realistic commercial turn mind collectively selfreleasing single four important things necessarily order builds profile builds fanbase demonstrates labels youre horse worth backing makes money prepared exclusively agfromkievgmailcom attack mag rights reservedthe business music chapter releasing recordthe business music release music dont get confused uploading demo soundcloud putting music sale bandcamp commercial release commercial release real deal requires availability recognised outlets including spotify apple music download sites itunes amazon streams sales numbers also count towards chart positions sorts companies beckoning telling easy commercially selfrelease heres reality need aggregator say service could get music big digital stores luck services exist called aggregators aggregator distributor enough product warrant deal big stores job aggregate collect digital product tens thousands individual artists small labels place music sale download streaming platforms think middlemen take music using industry clout get onto digital shelves important outlets aggregators created equal one different deals different download stores streaming sites see need one aggregator also offer artist variety additional deals services different price points emubands example offers simple distribution service oneoff fee annual reregistration nofrills service get everywhere need sites offer addons price ditto instance offers series packages different prices simple promotion press campaign full threemonth press publicity package support release strategy prepared exclusively agfromkievgmailcom attack mag rights reservedthe business music chapter releasing recordthe business music recommend one aggregator another weigh offerings strengths weaknesses choose one works best crucially music chat musicians read reviews homework signing paperwork think carefully need specific release well already good marketing promotion going requirement likely music accessible youll one driving audience financial circumstances also inform decision youve spent money recording mastering youll probably opt service charges nothing get tracks sale keeps income music generates aggregators explain deals fairly straightforward legalesefree language still need understand deal check small print costs get music major digital stores aggregators need cover costs either charging oneoff fees taking cut royalties mix aggregators add annual fee keeping product online watch annoying log distribution account find album listed taken forgot pay fee onl need one aggregator choose carefull world aggregation things changed radically past years used make choice pay money upload tracks everyone see aggregators introduced ar policy want hear music check profile dont measure turn awal artists without label long time favourite unsigned gone path others havent cd baby example started originally distribute independent musicians cds still offers service part total package release digital ether including extra payment marketing promotional tools ditto tunecore names youll comes across emubands choice highlevel professionals definitely worth investigating homework aggregators charge oneoff fee others take fixed commission sales google music aggregators take time read reviews different services poor reputations choose wisely think aggregator ar policy would great least give shot rejection part game acceptance always joyful affirmation prepared exclusively agfromkievgmailcom attack mag rights reservedthe business music chapter releasing recordthe business music dance music specialist retailers beatport factor terms dance music kudos beatport pretty much rules sites like juno traxsource trackitdown offer useful additional sales profile speak sector industry insider even three years ago theyd pointed bigger fish itunes committing exclusively beatport would stopped progressing itunes principle applies today streaming takes pole position even today itunes apparently sliding oblivion hundreds millions download sales still dwarf specialist sites dont tie specialists twoweek exclusive beatport might see charts gathering chunk sales income also crucially generating useful pr boost really want reach mass audience spotify apple music tidal even itunes time musthaves release schedule legals aggregation legal side aggregation shouldnt onerous agreement asked sign typically contains paragraphs easily understood language far exclusivity goes need one aggregator choose best needs hedging bets multiple aggregators advantages music appear itunes goes store streaming service ending deal simple youve paid annual fee contact six weeks next fee due tell wont renewing might change service service make sure read terms sign make sure also comply termsother aggregators require simple day notice worst case youre happy aggregator choice wont put beyond first year selfreleaser copyrights complication owns aggregation deal retain ownership asked assign rights elsewhere youre talking wrong aggregator except selfrelease cover versions peoples songs kosher aggregator require proof registered writers interest recording ppl ensures writer publisher paid due sales cover version generates prepared exclusively agfromkievgmailcom attack mag rights reservedthe business music chapter releasing recordthe business music lets get physical age digital would anyone go expense producing distributing cds matter vinyl dare even mention shhh cassettes gut reaction theres point forget lets look facts revival vinyl since reminder forecaster hedge bets predicted deloitte worth bn would value format global recording industry yesterdays defunct format years musthave limited edition bruce springsteens vol box set remastered reissues albums pressed vinyl cd version released mean cd doomed want place bet dont let us stop lay money bear mind humble musicassette making comeback point manufacturers announcing new hardware yes new cassette players one reason countries yet fully embrace digital germany instance revenue still hard copies cds dominate germany great test market new artists easier record company see quick return investment artist takes ragnbone man perfect test case hitting big germany going global cds vinyl still account global turnover cds declining vinyl growing part labels simply catering demands audience seems fallen back love physicality romance sound quality format kind artists work fan bases like feel like something sell lot vinyl says mute records founder daniel miller dont know much people listen vinyl sales prepared exclusively agfromkievgmailcom attack mag rights reservedthe business music chapter releasing recordthe business music get digital download cd well artists put lot commitment making music nice know audience making commitment well putting record rather listening lowquality stream phone speaker part genrespecific dance market legion djs still use decks makes regular pressings sectors indie market seemingly steered teens like idea records bedrooms surprising resilience cd partly explained sales classical jazz recordings entirely driven album sales means paper least unless youre making dance music collectible indie jazz classical large run physical product unlikely lucrative business move good reasons beyond purely financial going physical firstly press reviewers broadcasters far likely take notice theyre presented attractively packaged cdvinylcassette soundcloud link folk tastemaker mike harding explicit spotify sure pandora streaming become engine recovery record industry youre doubt significance go back reread chapter music business itunes responsible download market generating billions dollars revenue slumped levels leading industry gossip apple stop download sales part equation apple growing revenues published streaming service apple music integral streaming since numbers streams contributed chart positions first uk streams equalled one sale meant one million streams equivalent sales equation altered least twice since today weight given subscription paid streams ad supported free streams factor roughly free streams much weight paid streams americas billboard hot calculated flexible much complex basis changed much hard keep conclusion inescapable streaming changed everything including charts even four years ago might forgiven hoping streaming would go away today embrace youre nowhere prepared exclusively agfromkievgmailcom attack mag rights reservedthe business music chapter releasing recordthe business music listening cds due respect dont time download mps cd always get listened secondly physical product still shifts gigs amount major revenue stream glenn tilbrook recounts chapter music makes money grow fanbase thirdly cleverly packaged limited edition become marketing story right witness recent growth interest around world record day large vinyl runs major indie labels pressing ahead nostalgia abounds comes physical formats gives readyrolled pr story make limited nature pressing also gives music extra perceived value among fans dont automatically overlook physical might need stand noisethe costs physical pressing physical units neednt cost earth cds major choice duplication replication duplication similar process cd burning people home past good small runs cds vinyl wallet might cost per cd jewel case fourpage booklet nearer replication professional standard label screenprinted onto disc cds pressed specially made glass master want copies replication way go cost less think shift copies cost come nearer p unit dont forget also sell cds bandcamp page important set price take account much cost manufacture crucially much postage packaging cost deliver customer typically higher cost raw cd prepared exclusively agfromkievgmailcom attack mag rights reservedthe business music chapter releasing recordthe business music countdown release youve mixed track high standard youve mastered youve found aggregator chosen level service want infrastructure place unleash record world release day theres lot track receive attention deserves startling number todays records fail generate single sale music online sells zero single digit units releasing track isnt achievement used anyone laptop song thousands releases added itunes every day testament trick getting others hear like invest money supporting releasing music part longterm plan develop career means record needs accompanied marketing fans need know need excited record release unique moment deserves demands pr support event around generate online assets leads sales assets right marketing buzzword covers everything videos blog posts interviews photo shoots things properly requires time also requires schedule governs practical elements happen artwork finished book job cd duplicator planning hard copies send press release prepared exclusively agfromkievgmailcom attack mag rights reservedthe business music chapter releasing recordthe business music self release timeline note schedule detailed following pages designed rigidly followed noted earlier chapter standard templates govern single releases flexibility key events happen around campaign single getting picked radio interview creates unexpected buzz may mean tweaking schedule make new situation visions goals says avicii manager ash pournouri moment think stick firmly plan probably fail cant flexible manoeuvre obstacles path goals also really important release date comes end schedule unlike industry different release impact weeks see common threads major indie releases building one date hopefully experience surge awareness putting line front page promotion see schedule useful starting point shaped according needs single even follow letter shouldnt go far wrong weeks impact essential prep period deciding want achieve release gathering assets see assets need right also completing early admin dont forget brand story pulling together help focus wont reinventing wheel remixes part release commission youre familiar term stems google get stems remixers artwork complete close completion assets need assets music industry shorthand elements go releasing music track asset assets include videos youve made press release mixes photos taken support new single sleeve artwork also asset assets new release incorporated electronic press kit epk see chapter youre releasing digitally hard copies gathering necessary artwork assets relatively easy youll need square packshot different sized banners different stores plenty online sources help format size requirements youre also pressing cd vinyl additional requirements youll need get competitive quotes range pressing plants bear mind lead times vinyl pressings might wait six weeks decide early order early prepared exclusively agfromkievgmailcom attack mag rights reservedthe business music chapter releasing recordthe business music youre using third parties pr agency plugger etc unlikely first single need board single schedule diaries momentum picks theyve got capacity service track planning event launch single book venue youre also touring support dates either need booked need get diary pronto havent already time join territorys performance rights collection society prs ppl uk ascap bmi usa europe country without registered new release generates radio performance play therell way receive royalty payments youve already joined go account register songs releasing weeks impact buzz starts period building initial burst buzz around single first press targets magazines like mojo q uncut specialist titles genre socalled long lead publications require material least couple months ahead publication reviewers traditional media make time listen new music deadlines schedules longlead monthly magazines need press release review cd new publicity photos time make decisions three issues ahead dont delay contacting send copy single along press release see epk link pr assets youve prepared dont restrict obvious music mags fanzines try national press review sunday times culture arts pages guardian telegraph bring wider audience specialist magazine dont let personal prejudices self release timeline weeks impact essential prep buzz starts pick pace build hype digital release interviews exclusives last push release day launch event physical goes live week release dont let prepared exclusively agfromkievgmailcom attack mag rights reservedthe business music chapter releasing recordthe business music get way dont like particular publication potential fans might time pitching shortlead press blogs specialist online magazines dont rigid deadlines secure promo press slots coming weeks pitching journalists avoid blanket emails stage youre looking secure future coverage chosen specific tastemakers cater kind music make try come different angles different publications maybe offer one exclusive video couple weeks youre release partygig time announce fanbase youre playing gigs fans tour dates might also want post video clips rehearsals youre servicing dance single send single least one mix djs anatomy press release absolute musts press release artist name title songepalbum short bio cover artwork picture band applicable release date contact details name phone email instagram facebook soundcloud youtube link etc ideal world release reflect branding youre going lofi diy aesthetic might consider handwriting press release example top release headline short snappy catchy editorial text new release kept minimum written maximum effect even brave new world digital interaction writers reviewers bloggers still appreciate personal touch youre personal terms take chat drink show press release youve written ask comments journalists love show skills know shell written simple enough grab attention waffle words keep simple nobodys got time applies journalists radio producers anyone havent hooked first five seconds youve lost use flowery language big words youve lost dont get point fast youve lost grab attention get point keep simple always include link every press release epk prepared exclusively agfromkievgmailcom attack mag rights reservedthe business music chapter releasing recordthe business music weeks impact pick pace essential prep done seeds planted take root coming weeks time world start hearing music consider running online premiere single oneoff realtime showcaseperformance song announced advance fans via newsletter database social media might also give friendly blog details advance hacks love exclusive release week nears ramp social media begin dailyupdates facebook instagram twitter get fans involved let hear best new material release new photos single shoot gigs support single album majorland tour almost always supports album sales album generating interest tour vice versa youre selfreleasing tour serve similar purpose prompting interest singlealbum marketing pr around single boosting audience numbers gigs neat twoway mutual interest generator upshot single sales ticket sales hopefully fans scale gigs book depend career major labels often work release schedule around couple big gigs glastonbury say performance mobos youre self releasing glastonbury main stage unlikely agenda youre uk ready proper touring try targeting college circuit gigs contact student unions directly also booking agents specialise make life lot easier dont expect much cover costs expect raise profile learn ever thought possible youre stage college tour booking many local gigs fill diary travel far afield remember youre middle event fans friend film gig even better go live instagram facebook launch event different tour exists solely promote new release artists early days might simple gig friends youre career could fuller press launch media showcase although even major acts choosing go lower key route putting small gigs select number fans intimate secret venues whatever make different get people talking choose somewhere interesting involve biggest fans something part wider release story adds rights reservedthe business music chapter releasing recordthe business music studio instagram early asset prep mean plenty fresh content dripfeed regular intervals video photos stories site carefully syndicated others building supported single hits airwaves youre gigging tour well underway start dropping new single set fans dont upload youtube job aim holy grail free marketing spots soundclouds front page added spotify playlist getting itunes featured slide hotspots easy bag possible google tips getting featured spotify ways promote music soundcloud ideas many ideas require good weeks lead time achieved prepublicity press articles radio plays favourable mentions sure draw attention communication media sheeplike tendencies think theres buzz theyre missing follow flock weeks impact build hype period continuing build hype hype directing fans specific release date may think facebook gigs website job keeping fans date dont forget email since continually adding email database everyone date latest news time target radio tv vibrant local station features local artists broadcasters among supporters see chapter spreading word every single time email media people digital mainstream always include link epk press release make easy find need even youve sent dont major deal little point trying get playlists major radio stations bbc exception introducing strand bbccoukmusicintroducinguploader go specialist programmes playlist doesnt rule target best internet stations style music americas college radio network good outlet properly independent artists opposed genre indie music prepared exclusively agfromkievgmailcom attack mag rights reservedthe business music chapter releasing recordthe business music challenge period keep things fresh means unearthing new fresh content maybe extra mix cheeky bside mashup behind scenes video often keep pressure social media dont forget maintain media mailing list email database new contacts tie final details single launch party youre one planning physical hard copy release assets duplicating company hadnt planned physical single campaign proving successful theres still time remember keep reviewing milestones achievements theres always time try something new may also want start offering preorders vinyl cd upload single mixes chosen aggregator minimum three weeks release date dont might miss release date altogether check aggregator much notice need hit selected date weeks impact interviews exclusives last push campaign going well movement online offline radio even local tv youve made presence felt instead running steam still aces hand keep momentum going miracle secured mainstream press coverage mojo mixmag etc find havent dont downhearted national press many calling chosen personal got golden ticket shout instagram facebook include links people see real use leverage coverage elsewhere time put video youtube vimeo remembering announce link website social media email fans leak details secret launch gig select rights reservedthe business music chapter releasing recordthe business music impact weekrelease day finally youre finish line single go live day choice determined aggregator made available sale itunes amazon etc streaming relevant sites still things going week launch party event may garner additional media coverage selling cds launch party nobrainer ultimate captive audience enjoy party youve earned glass two bubbly resist temptation enjoy much individual artist marketing business youve targeted right people might begin see reviews appearing plaster good ones across social media asked interviews accept know help cause dont ignore anyone easy enough say basis schedule full polite refusal contact contact positive ignoring people negative final phase everything say directed getting many people possible buy music turn buzz cash remember three key goals single campaign profile building new fans money bank week release dont let hard work behind may tempted holiday breakdown blowout celebrate newfound superstardom avoid release success theres still plenty money made recouped need find second wind turn much ongoing buzz sales email fan base remind new track add reviews hype email prepared exclusively agfromkievgmailcom attack mag rights reservedthe business music chapter releasing recordthe business music keep tweeting facebooking tell fans radio play tell fans listen ask email tweet presenters requesting particular track tell track promoting single lead track record hit bloggers missed first time round even werent interested setting successful campaign behind position may changed done dust starts settle quarterlong campaign even take shortest breaks youre serious building brand cant stay public eye long means time start thinking next release prepared exclusively agfromkievgmailcom attack mag rights reservedthe business music chapter business music wish music business course could taken kurt cobain try treat money im making like last time im going make eminem remember summer holidays started homework thought ill next week end break approached became stressful finally sweating tension attacked two days due back school become massive thing head remember feeling well thats looking business gets like dont look business doesnt like hit big time couple minutes day keep straight narrow youre something wrong earn money things become complex point youll paying someone else workin chapter overview day one declare income progress tax return choosing accountant vat vat eu downloads legal business frameworks solo group partnerships limited companies making right decisions example accounts spreadsheettaking care business prepared exclusively agfromkievgmailcom attack mag rights reservedthe business music chapter taking care businessthe business music outlining easy quickwins keep financial house order lets talk necessary everyone compelled law pay tax certain level income time writing level called personal allowance uk people employed taken care uks pay earn paye system means deductions happen source employees paid salary income tax national insurance contributions taken easy systems like operate around world musician complicated almost certainly going selfemployed making responsibility ensure report income accurately tax office government department looks tax responsibility cannot ducked crucially responsibility alone worth repeating tax affairs responsibility accountants bookkeepers mums forgot post important letter tax matters buck stops individual taxpayer lesson one tax really dont want messing local national tax office may read stories major corporations paying tax think ok ok ok may believe ethical argument good luck explaining position court corporations get preferential tax treatment pay millions topflight accountants ensure breaking law avoidance legal evasion isnt affairs bearing situation lax dishonest tax affairs give rise court action fines particularly imaginative land jail tax around world every country tax rates rules apply selfemployed musicians us example elect estimate pay tax quarterly beyond scope book give detailed information every country much written uk variations country bottom line dont hide responsibilities get informed need pay need declare relevant authorities plenty sources online thousands pages help forums welcome questions even least informed rights reservedthe business music chapter taking care businessthe business music laziness carelessness deepseated fear spreadsheets reasonable excuses tax officers lower naughty steps even smallscale investigation waste time money energy far better invested music heres nononsense guide keeping financial straight narrow day one whenever spend anything business get receipt first bore soon becomes second nature costs new guitar latest version ableton flights gigs referred allowable expenses say offset legitimately income costs netflix subscription christmas presents dog generally speaking costs directly associated business allowable surprising number might consider personal costs including bills electricity gas work home example may allowable due course youll get know begin declaring income music common question among musicians start declaring income music better ask simpler question start declaring income income music different income anything else adds amount tax officials deem taxable need declare day job pay tax example even consider music hobby still declare significant earnings music significant earnings unlikely include cd would include cds might include cash hand occasional gig would include multiple gigs even cash gigs year different question start treat music income business opposed personal income europe uk income threshold compulsory start charging value added tax vat point choice see business entity point really treated business purpose tax involves admin paperwork benefits claiming certain expenses taxdeductible instance making decision get informed talk friends similar position ask online talk accountant prepared exclusively agfromkievgmailcom attack mag rights reservedthe business music chapter taking care businessthe business music regular allowable expenses look online ask accountant job necessarily know letter receipts everything want tax man take account comes filing endofyear tax return see accountant book keeper able sort relevant piles set simple spreadsheet excel numbers free spreadsheet like googles sheets job moneysavingexpertcom also useful selection accounting tools left right set columns follows column date spentreceived money mean dont even enter invoicesreceipts date order enter order come hand youve finished spreadsheet sort function put everything date order columns note either invoice number column related job followed column brief description work gig session guitar mixing etc spent money travel food equipment column followed purpose expenditure getting gig entertainment new guitar strings column column record amount money coming income column record amount money spent outgoings spreadsheet accurately mirror happening business bank account see example spreadsheet set detailed end chapter expenses must backed either receipt invoice also useful keep file copies invoices show money coming note enough accounting purposes show simple cash till chitty paypal receipt must receipt invoice original store service provider name date details goods purchased joe bloggs guitar shop guitar strings prepared exclusively agfromkievgmailcom attack mag rights reservedthe business music chapter taking care businessthe business music week spend five minutes entering recent spending spreadsheet entering spreadsheet carefully file receipts make sure request itemised vat till receipt card receipt keeping order entered spreadsheet time file endofyear accounts hand accountant neater organised youve less time youll spend sorting filing always invoice work done even youre paid yes even taxman access facebook profile think dont care free gig played dog duck last tuesday youd wrong musicians think theyre flying radar shocked hmrc presenting lists gigs theyve done havent recorded invoiced paid spreadsheet software simple invoice template unless feel pressing desire design use template record transaction doesnt need work art keep track invoicing use simple numbering system foolproof one would include initials year month date like pp also help digital filing file strict date order issue one invoice day simple enough keep readily identifiable adding affix give pp zero digit important digital filing system initial digit given preference file order go youve got mess hands etc take precedence alternative use number cloudbased invoicing book keeping utilities like xerocom freshbookscom waveappscom require hours learning basics take care almost everything related accounts invoicing vat returnsthe tax return major responsibility selfemployment uk submission year tax return document supplied tax authority fields detailing revenue kinds sources well costs associated business complex final calculation tots various figures many boxes give final fee pay occasionally youre lucky business going pan may end getting tax rebate dont wait last minute file tax return go online httpsearchhmrcgov ukkbhmrcformsview pagerecord go process know whats involved make list information required time file return youve got information required hand things compare pain rustle together receipts day submission deadline even submitting single day late generate fine prepared exclusively agfromkievgmailcom attack mag rights reservedthe business music chapter taking care businessthe business music selfemployed person onus let relevant tax authorities know situation uk means registering hmrc selfassessment sign httpsonline hmrcgovukregistrationnewbusinessintroduction find much wwwhmrcgovuksaselfemphtm plenty clickthroughs make brain hurt bear mind go pain nothing compared pain getting wrong side tax authority sums coming bank account music start get serious simplify matters considerably open separate business bank account keeping business income separate beer float gym membership standing order saves lot headaches progress come time career hopefully keeping track income expenses longer fiveminuteaday job get put aside month bookkeeper see chapter team still need ask keep receipts bookkeepers job data entry keep top regular financial tasks vat returns example see choosing accountant although vast majority accountants bookkeepers trustworthy instances individual accountants entrusted clients affairs embezzling funds sting among others lost nearly way best advice choose accountant musicmaking clients books although good accountant turn hand businesses one speciality music likely better understanding specific deductions allowed experience clients situations may apply choose firm multiple partners rather solo accountant big firm accountants partners best insurance job gets done properly addition personal accountant leaves retires expect affairs passed properly briefed another partner use accountant different managers keeping distance personal financial situation shared professional finances bad thing trusted independent third party looking finances alone common sense prepared exclusively agfromkievgmailcom attack mag rights reservedthe business music chapter taking care businessthe business music growing business may required submit doesnt alter ultimate responsibility accurate truthful timely tax authorities bookkeeper wholl face music irregularities accounts information return inaccurate buck still stops financial affairs may also benefit accountant see chapter team bookkeeper simply keeps books good order accountant proactive understanding tax position help structure finances save much money legally possible able advise allowable expenses complex take longterm view tax allowing example offset savings across tax years advising investments yawn pensions double yawn kinds sensible things musicians find immeasurably dull vat god save us vat value added tax except wont vat tax european governments places goods services purchase rate varies country country similar sales tax us except sales tax mostly stateimposed five states sales tax uk vat goods services currently stands buy keyboard vat paid retailer directly treasury idea vatsales tax tax spend rather earn thankfully wont need worry turning around uk countries different rules point charging becomes compulsory business turnover amount money invoiced single tax year vat digital eu sales jan vat rules eu countries changed companies individuals selling digital products services including music downloads eu territories pay vat sales rate determined country download socalled place supply minimum turnover threshold rule meaning even make little digital sales still perform additional accounting task complex time consuming consequence thousands musicians stopped selling downloads direct affected three choices stop selling carry selling filling relevant quarterly paperwork uk vat moss makes little easier best divert direct sales towards third party distributors look accounting headache cd baby example takes care additional accounting paying royalty required vat deductions made prepared exclusively agfromkievgmailcom attack mag rights reservedthe business music chapter taking care businessthe business music arguments sake lets say download sales merchandise gigs made way bank course tax year turnover tax owed turnover calculated k minus legitimate costs vat different turnover reaches socalled vat threshold around k uk low elsewhere europe paying tax annual profit also start charging vat products services tax authority deems vatable musicians almost exceptions rule rule various implications musicians bad vat registered charging gig add vat extra means overnight raise prices way round include vat gig fee leaves worse vat element pay hmrc bad news addition annual tax return submit quarterly vat returns thats another four forms year correct delivered time fortunately hairlines silver dark vat cloud firstly time hit vat threshold almost certainly hired bookkeeper accountant know aspects services provide exempt vat add bookkeeper also usually file vat returns behalf secondly importantly vatregistered start claiming back vat charged legitimate costs new keyboard cost including vat claim back vat element costs business start adding significantly sometimes advantageous register vat businesses voluntarily register vat hitting threshold either way complexities vat lie long way musicians time get capable hands good accountant prepared exclusively agfromkievgmailcom attack mag rights reservedthe business music chapter taking care businessthe business music legal framework solo group information assumes youre solo artist youre part group rules apply two exceptions firstly youre going looking business therell one unfortunate sod whos good stuff thats sucker whos going take care thats still need take interest financial affairs directly impact earnings b chosen unfortunate sod useless andor dishonest business could fold even taken secondly various options structuring business uk one person involved solo artist almost always operate socalled sole trader tax purposes group equivalent business partnership third rarer option form limited company whichever choose almost always one three dont take advice proper advice professional mate pub knows guy knows guy finally remember band responsibility hmrc taken seriously sole trader responsibility comes heading jointly severally means responsible ensuring accurate truthful timely information given tax office dont try pointing finger blame johnny unfortunate nominated take care business need make sure know whats going return needs filed everything stated supported relevant paperwork al ternative frameworks partnerships limited companies business partnership business two people share responsibilities running company profits usually always split profits equal one hence partnership business prepared exclusively agfromkievgmailcom attack mag rights reservedthe business music chapter taking care businessthe business music partnership business framework usually supported partnership agreement legal document youre band producer coop dj partnership need written agreement members setting share profits receives common enterprise common enterprise things together like recording gigging selling band merchandise write material collectively agree share equally writing income ustyle also becomes part partnership agreement pay particular attention also advice collaboration chapter publishing deal one main writer income specifically excluded partnership agreement instead writer separately responsible hmrc declaring additional income songwriting pay tax extra income accordingly limited company another legal entity different stringent requirements instead share profits governed partnership agreement limited company issues shares total value band four musicians might divide company equally receive shares limited company requires specific personnel fulfil certain roles specifically one directors company secretary case fourpiece band likely band member would director one taking additional responsibilities secretary finally limited companies file additional paperwork hmrc also companies house uk including annual returns minutes partnership responsibility single collective thus term jointly severally one runs cash others held liable courts people outside company owed money although forming company expensive time consuming forming simpler partnership although plenty online prepared exclusively agfromkievgmailcom attack mag rights reservedthe business music chapter taking care businessthe business music companies wholl look fairly cheaply search company setup two pivotal advantages firstly goes bust youll usually protected financially limited company notional worth based much shares bought issue shares companys notional worth thats word limited comes event company failing directors liability money owed creditors limited time get carried away creditors show business failed negligence criminal activity part directors come every penny owed including home possessions secondly limited company properly run also tax efficient group people signoff worth noting individuals also operate companies creative sector many choose efficient way structuring finances youre considering seek advice best option situation making right decisions music industry abounds stories artists whove ripped badly advised plain stolen various financial advisers members take discovered scheme invested purportedly encourage british musical talent looked uks tax authorities tax avoidance scheme courts agreed messrs barlow owen donald multimillion pound bill pay artists obviously defrauded leonard cohen famously went zen monastery meditate five years came back trusted friend manager kelley lynch stolen almost money two cautionary tales different three members take given appeared sound advice investment scheme around prepared exclusively agfromkievgmailcom attack mag rights reservedthe business music chapter taking care businessthe business music years hmrc decided said tin instead scheme avoiding tax thousands investors caught moral story even best advice best advisors sometimes come apart seams consequence probably best play straight get involved complex tax planning come back bite leonard cohens situation completely different entrusted affairs kelley lynch five years spent monastery misappropriated went away served jail time long probation period bad financial planning also commonplace music industry rolling stones around four years massively successful broke prince rupert lowenstein took affairs made superwealthy recalls first went meet mick jagger furniture house another common problem faced musicians longterm financial planning like professional sportspeople many top musicians relatively short career earnings high unless sudden huge whack earnings carefully invested easy end aged breadline drugs fraud bad advice designer furniture plain careless endless ways frittering away hardearned cash music industry dont another long line sob stories oncefamous successful artists end living poverty misery smart involved see career longterm business hopefully money retire enjoy end always ask questions take responsibility ultimately financial affairs another strand career require level diligence brand songs musicianship prepared exclusively agfromkievgmailcom attack mag rights reservedthe business music chapter taking care businessthe business music example accounts spreadsheet sample spreadsheet shows kinds costs might incur single month solo musician alongside typical sources income costs ones tax authority would usually accept cost business would therefore tax deductible note word usually though example case study illustration talk sterling uk tax authority hmrc rules differ country country check situation qualified professional costs income explained prepared exclusively agfromkievgmailcom attack mag rights reservedthe business music chapter taking care businessthe business music costs sometimes travel gigs bus like residency red lion equipment need times take cab guitarist needs bring amp guitar january recording tracks studio press cd sell gigs studio cost half day january took delivery flyers distributed promote gigs next four weeks occasions home schedule meant couldnt eat tax man allows small amount food travelling work legitimately charge share domestic costs use space home run music business based amount space allocated business may whole room set recording studio amount time spend business house total size home instance using one room five room house exclude kitchen bathroom using roughly one fifth living space total rent utilities come per month calculation based one fifth lets say legitimately workrecord home three days week final calculation tax man per month divided seven days day multiplied three days work means asking tax man offset month income home officestudio facility note asking tax man hmrc may agree calculation ready negotiate prepared exclusively agfromkievgmailcom attack mag rights reservedthe business music chapter taking care businessthe business music income weekly residency red lion pays played two gigs club pays badly played one gig club pays well also played gig plough pub little way town tax case study income turnover month costs month profit simplified example assuming relevant tax threshold would expect pay tax important understand tax man wants cut earnings example job pay tax earn paye hmrc add earnings earnings music order calculate tax owe personal allowance used full parttime job pays year taxed additional earnings music prepared exclusively agfromkievgmailcom attack mag rights reservedthe business music chapter business music get really good manager allows focus musician focus darker art record label music industry james blunt gather around way top help determine successful b much enjoy journey c much money personally bank pretty much every musician starts alone thats absolutely right professional interested write early songs develop style slave away daw mixing debut ep paying team stage waste time money also important understand start team reach top ladder unlikely group people put foot first rung must necessarily helped push middle top dont develop unnecessary attachments business business need grow thick skin comes business relationships say unpleasant categorically dont unpleasant bad manners rudeness place good business relationships behaving badly way mean someone bad things say youre famous chapter building team lawyer manager record producer engineer mastering engineer promoter booking agent designer publicist pr ar plugger bookkeeper accountantyour team prepared exclusively agfromkievgmailcom attack mag rights reservedthe business music chapter teamthe business music way back better brand career ultimately health things arent true chapter profiles people youll need around get top tree top youll need way youll need time may need weve also profiled industry people whore unlikely ever team youll inevitably come across point journey lawyer comic spike milligan said contract another way saying dont trust contract law industry grown large hungry simple truth contracts work long working relationship two signatories record company publisher still cordial idea fragile overpriced documents one side wants lawyers begin arguing semantic meaning words never even noticed signing followed advice even read fine print thought understood times something crucial missed lawyer whats required draft look contract complying law wishes ask lawyer sign side letter guaranteeing contract fireproof watch chin drop face flush still need lawyer sign deal anyone including manager looked lawyer music business specialist lawyer contracts necessary compulsory noone anything without one part process ensuring wishes expressed whichever contracts sign understand sides position ask awkward questions read every clause lawyer explain wording unclear end day remember milligans succinct observation contracts another way saying dont trust trust prepared exclusively agfromkievgmailcom attack mag rights reservedthe business music chapter teamthe business music breaks prove worth paper theyre written means important work relationships rather rely contract relationships lawyers youre better needing recourse courts knowing subclause inside note theres point approaching lawyer calling bitter splits family law practice local high street going set way music superstardom looking legal practice specific entertainment division lawyer two team specialise solely music around search music lawyer online lawyers direct ties best managers go detail chapter taking care business section entitled making right decisions manager supermensch legend shep gordon documentary longtime manager host music alisters including alice cooper blondie anne murray luther vandross film shep gordon says good manager three things one get money two always remember get money three never forget always remember get money money measure managers success whatever else bank balance barometer arent bringing dollars theyre failing counts get money requires host skillswhat manager unlike decade ago management longer simply negotiating record publishing deals counting money rolls todays manager expected mentor help develop youre ready big time even advise branding presentation may excellent musician songwriter enough hours day become expert intricacies music business finer points publishing contracts makes manager silent partner rise fame one spinning onehundredandone plates weave magic stage studio james blunt notes chapters opening quote really good manager allows focus musician focus darker art record label music industry prepared exclusively agfromkievgmailcom attack mag rights reservedthe business music chapter teamthe business music manager well connected levels music business consummate peopleperson music industry allrounder need able tackle raft everyday business advising contracts advising oninitiating recording sync deals working booking agent get gigs theyll also exploiting revenue streams third party licenses sponsorship deals good manager access team trusted third party professionals turn need lawyers producers marketeers pluggers manager nonexistent contacts book unlikely stay business longchoosing right manager hear people say hindsight course brian epstein good manager beatles beatles never secondguessed disrespected working without rule book way best manager beatles could asked things moved time epstein died allen klein came along klein money man whose vigilance discovered unpaid royalties made money beatles epstein ever could yet epstein held band together klein split apart george harrison particular outraged commission klein took bigger cut individual beatle klein admission biggest bastard business entirely honest lets say klein brought beatles didnt know owed still resented several million took commission important take everyone liked brian epstein beatles loved set template improved upon successive generations managers guy want want biggest bastard industry understand biggest bastard slice flesh live slice probably bigger would youd chosen mr nice guy hand choose mr nice guy dont complain later ruthless big bastards tend loud opinionated may say things find unpalatable first foremost looking number one work basis charity begins home dont look look end personal choice one make minimum make sure manager weighty mix experience contacts critically success best litmus test success manager success artists rights reservedthe business music chapter teamthe business music manager typically take around artists gross income youre star may able negotiate youre big star manager likely fulltime salaried role want position peg managers cut thats gross income words every earn manager gets receive subject apart anything else tax whether youre solo artist fivepiece band fivepiece band earning get head minus managers shared works less manager understand outset could end resentful managers typically taken artists income record sales streaming live fees merchandise brand endorsements anything else make money scooter braun justin time nominated jeffrey katzenberg time magazines annual time list influential people world scot scooter braun incredibly short space time joined ranks greatest music managers history im convinced scooters warmth heart many young clients gravitate treats justin like member family gushed dreamworks ceo im pretty confident influencing people generations come justin course justin bieber discovered age braun clocked performing neyo song youtube turned one biggest richest names pop well bieber braun also manages ariana grande martin garrix kanye west brauns juggernaut success supremely sharp instinct spotting talent gut asset says deep understanding media marketing pr witness celebfuelled day social media campaign leading release beibers mean example welldeserved reputation nice guy great deal philanthropy pretty much everything involves hefty charitable element theres much career artist management hes also shrewd businessman subsidiaries main company sb projects making waves music tv film technology short braun model st century music mogul youre probably going find guidance anyone quite league certainly looking key qualities prospective manager entrepreneurship marketing vision media savvy energy drive everything possibly get artist far ladder possibly prepared exclusively agfromkievgmailcom attack mag rights reservedthe business music chapter teamthe business music good manager earn share many times todays managers know know groundbreaking work went col tom parker manager elvis presley brian epstein andrew loog oldham first manager rolling stones allen klein stones second manager took beatles archetypal big badass dont mess artists manager peter grant led zeppelin dont forget prince rupert loewenstein took rolling stones affairs klein went work quiet courtly civilised manner ensuring despite oldhams naivet\u00e9 kleins worst efforts stones became rich indeed todays successful artists generally see money lot quicker pioneers reported spice girls worth around split note earned worth achieved less five year career wings manager simon fuller justin bieber meanwhile making money music since dragged youtube manager extraordinaire scooter braun yet currently reported worth somewhere north deep breath according forbes magazine earned alone one tip adam tudhope manager mumford sons ask questions dont understand even manager crucially asking clarification dont understand always serve much better trying front fronting course valued tactic badold goodol days todays managers dont feel know go alone youre going successful career almost certainly need manager fact truer ever success todays industry involves exploiting dozens revenue streams breadth skillset understanding contacts required significantly artists earning potential simply grasp musicians take brand endorsements example major revenue stream artists coming lucrative tieins tech lifestyle brands would artist idea arrange one know agencies personally deal setting deals offense would even know start unlikely good manager youve done musical groundwork want shift career gear manager usually one make happen prepared exclusively agfromkievgmailcom attack mag rights reservedthe business music chapter teamthe business music necessarily feel every opportunity grabbed william robillard cole manager kaytranada says like show artists everything thats available ask want artists says vision usually monetary managers job figure way make profitable patience rarely seen asset past cited uppermost danny reiner part allessia caras team patience key artists others able manage expectations objectives manager shopping list say earlier chapter elsewhere lawyer first manager second contract management included signed without legal advice make life considerably easier shopping list requirements manager even meet one include sort relationship want sorts things expect manager negotiate behalf instance willing trade smaller advance record deal higher royalty rate opportunity ownership recordings say five years managers see big advance first possibly earning opportunity sign faith future manager agree quick buck also looking manager understands work create songs recordings copyright manager looking help exploit copyrights earning commission income generated looking take part ownership copyrights feel constricted sign anyone read reread chapters make shopping list anything looks feels important put theres ageold maxim dont ask dont get may get ask knowing want front massive step also signal manager label youre mug speed things able tell lawyer writing want manager check covered management contract lawyer point anything could seriously damaging future earnings ownership work also flag anything experience counterproductive good managerartist relationship lawyer manager place stay involved process contracts often easier understand look yes theyre couched language feels intimidating occasionally masks meaning thats legal profession protecting interests ask sensible questions like say much label paying streaming clause covers amount ill charged packaging answer clear prepared exclusively agfromkievgmailcom attack mag rights reservedthe business music chapter teamthe business music solid communications structure crucial rush business many management styles artists even single manager use different approaches different artists must though ensure point hopefully sooner rather later money starts flowing get manager need fairly established artistically topclass get manager established managers want see proof live ability kind following top class millions artists managers trying get manager interested nothing show nonstarter anybody waits manager waits record label put stuff must know doesnt work like proactive jonathan dickins manager adele jamie told hit quarters whether means youre funding little record youre putting cheaply going playing live building fanbase creative online cool blog facebook distributing music potential manager want see evidence activity wont necessarily want finished product understand band artist need help become finished product many mentor acts refine brand music live abilities even invest money studio sessions photo shoots improve chances talent heres one manager enviable roster said dont want act needs lots development prepared thats part job love favourite kind artist diamond rough understand itll take time effort make shiny almost always quality act music deciding factor manager takes new talent ill interested act longevity notes manager want career artists ones craft skill stick around ones earn year year matters way massive facebook following prepared exclusively agfromkievgmailcom attack mag rights reservedthe business music chapter teamthe business music youre potential career artist one route best management might lawyer instance negotiated publishing deal lawyers managers share twoway financially beneficial relationship managers send favoured lawyer contracts associated artists lawyer sends manager acts think may interest cosy twoway money flowing one direction artists lawyers interest keep manager well stocked promising artists know artists get bigger need regular legal work kerrrching managers still seek artists youll get top flight management theres already publishing deal offing know several record companies chasing around town managers want hit paydirt much artists ongoing search new talent see scouring internet social media catching local gigs follow steps chapter spreading word build local following become one manager calls hero back yard youre making big enough local waves lucks side may snare manager oldfashioned way record producer manager producer likely important figure rise top manager keeps eye business producers interest music work ensure best sonically creatively always matter confusion record producer role equivalent film director film producers equivalent record company reason long record producers musical directors musical directors specific role arrange orchestration book musicians sessions required even tour performer nowadays producers take role often much contribution project range final say mix micromanaging every step writing recording mixdown process producers craftsmen almost always men see lets talk prepared exclusively agfromkievgmailcom attack mag rights reservedthe business music chapter teamthe business music sex turn ideas performances final polished mixes hit stores charts enter studio producers job get best possible sound also best performance either work studios engineers make happen weave magic behind desk computer screen likely producers unenviable task negotiating technical challenges compositional trials artistic differences new music takes shape studio say fraught business understatement pity producer ken caillat example helm fleetwood macs rumours sessions previous mac album first featuring stevie nicks lindsey buckingham topped billboard charts big things expected rumours buckingham nicks public relationship breakdown founderbassist john mcvie also breaking wife singer christine sleeping drummer mick fleetwood unsurprisingly fleetwoods marriage also cracking lets talk sex controversial state producers male although puzzling also doubly ironic male dominated misogynistic musical style hip hop one early producer stars sylvia robinson produced one raps first hits rappers delight sugar hill gang also cowrote produced melle mels white lines others female producers including linda perry onetime singer four non blondes produced pinks lets get party started trina shoemaker sheryl crow female producers rare breed theres never female winner best producer grammy brit even nominated usually reserved artists produced records youre looking gap market youre female theres one big glaring hole fill producers women woefully underrepresented theyre also distinctly absent behind mixing desk trina shoemaker first female win grammy sound engineering back youll hard pressed find another since fantastic exception imogen heap engineered album ellipse grammy best engineered album non classical prepared exclusively agfromkievgmailcom attack mag rights reservedthe business music chapter teamthe business music imagine patience ken caillat coproducer richard dashut exercise get hour days fuelled mountains coke egodriven disputes lot producer requiring patience job diplomatic skills international ambassador feel also bill bottrell spent close two years life working michael jacksons dangerous constraints neither budget timescale meant project kept demanding life demoralised producer end project quit pop machine returned roots making mixing country music never returned making chart hits producerengineer martin rushent tasked oversee human leagues hysteria album steeped personal antagonism following row susanne sulley quit studio music industry decade production never easy job juggling artistic wishes sensitivities one hand demands publiclabelmanager recording medium best producers come maelstrom fantastic sounding record even many historys finest unknown public hip hop bucked trend generation urbanpop superstar producers like dr dre timbaland neptunes pharrell williams chad hugo nearly well known artists theyre producing kelis britney spears missy elliott justin timberlake jayz eminem cent partly rise big names many todays producers seen collaborators subsequently share financial success hit records see chapter record deal depending level involvement may earn royalties cowriters coperformers make mistake right producer make difference success failure career theres point best songs sound anything amazing best producers weave sonic magic looking work best like artists indemand producers usually managed producer manager taking around producers gross income prepared exclusively agfromkievgmailcom attack mag rights reservedthe business music chapter teamthe business music engineer guy almost always guy studio knows everything works assist producer recording masterpiece given huge growing disparity numbers engineering graduates many jobs industry sound engineer usually highly experienced talented motivated patient studio engineer responsible ensuring everything recorded optimum quality appropriate microphones used set correctly session captured audio neatly tidily filed whether properly marked tape box digital filing system every track recording session easily accessed producer tasked macro big picture delivery project engineer looks essential studio tasks technical minutiae think highly skilled righthand man almost always man producer allencompassing knowledge studio equipment typically resident specific studiodiy mastering peril tempting save pounds mastering tracks almost daws mastering channel presets make track sound instantly louder fatter online mastering services like landr emastering cloudbased utilities allowing artists upload mix receive fully mastered track back next nothing home mastering services like landr deliver reasonable results beware services based algorithms job within limited technical parameters theres far mastering instant volume increase quickwin mastering engineers equipment mere mortals dream vintage expensive innate understanding technical requirements final master transfer various mediums might choose press golden ears ability hear nuances flaws music allow perform final quality control music hits publics ears short mate bedroom pro tools heritage mastering settings going hack sake track place cutting costs prepared exclusively agfromkievgmailcom attack mag rights reservedthe business music chapter teamthe business music mixer since dawn remix era dating back three decades new breed supermixers emerged particularly pop music goto necessity producer artist done thing particular mixed credit guarantee radio play mixing stage often always rarely genres like dance folk sits production mastering processes mastering engineer studio sessions songs mixed still one studio process go dark art mastering performed mastering engineer mastering engineers usually work alone job give finish tracks optimised final listening medium cd mp broadcast vinyl also check fidelity audio album projects ensure track similar soundvolume mastering engineers highly skilled best viewed something close superstar status industry getting tracks mastered best mastering engineer lay hands vital link chain ensure music sounds best producer manager likely favourite goto contact may best go choice look elsewhere go online search mastering engineers youll find dozens sites named engineers also famed mastering houses like air abbey road many mastering engineers offer online mastering send premaster studio online get masters thinking big big enough following think outside box phone albert hall ask much would cost hire evening youve likely never heard show hands put money mouths booked albert hall march set promoting via continuous gigging country first albert hall gig sellout theyve done four times since including th band anniversary recently noone really thought adventurous approach selfpromotion prepared exclusively agfromkievgmailcom attack mag rights reservedthe business music chapter teamthe business music sent back even bigname mastering houses absurdly cheap often offering entire albums less promoter gig promotion runs gamut like parts music industry small vast key word promote publicise market might local band keen start gigging friend whose dad owns pub whos dab hand design asks dad borrow pub backroom night designs flyer sticks around town leaves copies around pub customers see also posts gig pubs website facebook page youre gigging band friends promoter thats small scale end scale live nation entertainment lne behemoth promotes music events also owns many venues events take place lne emerged merger live nation described live events company ticketmaster thats call synergy venues promote events sell tickets initially created lot opposition americas justice department asserted string conditions approving merger uk competition commission initially ruled ultimately passed live nation also noteworthy offering first major deal madonna see chapter record deal changing ways things done massive scale live nation become seen quarters music industrys starbucks disruptive influence generating associated vitriol paranoia areas music promotion something musicians start taking role designing printing flyers generating buzz telling world band gigs equally youve got friend keen taking role cut live income rope earning living promoter lets beat bush hard expected cover variety often hefty costs venue rental prepared exclusively agfromkievgmailcom attack mag rights reservedthe business music chapter teamthe business music advertising equipment rental band entertainment accommodation payment band return get share door takings theres hard fast rule commission promoter band venue taking risk band turn play agree whats fair one notable benefit promotion unlike many areas music industry becoming successful nothing age money know experience like harvey goldsmith promoter put live aid together still years later could like bill graham promoted biggest bands venues fillmore east fillmore west become legend could also fearless approach lot imagination become successful promoter young booking agent booking agent one task get gigs artist band easy eh well turns heres test try picking phone getting booking department major venue chain venues youll lucky get well know talking days full enough already people know diary chocker lets say get someone venue willing spare five minutes going say want book band gig anton corbijn grand designer occasionally designer turn instrumental establishment bands identity extent transcends mere imagery although hes worked incredible range artists art noise david sylvian red hot chili peppers arcade fire anton corbijn probably best known ongoing tenure since mid creative director depeche mode u responsible photography videography sleeve design corbijns grainy evocative visual style fits sounds bands like pair black leather gloves playing huge part defining public personas head honcho depeche modes label mute records daniel miller says multitalented dutchman one person powerful hard find anton grew photographer video maker sleeve designer kind grew worked well still today prepared exclusively agfromkievgmailcom attack mag rights reservedthe business music chapter teamthe business music sure thing sort ticket price thinking erm band album promoting er really believe band fill hall seater know ermer agents know answers questions pick phone know whether band going fill pub carnegie hall know right ticket price range venue know people talk critically people theyre talking know booking agent takes commission bookings smaller artistgig bigger commission designer people may survive journey bottom top likely candidate designer good designer good designer dont need widespread network contacts fact many arent overly ambitious dont want superstar life theyre happy making interesting artwork say good graphic design unskilled occupation remotely suggest anyone contrary great designer truly gets brand add brand immeasurably best designers even help define brand see anton corbijn grand designer however little personally know design dont afraid opinion music story need comfortable every aspect design speaks abstract discussions ambience feel sound pretentious people youre musician expressing second nature whats little pretension friends end cracking good image instantly recognisable coke bottletreating team right maybe public image badass thats public dont act badass around professional team thats say walkover breadwinner advisors treat respect reciprocate ask questions music business complex take much interest career decisions shaping possible dont ask questions paranoid point view ask politely persistent final analysis youre happy response information provided talk manager may tell worry youve got point let manager handle conflict thats theyre thats one reasons get cash prepared exclusively agfromkievgmailcom attack mag rights reservedthe business music chapter teamthe business music publicist pr malcolm mcclaren genius publicist without contacts prior experience managed get enough coverage sex pistols give professionals wet dreams prankster knew would get peoples noses got noses enough important people media could follow behind mopping mess smearing front pages news programmes wont malcolm mclaren youll using orthodox publicist personal relations pr representative people get name media onto blogs papers onto mtv role persuade media tell world music email addresses mobile phone numbers tastemakers journalists editors anything everything get name max clifford banged subsequently dying prison probably fitted job description conventionally mclaren peoples eyes shame quiet professional people push stories media day every day without ever ending jail end spectrum small companies individuals know specific genres inside able service press releases break new acts working media outlets bloggers opinion formers like music good pr give emerging artist hefty leg various stages may require services publicist become major live act without record contract unlikely impossible need hire publicist get press coverage raise media profile bring attention people yet notice sign doesnt cost lot service regret buying signed publicist almost always come deal prepared exclusively agfromkievgmailcom attack mag rights reservedthe business music chapter teamthe business music label isnt looking pr deals probably worth paper written record company invariably pr team either house work hard obtain coverage getting reviewers gigs securing reviews music alongside interviews music press wider media become megastar might hire dedicated publicist person others done also manage public image expert crisis management instance fall asleep wheel car middle motorway discovered indulging indiscreet extramarital sm money theres reason cant hire pr earlier career music brand story good enough talented publicist give even least known artist steroid boost spreading word generating hundreds perhaps thousands new fans even hiring pr short period service release single example talkup upcoming tour pay significant dividends publicists frequently irritate dream stunts gimmicks get press coverage doesnt come naturally try irritated theyre working work anythingeverything feels right story ar say ar artist repertoire hardest word fact yes considerably harder agreeing sign act acts eyes giving key hopes dreams signed artist reality although youre one perhaps record deal odds still somewhere close successful look ar loves isnt need someone love objective enough able see tell whats missing might done artist first record company contact likely ar scout dont get excited young people lowest rung scouring internet likely talent day nights checking acts like rights reservedthe business music chapter teamthe business music enthusiastic scout might get hopes dont make signing decisions boss executive ar department scout sell executive keep feet ground times particularly scout telling fantastic saying thing ten others boss isnt going sign ten indeed might sign none ten scout level youre still filtered youre filter bigwigs back office start listening songs part job pick best debut album identify potential singles point career things take unexpected turn record companies dont always sign think vision might fit vision excited prospect recording contract kind artist refuses compromise sell follow guidance moment say youre signed ar team likely follow instincts rather track record dont speak forever hold peace determined stay true authentic self story management truly tested agree enough clout keep record company back another reason wait best managers world beating door plugger record companies teams pluggers also known promotion people confused gig promoters job get track played wherever music played people unusually thick skin tenacious temperament relationships key programme producers radio tv elsewhere large trust pluggers push anything unsuitable plugger needs tools box simply brilliant record rights reservedthe business music chapter teamthe business music need believe brand youll make job immeasurably easier social media stats healthy may think thats unfair record stand fall merits well thats used thats werent convinced told things instagram facebook youtube twitter important grab attention record companies bear mind radio one playlist committee sits week furnished numbers views follows even listen song see chapter music business make mistake plugger become essential part team nice take dinner make believers insist meeting soon theyve assigned record miss opportunity make feel loved bookkeeper moment earning enough money pay tax need keep record income outgoings start youll keeping books chapter taking care business eventually diary fills gigs become better paid task become chore gets way important jobs nows time hire bookkeeper numbersavvy spreadsheetlover look ins outs cash flow expenses invoices daytoday basis proficient bookkeeper cost little month many online accounting services couple cloudbased software phonebased advisers dont go lowbudget sake bookkeeper specialist software tapped accountancy firm two ask reference check online testimonials browse linkedin profile bookkeeper place thats asked continue receive keep receipts regularly hand data entry responsibility concentrate efforts music promotion marketing prepared exclusively agfromkievgmailcom attack mag rights reservedthe business music chapter teamthe business music accountant financial affairs become complex authorise bookkeeper look daytoday accounts also potentially file official documents like tax return theyll charge small amount extra service money well spent youre road running keep earnings grow affairs complex time come hire accountant whatever read accountants whatever view possible venality tax avoidance starbucks jimmy carr skilled professionals absolutely necessary structuring financial affairs efficient way possible highly trained law profession demands continue training throughout careers accountant uptodate latest tax laws changeable aspects finance lacks required certification struck good accountant save money ensure mega wealth coming way frittered five year blaze highliving inglory invested twilight years dont play humiliating final tours suffer indignity joining tribute band manager usually able suggest bookkeeper accountant although often best keep accountant separate least one independent eye looking financial affairs prepared exclusively agfromkievgmailcom attack mag rights reservedthe business music chapter business music devil details convoluted scarcely anyone understands lisa verrico journalist author record contracts record deal us dream isnt make music genre like dance hip hop stand least chance going alone allure deal might hold sway speaking guardian uk grime kingpin stormzy first unsigned british artist top single said every single thing told couldnt without label get charts get radio playlist ive done artists validation fawned ar types offered contracts lots zeros record deal end often long tough grind place musical map also start something exciting first steps pond ocean time clout label behind moment record deal lands table defining one often lifechanging one read chapter warning sign youre ready got sign youre readyin chapter development deal direct signing deal signing indie copyright recap landing deal sending demos look deal negotiation quick guidethe record deal prepared exclusively agfromkievgmailcom attack mag rights reservedthe business music chapter record dealthe business music offer lets start looking record deal guarantee hits success happiness untold riches record deal says agree make records label whose contract signing label agrees makes best efforts exploit music four typical deals may come across examples others almost variations theme instance deal variation deal excludes publishing four deals simplest complex development deal direct signing specific label either major indie licensing specific label deal next pages discuss detail prepared exclusively agfromkievgmailcom attack mag rights reservedthe business music chapter record dealthe business music development deal development deal says tin takes usually unheard artist develops marketable releasable product may heard stories prince signed even made record warners agreed advance allow one album would surely fail kate bush signed put retainer two years finished school developed performance skills first album appeared immediate smash today view stories fairy tales say theyre untrue theyre absolutely true theyre different age almost qualify folk memories rare sorts experiences years ago became practically unheard record industry revenues plummeted sort panic set today industry finally gets grip new digital reality revenues rise confidence returning nevertheless offered deal wont look anything like one yearold ms bush signed instead financial investment likely minimal probably end making four five tracks best secondguessed every step way worst pushed directions dont want go development route isnt one wed recommend youre promising songwriter publishing deal call creative deal chapter likely better longterm bet event already resources needed record daw plugins exercise patience forget label developing potentially taking somewhere dont want go instead develop recording songs playing live develop point development deal wont necessary dont patience wait put work youre taking seriously case anyone else prepared exclusively agfromkievgmailcom attack mag rights reservedthe business music chapter record dealthe business music direct signing common kind record deal contract label fixed term fixed term legal speak time period typically anything one year five label able pick renew contract year year longer deem interests contract term beyond five years would deemed much labels favour knows youll career shouldnt signed term contract expected work exclusively label see exclusivity delivery whats expected meaning record songs label without directly breaking terms agreement direct signing deal label owns recordings make term contract life recordings copyright see copyright explained later chapter artist royalties fairer today theyve ever old timers would given limb today would typical best managers get power get best tours indeed best everything exact rate depend host factors strength managers negotiating skills yourtheir ability convince label potential strong live following large engaged social media following admit youre already calculating many download tracks need sell cents make first million explain chapter music makes money nothing music industry simple seems record companies spent decades perfecting dubious arts deductions exceptions almost taken artists income royalty calculated prepared exclusively agfromkievgmailcom attack mag rights reservedthe business music chapter record dealthe business music caveat downloading way downloads good example things work firstly royalty get based retail price album download retails even retailer price itunes pays price cant easily calculate sorts deductibles applied including typically recording production costs half video production costs half promotion marketing budget packaging costs remember even though digital age almost half sales still physical formats deductions legitimate allowable expenses outlined contract sign top hard copy market returns level copies dealers allowed return unsold free copies review radio stations promotional copies finally dont forget advance even deductions taken income wont entitled royalty payout advance fully recouped earned back label said chapter dont expect see money record sales time soon main disadvantage direct signing contract ends move another label recordings made terms previous contract stay ownership original label third option licensing dealchoosing right deal dont sweat alone many musicians worry intricacies record deal focus things got noticed ar execs first place music brand yes good know stuff dont get bogged deal comes along manager lawyer ones negotiating points good manager talk allowing make fully informed decision best route thats say shouldnt read everything put front sign take particular interest rate royalty term contract ways label able recoup money music sales key clauses contracts time dont sweat every clause sub clause note chapter team final analysis deal relationships good label happy break contract likely heal rift prepared exclusively agfromkievgmailcom attack mag rights reservedthe business music chapter record dealthe business music exclusivity delivery whats expected sign record publishing merchandising deal first thing usually demanded exclusivity ie cant go signing deals anyone else standard clause contracts states warrant guarantee position sign contract means youve already signed exclusive contract company warranty company b decided try pull fast one would invalid also fraudulent contract also contain delivery period period time typically six months expected deliver first single ep album label doesnt want sitting around indefinitely polish supposed record contract also often give label right ask recordings within time period covered contractthese rights called options named label isnt guaranteeing finance three albums within say five years contract period option wish contract broken periods first recordings delivered period one happy label pick exercise right period two expect recordings note twoway street label right exercise options end whole contract period artist hand option exercise ie cant demand release another albums might seem unfair remember label spending money time youve made first album accompanying videos label might k red sales show right future options negates riskthe licensing deal major difference licensing direct signing deal term specified contract get rights back recordings could five years could could normal end contract reality somewhere likely seven years term something record company negotiate want see investment back want get rights back still value privilege freedom might expect less advance andor reduced royalty negotiate one reduced advance bigger royalty instance prepared exclusively agfromkievgmailcom attack mag rights reservedthe business music chapter record dealthe business music respects deal similar direct signing deductions free copies recording costs et al exception would financed recordings externally bringing finished product label label loves really wants release recordings strong negotiating position side much invested record company might prioritise deal artist confident music long life possibly potential film tv soundtrack licensing isnt royal ty share bigger digest intricacies record deal realise hard earn record sales youd entitled ask whats label earn share cash heres record company pay advance negotiated help living costs work breaking record pay recording sessions pay advance fee required chosen producer stump pr promotion marketing fund shooting editing promotional videos including director costs design print sleeves covers inserts etc cds vinyl applicable manufacture press distribute hard copies cds etc music high street record stores part least support tour extend risk spend international markets hope success countries territories license tracks onto compilations deals include publishing basically theyre forking lot cash lot things even major hit top album start paying back costs advance fact even investing minorleague artist result tens thousands dollars risked whats one time record label taking risk multiple hopefuls adding hundreds often millions dollars apologists farfrom perfect record industry cursing apparent onesidedness average record deal bear mind risk label losing investment high success rate low need make significant sums rare successes order keep moving forwards acts make big bankers covering costs acts dont make also paying salaries everyone need label generate similar success prepared exclusively agfromkievgmailcom attack mag rights reservedthe business music chapter record dealthe business music deal socalled deal shiny new future record industry decade back shine come little hasnt taken hold predicted still worth aware deal circle degrees take piece paper draw circle centre write around circle various types income expect derive making music see diagram right deal weve kept diagram simple improbably unlikely pie would divide equally nutshell sign contract organisation could record company could marketing company could even corporation interests concert venues broadcasting lock stock barrel recording publishing merchandise licensing touring much else besides period time dictated term return expect see net income bigger name artist bigger percentage able negotiate type deal emerged fresh thinking light dive revenue music sales record companies asking invest money building artist share revenue touring merchandise sync deals justifiable think depends view record companies invest money legal specifics deal similar record deal recording royalties income merchandising income touring income licensing channelled company signed deal electronic musicians andor djs would expect dj booking income contribute pie return taking slice organisation contracts support financially expertise disposal maximise aspects careersongwriting gigs touring merchandise sponsorship music sales licencing sync dealspersonal appearancesanything else prepared exclusively agfromkievgmailcom attack mag rights reservedthe business music chapter record dealthe business music true deal take share songwritingpublishing income note approach particular part deal care lose bigtime sign publishing company doesnt fullyfledged music publishing operation dont exclude publishing deal get socalled deal advances money youve earned advance says tin payment advance earnings expected make future advance paid recouped legal speak future earnings begin materialise see another penny three main entities might pay advance record label publisher merchandise licensor advances usually paid sign contract made sign commitment label publishermerchandiser help make ends meet wait cash roll hit albumsonglifesize figurine lineso merch licensor advances merchandise sold gig tour wont see cash theyve made least would otherwise due golden rule advance dont blow wine women men song advance live money earned sales starts materialise also understand beginning well advance might get signing record label likely consider cost recording album least half cost filming promotional videos expenses identified contract loans take back costs share royalties paying cent prepared exclusively agfromkievgmailcom attack mag rights reservedthe business music chapter record dealthe business music signing indie label deal independent label doesnt look different paper deal major bar two significant practical differences firstly indie labels lot less money spend major label might spend new artists recording marketing promotion tour support indie youd lucky find budget one fifth secondly almost certainly wave goodbye idea advance keep smoothies next two years indie label advance mostly recording costs unlikely large budget glamorous studios likely provide enough juice cover recording labels inhouse facilities one indiereleased album cant name artists sorry spent nearly three months uk top peaking number three made budget certified gold following year another big name artist whose hit days long behind released album made entirely producers shed cost around xx meanwhile recorded debut platinumcertified selftitled album xls inhouse xl studios small vibrant space created engineer roadaigh mcdonald disused garage alongside labels west london offices might make seem like pitching sign indie far right indie right artist work wonders robert wyatt credits career revival right pairing talent indie rough trade bonobo hardly household name years career two labels one ninja tune fact bonobo hasnt chosen move major suggests labels something right bonobo amon tobin ninja tune stable mate would almost certainly struggled major label major label would prepared exclusively agfromkievgmailcom attack mag rights reservedthe business music chapter record dealthe business music copyright recap going chapter worth thinking back chapter recap briefly copyright royalties work copyright legal framework protects law works creative artists concept easy enough various kinds copyright impacts different people first basic stuff write song record publishing deal record deal copyright owner song recording everything receive income derived sales song although cash find way havent registered work local collection agency see chapter signing publishing deal assign portion copyright music publisher chapter explain would signing record deal relinquish copyright recordings songs youve recorded term agreement situation copyright recording owned record label means exploit recording long copyright remains see copyright performance recording belongs see chapter copyright song belongs writers song music publisher assigned song selfpublishing mean terms payments performer record whether youre solo artist band income recording sales cds downloads income streaming entitles payment record company royalty rates agreed contract also performer countries notable exception us radio plays public broadcasts recording entitle performance copyright fees paid uk ppl chapter public broadcasts include radio tv restaurants offices public places songwriter share sales recording income paid music publisher also songwriter half share income public broadcasting paid prs uk half paid music publisher pays remaining amount laid contract different countries approach differently note copyright doesnt last forever territory dependent uk european union copyright recording effect years first release public broadcast goes called public domain means used anyone fear prosecution america recordings however old still copyright today appear protected still interest sampling song signed us label best bet talk first lawyer publishing deal let publishing company deal obtaining permission uk european union copyright song effect years death writer song also goes public domain america situation similar clear cut reality term may extended america someone still living show copyright prepared exclusively agfromkievgmailcom attack mag rights reservedthe business music chapter record dealthe business music struggled question yet still making music want make making music fans adore none major label pressure keep selling touring say indies cant hit big adele signed xl xls nick huggett recommended jonathan dickins september management became manager adele signed xl recording xl savvy enough understand didnt resources break artist worldwide made deal juggernaut american columbia represent territories consequently adeles career launched much bigger resources xl could mustered uk indie label put faith reaped benefit tenfold increase profits doesnt universal sony warners daniel miller founder mute records sums means indie independent means able make decisions music based feeling music rather purely commercial reasons artist much closer label collaborative rather us common bigger labels end day picking right label artist best fit goal spot worldwide fanbase megariches majors hold cards want kind career typified likes bonobo artistic freedom less pressure conform deliver indie route likely best good news theres room prepared exclusively agfromkievgmailcom attack mag rights reservedthe business music chapter record dealthe business music landing deal sending links demos landing record deal early stage musicians career either major indie involve impressing industry exec manager publisher ar person need music available listen best ways achieve tracks soundcloud least rudimentary accompanying video youtube channel well shot video friend looking get film right equipment even better music falls pop mainstream think taylor swift bruno mars dua lipa likely looking major label deal case say repeatedly first find manager music falls outside pop mainstream make dance hip hop rock indie inevitably much directly involved developing career certainly beginning youll likely approaching labels landing record deal early stage either major indie involve impressing ar exec music brand social media three main ways youll able spotted gig open mic night music played specialist radio getting demo listened tempting think digital age days humble demo nothing could truth anything deluge mediocre music right package sent right person effective amount online hustling sending demos theres list critical dos donts need aware ignore peril ensure music best number one reason demos prepared exclusively agfromkievgmailcom attack mag rights reservedthe business music chapter record dealthe business music get rejected music good enough anthony mansour ceo blue label records told dottedmusic noticing massive lack quality tracks built bought templates sample cds construction kits sylenth presets additionally tracks mixed badly poor instrumental playing bad song shoddy lyrics weak mix poor master land reject pile jeannette lee partner indie label rough trade says one quality trumps signing new bands music doesnt fit category category great dont send three tracks asked tips submitting music serial hitmaker max martin unequivocal keep package size means three tracks longer three minutes length make easy possible listener notes like song contact anyway make sure labels approach precise fit jamie russell hypercolour notes im aware peoples understanding music really chin strokery stuff get sent outrageous havent even checked tell someone really likes label listens versus someone whos checked one two tracks get right person theres point sending brilliant demo labels head finance want ar big label label boss smaller one really big label want ar sublabel whoever looks genre youre making music getting right person two things raises chance getting music heard shows label youve got initiative enough interest go extra mile short might good fit usually couple polite phone calls phone always effective email enough get name email address addition many labels offer detailed online instructions submitting demos including email addresses ar execs andor widgets get demo right person one little indian records demo submission page wwwindiancoukpagessubmityourdemo typical prepared exclusively agfromkievgmailcom attack mag rights reservedthe business music chapter record dealthe business music make sure contact details obvious whether youre sending cds onlinelinked mps make sure artist name name email address phone number anywhere everywhere including meta data fields would risk busy ar liking track able contact dont make obvious contact approaching competitors ccing label ars mailout example firstly bad manners secondly likely fall foul local data protection laws thirdly sends signal dont really care signs hypercolours jamie russell labels like feel special see something like easy go see sent ten labels well one really wants get bidding war independent level instead start making exclusive contact top choice next three four list means send blanket email way dont know say bcc label right best record deal one artist label fit ensure fit right really shouldnt tough question answer someone passionate interest scene working knowledge key labels artists theyve signed kind ethos drives havent got clue really time start taking interest even rudimentay knowledge stage could make break career good starting point discogs notes label particular band signed recording first step look labels heroes people whose music success inspired labels instantly go top list pays look deeper three albums one heroes switches labels go online find interviews news stories explain move maybe first label fantastic everything capable critical first three albums heroes wanted go next level needed powerful label heroes first label parted company amicably wishing best maybe find first label made heroes unhappy unduly pushing artistic directions werent signed first place case scrub theyve done theyll never human history much information made available us free todays online world make use could build save career prepared exclusively agfromkievgmailcom attack mag rights reservedthe business music chapter record dealthe business music dont attach mps email put position small label receiving submissions day would almost gigabytes worth files queuing thrilled would asshole crashed email uninvited files biggest nono mps attached emails confirms andy daniell ar manager defected clog inbox crash email instead mp send url links tracks theyre soundcloud dozen listens create private link youve got thousands listens hundreds likes give open access like big numbers much next person quality control ensure track want listened high enough quality ensure good listening experience mps encoded lower kbs hear back like track dont hear back theyre interested case certainly inviting pester feedback noones job wetnurse songs mixes forget dont fully formed online presence everything weve talked website epk gig listings facebook soundcloud least one video youtube label likes track next step seek facebook twitter maybe find youtube video two find trace online unless music astounding theyll move onto next pile take note insights industry kingpin lyor cohen exisland def jam president became first record exec license content youtube global head music guidance previous company entertainment developed secret algorithm coordinating range online stats discover sign next big thing stats influence decision include facebook likes instagram followers twitter presence google ranking youtube views questioned polydor records decided acts sign president ben mortimer told bbc used sign people would demo gut feeling youve got much information often bands bit fanbase already see well tracks online balance going bit gut feeling using touch stats prepared exclusively agfromkievgmailcom attack mag rights reservedthe business music chapter record dealthe business music take direct approach sending demo post make sure professionally presented sent right person market specialises vinyl afford vinyl pressed properly done likely get attention thousands effortlessly sent links cheap believe track youll also nicely pressed packaged copies sell gigs make different creative present key notes thomas von party ar canadian imprint turbo recordings far easier youre sending cd include bespoke artwork maybe freebie two notes defecteds andy daniell every something get posted office someone made quite bit effort someones made level effort send ill make effort reply take knockbacks dont hear back anyone easy feel like youre ignored b people dont like music may true better dont lose heart labels generally happy receive new submissions artists theyve previously ignored dont send track twice hoping different outcome second time round reiterating points dont pester sending new track every day going annoy recipient one every month fine short use common sense put overworked ars shoes think youd like receive demos keep many artists send dozens sometimes hundreds demos get deal take heart fact keep raising game write record better tracks build brand following keep positive responses start dripping inbox often sods law months even years ignored suddenly find two interested parties point youve got options deal sight finally never forget getting signed twoway street artist feel one millions desperate wannabes shouting look look single overworked ar exec truth desire discover every bit strong side fence lyor cohen said days def jam entertainment would wake every morning singular thought head maybe today would day find artist amazing prepared exclusively agfromkievgmailcom attack mag rights reservedthe business music chapter record dealthe business music artist would change pop culture hot pursuit always look record deal describe good record deal truth theres really way know going hindsight decides deal five years line youve successful healthy bank balance good deal exactly deal youve success broke bad deal artists matter successful never satisfied mick hucknall surprised discover original simply red contract came end didnt masters hindsight opinion contract signed immoral early prince one pampered artists history allowed unprecedented amount artistic control changed name unpronounceable symbol drew word slave cheek protest warners unwillingness release tsunami material producing warners preferred release material time resources market promote hucknall prince like superstar musicians peppered history felt aggrieved actions labels labels arguably exactly undoubtedly played major part artists success makes almost impossible say good deal side specific ambitions music likely change time side depend myriad factors outside control personnel budgets lie roster pecking order ona contract signed duress still contract takes seconds sign name years undo damage take time give pressure always always record contract looked lawyer put pressure means whoever applying pressure keen sign puts driving seat never feel read sign contract right right take away read small hours morning make notes things want explaining things think wrong unfair eventual signing feel like ceremony something celebrated feel like nervous shufflings unfortunate first sexual encounter something later regret incidentally youre uk worth considering becoming member musicians union mu service free members looks contracts members dont financial resources pay lawyer prepared exclusively agfromkievgmailcom attack mag rights reservedthe business music chapter record dealthe business music easier say bad deal signing absurdly low royalty level unreasonably long period time would definitely qualify bad youre asked sign tenyear deal royalty politely decline also never sign anything demands pay back monies owed including advance allowed record elsewhere qualifies restraint trade would never stand court dont want put position ever going court inevitable certain artists careers put hold long ten years unscrupulous label owners managers tried bully back recording studio short contract bad disadvantages ways unusual onerous bad whats worse signed negotiation quick guide big day comes team label representative lawyer sat round table leafing sheets future depends goes without saying youre signing agreement involves large amounts time money manager lawyer must side even useful understand rules negotiation laid many years many successful people first foremost dont desperate guiding principal negotiation understood anyone making corporate deals never walk room prepared walk without came next even walk room give serious thought want make notes take notes room refer ticking item discussed easy lose train thought forget critical question sitting across charming artistfacing team label notes help keep negotiation track prepared exclusively agfromkievgmailcom attack mag rights reservedthe business music chapter record dealthe business music watch occasional shark whose tactic try take notes hand let see whats mind thatll speed things point youve lost control prepared keeping control lot less nervous brings us silence golden people get nervous talk much thats recipe getting want instead say want shut look directly person negotiating expression says ive finished talk would amazed many people put situation start negotiating start telling cant want silence maintain tell cant start justify hear saying things dont stand long theyre offering thing came however feel important appear overawed may feel like important moment music career date sure lot depends outcome also time business transaction label transaction doesnt need rushed open negotiation doesnt need signed right right theres one thing decades industry reveals vast vast majority label people levels decent open honest sure may experienced business people highly unlikely theyll try fleece bully see contract signed duress still contract theyll aiming best deal label quite rightly artist ditto business negotiations somewhere middle meet final contract reflect relationship equals master servant spirit negotiations conducted prepared exclusively agfromkievgmailcom attack mag rights reservedthe business music chapter record dealthe business music simple tips making money deal record industry years head start setting terms number ways might play game dont swayed purely seems like big advance time youve paid lawyer manager tax man come cut even advance pare barely two comfortable years living london manager lawyer still owe record company future earnings talk manager figure make worthwhile sign particularly age streaming recording producer musicians paying studios dont get carried away iconic abbey road legendary trident studios dont also plump cheap wonderful facility middle nowhere youll paying everyones accommodation food drink prolonged period might well booked studio one abbey road studios cost lot money youre going spend time musicians cowriters writing rehearsing cheap space studios require attendance engineers people like producer dont need sit every rehearsal message everything keep costs thus debt label lowest possible levelnext concentrate managers mind setting terms make possible predict point royalties start coming vagueness recording contracts certain points recoupment money owed feel long piece string cash amount represented royalty short piece string pin ask advance debt paid would required costs covered money start finding way importantly streaming accounted want streaming revenues paid headline recording royalty rate ask explanation sign go back read carefully weve said streaming chapters kind knowledge allows plan financially get manager lawyer explain simple language sort numbers need achieve earn money recording deal firm grasp projected income something businessman would demand putting together brief business plan showing income expenses say five period never bad idea manager lawyer might even tell dont get hung publishing songwriting touring youll make real money foreseeable future might well best way look prepared exclusively agfromkievgmailcom attack mag rights reservedthe business music chapter business music eventually get point understand want get across sound like kendrick lamar need publisher music internet forums lecture halls industry conferences one frequently asked questions artists making music genres mainly dont fully understand publisher lets clear upfront cases simple answer yes need publisher platform well outline need publisher last actually counterintuitively easiest way explaining things need publisher lets say run blog week write hundred words upload photos without internet tools like wordpress blogger tumblr wix moonfruit anyone see work literary genius internet worlds publisher sites help chapter need publisher publishers vs labels selfpublish publisher adminstration deal creative deal publishing deal collaboration todays publishing battlegroundthe publishing deal prepared exclusively agfromkievgmailcom attack mag rights reservedthe business music chapter publishing dealthe business music get thoughts front millions potential readers internet radio dissimilar job music getting getting heard millions great place explain need publisher throughout world broadcasters licensed play music licence costs money paid collection agency represents songwriters composers see chapter music makes money song played slice money becomes writer money make way bank account country collection agencyies america ascap bmi others uk prs every country europe least one many asia africa south america middle east agencies agreements live norway money around world make way back gramo gramo publisher without publisher dont chance locking international network money due simply find way bank pocket mistakenly think collecting cash record companys job isnt record companys job exploit copyright recordings publishers job hand exploit copyright songs includes recordings songs means publisher recordings get two cracks whip record company publisher thats publisher job make much money songs try find artists record cover versions work hard place tv shows films commercials sync licensing prepared exclusively agfromkievgmailcom attack mag rights reservedthe business music chapter publishing dealthe business music even majority money writer likely come radio play public broadcasts music hear cafes shops offices also come live performance songs whether artists covering songs touring instance entitled payment inconcert live performance music bars clubs pay millions year music inhouse djs play collection money dependent years publishing experience international network building passing complex international copyright laws one system cannot buck try likely cost dear publishers vs labels heres major difference functions label publisher record labels job exploit recording artist music publishers job exploit songwriter recording label interested recordings make publisher songs thing original version covers course publisher wants help get original records heard songs well also try find artists record means extra revenue heres really work advantage say ten people recorded song ten opportunities sync licensing programme commercials producers might want pay high price placing enormous hit record show might choose go song someone else lower price bear mind may recording career may last two three years may last may none good songwriter good songwriter world wants songs singing long lucrative career music industry fun rewards none fame paparazzi doesnt sound bad dont underestimate importance publisher relationship could still going strong years recording label drops prepared exclusively agfromkievgmailcom attack mag rights reservedthe business music chapter publishing dealthe business music self publish way selfrelease self publish genres notably hip hop dance artists able start careers without thinking much publishing explained chapter music makes money songwriter join local collection agency explained songwriting royalties start flowing live gigs radio play signing local collection agency able receive publishing income point every artist likely need publisher career starts building amount time energy required manage publishing side business likely become worst onerous best impossible yes could writing music morning marketing afternoon touring evening keeping top radio playlists third party licenses night youd never sleep even somehow managed squeeze hours administrative work youd soon start falling behind numerous tasks required keep top publishing registering tracks scores countries monitoring usage radio stations america alone checking royalty statements play fail register monitor collect youd losing cash see saying administering publishing home territory might doable career shifts gear start getting radio plays overseas work multiplied thousands times overhow get songs heard chapter discuss send demos record companies advice applies music publishers almost publishers lookout talent bigger operations dedicated ar departments keen find develop new talent label cheaper often afford take chances main difference publishers labels publishers dont require live performer interested songs also decent piano voice guitarvoice demo give good publisher enough chew instinctively hear artist songs might good recording without hindrance major production sheen demo submisison etiquette read back chapter social media youd still want put simple youtube videos upload soundcloud hard slog facebook instagram probably avoided prepared exclusively agfromkievgmailcom attack mag rights reservedthe business music chapter publishing dealthe business music youve process joining local collection agency understand process want repeat times norwegian japanese german spanish french yet obvious lets clear keeping top royalties across multiple territories multiple media outlets big tiresome specialist job artist person take role people take role collection agencies music publishers global network taken century develop artist best served publisher lets recap summarise publisher music publisher develops protects financially exploits songs specifically collects songwriting royalties sales streams music administers royalties radio play public use music registers songs around globe songwriter earns money wherever songs sold playedstreamed finds opportunities music used films tv shows commercials also develop artists songwriting talents help manage cowriting opportunities typical publishing deal fall one two categories administration deal usual creative dealpublishing long term earner youve good run radio plays maybe sync two overseas dont expect see cash instantly collection companies pay quarterly pay theyve received fees licensees factor delay one agency receiving money passing another given complex data models govern usage calculations expect wait several months see cash radio play usage overseas delay compounded overseas territories either feeding data local agency publisher circumstances could wait long three years receive full payment longrunning ad slot publishing long term earner years recording career hit skids old hits continue earn money radio public performance providing handy nest egg life music prepared exclusively agfromkievgmailcom attack mag rights reservedthe business music chapter publishing dealthe business music administration deal purely technical end publishing dont expect advance dont expect investment nurturing administration deal sign away songwriting royalties return laborious technical tasks outlined taken care registration songs around world doublechecking registration processed collection royalties due every source tracking usage scrutiny cue sheets legal compliance wont creative input administration deal registering collecting registering collecting ad nauseum would highly unusual foolhardy fact new writer enter kind deal likely candidate deal would established writer whose future earnings relatively accurately predicted bruce springsteen paul simon instance highprofile artists like whose glory days behind would able negotiate administration deal nearer split publisher knows millions dollars year collected millions decent return taking care purely technical side business creative deal second regular publishing deal isnt generally referred creative deal best way us set apart administration deal reality classic publishing deal agreement give away ownership songs return get everything described admin deal plus good deal might instance receive advance tide couple years establish writing credentials also nurtured say need youll given help prepared exclusively agfromkievgmailcom attack mag rights reservedthe business music chapter publishing dealthe business music develop songwriting also encouraged collaborate writers feed creativity focus becoming professional productive writer publisher make effort vested financial interest songwriting skills makes sense help make songs best help nurture talents anything tuition collaboration occasionally publisher might even provide artist budget set entrylevel home studio whatever offer publisher want payback support songwriting everything disposal exploit catalogue beyond record sales songs commercially released licensing department kick action trying place songs tv ads movie soundtracks important note good publisher offering creative deal isnt glorified administrator chaser working hard make deals tv film companies place music anything adverts tv series games fullbudget hollywood films sync deals talk end chapter lucky enough get kinds placements financial rewards significant writers never make big breakthrough artist significant source income quick browse tunefindcom heardontvcom sites list music used tv programmes particularly big american series might surprised see songs know written artists youve likely never heard thats programme producers want something atmospherically appropriate particular scene show also crucially something affordable publisher might demand excess use known song major artist song cost fraction rights reservedthe business music chapter publishing dealthe business music fraction k still lot money get right songs right programmes able many thousands songwriters make good living synced music indeed youre still convinced potential value income spend ten minutes wwwtheguardiancommusicdecartistsmade ithugestreamingspotifyapplemusic musicians people never heard discuss earn living asked list top five sources income deals changing two biggest changes publishing industry recent times move standard split writer split writers favour radical change length time takes writer regain ownership shift began around years ago managers writers started better understand value song longterm asset opposed shortterm promotional tool look interview footage lennon mccartney years ago clear didnt envisage around long let alone even earliest songs would still earning st century back unusual songs signed music publisher life copyright explained chapter record deal years death writer uk intervening period became usual copyright revert writer years even halved uk acceptable years means youve written stoneclassic songs going played weddings funerals decades come regain full ownership copyright recording career petering point think renegotiating administration deal perhaps sign specialist licensing company pay perplay basis prepared exclusively agfromkievgmailcom attack mag rights reservedthe business music chapter publishing dealthe business music comes first record deal publishing deal dream many artists land record deal point careers artists dream publishing deal even though likely make money long run majority artists fixated signing record contract finding music publisher barely crosses minds even publishing radar reasoning record deal gives muscle negotiate better publishing deal youre musician songwriter record deal certainly one matters whereas purely songwriter intention playing live forming band publishing deal sole aim even youre writerperformer whose eyes set record deal good reasons signing publisher label indeed unusual publishers want beat labels new talent guy moot former head sonyatv music ceo warner chappell pure conception beginning process thats want first influential time record productions tweaked songs constructed development deal publisher different animal development deal label early stage song publisher give space opportunity collaborate develop record publisher also give extra kudos comes opening record company doors exactly happened case amy winehouse calvin harris emili sand\u00e9 ultimately theres right answer youre good enough writer attract offers publishers get record deal give serious consideration record label come knocking first rest assured good publishing deal wont come far behind publishing deal artists dont get choose record publishing contract true deal record deal publishing deal see prepared exclusively agfromkievgmailcom attack mag rights reservedthe business music chapter publishing dealthe business music chapter record deal option keeping record deal publishing deal separate usually recommended time comes make call lawyer manager guide deal work best collaboration quasilegal term used simple songwriter wrote song earned money radio play publishing royalties sales performer recorded song earned performance money radio play record sales producer produced record paid either fee royalty per record sale combination today producer may create track onto songwritersinger graft top line words melody producer songwriter creators song share songwriting credits songwritersinger add vocal producer singer performers record share sales royalties got top ten perennially well stocked songs written cowritten someone artist beyonc\u00e9s hold example cowritten vampire weekends ezra koenig joel pott formerly athlete cowrote george ezras budapest bbc fame academy winner david sneddon meanwhile abandoned bid stardom score pay dirt one half songwriting hit factory nexus penning copenning hits among many others lana del ray young pixie lott hurts called collaboration must walk collaboration eyes wide open truly collaborative recording mean involved share proceeds songwriters publishers signed often producers chalk royalty points see scoring points check credits drakes scorpion album right side alone scorpion double album important understand rights reservedthe business music chapter publishing dealthe business music collaboration isnt dirty word frequent criticism todays music industry dont know theyre talking albums made committee music subsequently suffers look adele one biggest artists age see doesnt case look writing credits adeles first album youll see solely responsible half songs watch performance one daydreamer later jools holland clear write song frame interesting guitar playing shes yet outstanding doesnt impact kt tunstall later debut indeed notable songs collaboration producerwriter eg white chasing pavements adeles cover bob dylans make feel love fast forward two years album collaborative effort start end one songs written solely adele fact lovesong written six people none adele represent compromise songwriting adele compromise artistic direction project album originally produced legendary rick rubin indeed produce whole album adele unhappy four rubins tracks made onto finished album preferred versions rumour set fire rain rolling deep crafted producerwriting collaborators whats albums standout song someone like cowritten dan wilson recorded spot voice piano xl recordings reportedly asked adele go back rick rubin rerecord musicians fuller arrangement singer put foot pianovoice version made onto first moral collaborate maintain control despite success hardly sold enough copies suggest adele could hell wanted cooperated record company earned right say really mattered second moral look collaboration achieved adele repeated trick neither artistic sellouts wasnt pushed emulating mainstream pop jesse j rita ora way worked people complemented ended albums far greater maturity albums date reported sales copies lists bestselling albums time alongside michael jackson beatles eagles bruce springsteen whitney houston prepared exclusively agfromkievgmailcom attack mag rights reservedthe business music chapter publishing dealthe business music songwriter performer writes songs intend perform solo artist need clear producer work view production writing collaboration clear may find legal tangle someone feels contributed writing andor performing andor production song wants share royalties plain sailing todays publishing battleground artists would accept todays publishing industry fairer place songwriters years ago particularly writers also recording artists going digital created problems brainscratchingly complex streaming particular america specifically total mess job book particularly helpful go minute detail important give context general media coverage constant refrain one side beware streaming dont ridiculous everywhere america various streaming sites notably pandora dispute record publishing industriesdrake scorpion official writing credits survival aubrey graham dion wilson noah shebib klaus netzie manuel landy nonstop graham brytavious chambers wilson elevate graham graham fountaine jahron brathwaite emotionless graham mariah carey rober clivill\u00e9s david cole wilson gods plan graham daveon jackson matthew samuels shebib im upset graham jordan ortiz graham samuels jahaan sweet matthew obrien abrim tilmon leon ware arthur ross mob ties graham samuels allen ritter tavoris hollins jr dave atkinson samuel barnes anthony cruz nasir jones inga marchand cory mckay jeanclaude olivier cant take joke graham max eberhardt sandras rose graham maneesh bidaye christopher martin talk graham shawn carter paul beauregard leroy bonner oshea jackson marshall jones ralph middlebrooks walter morisson andrew noland gregory webster andre young graham palmon jahanbin nima jahanbin raynford humphrey jeffrey rashad stephen garrett timothy mosley thats writers side alone writers credited b side although many credits samples snippets still writers across tracks producer credits definition collaboration prepared exclusively agfromkievgmailcom attack mag rights reservedthe business music chapter publishing dealthe business music stake two principles music performers writers entitled paid wherever whenever however work heard since spotify established benchmark per stream payout streaming services emerged notably apple music tidal pay writers performers publish spotify fighting attempts bring payouts level competitors battle far background noise none immediately impact songwriter publishing deal freshly filed future fallout battles make lucrative transparent industry moment look background noise despite undoubtedly golden age songwriter publishing deals fairer publishing companies work harder money sorts opportunities opened make living love best even doesnt result becoming massive star youre living guy moot ceo warner chappell terms pivotal moment theres revolution going dont even lay life scoring points points royalties royalties points royalty deal record company thats points royalties generally referred points becomes necessary share someone else instance might give three points producer songwriting different publishing points share publishing royalties due songwriters usually carved equal proportions room hit song written complicate matters theres cynical little rhyme sometimes proferred songwriting circles write word take third means two people working new song suggest word use thats one third writing royalties google change word take third think exaggerating room may mean someone thought made contribution feels entitled equal share prepared exclusively agfromkievgmailcom attack mag rights reservedthe business musicthe business music father could great comedian made safe choice became accountant let go safe job learned fail dont want might well take chance love jim carrey days safe jobs jobs life thing past time enter workplace today youre likely live longer parents grandparents chances youll also children later whats rush job security isnt even secure instead irresponsible thing build career something love goes wrong theres plenty time start second even third career even dont make music picked host invaluable skills finance social media branding marketing law mention diplomacy negotiation project management wellmeaning older supposedly wiser adult says safebet career accountancy ask spend five minutes reading starter ten front book list say easier today ever make living career musicover prepared exclusively agfromkievgmailcom attack mag rights reservedthe business music youthe business music point much potential talent flounders feeling need something sensible pushed something secure older wiser heads intentions may good knowledge based outdated view industry technology dont understand internet general twinned myriad advances digital technologies means comfortable living longer preserve musicians old industry model handful artists spectacular career second tier made decent living certainly made money fun theyd followed parents advice become electricians secretaries insurance salesmen new model offers long tail smaller opportunities build brand make money online magazines blogs social media internet radio website oldschool gigs used promote sales music meanwhile homemade cds lowrun tshirts merchandise sold merchandise stall online gigs new model may make huge may even make big something love able support reading everything weve said book good bad passionate confusing exciting frustrating aspects business music heart still beats little faster prospect life spent making music read follows ten last nuggets wisdom grounded experiences thousands whove travelled wellworn path dreamer working musician condense pertinent wisdom found book quick read rules survival moments doubt euphoria periods things look bleak times need get feet back ground fast commit memory take heart remembering particularly defining moments road might make difference disaster success prepared exclusively agfromkievgmailcom attack mag rights reservedthe business music youthe business music embrace every opportunity theres single piece advice thats recurred throughout interviews carried book embrace opportunities come way music make decline record sales large slice musicians income pie disappeared slice filled means need take gigging merchandising songwriting seriously also syncing sponsorship anything else think squeeze pennies fan base age music entrepreneur successful hip hop stars arent musicians global brands business empires match interests anything perfumes streaming services course kind career lifestyle anathema interest isnt boardroom studio thats fine pushing someone arent thing recipe best unhappiness learn top theyre reason yes musical talent energy dedication main driver behind success seeing society heading money flowing surfing wave flag bearers new kind music industry one crucially us artists power ever tectonic plates upon royalties rights musicians historically accustomed shifting every day creative suits entertainment industry often old school learn live silicon valley tech disruptors often dont put money techs dominating might driving agenda music industry spent years learning deal changes performance technology music execs dab hands turning positions weakness around way arm war come top exploit every conceivable income stream yes try land record deal register prepared exclusively agfromkievgmailcom attack mag rights reservedthe business music youthe business music local collection agency play many gigs get noticed tastemakers oldschool stuff matters hugely time embrace dozens new opportunities set stand gig sell recordings gig livestream bedroom jams press shortrun vinyl limited editions signed develop app get music ad use latest technology something different short anything everything exploit brand music manage expectations anyway word go ask question answer love music love writing love playing love recording want spend life immersed possible today ever answer want fabulously successful rich famous odds weighed heavily millions around world trying become musics next big thing one time millions uk alone thousands singles released week one top numbers really dont count imagine go job local supermarket goes well youre shortlisted many people shortlisted ask interviewer five million says youd forgiven leaving room utterly demoralised prospects yet reasons say blend naivety stupidity faith hope governs every creative spirit think weve got genuine chance make music forget odds dont tell odds understand start theres difference making fast cars bling grammies making career earning enough thing love prepared exclusively agfromkievgmailcom attack mag rights reservedthe business music youthe business music want youre star moment realise probably isnt going happen dream youll join hundreds thousands others fall wayside failure achieve dreams hard survive making beyond wildest doesnt way youre music industry make music make music long pays roof head puts food table plumbers electricians stick jobs earning k year less train drivers keep driving trains k lets say youre clearing k year gigging sales fans aftergig cds lowlevel downloading streaming entirely reasonable figure would walk away never got signed never hit never pulled stadium tour hits stardom end may well end one hundreds thousands drift away music didnt meet unrealistic expectations youll find plenty examples look well respected artists never broke still going strong whats stick around long enough theres always chance youll get discovered youve around even longer rediscovered john howard released one album prime languished less unheard years past years thanks home studio technology internet released new albums recently rediscovered new generation music lovers hes signed new record deal album made younger musicians fisher king publishing published autobiography incidents crowded life moral story never late flaming lips around years breaking gregory porter apparently appeared nowhere yet hed recording performing since age grammy awardwinning prepared exclusively agfromkievgmailcom attack mag rights reservedthe business music youthe business music album water hard work persistence admiration peers finally combined clear talent love singing bring recognition early setting make best music earn living entirely achievable goal way might harness worldwide fame make millions anyway last words go multigrammy winning songwriter producer mark ronson didnt start making music order famous need lawyer probabl need manager electronic music dance hip hop selfmanagement norm managers entering fray artist well established majority recording artists need manager makes choice manager one two important decisions make early comes important decision choosing lawyer shouldnt sign contract including management contract without taking legal advice music industry littered stories artists signed binding management agreement electrician mate offered fund months worse mates entirely inexperienced dad lead pain stop falling trap mantra lawyer first ignore enter unsuitable arrangement make unattractive proper manager whos unlikely touch signed artist barge pole youll spending money dont order buy way either way youve put weak position negotiating real management contract comes along also put major obstacle way record deal put youve resolved representation problem rights reservedthe business music youthe business music useful rule thumb anyone wants tie early stages career likely looking potential payday line probably attract attention top line management go legal get whatever agreement shouldnt signed first place dont rush dont allow rushed remember mantra lawyer first look links music drugs mental health problems relationship breakdowns suicide et al stress industry tightrope stars walk success inches thin chasm failure yawning fact many creative spirits seem instinctively drawn dark side stats brutal organisation help musicians uk revealed report music make sick musicians polled suffered anxiety panic attacks said experienced depression stuart glen cofounder cause london nightclub splits profits mental health charities noted tough lives many musicians lead industry hard work says plenty late nights social pressures put lot strain people brutal fact path success music industry easy one three common problems make life musicians harder needs drugs stress media judge alcohol drugs played continue play important role many artists lives find inspiration others lose plot like much else drugs aint used heroes took back day amazing work good reason following footsteps rights reservedthe business music youthe business music apart obvious damage dying whitney houston hendrix morrison brian jones lifelong problems peter green syd barrett brian wilson least oldtimers could mostly trust drugs st century idea youre putting body amphetamine scouring powderlaced coke leadinfused resin horse tranquillisers list almost endless nothing truer deal everyday life lot better heads straight suppose said prioritise health anything cant help anyone end hospital tragically serial entrepreneur ash pournouri client dj dance music megastar avicii died aged leads common industry problem stress everchanging industry stress given noone prepare suppose said look back life think whoa best time life sense came price lot stress lot anxiety tragically avicii announcing retirement tender age two years later dead take someone paid price journey top hard traumatic sometimes insane stress given coping stress heres stuart glen avicii prime example man top game outside looked like everything yet clearly needed help different people different coping strategies comes stress yoga meditation boxing cooking gym eminem swears running find career become simpler halves youre able focus especially pressure builds even slings arrows drugs drink stress werent enough make emerging artist turn um drugs drink theres media contend rights reservedthe business music youthe business music become huge star looked role model fair even ethically defensible certainly wasnt todo list decided become musician media watch every move every part life scrutiny hair body relationships extramarital affairs bedroom antics accidental latenight tweets boozy nights maybe even music flip side fame lets clear fame utter bastard one day go local pub quiet pint literally overnight cant walk street everybody knows face media face members public sticking phones face media stalk camp outside home track kid bullied school outside every club restaurant spend time flash cameras face time looking hint grumpiness ungrateful pop star posing pop star revels attention shyness pop star big boots thing need know media absolutely circumstances win youre nice journalists take invitation invade every part life acceptance forms sort non verbal contract youve opened entire life equally try ignore keep arms length theyll still invade privacy justification happy publicity last albumtourtv show yes youve guessed forms sort nonverbal contract entire life fair game deal advice look adele somehow three massive albums adele managed avoid many perils press intrusion even survived onslaught late gasp didnt take part band aid single course everyone take part got neck adele got neck taking part prepared exclusively agfromkievgmailcom attack mag rights reservedthe business music youthe business music adele ignored didnt try justify didnt take twitter one many gts slag haters consequently controversy disappeared mystery like stands aloof game goes chat shows swears like trooper talks going five day bender even us tv showed host wigs nicknames one named june carter another jackie youre interested maybe thats answer play game openness honesty play want dont see adele falling nightclubs drunk stoned punching photographers twerking youtube keep feet ground probably best coping strategy looking keeping stress output one many musicians fail ironically easiest cheaper stint priory closer home retreat tibet remembering roots friends family however big get fame hit form bedrock life leave behind think youre better going turn turns sour going call need weeks twotimes platinum xfactor star rebecca ferguson says industry tough everyone surround supportive people know put foot whats best family electronic music multientrepreneur longtime industry insider ben turner agrees keep friends around interest music business apart involvement keep sane things get tough prepared exclusively agfromkievgmailcom attack mag rights reservedthe business music youthe business music even megastars understand value keeping feet ground ive gotten personal life way intact make sure straight says dr dre without foundation building going crumble sure enjoy new life savour every success celebrate bottle cristal must though wed recommend pol roger dont wake one morning album top charts discover overnight heart soul replaced something shiny glittery still warts person struggled years writing everimproving lyrics building fanbase one one person standing front strong crowd dont let get point going round auntie vis cup tea somehow beneath something people arrange big part transitioning bedroom artist global success coping fame learning live new reality dont manage transition almost always leave industry often bitter sometimes broken dont one keep life normal possible hang friends keep feet nailed floor end day noone least friends wants hear lonely penthouse suite waiting limo take club everyone knows name nobody knows really work hard stay focused unites madonna jayz superstar writerproducer max martin quincy jones ed sheeran thousands successful musicians worked bloody hard get weve said book well say sign reach upper reaches music industry unless plough everything everything prepared exclusively agfromkievgmailcom attack mag rights reservedthe business music youthe business music number stars get top accident luck laziness counted one hand youd hard pushed find better example hard work dedication focus required get top stay madonna louise ciccone madonna moved new york michigan intent career modern dance everyone knew time tells story worked worked worked day night perfecting dance routines figuring would required success im far god work goddamn hard raps jayz breathe easy line selfreflection early days friend jaz would lock away work technique days end dr dre meanwhile revealed gone hours without sleep past flow going says dont want stop dont want sleep fear missing something max martin one richest songwriters world credits among others pink taylor swift britney spears started life songwriter realising needed add production cv didnt even know producer says spent two years day night studio trying learn hell going edm biz kingpin ben turner prepared give everything tough business requires incredible discipline sacrifice tinie tempah breaks practicalities show interview youve got go straight back road another location make track edit footage non stop quincy jones says best see generation loving rich famous work youve got work putting hours means nothing time well spent creative people notoriously undisciplined butterfly minds internet done nothing discourage exceptions nick cave reputed suit every morning taking office studio work eighthour day writing days writing also includes film scripts prepared exclusively agfromkievgmailcom attack mag rights reservedthe business music youthe business music cave insight aspiring artists could learn times feel hugely energised times feel depleted unconfident im difficult times difficult write still turn ride ive discovered periods grim much part process bringing discipline daily life big step road avoiding carwreck clich\u00e9s littering musicians highway exactly slice day depend work best make space building maintaining website social channels building maintaining fan base keeping books accounts date ensuring gigs booked far ahead possible creative stuff writing practising recording new material musicians put aside first half day administrative tasks others prefer attend business theyre done studio either way letting important daytoday tasks build likely hamper business music far harder creative head full mounting todo lists finally productivity selfhelp manual tell everyone time day function best first thing morning others ease day night owls come everyone else asleep whichever category fit identify highestfunctioning period day use time making music grunt work accounting updating website etc building mailing list another time slot never forget frank assessment radioheads thom yorke lot time music industry fucking hard work prepared exclusively agfromkievgmailcom attack mag rights reservedthe business music youthe business music treat people right smooth fast journey top depend two groups people team chapter team fans critically important survival lose either youll trouble lose careers finished means need treat right treating fans right shouldnt demand explanation people thank money pocket life lead may sometimes demanding unreasonable overwhelming irritating hell owe everything loyal fault core fans stick even career goes reverse start indulging musical whims collaborations supportive manager would advise easy treat fans right early days theres time share drink passionate supporter gig afford comment facebook picture obsessive whos tattooed name chest things escalate time premium longer dozen people wanting autograph gig increasingly difficult keep engaging need may late party new fans essential growing popularity think popup shop gig think intimate gigs chosen give newsletter signees exclusive content run competitions biggest fans good manners also good business trying create new fans hard takes time money lot energy means pr tv slots radio interviews endless gigs old fans love theyve waiting ep passionate readymade audience likes retailers would kill prepared exclusively agfromkievgmailcom attack mag rights reservedthe business music youthe business music treat right dont screw relationship like techno royalty richie hawtin november filmed apparently pushing monitor speaker onto fan filming behind dj booth social media fallout damaging hawtin apologised said extremely sorry embarrassed said sometimes middle spotlight continual cameras glaring iphone lights things get stressful frustrating well yeah better worse sign adoring audience stresses youre almost certainly wrong place careers ruined single instances bad behaviour though hawtins star seen another day moment madness pr disaster means dont ever take fans granted theyll dissipate faster say ungrateful ahole maxim applies personal team manager plugger designer publicist producer career builds network professionals around becomes evermore important deal people largely depends character personality youre shorttempered intolerant youll trouble relationships professional ones book selfhelp manual intolerant book counselling thank us later managing business relationships approached professional matter music easy think drummer mate plugger drinking buddy like music professionals treated theyre professionals rows brew take stock remember chose lawyer chose manager three chose label means frustration makes want blame everyone world bar remember situation partly making scapegoating often hides problem much closer home whatever youve picked alan sugar apprentice forget nothing seen programme anything good management absolutely certainly none behaviour youve seen apprentices model grownups behave work prepared exclusively agfromkievgmailcom attack mag rights reservedthe business music youthe business music high low treat everyone sensible sensitive respectful help move ladder enhance reputation hit top also made friends moment sun youre likely supported later career end love take equal love make said go way made record everything try get music heard tried lose weight making awful music said sam smith speaking baftas among categories record song year megahit stay started music flowed nicki minaj makes point end touching lot people might never paid much attention female rapper many artists make music sounds like music either think theres market music theyve got ideas brands stories neither recipe success moment thousands ar execs around world seeking next big thing clue word next looking big thing copycat acts theyre looking soundalikes theyre looking next chapter industry paradigm shift take worlds listeners new direction naturally make millions process worlds biggest stars became stars shook things things differently best way things differently things way definition things way prepared exclusively agfromkievgmailcom attack mag rights reservedthe business music youthe business music case studies worlds iconic acts way popular song funerals worldwide also declaration intent creative people write heart perform heart live heart following maxim wont go far wrong keep making music truism across host professions better become something less time go marketing example youre hotshot wordsmith knows sell public anything everything first years career youre penning mindblowing sales lines commissioning beautiful artwork accompany golden touch spotted bosses youre promoted team head long youre managing team youre meetings half life half youre negotiating payrises dealing personnel issues year two later youre topflight management youre work famed similar story applies musicians early years artists career often productive get write songs day play evenings honing skills working arrangements practice rooms unhindered many trappings fame success changes priorities begin change must time ploughed social media brand management conversations lawyers managers designers making videos touring radio studios latest publicity drive star rises time left make music shrinks add national tour fallout bandmates emerging drink problem sudden time energy passion allowed write record great songs erodes prepared exclusively agfromkievgmailcom attack mag rights reservedthe business music youthe business music ever wonder many bands make best albums career first years know getting past legendary third album hurdle neednt impossible demands discipline creative person train think everything creative opportunity hear artists approach next album upwards songs suppose happens day every day theyre watching world go writing even smallest ideas ping brain world power recording studio laptop iphone start making songs thoughts building tracks even youre travelling youre stuck motel room middle nowhere creative people theres thing downtime brain constantly action dont ignore endless stream ideas every thought song digital age dont even wait try ideas laptop daw travel everywhere theres longer excuse writing time writing time day every day even possible make decent demo iphone particularly road tendency boredom routine sleep eat travel eat sit around kill time play eat drink take drugs wait adrenaline subside play xbox sleep repeat repeat repeat mindnumbing keep busy creative dont let drudge everyday life dozens administrative tasks demanded increasingly successful music professional get way thats end songs start album prepared exclusively agfromkievgmailcom attack mag rights reservedthe business music youthe business music last least fun enjoy ride music gift us lucky enough given gift making music sake reward right making living icing cake stardom flog metaphor death cherry icing cake smallest bite momentary tang sweetness doesnt last long noone said journey going easy musicians expect theres satisfaction every step way working talent interacting fans watching recognition brand music grow moments unbridled joy spinetingling moments studio realise youre recording something sublime first time walk stage front people first fivestar review easy let moments pass lost stress tour anxiety write new material angst reading online vitriol new single would forget career music meant hundred things meant creatively satisfying fun working music industry privilege never lose sight enjoy ride prepared exclusively agfromkievgmailcom attack mag rights reserved" +} 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professional aienhanced creative tools essential guide software developers programmers levels looking integrate ai systems well educators students audio programming machine learning software development focal press june pb hb ebook full contents information visit wwwroutledgecom designing audio circuits systems bob cordell designing audio circuits systems comprehensive guide audio circuits systems design beginning analog audio circuit design basics novice understand book offers insight way indepth design techniques many different audiophile professional audio circuits functions bridging analog digital worlds essential reading professional audio engineering community well students enthusiasts wish design audio circuits functions pro audio audiophile applications live sound studio mixing consoles focal press june pb hb full contents information visit wwwroutledgecom collaboration engagement tradition contemporary electronic music noisefloor perspectives edited marc estibeiro dave payling david cotter collaboration engagement tradition contemporary electronic music noisefloor perspectives offers insights practices forefront modern music making built rich collection concerts talks representing decade artistic insight creative practice showcased annual noisefloor event book interest postgraduates advanced undergraduates working areas contemporary music electronic music music technology also ideal composers artists researchers investigating theoretical concepts compositional practices contemporary music focal press october pb hb full contents information visit wwwroutledgecom interactive technologies music making transmutable music tracy redhead university western australia challenging current music making approaches traditionally relied repetition fixed forms played book provides new framework musicians composers producers wanting explore working music represented data transformed interactive technologies book valuable resource industry professionals wanting gain insight 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performance courses well aspiring early career professionals focal press june pb hb ebook full contents information visit wwwroutledgecom routledge handbook sound design edited michael filimowicz simon fraser university canada routledge handbook sound design offers comprehensive overview diverse contexts creativity research characterize contemporary sound design practice readers find expansive coverage sound design relation games vr globalization performance soundscape feminism amongst fields collectively chapters illustrate robustness variety contemporary sound design research creativity making book essential reading students teachers researchers practitioners working sound design many forms focal press october hb full contents information visit wwwroutledgecom wwwroutledgecom communication studies nd edition argumentation keeping faith reason john p nordin edward schiappa massachusetts institute technology extensively updated second edition provides comprehensive introduction 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resource writing broadcast news offering concise introduction writing engaging stories television radio podcasts online media drawing quarter century broadcast news industry research experience authors papper kolodzy ensure vital text contains information necessary successful news writer today whether youre journalism student working broadcast professional broadcast news writing stylebook definitive reference bookshelf routledge november pb hb full contents information visit wwwroutledgecom crisis communication cases asia cultural approach edited krishnamurthy sriramesh university colorado boulder usa su lin yeo singapore management university book analyzes crisis communication asia focusing culture plays central role way crisis develops resolved cases addresses onset evolution resolution crisis contributors seasoned practitioners done crisis communication work continent used framework five environmental variables define culture book political culture economic systems societal culture media systems activist environments volume ideal scholars advanced students public relations strategic communication generally crisis communication specifically routledge october pb hb full contents information visit wwwroutledgecom celebrity rhetoric sexual misconduct cases discursive selfcleaving andrea mcdonnell providence college usa series routledge focus communication studies book considers rhetorical strategies used celebrities surrogates attorneys faced claims sexual misconduct providing richly detailed analysis discourse functions jurors members public find convincing book interest students scholars field communication studies rhetoric media law popular culture studies routledge may hb ebook full contents information visit wwwroutledgecom th edition crisis communications casebook approach kathleen fearnbanks university washington usa kevin kawamoto university hawaii usa series routledge communication series sixth edition book provides engaging practiceoriented case studies 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working subdisciplines routledge june pb hb ebook full contents information visit wwwroutledgecom diversity equity inclusion strategic communications becoming culturally proficient communicators lee bush elon university usa karen lindsey elon university usa taking deifirst approach book teaches students become culturally proficient communicators approaching diversity equity inclusion dei intentionality every aspect strategic communications ideal students undergraduate level relevance graduate students well book used standalone text dei communications courses supplement core advertising public relations texts modules advanced communications courses routledge august pb hb full contents information visit wwwroutledgecom digital media production beginners julia v griffey written nonspecialist media producer book offers practical engaging guide basic digital media production using modern equipment software book essential companion students communication disciplines including pr advertising journalism marketing looking solid grounding digital media production prepare competitive job market routledge september pb hb full contents information visit wwwroutledgecom european media systems deliberative communication risks opportunities edited zrinjka peru\u0161ko series routledge studies media communication politics european media systems deliberative communication explores four dimensions national media systems legal framework freedom expression information media accountability journalism audience media usage competencies contribute detrimental success deliberative communication book interest scholars students communication studies political communication media society media sociology global media studies european studies journalism routledge july hb full contents information visit wwwroutledgecom dissonant public spheres communication campaigns crises edited karolina kocmichalska audencia business school nantes france ulrike klinger lance bennett andrea rommele book covers various aspects political communication dissonant public spheres impact democratic processes expands research campaigning beyond assumptions wellfunctioning political systems better understand erosion institutional legitimacy trust affects communication processes chapters also examine role datadriven campaigning address limited access platform data affects understanding dissonant public spheres chapters book originally published political communication routledge august hb full contents information visit wwwroutledgecom th edition family communication cohesion change dawn braithwaite paul schrodt texas christian university usa colleen warner university missouri usa kathleen galvin northwestern university usa eleventh edition family communication cohesion change continues provide students foundational accessible inclusive overview family communication field edition represents plurality todays families helping students see think uptodate research theory apply lives book ideal 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relationship media crisis communication need address heightened recent experience covid needs public health crisis communication collection interest scholars students crisis communication public relations risk communication digital media political communication routledge october hb full contents information visit wwwroutledgecom listening key concepts elizabeth parks colorado mountain college usa meara h faw colorado state university usa laura r lane colorado state university usa series routledge key guides vital comprehensive starting place understanding key concepts book explores diverse types styles listening named academic scholarship date first kind listening key concepts expansive stateof thefield exploration listening scholarship used guidebook undergraduate graduate students listening public speaking interpersonal communication intercultural communication courses well related disciplines routledge august pb hb full contents information visit wwwroutledgecom th edition media ethics cases moral reasoning clifford g christians university illinois urbana champaign usa mark fackler calvin college usa peggy j kreshel university georgia usa william j brown regent university usa yayu feng university st thomas usa holly k overton pennsylvania state university usa kathy brittain richardson westminster college usa original case studies analyses reallife media experiences media ethics challenges readers think analytically critically ethical situations mediated communication core textbook ideal classes media communication ethics journalism public relations advertising entertainment media popular culture routledge june pb hb ebook full contents information visit wwwroutledgecom rd edition listening processes functions competency debra l worthington auburn university usa graham bodie university mississippi usa margaret e fitchhauser auburn university usa fully revised third edition explores essential role listening human communication across contexts cultures addressing listening cognitive process social function critical professional competency essential textbook undergraduate courses listening communication studies routledge may pb hb full contents information visit wwwroutledgecom media tactics long twentieth century edited marie cronqvist fredrik mohammadi nor\u00e9n emil stjernholm series routledge studies media communication politics integrating media studies history media tactics long twentieth century explores dynamic relationship tactics strategies recent history volume interest scholars students working field media communication general subfields strategic communication public relations media history propaganda studies routledge august hb full contents information visit wwwroutledgecom communication studies th edition mediawriting print broadcast online public relations deborah silverman suny buffalo state college usa brian meyer joe marren w richard whitaker buffalo state college usa ronald smith suny buffalo state college usa janet e ramsey buffalo state college usa accessible engaging book invaluable resource students planning enter dynamic changing world media writing drawing wealth realworld examples featuring helpful boxes throughout mediawriting explains various styles writing print broadcast online social media public relations multimedia outlets designed meet needs students digital print broadcast media public relations wannabe jackofall trades online media environment readerfriendly primer equip beginners skills necessary succeed chosen writing field routledge august pb hb full contents information visit wwwroutledgecom rd edition personal conflict management theory practice amy janan johnson university oklahoma usa ioana cionea university oklahoma usa suzanne mccorkle boise state university usa melanie j reese boise state university usa third edition bridges theory behind conflict occurs specific skills tools transform difficult interpersonal encounters beneficial constructive exchanges instructor manual significantly updated well also available online including summaries chapters activities test bank sample syllabi assignments please visit wwwroutledgecom routledge july pb hb ebook full contents information visit wwwroutledgecom mental health wellbeing journalists practical guide hannah storm book offers firstofitskind practical personcentred guide managing contextualising journalists emotional wellbeing mental health mental health wellbeing journalists written news media professionals educators students well anyone interested promoting sustainable journalism supporting industrys precious resource people routledge may pb hb ebook full contents information visit wwwroutledgecom rd edition principles intercultural communication igor e klyukanov eastern washington university usa third edition provides comprehensive view intercultural communication concise style unique theoretical framework ten interconnected principles text ideally suited upperlevel graduate intercultural communication courses within communication linguistics anthropology departments routledge october pb hb full contents information visit wwwroutledgecom nonprofit communications missiondriven humancentered approach kelly c gaggin syracuse university usa text provides guide strategic communications nonprofit organizations rooted desire serve good approach communications mission based humancentric align values nonprofit sector campaign planning process text offers view nonprofits local national international levels impact explores relationships keeping mind value needs served ideal undergraduate graduate courses nonprofit strategic communications andor management well resource nonprofit industry professionals routledge april pb hb ebook full contents information visit wwwroutledgecom public relations public health social good edited brooke w mckeever university south carolina usa foregrounding work professional communicators support public health social missions book examines principles practices public relations applied nonprofit government corporate entities working understand improve public health social conditions ideally placed advanced undergraduate graduate courses public relations health communication strategic communication well communications professionals looking apply research practice routledge july pb hb full contents information visit wwwroutledgecom wwwroutledgecom communication studies race ethnicity foundational forces political communication edited stewart coles daniel lane race ethnicity central lived experiences politics yet often absent studies urgent questions contemporary political communication volume responds crucial issue field illuminating multitude ways identity power shape interpersonal mediated technological dimensions politics empirically illustrates lack racefocused scholarship area demonstrating studying raceethnicity endogenous politics sheds new light big questions facing multiracial multiethnic societies book originally published special issue political communication routledge august hb ebook full contents information visit wwwroutledgecom statesponsored disinformation around globe politicians deceive citizens edited martin echeverr\u00eda university puebla mexico sara garc\u00eda santamar\u00eda daniel c hallin university californiasan diego usa series routledge studies media communication politics book explores pervasive globalized trajectory domestic disinformation describes specific operations general apparatuses disinformation sponsored state institutions several countries around world governments political parties politicians advancing field misinformation disinformation studies specializing statesponsored operations consequences book essential volume scholars upperlevel students media communication studies journalism political communication disinformation misinformation social media sociology international politics routledge october hb full contents information visit wwwroutledgecom risk crisis communication europe towards integrating theory practice unstable turbulent times edited audra dierslawson kristiania univ college norway andreas schwarz technical university ilmenau germany florian meissner macromedia university applied sciences germany silvia ravazzani iulm italy series routledge research communication studies timely volume offers international cross disciplinary examination risk crisis communication theory practice europe exciting innovative volume interest scholars students risk crisis communication media studies political communication public relations political studies international relations routledge june hb full contents information visit wwwroutledgecom th edition law public communication william e lee university georgia usa daxton r stewart texas christian university usa jonathan peters university georgia usa thoroughly updated classic textbook provides overview communication media law including current legal developments explains laws affecting daily work writers broadcasters public relations practitioners photographers bloggers public communicators law public communication ideal core textbook undergraduate graduate courses communication law mass media law routledge august pb hb full contents information visit wwwroutledgecom startup entrepreneurial communication theoretical foundations contemporary development edited alexander godulla leipzig university germany linjuan rita men university florida usa book delves dynamic field startup entrepreneurial communication addressing significant research gap examines central areas discourse exploring intricate balance startups brand identity strategic communication well crucial role internal communication additionally book offers insights highly innovative realm crowdfunding complementing comprehensive exploration startup communication volume originally published special issue international journal strategic communication routledge june hb ebook full contents information visit wwwroutledgecom routledge handbook conflict peace communication edited stacey l connaughton perdue university usa stefanie pukallus university sheffield uk series routledge handbooks communication studies handbook provides comprehensive review research conflict peace communication offers readers range insights foundational ongoing emerging discussions field handbook essential reading scholars researchdriven practitioners graduatelevel students upperlevel undergraduate students conflict peace communication within disciplines communication studies political science international relations security studies human rights routledge october hb full contents information visit wwwroutledgecom communication studies routledge handbook public speaking research theory edited stevie munz utah valley university usa tim mckennabuchanan manchester university usa anna wright illinois college usa series routledge handbooks communication studies providing comprehensive survey empirical research theory history public speaking handbook fills crucial gap public speaking pedagogy resources provides foundation future research pedagogical development reinforcing relevance importance significance public speaking individual interpersonal social cultural communication contexts accessibly written handbook indispensable resource public speaking instructors program administrators also valuable reading communication pedagogy introduction graduate studies courses routledge april hb ebook full contents information visit wwwroutledgecom us media diversity representation dissemination effects edited travis l dixon dana mastro series electronic media research series volume fully illuminates role diversity media representation dissemination effects across various platforms including social media backdrop shifting demographics increasing diversity book highlights implications media consumption patterns explores simultaneous rise online hate routledge june hb ebook full contents information visit wwwroutledgecom routledge handbook rhetoric power edited nathan crick texas university usa series routledge handbooks communication studies routledge handbook rhetoric power represents first comprehensive disciplinary investigation relationship rhetoric power expressed different aspects society featuring contributions key scholars accessibly written handbook indispensable resource researchers students fields rhetoric writing studies communication studies political communication social justice routledge october hb full contents information visit wwwroutledgecom sociomateriality leadership ventriloquial perspective jonathan clifton series routledge studies communication organization organizing parallel expansion leadership research use ventriloquism within communication studies book addresses lack connection two arguing ventriloquial analyses add significant insights leadership research leadership research fruitful avenue inquiry offering fresh insight leadership practice book essential read scholars students organisational communication leadership management routledge september hb full contents information visit wwwroutledgecom wwwroutledgecom filmmaking post production art cut conversations film tv editors volume ii steve hullfish followup text widely acclaimed art cut book published expands predecessor interviews worlds best editors including nearly every oscarwinner last years interviews contained within carefully curated topics important film editors aspire become film editors questions asked organization book merely academic view art editing practical result actual working film tv editor bringing benefits student professional readers focal press july pb hb full contents information visit wwwroutledgecom color science digital imaging essential guide visual effects artists filmmakers photographers steve wright book written leading expert field visual effects demystifies complex subject color science managed project ideation completion written professional photographer cinematographer 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compositor technical director master trainer steve wright book condenses years production experience accessible highly informative guide suitable working aspiring visual effects artists updated edition addresses problems professional compositors face daily blend theory practical production techniques workflows also features powerful new keying techniques updates latest tech visual effects industry allnew content ai companion website also offers nuke workflows images examples discussed book allowing readers experiment material first hand routledge june pb hb ebook full contents information visit wwwroutledgecom cinematography lighting television contemporary approach tim palmer drawing author tim palmers thirty years experience working cinematographer awardwinning drama series including killing eve bad sisters line duty book goto guide light scene cinematographer may face shooting tv show including practical advice working industry tips lowbudget student settings accessible creative guide producing visually compelling footage translates script screen ideal professional cinematographer advanced students cinematography looking develop skills routledge november pb hb full contents information visit wwwroutledgecom editing screen edited john rosenberg university southern california usa series perform combining essays interviews editors film television collection explores business side editing industry professionals dispel myths industry provide practical advice business film tv editing written undergraduates graduates studying film tv editing well aspiring editors book provides readers wealth first hand information help create opportunities pursue career film television routledge september pb hb full contents information visit wwwroutledgecom filmmaking post production filmmaking academia practice research filmmakers agata lulkowska series routledge studies media theory practice evaluating existing position film research filmmaking academia offers clear guidance practical advice planning conception research films making evaluation dissemination impact practicebased research book aspires serve guide new current researchers reaching screenbased media creative practice seeks explore scope definitions methodologies interdisciplinary postdisciplinary nature film research projects exciting new work provides key reading graduate students academics filmmakers looking move academia routledge june hb full contents information visit wwwroutledgecom smartphone cinema making great films mobile phone bart weiss book guides reader process using phone create different kinds video audio tv theaters youtube tiktok podcasts drawing authors experience teaching classes mobile filmmaking resource helps tell stories better whilst going techniques necessary control phone professionally also covering accessories software help shape narrative book guide first time makers students many disciplines including student filmmakers professional filmmakers want leverage phone bring shoot focal press november pb hb full contents information visit wwwroutledgecom nd edition introduction cinematography learning practice tania hoser introduction cinematography offers practical stage stage guide creative technical aspects cinematography building skillsbased approach focused professional practice hoser provides stepby step introduction techniques processes procedures working cameras lenses light makes second edition introduction cinematography uptodate essential resource anyone aiming acquire full range cinematography skills allowing seamless progression exercises full feature shoots routledge august pb hb full contents information visit wwwroutledgecom nd edition business television updated expanded second edition ken basin sony pictures television harvard business school usa expanded updated second edition esteemed television executive harvard lecturer ken basin offers comprehensive readable overview business financial legal structure us television industry 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sustainable filmmaking career channels crowdsourcing crowdfunding community filmmaking concepts essential guide aspiring seasoned filmmakers alike looking understand apply crowdsourcing effective tool career routledge june pb hb ebook full contents information visit wwwroutledgecom wwwroutledgecom filmmaking post production nd edition tv writing demand whats whats next neil landau book takes deep dive writing todays audiences backdrop constantly evolving tv ecosystem essential resource student professional writers supplemented companion website offering additional content including script excerpts pitch documentdeckshow bible samples scene analysis templates plus useful writing exercises break new ground mine new territory routledge august pb hb full contents information visit wwwroutledgecom th edition voice vision creative approach narrative filmmaking mick hurbischerrier hunter college city university new york usa gustavo mercado develop creative voice whilst acquiring practical skills confidence use fully updated edition providing solid grounding tools techniques processes narrative film comprehensive manual covers essentials whilst foregrounding artistic vision throughout updates include indepth discussion color grading tools filmmaking process date information creative role digital imaging technician stepbystep procedures effective camera tests development custom luts pre production expanded sections simple green screen effects drone technology funding distribution routledge october pb hb full contents information visit wwwroutledgecom mass communication journalism rd edition beyond powerful radio audio communicators guide digital world news talk information personality podcasting broadcasting valerie geller complete guide becoming successful communicator beyond powerful radio teaches timetested techniques work format radio tv podcast online learn get keep grow audiences powerful storytelling become dynamic presenter book holds tools needed create winning 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crux socioeconomic demographic technological transformations book dives deep evolving landscape navigating vast complexities global higher education cultural implications book tailored broad spectrum readers including higher education policymakers university administrators educators find particularly invaluable yet accessible language engaging narratives also appeal students anyone curious trajectory higher education rapidly changing world routledge july hb full contents information visit wwwroutledgecom bourdieusian media studies johan lindell uppsala university sweden series routledge focus media cultural studies bourdieusian media studies illustrates merits pierre bourdieus cultural sociological approach field media studies explicating exactly bourdieusian analysis media would entail new understandings digital media landscape would emerge analysis illustrating craft bourdieusian media studies shedding new light key dynamics digital media culture book appeal scholars students working media studies media theory sociology media digital media cultural production routledge july hb full contents information visit wwwroutledgecom african documentary cinema alexie tcheuyap university toronto canada series routledge advances film studies african documentary cinema investigates inception trajectory contemporary documentary filmmaking sub saharan african countries diasporas book challenges critical paradigms long prevailed african film criticism shedding light diverse discourses evolving aesthetic trends present within documentary films groundbreaking study offers new insight rapidly expanding topic appeal students scholars fields film studies documentary film media industry studies african studies french postcolonial studies politics cultural studies routledge august hb ebook full contents information visit wwwroutledgecom cannabis cultures markets edited micha\u0142 wanke university opole poland sveinung sandberg university oslo norway ruken macit harran university turkey hakan g\u00fclerce harran university turkey book demonstrates culture matters understanding cannabis use stems growing body research users manoeuvre stigmatisation celebrate subcultural status cannabis amid rapid transformation substance societal reception volume presents international studies challenge normalisation thesis simplified views patterns use well western bias social research cannabis chapters book originally published special issue drugs education prevention policy routledge june hb ebook full contents information visit wwwroutledgecom asian histories heritages video games edited yowei kang kenneth c c yang micha\u0142 mochocki jakub majewski pawe\u0142 schreiber series routledge advances game studies book explores representations national asian histories digital games situated intersection regional game studies historical game studies book offers chapters histories heritages japan china iran iraq taiwan south korea indonesia singapore turkey russia appealing primarily 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communication legitimizing promoting geopolitical economic goals leading powers ideas arguments advanced privilege reading geopolitical processes examples perspective global south comprehensive transdisciplinary study adopts holistic approach interest global community scholars researchers commentators communication international relations among fields routledge july pb hb full contents information visit wwwroutledgecom cinema surveillance asymmetric gaze martin blumenthalbarby rice university usa series routledge focus film studies cinema surveillance asymmetric gaze shows key modern filmmakers challenge disturb relation film surveillance medium message assembling readings films harun farocki michael haneke fritz lang book considers surveillance different domains urban life religious doctrine law enforcement intersection wellknown figures highly topical issue book broad appeal especially exclusively among students scholars film studies media studies german studies european studies art history political theory routledge june hb ebook full contents information visit wwwroutledgecom childhood animation navigating secret world jane batkin university lincoln uk series routledge research cultural media studies childhood animation navigating secret world explores children viewed cinema television examines screen spaces occupy volume great interest scholars students childhood studies animation film television studies psychology sociology routledge august hb full contents information visit wwwroutledgecom classics media theory edited stina bengtsson s\u00f6dert\u00f6rn university sweden staffan ericson s\u00f6dert\u00f6rn university sweden fredrik stiernstedt s\u00f6dert\u00f6rn university sweden comprehensive collection introduces contextualizes media studies influential texts thinkers early th century mass communication first stages digital culture st century essential reading students media communication adjacent fields journalism studies sociology cultural studies routledge june pb hb ebook full contents information visit wwwroutledgecom children media pandemic parenting family life uncertain times edited rebekah willett xinyu zhao series routledge studies new media cyberculture book examines changes families rules routines connected media pandemic shifts parents understanding childrens media use timely volume offer key insights researchers graduate students studying variety disciplines including media cultural studies communication arts education childhood studies family studies routledge july hb full contents information visit wwwroutledgecom communicating intercultural spaces lily arasaratnamsmith alphacrucis university college australia l ripley smith communicating intercultural spaces unique contribution literature intercultural communication two authors bring distinct sociocultural voices work written readers ranging advanced undergraduate students intercultural practitioners book offers new conceptualisation understanding intercultural communication eight propositions frame concept intercultural spaces readers expect walk away understanding key theories frameworks intercultural communication tools develop intercultural communication competence routledge august pb hb full contents information visit wwwroutledgecom wwwroutledgecom media cultural studies conflicting images histories war photography news stuart allan bournemouth university uk tom allbeson unlike historical examinations war reporting centre evolving role war correspondent conflicting images focuses contribution photographers photojournalists providing evaluative appraisal war photography news development nineteenth century twenty first book recommended reading researchers advanced students visual journalism conflict reporting routledge may pb hb ebook full contents information visit wwwroutledgecom data journalism covid disruption edited jingrong tong university sheffield uk data journalism covid disruption offers international multidisciplinary account extent covid pandemic blessing data journalism offering timely contribution discussions data journalism evolved time crisis volume appeal scholars students data journalism journalism practice media communication studies media industry studies routledge august hb full contents information visit wwwroutledgecom covid film television watching pandemic edited verena bernardi saarland university germany amanda giammanco saarland university germany heike mi\u00dfler saarland university germany series routledge research cultural media studies collection explores impact covid production consumption television film content englishspeaking world given pandemics lasting impact film television industries book valuable read scholars studying audience viewer reception onscreen content impact crises cultural industries also appeal researchers cultural studies popular culture television studies internet studies film studies media studies broadly routledge september hb full contents information visit wwwroutledgecom design history culture methods approaches javier gimenomart\u00ednez student friendly text provides comprehensive exploration methods approaches employed within design scholarship drawing upon influences history art history anthropology interdisciplinary studies science technology studies material culture studies comprehensive overview methods approaches enable students select appropriate methodological tools research ideal guide undergraduate postgraduate students design design culture design history design studies visual culture routledge july pb hb full contents information visit wwwroutledgecom critical readings hammer horror films edited fernando gabriel pagnoni berns universidad de buenos aires argentina matthew edwards series routledge advances horror collection offers close readings hammers cycle horror films analysing key films placing particular emphasis narratives themes present works discussed volume appeal scholars students film studies international cinema film history horror studies routledge june hb ebook full contents information visit wwwroutledgecom digital media metaphors critical introduction edited johan farkas malm\u00f6 university sweden marcus maloney volume provides comprehensive introduction digital media metaphors unpacking power limitations collection structured three parts explores metaphors across digital infrastructures content users within parts chapter examines specific metaphor become nearubiquitous public debate book engages technological also social political environmental implications digital technologies relations unique collection interest students scholars digital media studies media communication studies sociology science technology studies routledge november pb hb full contents information visit wwwroutledgecom media cultural studies digital media denunciation shaming court public opinion daniel trottier qian huang rashid gabdulhakov series routledge focus communication society book offers common set concepts 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research media literacy education disinformation debunked building resilience media information literacy examines way media information literacy mil address disinformation conjunction factcheckers developers benefit expertise fields fighting disinformation book great importance students scholars educators working media information literacy digital media journalism mass communication misinformation disinformation routledge june hb ebook full contents information visit wwwroutledgecom emirati women journalists bargaining patriarchy search equality noura al obeidli series routledge focus journalism studies book presents rare investigation media landscape gender dynamics emirati newsrooms sociocultural focus influence tribal patriarchalism determining emirati womens role news makers book interest students scholars journalism journalistic practice media policy international journalism gender studies middle east studies routledge july hb full contents information visit wwwroutledgecom 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information visit wwwroutledgecom routledge companion asian cinemas edited zhen zhang new york university usa sangjoon lee city university hong kong debashree mukherjee columbia university usa intan paramaditha macquarie university australia series routledge media cultural studies companions balancing leading scholars emerging trendsetters companion offers fresh perspectives asian cinemas charts new constellations field significance far beyond asian cinema studies ideal resource film media cultural asian studies researchers students scholars well informed readers interest asian cinemas routledge july hb full contents information visit wwwroutledgecom female nude art obscenity sexuality lynda nead birkbeck university london uk series routledge classics history western art saturated images female body lynda neads female nude first book critically examine phenomenon feminist perspective deft engaging manner lynda nead explores ways acceptable unacceptable images female body produced 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studies study representations children childhood global team authors explore theme undeadness applies cultural constructions child unique insightful volume interest scholars students working popular culture cultural studies media studies film television studies childhood studies gender studies philosophy routledge august hb full contents information visit wwwroutledgecom routledge handbook indigenous film edited ernie blackmore university wollongong australia kerstin knopf university bremen germany wendy gay pearson university western ontario canada corina wiesercox university bremen germany series routledge media cultural studies handbooks volume examines various aspects indigenous film cultures analyzes works indigenous directors producers worldwide focuses readings contextual historical political aesthetic activist individual indigenous films handbook specifically explores indigenous film canada mexico united states central south america northern europe australia new zealand pacific philippines essential reading students scholars indigenous studies cultural studies area studies film media studies feminist queer studies anyone interested indigenous cultures cinema routledge july hb full contents information visit wwwroutledgecom transforming pr public relations people relations andrius kasparas book introduces concept picnic society society belong today social media given us unlimited opportunities create destroy circles bubbles realities possibilities reputations book appeal professionals already solid grasp public relations technologies would like review skills develop model public relations knowhow without limited strict boundaries traditional pr theory routledge october pb hb full contents information visit wwwroutledgecom routledge handbook roleplaying game studies edited jos\u00e9 p zagal university utah usa sebastian deterding imperial college london uk series routledge media cultural studies handbooks handbook provides comprehensive guide latest research roleplaying games rpgs across disciplines cultures media one single accessible volume comprehensive reference volume ideal students scholars game studies immersive experiences looking learn ever growing interdisciplinary field rpg studies routledge june hb ebook full contents information visit wwwroutledgecom transnational radio monitoring twentieth century practices propaganda surveillance europe beyond edited suzanne bardgett friederike kindkov\u00e1cs vincent kuitenbrouwer university amsterdam netherlands radio monitoring important feature broadcasting history monitoring reports form treasure trove historians volume offers six case studies provide new insights importance radio monitoring second world war cold war volume explores rich history radio monitoring second world war cold war offers original case studies shed light previously unknown radio histories moreover authors reflect use monitoring reports historical source provide methodological guidelines originally published media history routledge september hb full contents information visit wwwroutledgecom media cultural studies th edition understanding communication research methods theoretical practical approach stephen croucher massey university new zealand daniel cronnmills minnesota state university usa using engaging howto approach draws scholarship real life popular culture textbook fourth edition offers students practical reasons care research methods offers practical guide conducting research textbook perfect beginning advanced scholars using critical cultural interpretive qualitative quantitative rhetorical performance research methods routledge september pb hb full contents information visit wwwroutledgecom conspiracy theories academic entanglements conflicts truths edited el\u017cbieta dr\u0105\u017ckiewicz lund university lund university jaron harambam university amsterdam netherlands book highlights like everything relates conspiracy theories even answer question straightforward vary across 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violent serious games including illustrations questions glossary key terms detailed video game history timeline indispensible resource anyone interested examining ways video games reshaping entertainment society routledge may pb hb ebook full contents information visit wwwroutledgecom work digital media entertainment industries critical introduction tanner mirrlees university ontario institute technology canada book first kind critical interdisciplinary introduction economic political cultural technological dimensions work rapidly growing digital media entertainment industries dmei offering broad overview field textbook indispensable resource instructors undergraduates postgraduates scholars routledge october pb hb full contents information visit wwwroutledgecom virtual influencers identity digitality age multiple realities esperanza miyake series routledge studies new media cyberculture book identifies converging sociocultural economic technological conditions shaped informed realised identity contemporary virtual influencer situating intersection social media consumer culture ai digital technologies drawing wide range disciplines book appeal scholars researchers students working areas popular culture media internet digital social media studies data justice governance japanese media studies celebrity studies fan studies marketing consumer studies sociology humancomputer studies ai technology studies routledge august hb full contents information visit wwwroutledgecom nd edition writing true stories complete guide memoir creative nonfiction personal essay diaries biography travel patti miller writing true stories essential book anyone ever wanted write memoir explore wider territory creative nonfiction provides practical guidance inspiration vast array writing topics including access memories find narrative voice build vivid world page create structure use researchand face difficulties truthtelling routledge june pb hb ebook full contents information visit wwwroutledgecom wwwroutledgecom media cultural studies young people media nostalgia ethnography youth imagine lives rodrigo mu\u00f1ozgonz\u00e1lez series routledge research cultural media studies book explores latin american young people engage nostalgic representations contemporary media comprehensive empirical study interest scholars researchers students media communications studies latin american studies sociology digital culture memory studies social cultural anthropology youth studies cultural studies readers interested popular culture television cinema routledge october hb full contents information visit wwwroutledgecom photography clinical photography theory practice reference guide practitioners edited simon brown paul crompton amy lake lecturer medical photography programme manager postgrad certificate medical illustration cardiff university series applications scientific photography authoritative comprehensive reference understanding clinical photography improving readers ability hone skills knowledge medical specialties covered detail including dermatology dental oral medicine pediatrics orthopedics telemedicine photography surgery operating room well practical guide clinical photography book also discusses legal moral ethical contexts within photography medicine operates first time explores societal cultural religious factors practicing todays digitally literate multicultural world routledge september pb hb full contents information visit wwwroutledgecom photography resistance securing evidence nazi occupied europe janina struk photography resistance tells stories people resisted fascism europe taking securing photographs original study essential resource students scholars photography visual culture holocaust studies history well anyone interested history second world war routledge july pb hb full contents information visit wwwroutledgecom displacement environments photopolitics mediterranean migrant sea parvati nair queen mary university london uk series photography place environment focusing mediterranean region onwards volume explores photographys engagement displacement process denotes environmental social breakdown places forced mobility people book interest scholars photography theory migration refugee studies art history mediterranean studies political science routledge november hb full contents information visit wwwroutledgecom th edition darkroom cookbook steve anchell fifth edition comprehensive guide darkroom photography fully revised updated placing analog traditional methods context digital world contemporary workflows essential guide practitioner wants take next step develop thorough understanding film darkroom processes techniques working methodologies well graduate advanced photography students interest analog darkroom processes routledge october pb hb full contents information visit wwwroutledgecom th edition langfords basic photography guide serious photographers michael langford anna fox richard sawdon smith professor photography aids cultures head arts media department london south bank university andrew bruce seminal photography text th edition revamped reorganized modernized include uptodate need know information photographers introducing key concepts fundamentals photography book must photographers bookcaseideal foundational text students photography well key reference professionals routledge october pb hb full contents information visit wwwroutledgecom wwwroutledgecom index title academias billiondollar roulette african documentary cinema argumentation art cut asian histories heritages video games b behind scenes indie film marketing beyond powerful radio bourdieusian media studies broadcast news writing stylebook build aienhanced audio plugins c c cannabis celebrity rhetoric sexual misconduct cases central eastern european histories heritages video games changing geopolitics global communication childhood animation children media pandemic parenting cinema surveillance cinematography lighting television classics media theory clinical photography theory practice collaboration engagement tradition contemporary electronic music color science digital imaging communicating effectively health crisis communicating intercultural spaces conflicting images covid film television crisis communication cases asia crisis communications critical readings hammer horror films dance music manual data journalism covid disruption dei intersectional social identities work design history culture designing audio circuits systems digital compositing film video digital media denunciation shaming digital media metaphors digital media production beginners disinformation debunked displacement environments photopolitics mediterranean disrupting mainstream journalism india dissonant public spheres diversity equity inclusion strategic communications e ecoteen films editing screen emirati women journalists european media systems deliberative communication europeans media f family communication fan podcasts filmmaking academia g gamer citizens h humor health media interactive technologies music making intersectionality political economy media introduction cinematography introduction game analysis j journalism safety journalism print platform k kardashians kate bush moving image koreas platform empire l langfords basic photography listening listening media dissidence war ukraine media internet social movements hong kong media crisis communication media society media ethics media africa media industries crisis media inequality media literacy oppressed media pluralism digital era media tactics long twentieth century media theory level mediawriting mental health wellbeing journalists n narrating chinese youth mobilities news aesthetics myth news corp nonprofit communications p patterns harassment african journalism pedagogical opportunities review genre personal conflict management photography resistance photography activism power without responsibility principles intercultural communication project management book publishers public relations public health social good r race culture video game industry race ethnicity foundational forces political communication recording orchestra classical music ensembles refugee settlement australia rethinking scholarly communication china risk crisis communication europe scenewriting film tv screening big data selling rights slut narratives popular culture smartphone cinema social media digital politics social media measurement management spiderman spiderverse spotlight journalism popular heroism startup entrepreneurial communication statesponsored disinformation around globe stories art survey media teenage boys musical identities music education television directors race gender television sitcom cultural crisis business television class gender politics chinese online discourse cultural industries india darkroom cookbook disaster film social practice female nude law public communication music business music creators new audience old tv routledge companion asian cinemas routledge companion global photographies routledge companion media audiences routledge handbook conflict peace communication routledge handbook indigenous film routledge handbook public speaking research theory routledge handbook rhetoric power routledge handbook roleplaying game studies routledge handbook sound design selfsustaining filmmaker sociomateriality leadership undead child popular culture transforming pr transnational radio monitoring twentieth century tv writing demand u understanding communication research methods understanding video games index title us media diversity v videojournalism virtual influencers voice vision w conspiracy theories work digital media entertainment industries writing true stories young people media nostalgia wwwroutledgecom index author allan allbeson al obeidli amos anchell andrius kasparas arasaratnamsmith smith b bardgett kindkov\u00e1cs kuitenbrouwer basin batkin bengtsson ericson stiernstedt bergman hearnsbranaman bernardi giammanco mi\u00dfler blackmore knopf pearson wiesercox blumenthalbarby bogre braithwaite schrodt warner galvin brogi nenadi\u0107 parcu brookwell brown crompton lake bush lindsey byerly c cavallero chadha christians fackler kreshel brown feng overton richardson clifton coatney connaughton pukallus coombs cordell crick cronqvist nor\u00e9n stjernholm croucher cronnmills curran seaton dasgupta clini dierslawson schwarz meissner ravazzani dixon dixon mastro dr\u0105\u017ckiewicz harambam e echeverr\u00eda garc\u00eda santamar\u00eda hallin egenfeldtnielsen smith tosca elkins estibeiro payling cotter f farkas maloney fearnbanks kawamoto fern\u00e1ndezvara fielding filimowicz fraumeigs corbu g gaggin geller gimenomart\u00ednez glynn godulla men goopy griffey h h beare hassan hebbani hill lunt holladay classen hoser huang hullfish hurbischerrier mercado j jaakkola jensen lai johnson johnson cionea mccorkle reese jones burton brien k kang yang mochocki majewski schreiber kim yong jin king klyukanov kobre kocmichalska klinger bennett rommele korfmacher l lai landau lang langford fox sawdon smith bruce larue lee blevins lee stewart peters lindell lipschultz lulkowska coles lane martin olson mayer lavie banks mcdonnell mckeever mcmillan melki michael miconi miller mirrlees miyake mochocki schreiber majewski kot munz mckennabuchanan wright murdock brevini ward murray heumann mu\u00f1ozgonz\u00e1lez n nair nanjundaiah nead nordin schiappa irwin owen oyedemi smith p pagnoni berns edwards palmer papper kolodzy parks faw lane peru\u0161ko pompper ertemeray r redhead rodzvilla rosenberg sen ahmed silverman meyer marren whitaker smith ramsey sim snoman soutter wooldridge srauy sriramesh yeo storm struk tcheuyap thussu tong trottier huang gabdulhakov tshuma matsilele msimanga jamil v van der borgh w wanke sandberg macit g\u00fclerce weiss westlund kr\u00f8vel orgeret willett zhao worthington bodie fitchhauser index author wright wright yeeking yong liu z zagal deterding zhang gong zhang lee mukherjee paramaditha zhongbo zornado reilly wwwroutledgecomtaylor francis group park square milton park abingdon oxon ox rn tel" +} diff --git a/Music Technology Core | Berklee College of Music.json b/Music Technology Core | Berklee College of Music.json new file mode 100644 index 0000000000000000000000000000000000000000..a3a9735dfbbe317958e13482774f5305aeaf6156 --- /dev/null +++ b/Music Technology Core | Berklee College of Music.json @@ -0,0 +1,5 @@ +{ + "filename": "Music Technology Core | Berklee College of Music", + "department": "Ar", + "cleaned_text": "sectionmusic technology corethe music technology core combination arranging ear training conducting harmony tonal harmony andcounterpoint courses provide broadbased musical vocabulary important skills major studies anda wellrounded musical background feel already strong background music technologywe provide opportunity test mtec introduction music technologyview glossary terms used introduction music technologyentrance requirementsrequired studentslearning outcomesupon completion program students use laptop wireless network online learning management system manage course work con\ufb01gure troubleshoot basic midi audio capabilities laptop music system identify use different types software electronic instruments record edit audio using laptop computer produce instrumental electronic arrangements using music production software distribute music productions using standard formats understand use basic music technology terminology recognize discuss basic music production techniquescurriculum coursesmtec introduction music technologynext stepshow applyrequest information pmpage berkleenowthe latest sounds stories ideas eventsemail addresssubscribesubscribesubscribesubscribeget informationfirst name last name email address level interested want study high school graduation year submitundergraduateplease selectplease selectplease selectby submitting form agreeing receive 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forrester technographics forrester wave roleview techradar total economic impact trademarks forrester research inc trademarks property respective companies purchase reprints document please email clientsupportforrestercom additional information go wwwforrestercomfor consumer product strategy professionals includes forrester research panel data data consumer technographics executive summ ary first years st century may decade music went digital also truly horrible decade music industry end us european recorded music revenues start decade billion billion digital experience noughties rocky one next years characterized innovation experimentation risen prominence past years brands product strategists expect invest money digital music investment bring welcome impetus music industry also continue value chain changes ultimately reshape balance power recast mold music business table contents painful digital transition music business digital music business models playing catchup consumer behavior move consumption era realign music industry value chain future digital music rich tapestry targeted offerings rec ommenda tions build series new music businesses supplemental materialnotes resources forrester used data european technographics media marketing social computing online survey q q global music research panel online survey report related research documents media product innovation building products thrive media meltdown december music product manifesto product features save recorded music september music release windows product innovation music business cant without september january music industry meltdown recasting mold mark mulligan laura wiramihardja forrester research inc reproduction prohibited january music industry meltdown recasting mold consumer product strategy professionals painful digital transition music business recorded music industry elegantly simple business built almost entirely upon sales little shiny discs revenues buoyant construct multimillionselling artist still common currency pertinent digital hardly featured equation years st century clear days gone good music industry never recorded music industrys highwater mark cd height product cd finds terminal decline heir apparent stcentury music revenues declined year year consumers fallen love cd struck whirlwind romance free music affair changed forever people perceive music product revenues slump music fan wrests control fundamentals music business turned heads recorded music industry kicked meltdown digitization puts power firmly hands audience advent cd ripping inevitable bedfellow file sharing ended music industrys ability exercise control via monopoly supply created monetary value virtue fact music fans could acquire music via music shops ripping cds consumers could conveniently create highquality copies napster could make copies instantly available millions music fans meltdown plays three acts digitization didnt cause meltdown instead enabler first act threeact play act digitization brought contagion free consumers could get music wanted free kazaa outube started wonder would ever pay music act meltdown began music sales plummeted free prospered contagion became epidemic start st centurys second decade find listening opening lines act rebuild although far early say whether story happy ending change happening ondemand replaces oncommand perhaps single important dynamic music industry meltdown consumers decide get music record labels used dictate music consumers could buy music fans dissect albums preempt release schedules mashup share acquire discard music voracious appetite foodie allyoucaneat buffet problem virtually none generates much revenue much occurs outside legitimate domain music fans created new consumptionbased usage paradigm music industry needs create series new music businesses around forrester research inc reproduction prohibited january music industry meltdown recasting mold consumer product strategy professionals consumer behavior shapes business models th centurys distribution era selling units music music industry effectively shaped consumer music behavior consumption era audience king business models playing catchup chasing emerging behavior patterns noughties digital decade shook music industry core first years st century may decade music went digital also terrible decade music industry end us european recorded music revenues start decade billion billion see figure although recorded music revenues actually grew seeds forthcoming trouble already well truly sown notably launches napster mpcom pmp napster symbol transition distribution era consumption paradigm crucible music industrys stcentury meltdown story musics digital decade maps neatly four stages music industrys digital strategy stage denial music industrys revenues began crumble major record labels already gone long way casting die first half noughties failed see true importance napster refused license music likes cductive listen com mpcom instead nipping peertopeer pp activities bud meeting burgeoning digital demand legitimate supply labels focused energies fighting file sharing although number people within major labels began think differently voices werent yet loud enough shape strategy stage confusion late digital supporters within majors grown sufficiently loud result licensing services like rhapsody also saw illadvised launch two majorlabel distribution platforms musicnet duet later pressplay labels hoped control digital music distribution also clear pp activity napster riaa commenced highprofile legal action individual file sharers despite rise mp downloads pp networks legal music services shackled restrictive licenses tethered purchased digital music pc unsurprisingly digital music fans continued opt pp downloads stage acceptance impact apple digital music cannot overstated steve jobs masterstroke persuading labels license portable downloads beta lab mac platform singlehandedly transformed legitimate digital music market course core reason success itunes store ipod wasnt first mp player best pulled millions consumers digital music arena however soon became clear paid download market wasnt coming close offsetting impact declining cd sales music piracy rude health itunes cent model proved transition model albeit useful one distribution consumption eras time plan b forrester research inc reproduction prohibited january music industry meltdown recasting mold consumer product strategy professionals stage rebuilding plan b saw music labels grant licenses diverse potentially disruptive services including comes music imeem myspace music spiralfrog spotify virgin media succeeded fail succeed coming years rather representing desperation throwing everything wall see sticks approach recognizes would foolish assume know answer question napster first posed figure musics digital ecade source forrester research inc sony launches stor e rise napster pp longter music revenue decline beginsruling mpcomruling napster pp riaa pursues \ufb01le sharers rise k azaaifpi pursues \ufb01le sharers eu rulings grokster kazaa rise bitt orren triaa launches early settlements prsy outube disput e ruling pirate ba yipod launchesitunes store launches us napster c launches us itunes stor e napster c launch euyoutube signs deal labels nok ia announces comes musicvirgin edia announces unlimited mp ser vicerhapsody subscribe r declinemyspace buys imeem ilike apple buys lala spotify launches euemusic launches eu virgin closes service uk news corporation buys myspac e vivendi buy mpcomrhapsody launches us musicnet duet launch us eu corded music revenues billions hadopi bill passed fr source forrester research internet music forecast us forecast european digital music digital music business models playing catchup consumer behavior comparatively bleak perspective st century look distinctly golden luxury hindsight could argued record labels invested next generation music products cd peak defense labels precedent way digital transformed consumers relationship music whatever reasoning net result digital music nowhere near forrester research inc reproduction prohibited january music industry meltdown recasting mold consumer product strategy professionals digital music adoption still niche music fans still dont listen digital music car radio still dominate listening european online consumers respectively ipod accounting despite prolonged demise cd buying widespread among european online consumers digital music activity paid free see figure nextgeneration music services yet unseating incumbents interactivity social utility cloud ubiquitous access define future digital music right though forwardlooking services little niche within digital musics niche european online consumers visit social music sites like lastfm visit artist pages social networks demographic time bomb ticking digital music generational divide pronounced although overall digital music adoption modest youth avid users whopping european online yearolds use mp players half watch music videos significantly download music via pp networks rising year olds spain figures respectively generation young music fans growing expectation music instantly available nearlimitless choice access course free initial effects keenly felt even pronounced coming decade generation gains spending power opts spend music leaving gaping hole future recorded music revenues figure buying cds remains popular music ctivity espite sales b eing freefall source forrester research inc buy cds visit ar tist pages social network swatch music videos online watch music dvdsgo gigs concer ts download music via ppwatch live concer ts tv buy digital music visit social music sites like lastfm source european technographics media marketing social c omputing online sur vey q base european online consumers multiple responses acceptedwith ex ception music video online music ac tivity fundamentally niche reachthinking music listening habits following apply ou type online video view ed past month forrester research inc reproduction prohibited january music industry meltdown recasting mold consumer product strategy professionals free music stay like loathe legacy napster people expect music free internet people perhaps certainly pay music online free disappear indeed fact synonymous online music grants central role future digital music strategy file sharing always remained one step ahead industry countermeasures ever since first legal proceedings initiated napster online music piracy played game cat mouse music industry jerry always evades toms grasp music piracy evaded law simple fact technology moves light speed compared methodical mechanisms judiciary legislature audiogalaxy grokster kazaa morpheus napster closed sophisticated successors already scale ironically file sharing perfected art format replacement cycle music industry forgotten online music piracy going offnetwork past years increasing number consumers opted nonnetwork alternatives pp file sharing instant messaging im email music blogs forums file storage sites binary groups part motivation may evade industry policing pp networks much problematic monitor personal communication channels im email remote storage services like rapidshare megaupload also gaining traction none alternatives convenient pp networks sharing large numbers files illustrate technology always evolve pp networks issue downloading free music combating music piracy requires multilayered approach file sharing cant defeated enforcement alone enforcement legislation necessary cogs wheel consumers need know rules consequences breaking stick work big fat carrot cooperation across value chain isps clearly major role play uk labels isps working closely together elsewhere isps role business partner enforcer digital music executives interviewed report believe isps responsible traffic networks industry fighting free free since major labels signed licensing deal outube tacitly recognized truly effective way fight free free via services either free consumer feel like free policy really came effect licensing services like nokias comes music imeem spiralfrog although arent exactly list successful services strategically brave moves represent essential experimentation underpins evolution lastfm myspace pandora spotify outube represent much successful side free fortunes individual services aside free stay best way address generation weaned file sharing forrester research inc reproduction prohibited january music industry meltdown recasting mold consumer product strategy professionals introducing forresters music industry meltdown consumer segmentation transition distribution consumption eras manifests polarized consumer behavior see transition defining digital music audience forrester designed proprietary music industry meltdown segmentation see figure see figure segmentation divides european online consumers four groups based upon free online music activities musicbuying behavior music buyers still dominate although half european online consumers buy music isnt useful way looking audience theyre clearly spending lot less used exacerbated consumers increasingly fall habit buying units media whereas music mavens highly engaged online music addition strong spenders strictly spenders despite current value vulnerable many consumers nearterm casualties shift consumption era outh action unsurprisingly digitally engaged music mavens freeloading fans also youngest segments freeloading fans younger one key issue whether behavior consumers prove based demographics cohort ie grow activity answer almost certainly may lessen intensity current activity laying foundations tomorrows mainstream business models evolve successfully monetize predominantly free activity thus turn freeloading fans cash cows portable music part story portable music dedicated mp players particular mobile phones niche even among music mavens freeloading fans see figure traditional locations listening music car radio home hifi still dominate across consumers matters digital music thus far obsessed portable music fails cater mass market also majority digitally engaged consumers listen music ipod docking stations clumsy fix problem shouldnt even exist digital music jump niche needs wholeheartedly enter home car forrester research inc reproduction prohibited january music industry meltdown recasting mold consumer product strategy professionals figure forresters music industry meltdown consumer segmentation source forrester research inc source european technographics media marketing social c omputing online sur vey q base european online consumers ages older stric tly spenders passiv e populus freeloading f ansmusic vens buy music buy musicdo downloadstream free downloadstream freekey distribution era audienc e key consumptionera audienc e figure freeloading fans ont spend much live music either core youth market source forrester research inc buy music buy musicdo downloadstream free downloadstream freestric tly spenders passiv e populus freeloading f ansmusic vens like classicalopera rock n roll danc e younger average age male go gigs concerts would pay f online music like danc e rb ambientchillout younger average age male go gigs concerts would pay f online music like danc e classicaloper younger average age male go gigs concerts would pay f online music like danc e rb raphip hop younger average age male go gigs concerts would pay f online music source european technographics media marketing social c omputing online sur vey q base european online consumers ages older forrester research inc reproduction prohibited january music industry meltdown recasting mold consumer product strategy professionals figure consumptiondriven music consumers coalesce around digital platforms source forrester research inc car radio home hi\ufb01stereo ipodmp playe r mobile phone source european technographics media marketing social c omputing online sur vey q base european online consumers ages older multiple responses acceptedthinking music listening habits following apply ou digital platf orms strongly adopted consumption consumers shunned distribution consumers music mavens stric tly spenders freeloading f ans passive populus move consumption era realign music industr val ue chain consumer behavior drive business supply side willing driven help gauge extent case forrester fielded survey european us digital music executives results offer encouragement consumption era coming music industry knows asked music industry executives expect roles channel partners change clear understand balance power shifting retailers social ondemand services see figure anticipate big losers radio digital stores services agree sentiment think case somewhat overstated although majority digital music fans increasingly seek adsupported subsidized music digital stores services still deliver highest average revenue per user arpu importance radio dissipate extent particularly factor digital radio reproduction prohibited january music industry meltdown recasting mold consumer product strategy professionals figure shift consumption era streaming services gain expense f stores source forrester research inc streaming music ser vices radiodigital stores ser vices media retailerssocial network technology companiesisps mobile operators brands dont know source q global music research p anel online sur veybase us european digital music ex ecutives record labels publishers industr bodiesin opinion following impor tant channel par tners music industr please selec three f \ufb01ve years time base us european digital music ex ecutives record labels publishers industr bodies multiple responses accepted new hierarchy value chain relationships evolve interestingly music industry executives expected isps become significant channel partners didnt expect much technology companies brands isps certainly become key conduits providers subsidized household music subscription services technology companies like apple nokia continue play pivotal role even importance brands also set grow bacardis signing groove armada rims largescale sponsorship u precursors wider trends temporary anomalies revenues music sales decline revenues increasingly come elsewhere mean partners become increasingly important artists managers become powerful also apparent partners music industry executives business expect value chain transformation forrester research inc reproduction prohibited january music industry meltdown recasting mold consumer product strategy professionals see figure partners expect role artists artist managers grow expense labels music publishers entirely feasible byproduct decline music sales indeed artists increasingly seek additional revenue sources even opt label relationships although believe labels publishers remain main investors creative talent tier established artists especially late career seeking one last payday seek brands instead big brands need careful dont become pension plans aging artists figure role f artists managers gents expected increase labels expense source forrester research inc music publishersartist managersagents reco rd labelsartists concer promoters dont know source q global music research p anel online sur veybase us european digital music ex ecutives record labels publishers trade bodies base us european digital music ex ecutives record labels publishers trade bodies multiple responses acceptedin opinion following ou think impor tant fac tors future digital music mark et cracks emerging digital music value chain need fixing process change necessitates shifts organizations systems affects cd sales tank digital download revenues fail get top gear retailers obvious losers labels focus licensing consumptionbased services changes digital music heralding go much though nothing short tectonic shifts value chain artists beginning beginning understand music piracys impact many artists see little income actual sales music labels recouped costs making tours merchandise bread butter inevitable many artists would soon regard file sharing great way getting punters doors caring forrester research inc reproduction prohibited january music industry meltdown recasting mold consumer product strategy professionals little might cd sales albums although lily allens recent shortlived spell artist crusader music piracy shows artists beginning change tune long way go every one artists interviewed considered filesharing sites crucial tool helping people discover music convinced losses file sharing important digital shines light artist label differences asked digital music executives thought holding back sector labels publishers placed much blame consumers artists managers thought industry fault music industry execs consider file sharing problem respondents cite inflexibility labels collection societies financial demands rights owners trends course expected highlight fact difficult make money digital music marketplace unless financial might myspace outube negotiate competitive licensing terms artists managers finding voices publishing live music revenues didnt nosedive way recorded music revenues shift threatens degree importance record labels major labels shift contracts enough redress changing balance artists managers taking tentative first steps toward defining stronger roles organizations like featured artists coalition may way yet real power illustrate changing trends early skirmishes two opposing forces size future digital music rich tapestr tar geted offerings current meltdown spell end music business slow demise th century music business music retains core cultural relevance people consuming music across digital platforms technology ever first years st century years music industry cleared throat next years needs find new voice monetization follow threetier hierarchy digital music offerings become even diverse sit within threetier structure premium top subsidized middle freetoconsumer bottom arpu lessens move ladder audience size increases larger addressable audience lower customer value opportunity careful positioning tiers crucial currently absent adsupported services wont pay bills making adsupported music pay tough business qtrax spiralfrog spotify outube attest economics tough services need revision revenues services fall far short filling gaping chasm left declining cd sales forrester research inc reproduction prohibited january music industry meltdown recasting mold consumer product strategy professionals subsidized services become crucial third way premium digital services continue drive strongest revenues billion us europe representing recorded music revenues sweet spot niche premium customers massmarket free music fans remains untapped believe isps mobile operators device manufacturers fill gap providing music services subsidize cost customers consider portable apple device unlimited music streaming monthly allowance free downloads home internet tariff includes unlimited household access music downloads nokia may set subsidized world alight comes music least yet subsidized model best means generating meaningful massmarket digital revenues telcos may best programmers content neither apple launched music store music product innovation key future prosperity one thing stands else key success stcentury music business product innovation weve stuck linear collection songs product century commercial album celebrated th birthday radical music product overhaul required currently little difference itunes cent download bittorrent download unless music products improve game cant expect genuinely compete free illegal alternatives future music products need adopt platformagnostic world view encompasses powerful social interactivity empower consumers create unique experiences digital music strategy nonmusic companies become increasingly influential underpinning multiplicity consumer experiences business models core future success ever richer mix commercial partners partners bring much needed financial investment routes market additionally bring agendas priorities turn contribute recasting music industry mold new entrants filling space vacated traditional retailers course much already changed apples position music retailer us shows apples role represents much major record labels tried failed distributors witness musicnet duetpressplay traditional media retailers across globe scrambling alternative revenue streams future revenue growth depend upon success ventures launched new channel partners picking traditional players failed new channel partners bring new often competing priorities bitter pill music industry swallow new partners simply using music way selling core products music becomes bits bytes fill pipes devices isps mobile operators device manufacturers contents throne longer undisputed forrester research inc reproduction prohibited january music industry meltdown recasting mold consumer product strategy professionals instead busy fighting republican advances channel example nokia rim might invest heavily music building music dna organizations order sell phones doesnt preclude sorts companies becoming crucial partners particularly subsidized services sponsorships change many fundamental value chain dynamics digital music pulling power ever value chain tensions aside clear digital music even appealing proposition brands product strategists executives interviewed majority expects invest believes digital music helped meet strategic objectives believes digital music remains valuable tool differentiation see figure partners diverse drinks companies car manufacturers isps hardware firms continue invest digital music expect course companies work digital music difficult becomes differentiate labels publishers need work ever harder enable differentiated offerings partners forrester research inc reproduction prohibited january music industry meltdown recasting mold consumer product strategy professionals figure popularity f digital music among brands product managers clear source forrester research inc source q global music research p anel online sur veyto degree ou c onsider digital music still useful tool di\ufb00erentiationto degree digital music help ou meet str ategic objec tives priority c ompan ys digital music str ategy take compared c ompan ys investment digital music str ategy compared useful neutral usefulno help neutral helpedlowe r higherless base us european digital music ex ecutives ar e record labels publishers trade bodies base us european digital music ex ecutives ar e record labels publishers trade bodies base us european digital music ex ecutives ar e record labels publishers trade bodies base us european digital music ex ecutives ar e record labels publishers trade bodies forrester research inc reproduction prohibited january music industry meltdown recasting mold consumer product strategy professionals rec ommenda tions build series new music businesses age x factor americas got talent easy view music industry race bottom pursuit safe bets play lowest common denominator given climate music sales labels need minimize already sizeable risks understandable successful music business depends upon mainstream also upon variety counterintuitive left field digital music sector requires exactly diversity approach bold willingness experiment even means getting wrong innovate like lot mistakes made digital decade could turn clock back retaining labels presentday licensing mentality probable would see similar innovation see lacked first half noughties key difference services would get headstart file sharing thus prompting much greater consumer uptake services would successfully charging music doesnt mean digital decade wasted clear lessons learned toward end key ones inform next years focus building great consumer experiences seventyseven percent digital music executives interviewed believe business model innovation important factor future digital music market partly right anything strong focus business models held back progress past years focus must great consumer experiences saying forget business models get experience right first economically sound business model little value without good product dont fall lure levy argument replacing music business innovation flatrate levy sustained surprising momentum recently via socalled google tax france levy argument flawed virtually impossible implement also discourages innovation world flatrate levy technology companies would much limited incentive innovate consumers would ultimately left inferior experiences empower artists stakeholders radioheads spurning emi favor going direct consumers remains big success story strategy others come record labels need work hard giving artists real value must twoway street artists also need behave responsibly artists become partners success employees emi boss guy hands suggestion net receipts standard practice echoing much independent sector smart tactic would drive strategy artists skin game gain thus lose theyll work harder make labels success forrester research inc reproduction prohibited january music industry meltdown recasting mold consumer product strategy professionals embrace social media social tools one significant trends recent years rise semipro sites services major company sellaband tunecore add artist pages social networks especially myspace social crowdsourcing tools like lastfms scrobbler music blogs like hype machine fan forums get incredibly rich social picture social media reinvented artist fan relationship revolutionized discovery created new routes market emerging artists new ar sources record labels success future music products services rely heavily upon continued increased leveraging audiences via social web fter music isnt fans supplemental material methodology european technographics media marketing social computing online survey q surveyed respondents seven markets france germany italy netherlands spain sweden uk survey based online adults ages older members ipsosmori online panel ipsos weighted data age sex online frequency hours spent online demographically represent online adult european population per country ipsos fielded survey june july motivated respondents various incentives results based randomly chosen sample size n confidence results statistical precision plus minus would entire online adult population western europe polled confidence interval widen data analyzed country level sample used ipsos random sample individuals randomly sampled ipsos panel survey previously chosen take part ipsos online panel forrester fielded q global music research panel online survey consumer product strategy professionals ongoing marketing strategy research panel however portion survey results illustrated document panel consists volunteers join basis interest familiarity specific music topics quality assurance panelists required provide contact information answer basic questions firms revenues budgets forrester fielded survey early december respondents given summary survey results report form incentive completing survey exact sample sizes provided report questionbyquestion basis panels guaranteed representative population unless otherwise noted statistical data intended used descriptive inferential purposes youre interested joining one forresters research panels may visit us httpforrester companel forrester research inc reproduction prohibited january music industry meltdown recasting mold consumer product strategy professionals endnotes course could tape radio friends home taping experience clumsy timeconsuming always markedly inferior experience genuine article detailed description three pillars value see december media product innovation building products thrive media meltdow n report proclaimed death music industry decline print journalism radical overhaul tv movie business industry remade unique way fundamental similarity way media industries remade suffering media digitization removes distribution scarcity ultimately alters content produced distributed consumed report lay three phases media industries begun pass digitization meltdown rebuild media businesses meltdown time rebuild product strategists phases media production distribution consumption including device makers must prepare world media characterized multiplatform access increased audiences diverse revenue sources see october rebuild media industrie report respectively first music peertopeer network first largescale music download site first portable mp player european online consumers buy digital music compared still buy physical cds source forresters european technographics media marketing social computing online survey q source forresters european technographics media marketing social computing online survey q source forresters european technographics media marketing social computing online survey q pp behavior typically significantly underreported consumer surveys due consumer reluctance admit activity particularly true markets highprofile industry countermeasures place taxing likes google facebook microsoft certainly isnt answer either recently proposed france source mark mulligan taxing net wont stop media meltdown forrester blog consumer strategy professionals january difficulty spotify securing licenses us market fact subsequent free toconsumer ondemand services like msn music uk much smaller catalogs majors suggests change strategic outlook although spotify proven major consumer success million users september done well converting users premium tier accounts percent total users record labels see service promised use free tool pull consumers pay music even better job bittorrent educating mass market music fans music free fundamental shifts consumers perceptions value underpin current period crisis media industries find consumers falling love media instead forrester research inc reproduction prohibited january music industry meltdown recasting mold consumer product strategy professionals thcentury product iterations consumers currently spend extensively consume modestly exposed media distribution paradigm superseded consumption era new framework media product innovation required align media industry content assets st century consumer behavior demand exhaustive process product innovation rebuilding entails media businesses ticket media meltdown see december media product innovation building products thrive media meltdow n report ipod heralded new paradigm music consumption done little counter impact cds terminal decline may even helped accelerate although mobile music looks set start delivering promises shares core failing mp players deliver individual experiences largely fail address decline music technology home see november taking digital music mainstream music product features living roo report respondents forresters q global music research panel online survey record labels music publishers music rights bodies music trade bodies late th century music business artist contracts development cycles release schedules promotional activity shaped around getting little shiny disc dozen tracks stores st century album straightjacket thrown releases become part continual artistfan relationship sure diehard artists album era bemoan death creative construct ignores immensity new creative opportunities accompany radical product innovation music industry desperately needs benefits go far beyond artists labels open core new revenue opportunities mobile carriers isps device manufacturers even brands perceptions value scarcity must rebuilt along new lines creating blueprint product strategists across content genres see september music release windows product innovation music business cant withou report media retailers spent st century shifting floor space cds media products media meltdown affects media industries music dvd sales already hit well smart media retailers investing businesses monetize consumption bestpractice example hmv uk invested boutique movie theaters live music venues highprofile filesharing fans include robbie williams travis fran healy metallicas lars ulrich early exception rule us bono currently best pick ulrichs baton due small part due influence vociferous manager paul mcguinness file sharing nonnetwork music piracy sharing via instant messaging music blogs email indeed strong discovery mechanisms many digital consumers also detrimental music sales teenage file sharers may discover consume far music due file sharing equivalents years ago spending much lower music free shifted larger disposable income items console games music retains intrinsic cultural value youth lost monetary value one teenager focus group said could download nike would buy music source q global music research panel online survey forrester research inc reproduction prohibited january music industry meltdown recasting mold consumer product strategy professionals contracts artist grants record label right participate additional nonrecorded music revenues live performances merchandizing date created animosity among artists artist managers revenues record labels prices paying audiences continue decline although free play key role business model user experience revision process needs careful positioning within clear strategic framework successful monetization digital content follow threetier hierarchy see december media product innovation building products thrive media meltdow n report example uk basic napster customer pays month ondemand streaming music uk consumers get virtually ondemand experience spotify free absence audio ads falls far short establishing value data excludes ring tones source forrester research internet music forecast us see january digital licensing help save music industr report information forresters new forecastview offering including access additional details metrics included report please contact us dataforrestercom tdcs play service denmark remains industry benchmark subsidized music services pace quicken coming years spotifys recently announced partnerships mobile operator uk isp telia sweden add twist presenting subsidized model realistic means making premium tier adsupported service pay album celebrated th birthday yet remains centerpiece recorded music product portfolio time come radical overhaul recorded music product range forrester proposes music product manifesto consumer rights music products embrace future music products need adopt platformagnostic world view encompasses powerful social interactivity empower consumers create unique experiences see september music product manifesto product features save recorded musi c report echoes lyrics prince done fair share business model innovation ranging innovative ultimately unsuccessful new power generation subscription service hugely successful newspaper cover mount uk enabled sell residency noughties original run battlestar galactica next decade needs remake key issues gets paid much many industries could make strong case revenue loss due piracy draw line music movies tv books games software news magazines software pornography revenue share based much industries lost big portion revenue declined many files downloaded example music companies lost larger share revenues piracy movies absolute loss movies probably larger gets paid movie studios record labels highprofile moves paul mccartney starbucks madonna live nation groove armada bacardi exceptions rather rules instance new player making big entrance possible overinvesting highprofile disaffected majorlabel artistforrester research inc nasdaq forr independent research company provides pragmatic forward thinking advice global leaders business technology forrester works professionals key roles major companies providing proprietary research customer insight consulting events peertopeer executive programs years forrester making marketing technology industry leaders successful every day information visit wwwforrestercomheadquarters forrester research inc technology square cambridge usa tel fax email forresterforrestercom nasdaq symbol forr wwwforrestercommaking l eaders successful every day information hardcopy electronic reprints please contact client support clientsupportforrestercom offer quantity discounts special pricing academic nonprofit institutionsfor complete list worldwide locations visit wwwforrestercomaboutresearch sales offices forrester research centers sales offices cities internationally including amsterdam cambridge mass dallas dubai foster city calif frankfurt london madrid sydney tel aviv toronto" +} diff --git a/Music-Business.json b/Music-Business.json new file mode 100644 index 0000000000000000000000000000000000000000..1a7994cb08d49b2f3983684dd975649e2fe6037f --- /dev/null +++ b/Music-Business.json @@ -0,0 +1,5 @@ +{ + "filename": "Music-Business", + "department": "Manager", + "cleaned_text": "networking strategies new music business dan kimpelnetworking strategies new music business dan kimpel rights reserved part book may reproduced transmitted form means electronic mechanical including photocopying recording information storage retrie val system without written permission thomson course echnology ptr except inclusion brief quotations review artistpro thomson course echnology ptr logos related trade dress trademarks thomson course echnology ptr may used without written permission publisher general manager thomson course echnology ptr stacy l hiquet executive editor mike lawson associate director marketing sarah odonnell manager editorial services heather talbot marketing manager kristin eisenzopf senior editor mark garvey marketing coordinator jordan casey project editor copy editor dan foster scribe tribe thomson course echnology ptr editorial services coordinator elizabeth furbish cover designer interior layout ech stephen ramirez indexer katherine stimson proofreader gene redding back cover photo davis daviswwwdavisanddavisorg trademarks property respective owners 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number printed canada wc thomson course echnology ptr division thomson course echnology thomson place boston httpwwwcourseptrcom iiiacknowledgments thank family ohio yuji nick los angeles associates ascap bmi sesac inviting interview songwriters composers arthur bernstein mark featherstonewitty ian gardner martin isherwood liverpool institute performing arts lipa students inspired text friends colleagues luis gloria villegas keo woolford jeffrey tennyson bobbi marcus dan desouza john joann braheny scott denise davis marta woodhull john philip shenale david edward byrd joe beserra richard moll susan wong armando soria kenny kerner guy marshall brett perkins denise bradley martin cervantes simon barber david quan amazing karan longbrake whose energy inspired since high school thanks mike lawson artistpro diligent editor dan foster appreciation always mark garvey \ufb01 rst convinced author grateful thanks tena clark staff disc marketingdmi networks firehouse recording studios pasadena california special gratitude ronny schiff whose support immeasurable selected interviews book conducted song biz pro\ufb01 les feature stories written music connection magazine thank senior editor mark nardone publishers eric bettelli j michael dolan associate editor michael mollura pro\ufb01 le lindy robbins appeared songwriters market thank editor ian bessler writers digest booksivabout author dan kimpel one american medias foremost authorities popular music songwriters contributes dizzying variety print electronic mediums including books interactive cds magazines web sites videos new media \ufb02 united airlines worldwide hear audio interviews hit recording artists songwriters united entertainment network dan conducts workshops subject music business networking universiti es conferences seminars across north america england visit dans web site wwwdankimpelcomvcontents introduction xi chapter personal paths music business kind person assessing strengths songwriters musicians music biz pros aspiring moguls technical triumphs born succeed reinvention signs universe commitment key time come today summary chapter modern music business transmission secondary expanding contracting genres new music entrepreneurs music kids soundtrack fast track internet notions fish fowl mosaic mediums radio salvation satellite public internet radio chris thomas acoustic essence music publishing way major indie labels networking strategies new music business vimusic biz marionettes pulls strings validation american idolization summary chapter personalities plus ten successful attributes music biz professionals negative notions put negative positive find reasons feel good visualize success network people respect observe traits smooth road myths reinvention old old summary chapter true tales dont power coulda shoulda woulda youre bridges aflame celebrity ten strategies interacting celebrities would reach needs look around sixth sense drugs music biz road john mayer old rock viicritical crises drama queens ten networking strategies dispelling crisis treat everyone respect summary chapter making contact body language good grooming clothes horse ups downs capitol tower ten visual cues look conversation instigation ten conversation leaders sensitive areas assumptions avoid anyone youre introduced complimentary consideration remembering names drop name business cards working room hidden opportunities practice makes perfect fine art studio hang chapter telephone email telephone sound reflections power telephone basics telephone tracking cell phones antennas satan cell phone etiquette email contentsnetworking strategies new music business viiichapter creating effective tools trade press kits folder cover letter cd dvd bio photo fullcourt press credibility credits man gorilla suit extreme strategies rejection ten thoughts overcoming rejection ten reasons calls returned webwise need web site additional resources chapter live venues ventures gigology creative outlets alternative venues inventing show soft ticket make soft ticket show work sounded fabulous ten postperformance tips performance peeves ten commandments club land club clues soundman scenarios scams compilation cds performing rights ixchapter success stories jeffrey steele country craftsman lindy robbins late bloomer luis resto lost music bob malone road warrior summary chapter go wanna go nashville new york los angeles emerging cities map music conferences tips maximize conference experience world beat afield chapter defining direction questions artists questions aspiring moguls teamwork management need manager look manager want manager law yer agents publicist artists responsibilities get job chapter wrap creative confluence five tips personal references contentsnetworking strategies new music business xback home making happen given conclusion appendix resources xiintroduction know know knows every single deal ive ever seen go music business direct result personal contact way music business different enterprise people business know trust believe deliver required expected circumstance many ways however music business radically different industries built vibe tied trends fashion media communicates intangible com modity capable mirroring profound emotions networking strategy networking communicationsimple human interac tion strategy art devising employing plans toward goal follows networking strategies plans toward successful career via personal relationships truth told always new music busi nessthe signi\ufb01 cant recent changes merger major record companies rise inde pendent labels artists leveling playing \ufb01 eld internet although changes signi\ufb01 cant success still determined per sonal relationships repeat every single deal ive ever seen go music business direct result personal contact book intended guide making personal strengths relationships others work networking strategies new music business xiifor connecting others share aspirations energies enthusiasm allowing collective talents shine whether youre professional aspirant music business songwriter recording artist musician composer music editor music educator music publisher dj publicist pr expert entertainment lawyer plan working raging rivers tiny ants upbeat positive attitude sense work well world drive evolve progress succeed music business attitudes light path destinies selfful\ufb01 lling prophe cies positive energy transmit via music return ampli\ufb01 ed multiplied said ability control course speci\ufb01 c destiny may questionable nashville interviewing songwriter vocalist extraordinaire michael mcdonald offered analogy imagine raging river rapids comes footlong log moving incredible speed front log perched tiny ant looks marvels man im really driving thing im music business survivor survived \ufb02 ourished career taken hard scrabble bars ohio power centers nashville london tokyo new york hollywood xiiifor past two half decades ive made home los angeles career trajectory includes phases songwriter musician manager pub licist creative director event producer journalist editor lecturer author continue invent new outlets re\ufb02 ect love music songwriters utilize expand knowledge evershifting \ufb01 eld im strong believer like tiny ant story cannot make things happen put position things happen case point penned \ufb01 rst book networking music business author indeed point barely published articles pivotal position nonpro\ufb01 organization grow ing list stellar contacts boundless enthusiasm subject ministrations patient editor learned write book subsequently invited travel across us canada lecture music conferences institutions soon \ufb01 gured someone expert personal contacts music business would best served using talents advance career rather making questionable living foisting views words impressionable readers creative director national academy songwriters honored work many greatest singersongwriters history american popular music joni mitchell john fogerty tom petty robbie robertson gamble huff ashford simpson jackson browne burt bacharach wrote edited produced created made invaluable contactsintroductionnetworking strategies new music business xivalas destiny nonpro\ufb01 organizations treacherous one three years departed cushy corner of\ufb01 ce th \ufb02 oor sunset boulevard highrise moved operations home hills los angeles district known eagle rock remember said position things could happen continent away liverpool institute performing arts lipa college founded sir paul mccartney head music arthur bernstein dropped school library \ufb01 nd book read train trip grabbed mine next day sent fax inviting come england teach oneweek master class based book lipas graduating seniors turned \ufb01 veyear venture expanded realm international contacts appreciation british food immeasurably sadly people need book never read know theyre ones hip room bluster way often using aggression belligerence mask fears uncertainties always remaining clueless remember call singersongwriter arizona networking book \ufb01 rst released network ing ok people want stay studio write songs record get paid caller never told get gig suspect didnt know eitherxvthe power yes learned long ago music business someone asks something correct answer yes im talking jumping airplanes youre afraid heights playing classical toccata youre speed metal guitarist within realm reason possibilities others see us often exceed limitations see order gig get gig order get gig understand gig aspire position record label publish ing \ufb01 rm performing rights organization seldom see positions advertised paper anywhere online \ufb01 lled people inside business never outside career took another dramatic leap longtime friend ms ronny schiff vp audio pro gramming disc marketing dmi entertainment networks asked conduct audio interview classic british rockers moody blues program heard worldwide united airlines pas sengers united entertainment network since ive conducted hundreds interviews united speaking studio everyone leonard cohen hollanddozierholland brian wilson rufus wainwright legendary rock hall fame induct ees hottest new band pleasure interview known ronny socially incred ible opportunity never would arisen time ive become goto guy song writerrelated mediums print music connection introductionnetworking strategies new music business xvimagazine biweekly west coast music publication welcome home prose contribute column song biz pro\ufb01 le songwriter com poser singersongwriter every issue well cover stories feature interviews estimate ive interviewed hit makers magazine write inter view three us performing rights organizations ascap bmi sesac ive conducting camera interviews ascaps pop film television rhythm soul awards quizzing camera every one elvis costello clint eastwood love say yes ascap bmi sesac asks moderate conference panel never ask much pay whether theres check involved im always glad service visibility endeavors introductions hit writers credits far greater value hun dred dollars dedicated gig sometimes people react busy always seem remind truth dont job work extra hard invent career never existed singular people within exten sive world contacts made possible always made creed deliver beyond expected joy real worldthat outside entertainment spherewe often encounter attitude much less percent committed store post of\ufb01 ce car xviiwash wherever interact others dont sometimes feeling work simply going motionssleepwalking quitting time music business like made passionate energetic supercharged individuals dedicate totally craft cause executives well \ufb01 fth decades begin day personal trainer \ufb01 mile run strap ping headset round calls east coast successful managers combing clubs sunset strip checking bands artists wee hours making farmers market power breakfast recording engineers taking advan tage free studio time develop projects songwriters collaborating hours perfecting line indie bands scouring hinterlands vans sleep ing fans \ufb02 oors enlisting street teams spread news theyre looking watches waiting quitting time waiting proverbial thing happen changing course business con stant commitment career support around us context pages sincere intention offer options possibilities af\ufb01 rma tion inspiration occasional harsh slap reality true suspect dear reader already many tools communication help succeed youre interested enough honing people skillsand introductionnetworking strategies new music business xviiiunderstand vital isthat youve chosen read book please note never encourage anyone anyone networking strategies involve transforming another entity becoming manipulative reptilian creature disguising way rather tak ing positive aspects projecting others id like conclude introduction brief list precepts de\ufb01 ne overall philosophy talent information ability necessary ingredients developing career people power ultimately determine success precepts networking strategies person others want help succeed objective long career play longrange game treat everyone equal respect understand others words emotions fame fortune synonymous happiness life dependent either change good crossroads technology show business opportunity play game truly believe win project genuine positive energychapter personal paths music business every networking trick book help goods dont claim able improve chops musician word \ufb02 ow songwriter business acumen music biz whiz however necessary talents con tinue develop ultimately \ufb01 nd way express build viable career mentioned introduction personal path music business began hometown ultimately led three music capitals europe boy dreamt rocking stadiums endless accolades unfathomable riches struggling musician dealing shady club owners elusive agents bare bones tours rusted vans kept image mind grew fainter replaced another image signpost inquiring talents given deep question think put earth dothe kind person powerful character trait possess music business kind person others want see succeed substitute quality way manufacturer synthetically inner strength effective successful interaction music business must bene\ufb01 parties equally con cept based radio call letters wifm broadcasting question whats fortunately youre beginning career probably strengths may immediately apparent instance level enthusiasm power potential progress careers sometimes joy creating music around becomes obscured diluted meeting someone energized theyre creating upward career trajectory inspiring one reasons enjoy teaching lecturing gives special opportunities meet coming make mistake music business thrives new blood everyone music business like ever longtime friends industry seem disconnected cultivating quality prefer ring instead work theyve worked years opinion leads stag nation feel given moment might airplane landing lax someone getting plane meet probably willnetworking strategies new music businesschapter personal paths music business assessing strengths enthusiasm kind person oth ers want see succeed believe life music calling proceed first love second skill levels knowledgebased skills generally acquired education experience include computer skills languages technical musical abilities name transferable skills portable skills take communication people skills analytical problem solving planning equally important personal traits special qualities include dependable \ufb02 exible friendly hard working expressive formal punctual team player songwriters capable creating words music move wide audience directing energies songs time \ufb01 nding outlets music remember exists core songsthe intent beliefare qualities resonate strongest accepting special songs rare\ufb01 ed stratosphere hits however buyers music continually remind songwriters dont write lifewrite mine often experiences personal paradoxically universal well songwriting collaboration secretjust look billboard charts cowritten songs networking strategies new music business rule marketplace collaborations existand makes certain combinations workare subjects strong opinions heated debate mercenary judgments certain amount cosmic songwriter juju mystical beliefs trio genres currently comprises majority record salesrb including hiphop often lists collaborators use samples country popare whelmingly dominated groups writers choosing right partner partners probably cru cial decision songwriter make meet collaborators live music capital advantage endless classes workshops panels seminars live outside new york nashville los angeles may work harder still possible make contacts ill address best ways later book networking strategy songwriters songwriters sometimes indistinguishable public large songwriting organizations area great way make local contacts online check wwwjustplainfolkscom musicians music business cooperative endeavors sure maybe play solo perform exclusively karaoke bars sooner later youll need include players expand soundchapter personal paths music business playing band profoundly challenging experience course equally rewarding bands history pop music rolling stones u longlived often ever band unit perform short time leave band breaks continue way networking strategy hanging local music store great place interact ask clerks advice theyre probably players totally plugged post ads online local papers make contacts sit favorite coffeehouse copy guitar bass percussion magazine prominently arranged table see begins talking wear tshirts display logo music manufacturers music biz pros aspiring moguls music business might viewed pyramid large numbers people resources supporting tiny fraction artists go hugely successful work business must adjust transforms develop new skills go \ufb02 ow many ways youre support position business possibly best position ascend industry recall class artist management ucla extension great place meet people way observing panel eminent lawyers agents managers record execs one stated \ufb02 atly people long careers music business sitting herenetworking strategies new music business networking strategy energetic economically challenged volunteer help coordinate music conference event youll position make valuable contacts inside however never let primary responsibili ty slide simply hype help event still tried true way meeting others technical triumphs teaching colleges encounter students full\ufb02 edged musicians dont play conventional musical instruments tools trade sam plers protools similar studio gadgetry djs remixers experiencing unprecedented prominence music business europe dance music rules urban centers us latest trends often delivered club savvy djs palette creation widened dramati cally technology sampling boon many songwriters uncommon see writer penned rb chestnut late early honored cowriter song year performing rights organizations sample song used latest beyonce smash networking strategy studio wizards studio technical people generally home behind mixing board social situations recently lectured group audio engineering students college sacramento requested help polish networking skills audio engineering society convention san francisco worked chapter personal paths music business prolific engineers los angles ive observed one common trait sense quiet assurance sympathy concentration engineering studio work future cant go wrong studies basic psychology addition effective engineers know also proficient musicians born succeed always ask students lecture rank birth order become new area study intriguing barometer personality collaborative situationparticularly bandbirth order make huge difference interaction various personalities oldest child often weight expectations placed wellmeaning parents oldest chil dren often moody occasionally lack sensitivity intimidating particularly pushing people hard refusing take answer oldest children gravitate toward positions responsibility corporate heads doctors ministers band leaders almost us presidents either \ufb01 rst born child \ufb01 rstborn son family two \ufb01 rst astronauts sent space \ufb01 rst borns two children often eldest also responsible siblings learn give orders music biz many producers recording artists oldest children middle children often mediators adept bridging opinions middle children ability see sides story empathize diversity opinions often peacefully resolve potentially networking strategies new music business disruptive con\ufb02 icts middle children may feel negative lot life less special essence best worlds middles tend make friends easily often work harder keep theyre usually good keeping secrets middle children may gravitate positions musicians lawyers artist managers exercise usually impresses classes teach correctly predict majority students youngest children families reason quite simple youngest children compete older siblings often use clowning entertainment call attention side may expect others make decisions take responsibilities many times overachiev ers using every means disposal compete older siblings laterborns tend creative much likely reject status quo many per formers youngest children children often self centered younger years effective relationships children home adults often con\ufb01 dent well spoken children usually afraid make decisions comfort able opinions generally like things organized often time often creative scenarios meant empirical scienti\ufb01 c facts moreover character trait nega tive certainly recognized muted need bechapter personal paths music business reinvention biology strong suite assure learn cells mutate change order survive suc cessful music business career emotionally ful\ufb01 lling hopefully long one want childrenglory riches etcis generally supplanted point desire stability contentment sense something right world music business never stable environment changes sweeping huge artists become disposable part equation yet paradoxically artists drive business remain center around swirls every imaginable participant lawyer signs makeup artist makes look good camera roadie changes guitar strings choices careers music business incredible outside public sees artist music business insiders know legions hardworking creative souls propping propelling forward happens artists exceed minutes fame might produce records write songs develop talent open recording studios become record label executives remember theyre already inside business move laterally choose longterm practitioners music business likely one career beginning networking strategies new music business musicians love understanding music create options spent many years trenches songwriter musician know like call answering machine sing fragment song dont want forget song placed hold interminably track major artist taken record week release important know miracle seamless verse melody seems written experience invaluable interviewing songwriters consider songwriter even though lon ger write songs prefer express prose allows many words say want say write prose still think songwriter concentrate intro second verse moves story foreward bridge takes message upwards always remember songwriters mantra dont bore us doris get chorus signs universe recent conversation young man id met electronica composerperformer los angeles informed pursuing new career actor universe sent signs told paraphrasing words heard deliver lecture \ufb02 attered could quote inspired revisit message behind directive one point life worn performing clubs decided take respite playing live music well good still needed pay bills chapter personal paths music business applied lowlevel parttime public relations gig saying goes veil liftedi realized untapped reservoir talents abilities sub sequently returned music business side desk much greater reward universe sent sign years later managing keo woolford artist hawaii despite power charisma song writing conceptual abilities rough time getting signed record deal however approached prestigious los angeles theater inquired keo would willing write per form oneman piece based hawaiian origins segment multiartist performance although skeptical im singer remember say ing convinced unprecedented opportunity show smash los angeles times theater critic raved show held suddenly young man thought singer became soughtafter actor nice coda saw perform audience starring revival king london palladium lives new york continues break new ground actor writer yes writes songs also contributed project nominated recent grammy reggae album year things happen signi\ufb01 cance entertain ment world often happen naturally easily science involvedits vibe feel right instincts tell youif youve trying knock doors years songs music maybe time step back quiet listen networking strategies new music business commitment key one situation often comes course lectures consultations meet artists song writers de\ufb01 ne career trajectories way professional musician awhile im getting back think chance make lets de\ufb01 ne terms make mean obtain record deal make living musician songwriter \ufb01 nd way share something special audience third alternative answer probably yes someone working fulltime job support ing family fully developed career outside music probably write songs spare time play weekend shows future compro mised present level comfort recording artists tend signed progressively younger ages else could live van tour across country eating frozen burritos stores survive three hours sleep fans \ufb02 oor dedicate entire existence living breathing music theyre america touching audiences rule dont wives husbands kids home needing fed experience people successful music biz dont options dont choose music music chooses certainly place tell people cannot truly believe music business never canoe chapter personal paths music business blithely enter exit moves roaring river step travels torrents far beyond reach never get business never really point youll grab paddle face rapids push networking strategies fortitude foresight weather changes create niche \ufb01 establish real audience music bulletproof list close personal contacts us stay business often made tremendous sacri\ufb01 ces maybe weve watched members peer group taken lofty cor porate positions purchased palatial homes made six\ufb01 gure incomes keep mind never compare lives person singularand one life live music chooses us us \ufb01 nd way survive thrive time come today concept artist concept artist time timing crucial widescale artis tic acceptance look famous historical model beatles group introduced us critical timepresident john f kennedy assassinated country undergoing severe depression anxiety better dispel gloom four sunny boys liverpool brimming hope melodynetworking strategies new music business biggest artists often express values direct opposition times live elvis rose eisenhower era straitlaced con servative wall street values reagan administration omnisexual antics madonna provided welcome counterpoint optimism clinton administration dark grunge \ufb02 ourished political hip hop course melding metal rap \ufb02 owered political climate george w bush say alter musical artistic approach take advantage sociologi cal edge well aware recently panel university southern california usc marshall altman ar columbia records chase music business away becomes shared marshall meant current trend reinvent attempt part time youve written songs recorded costumedpiercedtattooeddyed conform another new trend supplanted youre trying emulate youll look cheesy dated worse youll credibility since trying portray \ufb01 rst place wasnt even second see bandwagon late jump pop music cyclicif believe eventually cycle come around chapter personal paths music business summary creativity doesnt outlet path stagnates deadend true creativity de\ufb01 ned simply ability create art divining outlets interactions others part community begin modify monitor success contacts move also risechapter modern music business modern music business reinvents blind ing speed us stay abreast changes adaptable new technologies new genres music new artists always invent new methods using talents chapter youll meet key industry players weathered changes turned advantage transmission secondary wax digital transmission music business always drastic technological \ufb02 ux lecture attended liverpool sir george martin related began career weights dropped ceiling resultant motion made wax mastering discs go aroundmachines unreliable sir george principal owner air studios facility boasts satellite technology enabling music recorded sound stage london immediately syncd picture hollywood long way postwar ropes pulleys past cds ipods blackberries ringtones whatever comes next book drastic changes technology may seem vital understand power people make music run music business arena wildcard often comes play something totally unexpected real breaks expanding contracting genres artists willing work correspond ing good news possible \ufb01 nd audience almost type music new genres con stantly invented emo childrens music americana electronica beyond niche markets make possible literally genre \ufb02 ourish like commoditybased business locate audience buyers music recent years hiphop moved underground street music dominate mainstream rock forms always place convergence hip hop via creative mashups new styles merge intensity metal urban verbal expression attract fans styles rock hiphop peoples music neither rock hiphop conservative form shared roots outlaw cultures time appropriated mainstream forms decidedly globalyou even hear japanese chapter modern music businessnetworking strategies new music business korean rappers emulating gangstas south central los angeles pop music always place pantheon styles currently strongest market pop tweensthat young listeners ages represent huge buying demographic information lost disney creators television programs feature music geared burgeoning demographic country music \ufb02 ying huge bubble back subsequently burst leaving many pala tial of\ufb01 ces vacant along music row radio market remains huge however current crop new country stars raised rock capable generating enthusiastic live audiences concerts praisebased music contemporary christian christian rock two genres experiencing enormous growth dance music popular urban centers us maintains enormous in\ufb02 uence europe uk new music entrepreneurs sometimes seems like everyone entered music business cant go cup coffee starbucks without seeing latest cd sale caffeinated conglomerate success ray charles genius loves company due small part million sales coffee counter putumayo records founded clothing store new york began putting together world music compilations play shoppers soon customers begging purchase copies music giving birth pro\ufb01 table record label many examples music creators turned handsome pro\ufb01 following passions often far beaten track id like share experiences music kids music always part mae robertsons life educator new york holds masters degree early childhood development education often used music calm students birth \ufb01 rst child mae left teaching opened success ful chain natural\ufb01 ber clothing stores westchester county new york one night friend jackson overheard singing traditional folk song water wide rocking baby sleep suggested mae record album traditional songs geared families new career path revealed debut night struck resonant chord public eager positive familyoriented music since mae never promoted record wasnt aware breaking rules winning enthusiasm would na\u00efvely call magazine newspaper editors say youre going review arent surprisingly initial cd sold copies \ufb01 rst year eventually mae robertson sold clothing stores dedicated new career founding record label called lyric partnerschapter modern music businessnetworking strategies new music business center extensive network signi\ufb01 cant songwriters mae began championing founding troubadour series ongoing concert program fourth season featuring slate nationally touring acoustic artists staged workplay theatre birmingham alabama performances intimate experiences fans singersongwriter genre whether shes singing sweet lullabies children creating sophisticated words adults mae robertsons personal vision mortar artistry want listeners get lost songs beauty melodies truth lyrics want give back dreams soundtrack fast track anytime music played environmenta super market mall gym onboard aircraftsomeone made conscious decision select major record labels hip purchase spots artists domestic international \ufb02 ights cloth ing stores movie theaters best part trend given consumer occasions hear music given program music like companies work formore gigs corporations also well aware power music positively affect buyers use variety methods far sophisticated simple jingles past year founding disc marketings employees could \ufb01 neatly one compact car today pasadena californiabased music new media marketing company employees housed lavishly refurbished old pasadena california \ufb01 rehouse location inspired name adjoining studio firehouse recording west coasts largest protools facility tena clark gold platinum songwriter record producer founded company domi nates niche audio video new media print media especially music disc marketing dmi networks deploys ingenious methods companies enhance promote corporate branding mar keting products consumers customized cds enhanced cdroms cd packages companys \ufb01 rst month operation clark landed deal american retail icon sears roebuck co beginning disc marketing since created strategic music entertainment partner ships recognizable corporate brand names world including cocacola united airlines toyota cond\u00e9 naste general mills target victorias secret proctor gamble princess cruises mrs fields cookies disc marketing secured unprecedented contract produce in\ufb02 ight audio entertainment united airlines enjoyed million monthly travelers worldwide company also provides in\ufb02 ight audio entertainment presi dential vice presidential planes air force uniteds domestic carrier ted regal cinemedia disc marketing continues expand new divisions including record company music library enable new campaigns new clients new chapter modern music businessnetworking strategies new music business technologies however music still companys treasured resource tena clark recently produced grammynominated album church songs soul inspiration patti labelle chaka kahn dr maya angelou plus dionne warwicks \ufb01 rst ever christmas album first foremost heart im songwriter con\ufb01 rms clark may begun song eight short years later tena clark disc marketing orchestrating global chorus commerce art vision internet notions wellnoted quarters rise technology digital transmission music radically changed industry know internet makes possible \ufb01 nd worldwide market music theoretically independent artist online leverage major pop act harddisc based recording systems notably industry standard protools make possible record seamless cd sonic solace spare bedroom theory make available via internet send digitally without ever leave house according platinum producer glen ballard dave matthews band doubt alanis morissette polar express \ufb01 ltering artists \ufb01 ne art hes hearing \ufb01 ne artists net hit acts internet one insists whole myth wait going get great music theres one act penetrated theres \ufb01 lter people trying identifying talentmost people arent really going able \ufb01 lter getting removed lot mediocre stuff mediocre stuff right journalist receive independent cds press kits weekevery week unless something comes quali\ufb01 ed means im expecting previous knowledge relationship artist representatives choice ignore theres simply much music absorb save ears listen simply produced cd enough qualify artist media coverage positioning like cannot purchased outstanding music real audience angle back days manager producer label someone believe artists talents proceeded career longer fish fowl de\ufb01 nitions need assigned whether artist inde pendent simply unsigned case point bellrays riverside california year international career could envy many major label act let alone independent one bellrays possess stage charisma unwavering conviction profound ability impart belief audiences bellrays usually dont send free promo copies cds anyone welcome attend show purchase musicchapter modern music businessnetworking strategies new music business uncommon stance hypehappy town dealing bunch idiots says bellrayss tony fate many condescending phone calls ar guy thought going jump dick called us guy read something someone wrote thrown desk opened page says yeah send tape well many tapes get day read us going well dont want send tape forget sure forget bassist bob vennum adds print thou sand things give away giving away money singer lisa kekaula continues album baby promotional tool band labor love hurt pain im giving away better worthy fate reveals band certainly open right kinds relationships real people set net leave holes trickle talk people plan really like music talk anyone open mind brainat least intelligent line getting free ride anybody else let somebody never seen us probably wont show guest list hes got budget pay ass come even coming pocket give cd weve got people come shows id rather let free sit outside time cross america bellrays four smart professionals white dodge van like church van small church explains kekaula buzzed austins sxsw toured nashville pussy shared stages artists like wayne kramer rocket crypt muffs addition tony fate designs promo materials cd jackets tshirts know bands dont worry things says kekaula dinosaurs norm bands getting permanent height road handling things comes back audience connection weve got lot foot soldiers working us dont publicity money reason people know us weve working key networking strategy artists bands touring locally regionally still best way get word band music success stories come everywhere omaha akron sacramento make strong enough impression home market believe record labels find youthats theyre paid mosaic mediums wellpublicized downturn cd sales comes rise visual mediums devour music network cable television video games independent \ufb01 lm explosion \ufb01 lm independent studio releases network cable television video games spawned outlets new music shake stratocaster good thing independent artist band song featured network television show highpro\ufb01 le \ufb01 lm chapter modern music businessnetworking strategies new music business delivers much sync fee performance income indelible sign media credibility emerging artists bands song \ufb01 lm television show offers crucial exposure key market sync fees help substantial monies back end payments performing rights organization ascap bmi sesac exam ple represent considerable sum songwriters songs television expectation much lower recently song aspect come made pop product states robert kraft chief executive fox music everything short hand television vehicle delivering songs demographic marc ferrari los angelesbased mastersource came music picture standpoint musicianrecording artist got semiaccidentally admits majorlabel recording artist keel \ufb01 albums another band mca grunge thing happened suddenly wasnt hip guy success song used small straighttovideo \ufb01 lm ended using giving screen credit giving money like wow hadnt thought providing music \ufb01 lm tv time started representing material would asked something didnt know write like reggae country rap turned friends mine thats started repd friendsmastersource placed songs movies including good gets fight club girl interrupted sixth sense mastersource tv cred include ally mcbeal buffy vampire slayer er friends ferrari proactive seeking new talent found lot writers reviews los angeles based magazine music connection offers took ads also still read every issue demo con cert reviews \ufb01 nd many talented artists right backyard taxi independent ar company also theyve found great things us dont want discourage people following dreams pursing major record deals concludes ferrari internet everything else major label deal isnt endall used filmtv growing channels shows music intensive ever networking strategy songwriterartists want venture world music film television create two mix es material one without vocals way scene calls music dialogue option radio salvation major radio never amenable independent emerging artists back early days rock n roll labyrinthine system payola place assure chapter modern music businessnetworking strategies new music business select records would played radio limitations imposed today consolidation airwaves one monolithic corporation clear channel airwaves free belong people severely regulated federal decrees fcc fact radio integral component expose new artists fans uplift local acts regional national levels accordingly extremely dif\ufb01 cult obtain signi\ufb01 cant airplay independent artists successful radio promotion revolves around making managing relationshipswho know know making right contacts presenting right pitch designing best spin convince station playing music radio pro motion therefore art demands certain style artists neither desire cultivate true speci\ufb01 c artists fugazi phish achieved monumental record sales without radio exceptions probably cant alone radio area need enroll assistance expert someone manager speci\ufb01 cally responsible radio promo tion therefore may time hire independent radio promotion company best way get interest indie release still one real success story one market still lot labels particularly universal atlantic always checking bds soundscan looking potential pickups says sean ross vp music programming edison media research former editor chief billboards radio magazine airplay monitor even spins week two one chart reporting station least get record lis tened somebody major label ar outset youre better building base one market staying touch gatekeepers market absence organic story youre prob ably going get putting promoters record airplay given promoter guarantee record stations good enough relation ship get anything air thats enough put spins board perhaps probably nights probably enough propel record signi\ufb01 cant activity says ross generally acknowledged radio promotion aligned career moves merchan dising touring common sense might dictate artist doesnt need promoter record going distributed way otherwise lis tening audience cannot buy record defeating entire purpose generating airplay radio promoter bryan farrish believes cds conventional stores irrelevant advise people forget brick mortar sell gigs says farrish getting physical store much work amount sell youll one good gig year distribution go shows sell ten cds \ufb01 tshirts pocket cash plus whatever gig pays people reading might think radio need stores theyre trying emulate label works things dont want emulatechapter modern music businessnetworking strategies new music business joel denver president access promotions background onair personality music director editor rr agrees terrible go garner airplay spend time effort distribution dont youre going sell anything especially brick mortar level also important goodlooking web site lot bells whistles something thats clean operates well keep simple stupid make sure audiences \ufb01 nd songs youre going sell make payable credit card paypal idea make good experience person visit ing site listening music consolidation major radio advent clear channel ownership might seem opportunities airplay indie artists evaporating bryan farrish doesnt see way consolidation moot point everyone reading going affect anyone stations never accessible like something changed thirty years ago indie artists wouldnt getting station joel denver also sees glass half full think theres abundant amount opportunity consolidation major labels provides great opportunities smaller labels pitch product send music via internet although lot program directors playing safe also plenty want play new things test shows key marketing new acts radio explains farrish many markets something like indie hour play independent music program music directors reached sent music communication followed something indie radio pro moter excels reached phone dif\ufb01 cult college maybe expect one two spins get big stations charts shows relationships quali\ufb01 ed independent pro moter bring ultimately supreme value also artist band foster main tain alliances joel denver shares example music director lot years deal ings promoters remember program director staging concerts needing band \ufb01 relationship band town got cartage money per diem open show cultivate relationship band band goes something thats shit youve got feel good helping band theyll good door swing ways work local band winwin satellite public internet radio satellite radio may change instead adver tising subscribers pay fee unlimited listening channels occupy niches specialized pro grammingworld music hardcore punk hawaiian musicevery conceivable style artist patti witten experienced successful power indie promotion think future aaa diy artists like publiccommunity radio stations whose mainstay npr pri programming chapter modern music businessnetworking strategies new music business right demographic reach lis teners seek alternatives mcclear channel ilk want heard world cafe sounds eclectic weekend edition sales spikes huge features npr especially presence amazon digital download sites satellite stations also good market us indie promoters spe cialize succeed markets \ufb01 nd \ufb02 ooded queries diyers like major metropolitan center public radio proven taste maker west coast station kcrw reaches relatively small radio audience however audience reaches test marketers refer multiplierslisteners hear song artist spread word take artist next level \ufb01 lm directors music supervisors journalists tiny station based city college santa monica in\ufb02 uence music heard billions listeners movies television shows worldwide streaming internet radio syndicated show sounds eclectic cd compilation name stations sponsorship events los angeles san francisco new york kcrws image belies origins basement santa monica city college city angels eyepopping big screen ads laemelle movie theaters advertise cinemagoing avantgarde policy kcrw proudly open door music director nic harcourt esti mates station receives maybe cds per week although tiny fraction ever make air literally everything comes heardchris thomas acoustic essence returning weekend joshua tree singersong writer duo chris thomas greeted multiple phone messages excited friends heard one songs onair kcrwfm news pair whose ep vista street sessions passed mutual friend stations music director nic harcourt in\ufb02 uential dj programmed show eventually included nprs syndicated sounds eclectic introduced national audience rustic realness chris thomas chris anderson memphis tennessee thomas hien munich germany connected via transatlantic bond island hopping greece anderson soon student liverpool institute performing arts lipa england \ufb01 rst met friend hiens connected two long distance eventually hien came visit anderson recounts initial sighting future partner liverpool train station cowboy hat john lennon pinstriped beige blue suit python skin boots sun glasses big metal briefcase time hien enrolled lipa lived anderson group student musicians chris thomas discovered shared af\ufb01 nity english folk music john renbourn sandy denny bert jansch \ufb01 rst major coventure multimedia teaming local art maven devised cook au van whereby would tool across europe truck converted cookingeating space invite celebrities like bill drummond klf jarvis cocker pulp onboard create dinners chapter modern music businessnetworking strategies new music business videotape proceedings anderson behind camera stayed england edit shop project meanwhile hien relocated los angeles knocked around commercial songwriting scene anderson attended art school devon england eventually two reconvened time hollywood year locked house writing playinga great year creative reminisces hien document songs prepare arrange ments recorded live guitars banjo mandolin occasional creaking kitchen chair singersongwriter alexi murdoch heard homespun sounds invited chris thomas open show hip hollywood venue hotel cafe never performed live duo chris thomas prepared playing open mic la club actually took mic single akg condenser gathered around like modern day carter family additional ampli\ufb01 cation simple presentation underscored honesty songs recalls hien thought audience would hate vulnerable music got done really quiet huge applause wow man naturalness remains duos matic line thats seems confers anderson feels like music doesnt belong usits almost automatic boosted alexi murdoch show aided harcourts continued airing music kcrw chris thomas demand presented unadorned art growing audience \ufb01 rst two months didnt book gigs notes anderson called us since signed major management \ufb01 elding multiple label offers \ufb01 rst fulllength album also placed song documentary set screen european cities friend hiens anderson met greek island mykonos passed chris thomas cd nic harcourt serendipity perhaps success duo testimony music illu minated purity conviction appealing sound vista street sessions rare gem exquisite song craft intimate understated performances magical blend two singers breathing together one voice music like friendship says chris effortless af\ufb01 rms thomas music publishing way songwriters doubt familiar term unsolicited material best way make contact publisher anyone else industry mat ter direct referral attorney another songwriter representative ascap bmi sesac two key songwriting events mentioned elsewhere book west coast songwriters association conference durango songwriters expo present unprecedented opportunities comfortable supportive environments music publishers willingness connect songwriters controlled situations mean may pitched contacting company \ufb01 rst know types music publish recent credits strengths lie chapter modern music businessnetworking strategies new music business listen whether theyre accepting material order determine might \ufb01 important understand songwritingpublishing terminology know sync license mechani cal constitutes copyright meaning reversion clause aware declare pub lisher want sell songs youve given away amateur songs never sold published covered collected days selling songs thankfully ended decades ago educate business reading music money success jeff todd brabec craft business songwriting john braheny bigger publishers generally deal artists already signed major record deals sign songwriters interested writerproduc ers especially already attained cuts publishing deal make desirable collaborator publishers often make cowriting matches even youre signed major publisher youll still expected hustle outlets songs contacts viable outlets new songs \ufb01 lm television networking strategy songwriters days unattached writer single song long songwriting political proposition look billboard charts youll observe virtually songs top positions cowritten right music publisher integral part songwriting successproof someone believes songsmajor indie labels enthusiasm wonderful quality imagine running friend band hearing proclaim following hey man come check gig capitol records comin interesting notion entire capitol tower coming wont room anyone else club reality individual coming hear band hes currently employed capitol records guess may next week steady employment music business volatile proposition therefore imperative comprehend credo relationships never companies rather relationships individuals working companies ive known many artists championed ar executive signed company six months later hed exited company art ist orphaned champion advocate lead project shelved never released point artist choice either sit contract repay advances recording costsa expensive proposition ive stated book change good example ar person interested probably moving better position another company youll contact may better around dominance major labels clearly coming conclusion indie labelsfreethinking companies often chapter modern music businessnetworking strategies new music business started shoestring propelled forward strength musicare creative center \ufb02 edgling \ufb01 rms partnerships international power houses complete circle like great companies pastatlantic vanguard asylum motownpower returned strength music music biz marionettes pulls strings infants squalling away cribs mommy comes picks us makes everything ok adults learn solve problems create realities quell sobbing maybe music business aspirants never move beyond infantile phase thinking performing substandard backwater venues recording endless demos imagining somehow somewhere powerful music industry executive sweep lift \ufb02 stratospheres fame mythologies show business rich enticing tales theyre \ufb01 ctional era one hoping get foothold multibillion dollar record business prove themselveslocally region ally internationallywith compelling music undeniable career trajectory equally true aspiring record company management music publishing executives one comes nowhere direct line energetic college student books shows university tireless volunteer local songwriter organization band drive hours per form minute opening slot intern takes initiative artist wont wait venue call back create success recently helped college student acquaintance mine land intern gig record company second week called complaining hed yet done anything even remotely musical carried boxes around whats boxes queried hey one starts top late composer henry mancini quoted advising dont music business music business youve sold one cd gig congratulations youre validation art validates creator many times aspiring needy recording artists songwriters make contact industry simply need heard often even pursuing real music business career per se wrestled musical cre ation depths psyche want someone else hear like sonic mirror need grati\ufb01 cation re\ufb02 ection someone wants spend money try get music business believe someone take doesnt matter much spend however dont goods wont progress fur ther ive watched artists supporters given immeasurable sums money demo submission services socalled music business insiders questionable lawyers overbilling public relations \ufb01 rms none chapter modern music businessnetworking strategies new music business dollars spent goodexcept course recipients bank account cannot buy way business american idolization england years back took note television show pop idols featuring competition singers winner determined votes immense television audience students lipahipper hip musiciansdespised concept mesmerized potential cross marketing could achieved surprised us version american idol became smash hit types shows nothing new major bowles amateur hour american idol day star search also audience entertainment standpoint shows hoot confess guilty pleasure well buffoonery aspect \ufb01 rst hook prelimi nary round audiences like see someone act dumber uk explained audi ences always root underdogthe singer speech impediment vocalist doesnt svelte shape others true degree us well overweight teddy bear single mother nerd turned glamour boy found fame shows given voice screaming school vocal histrionics every note sung divided interminable syllables wrung dry ohio watching american idol show parents house mother passed room observed shrieking contestant competing \ufb01 nals dont know shes good commented mother sure loud show embodies multiple layers classic enter tainment funny humor built cruelty laughing deluded thinking talent early auditions pathos ragstoriches stories cinderellalike transformations winning contestants geeks gods goddesses least audience par ticipation emotional connections voting phoneins truth found fame showwith notable exception one william hunghave working craft young lives wellseasoned professionals fanatical devotion craft unerring instincts toward art alluring fantasy may seem one comes nowhere britney spears christina aguilera justin timberlake mouseketeers children grew business line called entertainers musicians songwriters experience choice callingthe undeniable need expression music performance hardwired dominant thread fabric existence identity something happens pm televisionchapter modern music businessnetworking strategies new music business summary cd sales simply one facet emerging multi platform media market music science would scrutinized analyzed dominated corporations nothing succeeds like sound honest music succeed honest others mediumpersonalities pluschapter chapter examines importance personalities ill suggest speci\ufb01 c ways gauge strengths possible weaknesses ill begin shared attributes successful music biz practitioners ten successful attributes music biz professionals talent explained introduction book every persuasive trick book wont help goods talent incredibly lucky people born us lifelong pursuit develop musical talent eitherit may talent sales convincing oth ers offering support clarity training education singers songwriters band members fairly self evident always bene\ufb01 lessons networking strategies new music business onthejob experiences especially hanging pro\ufb01 cient youre inclined business side things creed applies reading business youre \ufb01 rst fundamental rule panel recently la college senior member ar staff major record label many read billboard every week queried room paltry third attendance raised hands noted want music business dont read publication every single executive reads billboard email journals hits magazine available online dont computer use one local library browse librarys magazines simply go local borders barnes noble bookstore stand magazine counter read ask leave educat ing period time youll begin draw correlation executives events demys tify multilevel interconnected business universities colleges offer classes music business although often tell students didnt advantage educational years formed bands bought vans went road moved nashville new york la teach ing learning environment like liverpool institute performing arts uk cal poly pomona southern california welcome af\ufb01 rmation yes real academic pursuit always real value situation human contacts make big personality personality bears resemblance talent us born others take longer develop entertainment business absolutely \ufb01 lled individuals large personalitiesquirky offbeat entertaining relegate domain personal strongly in\ufb02 uenced levels con\ufb01 dence strong personality often mirrors high degree self con\ufb01 dence necessary enter room like bull charging ring buttonhole everyone attendance dominate proceedings winning personality ability draw others positive outlook ive believe ability positive people determine outcome destinies strength convictions winning attitudes ill reiterate belief positive thoughts energies attract positive results enthusiasm simply bluster hype honest result something share others feel absolutely essential much telephone time journalist taken speaking publicists call pitches clients tell enthusiasm real simply hourly billing much words intentions energies behind music people sixth sense instances publicist ask listen client promise music absolutely affect chapter personalities plusnetworking strategies new music business hopefully thats true music doesnt affect ploy wont work entertainment value youre entertainment business doesnt make sense must also provide entertainment speak interact shared thought panel recent songwriter confab greeted derision fellow panelist somewhat curmudgeon might add wearing irides cent green shirt multicolored mardi gras beads acquired local wine tasting event out\ufb01 made point remainder day highly identi\ufb01 able anyone wanted seek entertainment limited inperson effect chapter telephone email talk importance giving good phone lives businesses transmit power entertainment must intrinsic performance value called playing roleits lawyer courtroom determines dynamic minister pulpit makes police of\ufb01 cer \ufb01 gure authority desire determination put desire determination together believe theyre interrelated desire wish craving longing determination \ufb01 rmness purpose resolve haircutter armando full intriguing insights born raised los angeles recently observed takes guys weird small towns come hollywood kick ass found interesting number levels hes right seem disproportionate number success stories emanate transplants middle country kid resented fact born middle ohio realize fact helped provide determination focus career didnt music art scene friends invented one created venues music performance inclinations bonded us yes viewed outsiders alienation found outlet art getting lima ohio beginning understood couldnt make living would leave sanctuary loving fam ily \ufb02 nest live poverty strange cities road leaving home propelled fueled energy day rarely anyone lucky enough stay comfort zone especially beginning career commitment timing people sometimes say dont make year im going something different oh boy think happen career someone states objective constructed around time constraints time relative \ufb02 exible continuum careers although invent goals look toward mile stones attempting align time grid selfdefeating proposition stated onset book cannot make things happen put position things happen may take years decades chapter personalities plusnetworking strategies new music business even time entire career music life live creating working chooses us give dreaded something fall back negating undermining deter mination sure might step back access situation open eyes new possibilities create variations theme commitment total cant expect others reactions art work percent either create opportunities spoon fed music business guarantee person elevate walk successful career path trained virtually every powerful manager agent promoter business began humble ground promoting local shows handling beginning artists booking high schools colleges local shows dont say im thinking im consider ing im wondering us succeed music business options always forever understand permit emotion overtake logic college professor told better chance winning lottery getting record deal admit ted dejected music business student oh great need another cynical academic de\ufb02 ating dreams student shame teacher spouting drivel hed said bruce springsteen michael stipe andre big boi outkast talking apples oranges simply relationship winning game chance building career point major record label would interested artist discussed throughout book majorlabel deal may even best road enterprising creative artist particularly historic time independent artists emerging new power brokers speaking record deals friend mine recently two labels regularly coming shows interested signing attempted play two compa nies ante speak ended alienating labels attempting determine company sign based analytical mind breaking advances percentages contract details paying attention emotional commitment offered earnest ar man genuinely believed power music lawyers managers paid well analytical understanding business course prerequisite dont permit logic derail heart soul truly logical normal wouldnt even music business would negative notions know well naysayers pessimists prophets doom gloom ar people wouldnt know good song bit em butt record companies crooks gangsters commercial music bullshit negativity tellingly potent force often manifests character traits including chapter personalities plusnetworking strategies new music business selfdoubt lack selfworth low selfesteem also highly contagious allow negative people power de\ufb02 ate us bring us levelin short make us feel bad longtime player bristle hear putdowns music industry want enter telling business ive devoted majority life sham con dark netherworld shady characters disreputable operators im also keenly aware selfdefense mechanism used doubt abilities bother succeed industry thats shithouse theyre projecting sense doom entire business music life optimists much suc cessful reaching career heights much power selfful\ufb01 lling prophecythose expect succeed attendant human factor positive energy attracts positivity positive people attract others course essential business built buzz fueled energy eternal promise next big thing savvy business people clamber get train thats already rolling since music businesses supports interactive quest attach others service success even scienti\ufb01 c evidence proving opti mists live longer productive lives experience less illness mental physical achieve far pessimists optimistic frame mind modulates nervous system study \ufb01 rstyear law students ucla showed optimists higher lev els disease\ufb01 ghting killer cells blood pessimists planning course action keep mind always easier change way think world change world put asked critique selfpenned bio new acoustic duo included phrase age negligible overproduced music advised edit line since clear theyd superimposed prejudices opinions piece uplifting music making shine comparison others also might pitch ing executives signed produced promoted negligible overproduced music passing judgment music dicey proposition students music schools make grave pro nouncements based prejudices gently remind musicians arent ones buying recordsits general public pop music speci\ufb01 cally seems raise hackles course sells students detest british students detest american country sure certain styles music speak us others dont music people essential open forms expression hear form music thats unfamiliar begin analyzing reference points performers look like chapter personalities plusnetworking strategies new music business audience connecting pointsfor example fashion politics lifestyles roughly two decades hiphop music estimated annual cd sales billion sur rounding culture become indomitable force occasion ive heard harsh judgments made rap hiphopthats music one kinder pronouncements judgments serve diminish opinion speaker also makes wonder dislike black music black people recall disco sucks craze late burning donna summer records hate relentless beat dislike danc ing discos whether teen pop tuvan throatsinging contend something learned every form music often projected harsh negative judgments closed mind jealousy someone says hate rap music appalled put words hate music one sentence individual would choose work negative positive order break essential eliminate negative people life ok maybe mem bers family even spouse partner case must acknowledge eliminate negative in\ufb02 uence children programmed speci\ufb01 c often unintentional ways families recon\ufb01 gure patterns thought \ufb01 rst essential identify traits amplify negativity working music industry position required interaction large staff one key employees would invariably attend planning meetings scowl face would begin every sentence phrase problem whether planning show conference publication event one dark cloud hovering conference table always predicting dire outcome events yet transpired remember rushing backstage one shows remark ing great show complaint ive heard far stopped taken aback dont want hear criticism asked applause still ringing hall insisted probably guess outcome history company cutbacks made restruc turing announced \ufb01 rst one let go collaborative relationships value team member thinks potential liabilities one wants exist constant onslaught relentless negativity one wants hear managing artists would sometimes encounter music business colleagues intent tossing wet blanket proceedings whats guy manage often beginning would take note didnt call name would indicate preliminary meetings speci\ufb01 c record label would hear oh com pany theyre lot problems arent simple negativitychapter personalities plusnetworking strategies new music business find reasons feel good im inveterate listmaker yearly monthly weekly daily plans action proverbial small stuff often fuels vital daytoday operations something everyday music business career research internet reading billboard library watching observing videos mak ing calls going hear music plans intentional charted much better course action check items youve accomplished addition made progressive steps forward career also achieved something thats reason pat back remember small victories accomplish ments add time use time effectively pick prime time prioritize tasks asking accomplishing help get want \ufb01 ten years visualize success exercise used teaching liverpool institute performing arts stands mind room full students asked one young man wanted accomplish career id like make enough money buy house answer would house cottage lane dimensions house upstairs stairs color door red door went list suddenly ephemeral house visualizing began take shape mind way moving hed built imagination network people respect observe traits throughout book ive emphasized value mak ing others feel good conducted oncamera interview legendary rb powerhouse vocalist patti labelle \ufb01 rst words introduction compliment sport coat reached felt sleeve small act sure one spoke immeasurably interest kindness others fortunate come guid ance powerful music business mentors respect others feelings vital trait im reminded successful people doubts fears struggles natural feel way face daunting odds taking music mar ketplace value aligning supportive network caring friends colleagues cannot emphasized unless crystal ball may know contacts ultimately arrive rest assured youre around strong upbeat positive people likely already way formidable desti nations hopefully smooth road week moderated hit songwriter panel hollywood diy convention formidable panel assembled bmi guests including chad hugo one half multiple chapter personalities plusnetworking strategies new music business grammy awardwinning writing production duo neptunes conclusion allotted time opened room questions attendees one young man strode mic announced im give cd chad hugo neptunes chad explained legal rami\ufb01 cations possible accept material youre probably familiar scenario unknown songwriter claims song stolen famous artist undoubtedly cases proven entirely without merit must proven every instance access record labels recording artists producers songwriters accept material unknown source run risk open ing future legal liability course successful recipient greater probability might occur successful income gen erating songs ever deemed stolen hence famous unsolicited material credo legal challenges secondary telling action young man mind deduced quickest way top via someone already pointed needed \ufb01 nd next chad hugo neptunes matrix jimmy jam terry lewis indignantly countered proclamation like cadillac want fastest smoothest ride thats neptunes oh simple one make famous sail considerable coattails launch career course neptunes craft tracks would amazing mercantile world neptures reportedly earn hundreds thousands dollars creating track fees gladly paid record companies label ar staff publishers managers surrounded immense support staff two songwriterproducers pulling talented artists pool making stars entire creative mechanism myths fallacy myth misconception think quickest way success others already since ive interviewed bestknown songwriterproducers business ill aspiring songwriters ask could give cd insert one matrix glen ballard jimmy jam terry lewis say first understand role pantheon music business im journalist interviewer suddenly start whipping demos press kits wouldnt business long would also id staking reputation materials presented play present music anyone impor tance nothing left chance talents undeniable ive publicists rave clients music arrives subpar result never trust persons judgment would certainly less likely listen anything sent future matter chapter personalities plusnetworking strategies new music business cold hearted reality business time wasted listening inadequate badly conceived music time lost never regained plus depressing ever played anything lumi naries mentioned yes track new artist ended included \ufb01 lm years self protection reputation assurance anything present future similar sterling quality reinvention talented people often distinct disad vantage recognizing sets us apart crowd wake morning stare dishev eled image mirror go daily lives creating magicliterally conjuring something nothing music art often easy overlook incredible abilities weve bestowed sometimes takes someone outside sphere make us realize gifted lucky really earlier book referenced career progression cities decades vocations music always core refer evolution rein vention learning reinvent prime ingredient longevity every stage life needs changing children aspiring musicians performers probably motivated perceived status glory stars observed popular media burning need communicate drives many musicians become songwriters feeling powerless motivates many songwriters become producers dis satisfaction way music business run may inspire record producer become record executive reinvention works natural pro gression steps business well aware time move beyond playing bands writing songs couldnt continue wished venues repeated opportuni ties dried time ticked away knew time change nothing stays sameeither career mov ing moving know bands stayed steady course waiting record deal never comes continue make exactly moves play venues ultimately burn audience one wants go place things year year human nature requires stimulation old old allegedly albert einstein said thing expecting different result mark insanity certainly truth state ment music industry becomes wary time business marked newest freshest hippest artists arent perceived adjectives attached suffer time chapter personalities plusnetworking strategies new music business example wellknown los angeles band residency one citys in\ufb02 u ential clubs even though ar reps would come see group play year consensus good hadnt signed interesting reality often easier sign artist deal theyve already deal words even theyve dropped cred ibility proven enterprising record label may willing take change would new unproven act similarly often easier song recorded history previous recordings speak herd mentality music indus try creating invention real world would concoct something one ever seen music business trend connects rush duplicate initial successes shoe gazing emo rock bands lithesome pop singers recently jailed hiphop felons \ufb02 agwaving country acts public bought something buy herein lies another paradox pop music savvy combination fresh familiar summary discouragement fact life endeav ors ive witnessed multitudes people longer navigate treacherous currents music business choose make lives elsewhere good creates opportunities rest us im einstein heres another theory cant get business youre words youre really business dont give full commitment need stability life steady pay check odds wont entertainment industry especially early stages career business walk path also clear brush pave well thats much normal people youre normal family tell making living crazy business need something fall back youre energetic goal oriented create opportunities strongest resource fallback position song something believe singersong writer shawn mullins says dont let pass someday youll wake asking sat desk sucking corporate breast music soul show pathchapter personalities pluschapter true tales chapter examines various truelife scenarios youll venture behind velvet rope view underpin nings music business participants dont prior presenting twohour networking music business seminar popular california music conference ran old acquaintance hall way uttering single word greeting thrust \ufb02 yer promoting upcoming show hands would come see speak today informed breathlessly know ive got network ing thing oh good meant could use anonymously course example lecture afternoon combination in\ufb02 ated ego sense insecurity volatile combo one quite common entertainment business purposes lets examine simple dynamics conversation people seem think communication terms project come across others perceive exact opposite approach works best begin virtually every sentence word tiresome situation try beginning social interaction question like new projects working youre pro jecting query interest youve also served proverbial ball across imaginary net conversation partner concludes explanation recent endeavors probability ask youve got going turn making others feel important vital communi cation skill honestly listening others say asking questions move conversation along offering af\ufb01 rmations like must wonderful realizing project wonders impart warm glow truthful honestly care make work power heres interesting note verbal communication suppose friend romantic partner drops home following fun day recreation say thanks really good time examine emotional impact reply compared added signi\ufb01 cance variation thanks really good time youchapter true talesnetworking strategies new music business note difference youve connected emo tions pleasure presence another person youve included response easy way give added impact declaration addition word coulda shoulda woulda beginning songwriter \ufb01 rst experienc ing industry interest songs made common mistakei talked something happened cowriter song recorded major star day thrilled told everyone within hearing range coupfriends family audi ences gigs performing complete strangers parties time went encountered folks invariably would ask whats happening song time went artist changed producers labels direction song never released meanwhile credibility issues since big break id trumpeted proudly went bellyup heres categorical advice subject big brother used caution back ohio almost doesnt count anything horseshoes recording artists particularly nashville think noth ing putting hundred songs presented songwriters publishing companies hold sure may interested cutting also theory theyre taking good songsthose written writers may otherwise recorded chart competitorsout circulation song certain released artists typically record songs need given project calendar popular music little relationship real world artists \ufb01 lms television shows dropped songs replaced last possible second youve got one thing going obviously irons \ufb01 greater probability one turning red hot tired phrase waiting see dead giveaway nothing happening people going dont ever wait thanking others successes projects welcome sense humility example honor perform bene\ufb01 song recorded open show surrounded brilliance admit things dont turn without conveying rancor bitterness one likes sore loser keep mind successes endear us others willingness survive swells adversity persevere take hits get back upchapter true talesnetworking strategies new music business always crowing next big thing nothing materialize greatly damage credibility better enigmatic slightly mysterious overblown pretentious people really going dont tell better exude quiet con\ufb01 dence project bellow human bullhorn much better someone else speak positively huff puff emit endless clouds selfserving hype behalf given back ground sales public relations natural tout accomplishments talents friends colleagues turn im socially many close friends business return favor someone tells band amazing \ufb01 le away information little dumpster dubbed hype someone band tell saw amazing band last night intrigues especially trust persons judgment nothing effective marketing word mouth someone else speak behalf much effective blowing horn honestly believe promote friends theyll provided youve got going youre tag teams equally effective social situations chapter making contact speak value tricks remembering names course instances forget im socially music industry tagteam partner well discuss contingency beforehand dont introduce name \ufb01 rst seconds introduce ill explain unnamed party offer name know attend events others make sure share common agenda dont take romantic part ners business events given option id rather invite friend whose social skills trust devotee networking strategies one close business friends executive music publishing division major hollywood \ufb01 lm studio perspec tive business much market savvy bottomline dollars cents oftenquixotic outlook us weve got covered contrasts make us effective tag team socially also possesses acerbic sense humor doesnt take seriously sees big picture knows \ufb01 ts bridges a\ufb02 ame mention friend another reason coming world music publishing employed veteran music publisher business decades represented lucrative catalogs friend worked endless hours endured low man totem pole position rewarded monetarily work since boss extraordinarily cheap \ufb01 nally left company good terms considered writing letter chapter true talesnetworking strategies new music business boss telling indignities hed suffereda kissoff letter fortunately reconsidered couple years road music division one worlds largest \ufb01 lm studios looking executive called veteran publisher recommendation referred friend celebrity interviewer journalist often \ufb01 nd presence foremost hit makers american music meeting legends consummate thrill never lose sight need credible interview material earlier year bel air home quincy jones taping video segment commemorating anniversary performing rights organization ascap mr jones course one cele brated record producers history video crew set anticipation arrival maid served veg gies fruit salsa chips nice touch looked notes thought ahead would say introduced pop maestro although number possible scenarios ran head realized interaction would take course video producer brought mr jones corner room wed arranged set introduced us shook quincy jones hand looked straight eye said hey manhey man responded quincy jones amazing everything know experienced trenches music business distilled two words didnt prostrate mr jones feet tell inspiration profound honor meet instincts com manded remain casual relaxed mirroring energy felt emanating mr jones living los angeles unusual see brad pitt local eatery ben af\ufb02 eck porsche santa monica freeway beyonce shopping bling celebrity serious business business music ive found interview celebrities enjoy interviews never ask typical celebritydriven questions save supermarket tabloids concern inter views music creation clint eastwood metallica queen latifah brian wilson im reminded draws us together creative people us us ten strategies interacting celebrities sometime career meet people media consider celebrities always instincts guide communication skills level selfcon\ufb01 dence determine outcome contact following tips keep mind opportunity arises interact celebritieschapter true talesnetworking strategies new music business always keep mind theyre people acknowledging music contributions \ufb01 ne dont overdo know draw line fan make mistake celebrities love fans dont work themno autographs photos please respect physical space observe interac tions handlers managers publicists cues dont presumptuous careful age telling diva certain years listened little boy endear trust need initiate conversation ask general life questions opposed career questions example town show chance enjoy city know someone common excellent icebreaker always works well word caution however since human relationships volatile ever shifting make sure name drop someone artist still good relationship dont offer information havent asked current projects political opinions artisticmusical judgments never put pressure musical celebrity listen look anything keep doors open let know much enjoyed meeting hopefully youll see future would reach fresh since happened last night outside club hollywood interviewed hugely success ful songwriterproducer monthly event songwriters studio left venue accosted foyer aspiring singersongwriter offered dont want waste time im going want contact year get hold hit maker answered dan knows ask walked away making responsible hit maker gently de\ufb02 ected inquiry mention story another reason aspiring songwriter projected insecurity vague year dialogue therefore inquiry served real purpose foist hit writers face nanosecond knowing contact someone one arts must mastered business responsibility contacteein case hit writerto offer contact information finally offputting pretentious beginning songwriter assume multiplatinum grammy award chapter true talesnetworking strategies new music business winning legend would remember year nowlet alone want work needs recently lectured music business class well known california college next day received following email dear dan attended class last night talking stu dents afterward didnt want disturb im sending email instead life ive dreamed lyricist know takes make dreams come true class said youre writing web site one founders kenneth babyface edwards would please give attached lyrics put music thank talented lyricist following reply dear talented dont wish sound cold opinion mr edwards probably need whitney houston need either celine dion toni braxtonwhy first songwriter writes lyr ics need \ufb01 nd collaborators create music songs exist complete unit im far concerned issues dreams wonderful things indeed creative people share ability see beyond mundane limitations everyday life goals dreams deadlines establishing career music business need understand marketplace material realities seize control career succeed find acts artists coming require direction material instead looking fantasizing babyface look level \ufb01 nd next babyface timbaland diane warren attach people whose success pre dict indeed one buy overnight success mythology set disappointment exploita tion music business built relationships decades business every deal ive seen go result personal contact hard work dedication perseverance people skills never known anyone start top something else bothers shy come talk class came meet offer advice could make contact assertive enough make humble acquaintance intimidated would presence platinum hitmakerchapter true talesnetworking strategies new music business ive read lyrics agree potential youre selling short fantasizing relationship virtually unattainable babyface \ufb02 woodwork give check million dollars make famous wheremaybe even classis artist writer producer talent determination go way exactly needs best wishes dan kimpel look around mentioned response music professionals need become clairvoyant able ascertain encounter necessary ingredi ents go way align chance time someone becomes successful theyre far immersed career time think music professionals comfortable level aremajor producers work major talent hit songwriters write hit artists contacted songwriters convinced next faith hill single get theyll tell rule determines best songs get recorded masterful artists get signed record deals deserving among us long pro\ufb01 table careers certainly unknown songwriters also tools create stunning lyrics music enough simply skills access reputation necessary well thats entire book understand faith hill huge talent songwriters artists nashville pitch songs projects order unknown songwriters even faint hope getting song \ufb01 rst build career puts par wouldnt make sense artist magnitude would \ufb01 nest song crafters music business writing songs especially sixth sense music people \ufb01 nely tuned abilities recognize encourage future hit makers recall intrigu ing examples historyof young man living car street two years later sharing mansion lisa marie presley bag boy friendly customers local supermarket signed multirelease deal virgin records earnest young man washington dc hired sell ads music trade publication president successful record label relates primary creedthat cannot make things happen put position success take tremen dous determination force focus must exist beliefchapter true talesnetworking strategies new music business drugs music biz teaching series classes ill generally announce next days text declaration tomorrow well drugs alcohol usually met much applause young charges course dont plan turn hallowed halls learning willie nelsons tour bus speaking realities life musician certain substances bear discussion im certainly puritan regarding myths musical life imperative understand loom way success historically nothing robbed musical creators giftsand lives like drugs alcohol child actually ohio didnt get suntil observed hijinks beatles stones various tribes san francisco bay area seemingly throes psychedelic creation stunned losses brian jones jimi hendrix janis joplin jim morrison later suicide kurt cobain impact fans drug use affects everyone around fam ily friends fellow musicians music many musicians rite passage everyone moves intact judgments based strict professionalism level operate people need utterly dependable substance trait makes less make others less inclined work themmost music business professionals operated arena drugs alcohol accepted social ingredients ive heard implied certain cynics back day record labels actually preferred certain degree drug dependency artists made easier control therefore predictable always way millionselling artist perceived without substances different atten tion given new aspiring artist times change deduce career stalled substances take heart music cities narcotics alcoholics anonymous meetings terri\ufb01 c places network road john mayer reliability consistency trademarks successful musicians interview many rising artists im aware endure grammy award winner john mayer related rigors wake six morning show night sing morning tv show youve got rehearse song three times youre singing two songs youve got six songsactually eight songs morning including performance go radioanother \ufb01 songs every song sing theres jackass didnt set levels right youre bridge get international armswaving stop sign sorry john levels messed let hear beginning turns voice chopped liver mayer avows constant travel interviews early morning performances sap vocal subtlety leaving strident vocal tones chapter true talesnetworking strategies new music business cut mix exhaustion whirlwind underway mayer also concerned hes cursing loves mostsinging songs still \ufb01 nal time day sings song invariably favorite shares live audience play songs million times long front crowd wants hear pro claims instead dented microphone guy insists picking vocals guitar old rock business telling people cannot observe shambling dinosaurs make majorlabel contingent record business youll observe young teen stars mostly female signed increasingly younger ages even country musiclong bastion grizzled faces hatwearing journeymenis immune trends featuring strapping young men wouldnt place beefcake calendar much rise video marketing tool also demo graphics recorded music purchasing younger lets face new pop music much in\ufb02 uence teens moved subsequent stages lives say older audiences dont buy musicthey also buy concert tickets mer chandise record numbers older audiences resistant new music remain loyal artists grew listening way come often way per ceived even though need change career direction others perceptions us keep us pigeonholed limited following email communiqu\u00e9 addresses two concerns one reinvention another ageism dear dan ive professional music industry twenty years many us began performer songwriter developed another career worked successfully behindthe scenes capacity almost two decades later ive decided maybe gave easily allowed discouraged early coming year inten tion return writing songs performing im worried old advice would give behindthescenes betty following reply dear betty us know inside music business one key success words notori ously insular industry virtually impossible come outside make impact light two decades experience laudable given valuable access however one realities already established chapter true talesnetworking strategies new music business behindthescenes functionary become identity desire branch another area business may confusing around would think manager confessed actually wanted songwriter video stylist aspiring diva would credible yes another harsh reality business mature performers chilly climate one need turn mtv understand era surgically enhanced nymphets maturity necessarily advantage unless consider reincar nation given one life many teen stars today spent life business however many opportunities ful\ufb01 self artistically commercially songwriting example area counts power song songwriters required possess de\ufb01 nable type visual allure certain age fact vibrant pop singles recent memory penned writers well fourth even \ufb01 fth decades synergy power becoming involved careers emerging artists offering open windows music busi ness may viable way ful\ufb01 artistry need write perform satisfy creative soul certainly whether cof fee house church club dont throw arena kids half age dont con sumed envy eitheryour letter dictates creativity carve viable economic niche business would recommend continue apply creativity expanding reinventing enhancing career divining new outlets creative needs good luck dan kimpel critical crises drama queens honored study artist management ucla extension ken kragen time venerable wellrespected manager handling longtime client kenny rogers embarking co headlining tour canada dolly parton one night ken came class received call eve show informing elaborate stage set would shared two artists large \ufb01 \ufb01 rst venue production manager insisted ken \ufb02 north immediately assess rectify situation ken intention crises way resolving commented sure enough convened class following week ken shared somehow production manager made work kragen enunciated theory ignore crisis probably work years later could hear kens words echoing head even thunderous bluster manager mr big producer inches face snarling look either client goes stage chapter true talesnetworking strategies new music business leaving occasion award pre sentation hit songwriter historic hollywood theater invited mr big producer present award hed shown entourage included fashionably hirsute stereotypically overbearing manager songwriters publicist instructed mr big producer arrive earlier neces sary manager adamant mr big producer would wait around demanded change order show award presentation would happen middle show \ufb01 nale called publicist walkietalkie assessed situation disappeared lobby theater handle another situation sure enough poked head backstage half hour later hit songwriter mr big producer sitting jam ming acoustic guitars inventing impromptu song duet award presented everyone smiles story illustrates couple truths first manager paid commanding concern client often artists producers require one wield absolute power heavyhanded works managers whose agenda wellbeing clients second human element introduced socalled crisisthe musicthe interaction mr big producer hit songwriter smoothed situation music third publicist erred requesting early arrival mr big producer left recording ses sion speci\ufb01 cally event production time essence dont want important people hanging around waiting fourth ken kragen taught bluster drama removed situation everyone basically decent ten networking strategies dispelling crisis following list strategies dealing crises dont forced making immediate decisions take deep breath remain calm remove emotion equation think logically pragmatically whats right everyone dont think cover ing ass youre comfortable high voltage screaming dont forced take opposite tact speak softly aware people scream get way sometimes people need heard try saying exact words back let know youre listen ing someone screaming stage small might reply understand think stage small move monitors front stage reposition drums slide bass amp little left make work make allies adversaries chapter true talesnetworking strategies new music business avoid overstatements generalizations agitated conversation never always particularly offputting avoid confrontational poses dont challenge others physically excellent way bridging con\ufb02 ict another person query would like see happen remember none drama make single iota difference another hundred years treat everyone respect received breathless telephone pitch morning highpowered new york publicist requested interview client hit songwriter repute penned huge hits back day resur recting career via musical would interested pro\ufb01 ling article hesitated second wouldnt interested said let tell exactly rejected proposal \ufb01 rst came hollywood musician songwriter eager gain foothold music business much time money would volunteer nonpro\ufb01 music organizations work events could gain knowledge make contacts particularly glamorous workdriving across vast stretches thenunfamiliar los angeles delivering promotional materials music stores lugging sound equipment taking telephone calls every task asked enthusiasm energy later organizations budgets need additional staff hired back mornings telephone call publicist droned clients achievements could remember years ago invited speak event volunteer showed surly mood huge unexpected entourage tow nothing right mineral water wed provided wrong brand temperature hospitality room cold food salty treated us working event personal minions every pomp ous demand lorded us superiority one \ufb01 nal note historic meeting hall smoking signs posted everywhere member entourage lit cigarette subsequently asked extinguish grinding butt heel boot priceless mahogany \ufb02 oor chuckled amusement representative telephone pleading write distinct pleasure say thank agenda dont stay nights thinking wronged think energy wasted negative however play long game take story word caution dear readers never step toes connected ass may someday kisschapter true talesnetworking strategies new music business summary music business people dont disappear sim ply reinvent change positions trust relationships last much longer job acquire see folks way feel determine success ill conclude chapter quote one alltime favorite interview subjects says best ive learned people forget said people forget people never forget made feel dr maya angelouchapter making contact interaction intense dynamics two people together room huge corporations every conceivable piece technology video conferencing conference calls still prefer send executives halfway around world close deals reason nothing impact persontoperson interaction body language way stand sit makes immediate intui tive impression others look classroom full students instantly identify ones recep tive message resistant open body languagestanding arms side palms turned outwardre\ufb02 ects attitude receptiv ity crossed arms sitting crossed legs indicates resistancenetworking strategies new music business meeting others socially posture also projects feel youre club think people notice \ufb01 rst person standing tall straight one looks like wants crawl shell amazing something simple good posture make someone look tall slim important con\ufb01 dent con\ufb01 dent person one gets noticed right reasons children told walk book top heads practice good posture posture starts three activities every day sitting standing sleeping look mirror standing straight check areas prevent ing standing straight shoulders crouched head back bent straighten whatever slouching observe difference ears shoulders hips knees ankles make one straight line relax shoulders slightly bend kneesyou dont want look like robot major part maintaining proper posture reminding stand sit straight hardest part use little tips make sure dont cheat tell friends serve support system glad elbow youre caught slouching use postit notes put areas see daily medicine cabinet mirror rearview mirror computer monitor feel results keep looking difference good posture one see mir ror really visualize work done exercising often especially back abs staying disciplined reap great physical rewards good posture youll look thinner con\ufb01 dent youll reasons world stand tall proud good grooming telegraph way feel others physical presence good grooming espe cially critical anyone entertainment business poor hygiene bad breath dirty clothes transmit lowself esteem cares attitude men regular haircuts recommended subtle areas need ignored eyebrows bushy haircutter trim waxed local nail salon typically costs less make marked difference appear ance regular teeth cleaning must good dental health teeth stained dull might want consider bene\ufb01 ts whitening either overthecounter remedy like whitestrips better yet custommade tooth tray gel provided dentist beware overly white newscaster image though see plenty los angeles chapter making contactnetworking strategies new music business clothes horse comfortable social situation \ufb01 rst dress occasion wear clothes \ufb01 well appropriate event want feel good comfortable hard mingle con\ufb01 dence youre dressed inappropriately clothes ill\ufb01 tting given choice overdressed dressed event always preferable little slicker occasion calls rather perceived slob honored attend annual blacktie dinners presented ascap bmi honor top com posers songwriters \ufb01 lm community black tie means oldschool tuxes white shirts bow ties pop rb communities appropriate dress deemed creative black tie means ok augment traditional look number creative options ties hats jewelry ive also found formal black suit works well instead tux ever see guests dressed inappropriately highend beverly hills functions yes saw wellknown manager tshirt accepting award song year behalf client could wear whatever wanted regularly see another millionselling songwriter female wearing tuxedo tshirt recent dinner rock group metallica singersongwriter jackson browne honored noted dressed re\ufb02 ect pride felt milestone achievementsmusic business people tribal living hollywood ive learned let instincts tell im presence kindred spirits look unstud ied cool lot black leather retro vintage clothes jewelry tends toward severe metallic chains metal belts extreme hair colors come go facial hair styles mengoatees unshaven look soul patch spot hair lower lip extended sideburns serve purpose establishing cultural identity always recommend wearing conversation piece unusual jewelry lapel pin tie scarf distinctive objectto give others opportunity begin conversations people basically shy strange little tchotchke jacket may key unlocking dialogue unusual piece vintage might opening conversation beginning pro\ufb01 table relationship visual presentation trademark youre musician others able tell type music perform ever play note ups downs capitol tower iconic piece architecture known around world looming intersection hollywood vine capitol tower home nat king cole frank sinatra beatles beach boys enduring symbol hollywood recall interviewing roy lott presi dent label palatial conference room chapter making contactnetworking strategies new music business panoramic view engaging mr lott remember interview ride tower elevator elevator arrived successive \ufb02 oors instantly signaled depart ment way employees dressed fullon suits ties vests legal department business affairs edgy la hipster attire publicity edgier outr\u00e9 still ar unkempt casually disheveled overly caffeinated musicians course recording capitols fabled studios successive stop denizens revealed attire similarly dinner party recently distinguished whitehaired gentleman black wool turtleneck youre jazz guy stated way introduction tell reply yes instincts experience transmitted plus subconsciously read attitude energy creativ ity gentleman distinctive look emblematic jazz musicians wear music business professionals similarly transmits information us others example obvious attire tshirts names bands brands equipment events venues \ufb01 rst joined gym los angeles prerequisite liv ing assure would invariably work music biz tshirt others gym would begin conversations worked simple piece swag free merchandise invitation others interact know music publisher los angeles justin wilde whose company christmas holiday music dominates seasonal market always spot justin ascap membership meeting red white santa claus hat subtle gesture doubt type music deals alternative hiphop country individual looks tribal introduced another person make instant instinctive judgment us based factors relating looks therefore music busi ness environment us transmit correct information ten visual cues look consider following tips achieving right look identify appropriate tchotchke lapel pin something suitably subtle yet unique extreme looks work certain circles goal attract others terrify watch sex thing regularly attend music business conference mountainous western state nubile aspiring young female artists congregate attract attention ar reps la nashville youre music dont confuse issue wearing stage attire daytime would suitable lady night may well telegraph signal overstimulated males species casual mean dirty ask gay friends help chapter making contactnetworking strategies new music business watch source material including entertainment televi sion shows videos magazine layouts periodicals like gq details vibe let look mirror limit conservative drab business dont dull conservative make look entertaining learn colors work best youclothes like music need harmony conversation instigation researching subjects interview magazine arti cles videos in\ufb02 ight audio shows strive acquire picture whole person project record buying public audience full fans ive learned legendary trumpet player founder records herb alpert noted sculptor painter hit songwriterproducer glen ballard loves talk italy especially art cuisine leonard cohen zen buddhist heavyweight industry law yer donald passman trains dogs say love opposites attract draws us together people similarities come somewhere families spouses partners children pets homes human beings complete packages artistry music simply one part quite often direct result much larger picture meeting potential music industry contacts concentrate people perceive musicians business entities music people dont talk music time knack expressing interest others makes good conversationalist ability express thoughts feelings eloquently equally important including people present common sense proportion people speak equal division three people present one person dominates conversation conversationrather giving speech ten conversation leaders good conversationalist requires able ask questions well excellent listening skills leading questions ask without seeming pre sumptuous nosy originally like best living town many opportunities travel \ufb01 lm buff whats latest favorite movie listening know great restaurants part townchapter making contactnetworking strategies new music business gym go sports fan dog cat ask questions encourage person talk comment answers continue conversa tion four types comments make expanding tell sounds great time comparing sounds similar selfrevealing know mean similar situation last year clarifying exactly small talk sure effective icebreakers none less note didnt include questions music ill get soon enough spousespartners children reason anyone take offense feel like youre prying conversation like tennis ball volleyed back forth across net effective conver sationalists know keep conversation \ufb02 ying initiating considered positive trait asking advice sure\ufb01 way extend conver sation doesnt work try asking opinion remember proper followup response heartily agree argumentativesensitive areas music business conference northern california witnessed uneasy interaction one attendees asianamerican singersongwriter took understand able offense clueless music publisher quizzed nationality songwriter course answered terse im american americans come many shapes creeds colors many tired old phrase allamerican needs expunged modern vocabulary good sodenigrated political correctness rather correctness nationality ethnicity besides would publisher need know information simply songwriter publishers estimation asian features managing recording artist hawaii recall encountering rudeness one magazine editor said squinting press photos singer writes songs records answered know mean persisted editor listening session conference teamed major record executive one prominent record labels world evaluate live tal ent one artists dynamic woman considerable power room shaking conviction conclusion song exec asked married singer stood disbelief inappro priateness query entertainment business one smoke mirrors projected often image entire artist said cannot afford make chapter making contactnetworking strategies new music business assumptions others business based simply way appear us old saying goes assume makes ass u assumptions avoid anyone youre introduced coming contact variety personalities trademark business see however always get avoid making social gaffes based assumptions regarding l race l age l sexual preference l political af\ufb01 liation l musical likes dislikes l religion l marital status complimentary consideration often im conducting interviews common names come conversation interview writerproducer billy mann seen phenomenal success artists including jessica simpson josh groban many others referenced pinks guitar player friend rafael moreira raf amazing said soon conversation called rafael immediately let know billy spoken highly compliment removed doubly effective made rafael feel good also translated feelings billy meanwhile ill also bene\ufb01 passed positive message speak nice thought means share often tell person says others others say dont share negative stuff pass please never say anything negative person present one lesson almost learned hard way invited performing rights organiza tion major composer attended screening \ufb01 lm hed scored end credits rolled ghastly song almost obliterated mood picture song bad fact composer whispered performing rights organizations spokesperson sub sequently announced room composer wants know nothing choosing song later week lunch \ufb01 lm agent asked ever heard piece music \ufb01 lm bad couldnt imagine course began gleefully recounting story horri\ufb01 c song fortunately turned omitting crucial details wrote song demanded agent opened mouth respond suddenly saw songwriter malign rise next tablejust time avoid serious faux pas part similarly conversation shouldnt someone even group close friends someone talks bad another person public theyll probably bad mouth well matter tempted may pass along cutting comment join group talking badly another person dont doesnt re\ufb02 ect anyone make look bad chapter making contactnetworking strategies new music business rarely regrets said people speak easily often communicate much someone doesnt speak doesnt add party conversation best aim middle know listen carry many stories best told brie\ufb02 regrets expressed said ending conversation use exit lines need say hello need say goodbye exit line help say goodbye gracefully leave positive note dont strive cleverness sincere simply say nice talking good see hope see soon personal favorite im gonna go work room inclined shake hands goodbye place hand lightly persons shoulder convey sincerity remembering names ask room full participants seminar many problems remembering names im surprised majority raise hands one reason moment someone meet saying name generally shaking hand attention diverted away sound three strategies remembering names examine persons face discreetely intro duced locate unusual featureprominent ears precarious hairline projecting forehead caterpillarlike eyebrows etcand create association characteristic face name mind associate person someone know name perhaps associate rhyme image name persons face de\ufb01 ning feature infantile better dont share anyone else repeat individuals name immediately hear use often possible without obvious name unusual ask spelled comes appropriate exchange cards often hear see name likely sink also left persons com pany review name mind make notes surreptitiously notepad youre really working drop name remember reading review notes lecture music school accusing dropping names ok admit goes territory ive programmed music heard onboard powerful ruler free world interviewed virtually every major recording artist history american pop music lectured half decade college founded exbeatle still criticism hit home recall class lecturing welcoming probably using recognizable names prove credibil ity retrospect didnt need since id written textbook many name droppers believe asso ciated important people impressed theyre often gravely insecure achieve ments use others names add esteem chapter making contactnetworking strategies new music business scathing review ive become sensitive tendencies direction ill ask clive alanis avril aretha britney quincy business cards hightech digital world eco nomical ways networking passing business cards possible design order business cards online instances even cards made free whatever method business card communicate many things tips presenting proper picture l limit business hand card reads joe jones songwriter recording artist dog trainer fortune teller high colonic therapist lacks positive message commitment art impress recipient l simple good readability essential check business card design samples online local library tips examples l career requires move often con sider blank line hand write telephone number l keep fonts simple avoid really grotesque ones dont crowd information l include email web site info l refrain crossing numbers addresses get new cards information becomes obsolete dollars well spentthe best time pass card obviously someone asks otherwise offer easy message need reach rea son whatsoever nice lowkey statement similarly want someone elses card direct demanding whats best way reach excellent prod working room time youve invited music industry event youre sure meet movers shak ers youre descend pressurecooker environment imperative prepare mentally physically present best possible light working room variant art min gling blending given space containing groups socializing people becoming part action making transition background foreground intruder one us easy matter requires considerable \ufb01 nesse especially music circles timetested tips arrive early spend moments solitary time car relaxing preparing moment youre late danger giving negative frantic energy extra time locate parking elevators entrances restrooms escape routes advisable use extra time pump might begin af\ufb01 rmations belong im going upbeat charming huge part work ing room getting fear controlchapter making contactnetworking strategies new music business also review objectives evening whether seeing old friends likely making new contacts dont afraid talking prepa ration articulating intentions loud check pockets make sure necessary tools hand always interesting classy pen plenty fresh nondogeared business cards appropriate holder small notebook jot names details may need refer leave breath mints must also food served either toothpick \ufb02 oss stick used surrep titiously restroom course evening advisable nothing negate good impression like piece arugula sprouting teeth give time enter room \ufb01 ne wait striking conversation sometimes focused worst enemy often people afraid sticking like sore thumb easy learn alone comfortable assess dynamics room move around perimeter enjoy art buzz conversation take away pressure imagining one see another advantage early arrival opportunity meet host hostess enjoy food buffet gets mobbed need expend energies communicating rather scar\ufb01 ng free crab cakes aware reaction alcohol drink two helpful assuaging anxiety nothing detrimental creating good impression in\ufb02 uence demon liquor wine spritzerwine diluted soda water may good compromise pace prepare move finding someoneanyoneto talk goal crowdphobic people perceived needy cling \ufb01 rst person says hello great method working room seek people standing alone introduce \ufb01 nd attending event offer introduce someone might want meet remember walk room youre take people pick youre person gives easy others give return follow rule meeting greeting make eye contact someone within feet must acknowledge nod smile \ufb01 feet say somethinghello good evening dont pretend dont see learned next lesson hard way \ufb01 people conversation feel free join four people sure walk right three problem beware two people engrossed conversation unless know well never permissible intrude odds theyre discussing something private maybe even ever conversation one seems \ufb01 nd whatever shoulder interesting good listener chapter making contactnetworking strategies new music business important part great conversationalist dont let eyes wander person youre speak ing follow stare wry comment wanted see fascinating hidden opportunities one famous disadvantages living hills los angeles sometimes tumble case winter mountain mud surged street inevitable gravitydetermined path walked neighborhood survey ing damage came upon neighbor speaking couple recently relocated block introduced male member pair commented jean neighbor tells hear united airlines asserted yes frequently voice shows in\ufb02 ight entertain ment told im animation always need voices get cd ill see cool mountain mud shone window opportunity reminded singersongwriter friend mine beth thornley whose songs heard new dvd releases dawsons creek season roswell episodes chris isaak show new ride josh emily cbs \ufb01 lm must love book ruth tells serendipitous day ups delivered color printer door hadnt ordered called ups said isnt mine remembers could come back pick deliver person whose address around corner street said well charge shipping said ok ill take called rightful recipient came claim happened music supervisor roswell placement says thornley full year road thornley recalls would often encounter walking dog hed tell working also version eleanor rigby another show got canceled used burned cd asked could drop mailbox thus began tactic thornley stayed supervisors minds get done something nice ill burn cd drop mail keeps thoughts albums im working second album get one thing send taste music super visor gave idea close enough hand thought send everyone know granted thornley live entertainment capital point many things music world happen result simple chance human interactions ready receive recycle energy walking street angry muttering watery fate mired car beth thornley felt putupon chore opportunities would happened place become arena meeting others neutral environmentsairports waiting rooms onare perfect places practice pop people power nothing lose everything gain let instincts guide invent reason begin chapter making contactnetworking strategies new music business conversation see may lead could surprised often play game im waiting catch \ufb02 ights especially los angeles london new york nashville spot interesting person waiting area focus attention time right initiate conversation fascinating way pass time ive made innumerable contacts professional personal life airports practice makes perfect musicians study practice musical instru ments also rehearse networking chops practice open others may project ing accessibility become aware following communication came shortly conducted networking seminar part educa tional series local music store dear dan attended presentation west la music valley week half ago spoke brie\ufb02 afterwards ohio might enjoy feedback presentation one things said really stuck idea practicing networking chops exam ple used talking people elevators since night practice breaking icebut heres cool thing happening since started half time even initiate conversation person starts talk ing never happened life happened \ufb01 times last two weeks thing \ufb01 gure willingness speak person projects openness quality didnt used express im starting get sense process networking really snow balls thanks taking time schedule share experiences night im excited new unexplored skill im starting develop michael b true openness willingness com municate others felt never know ill sometimes re\ufb02 ect backwards hadnt gone party introduced person conver sation made followup call opportunity would never existed get nothing happens dont fine art studio hang place intriguing recording studio come megatracking rooms nashville new york somewhat disconcerting move los angeles \ufb01 nd recording chapter making contactnetworking strategies new music business sessions taking place renovated garages far reaches san fernando valley precursor come today studios anywherein home base ment unused bedroom even bus hanging studio however still timehonored tradition requires strict adherence protocol following tips proper studio etiquette never give opinion unless youre asked strict hierarchy studio producer charge service artist guest everyones best interests especially disturb chemistry producer knows exactly listening take often emotion versus technical perfection stay visually engaged recording come playback dont read check email act bored chemistry session situation supercharged depending artist volatile distractions negativity alter fragile emotional parameters pay attention everything trackingbe present look session learning experience take everything changes engineer mak ing mics placed producer going session dont set anything recording board equipmentever selfexplanatory drink spilled console could render price less piece gear inoperable liverpool institute performing arts lipa ive lectured maintain hard fast rule beverages kind permitted studio exception observed popping champagne bottle christen sir george martin studio fact sir george sipping bubbly made ok con\ufb02 icts arise make invisible making self invisible also comes handy dont distract recording personnel dont announce arrival departure rather slip room ascertain vibe \ufb01 rst slip unnoticed dont distract talent needless chatter vocalists notoriously temperamental loading opinions ideas suggestions could blow concentration nonverbal communication may strongest option positive supportive eye contact smile chapter making contactchapter telephone email cell phones computers blackberries portable digital devices send receive digital telephone communications whatever might developed time youve \ufb01 nished reading chapter mechanisms integrated networking strategy communication different methods communication work dif ferent individuals timing communication crucial access common scenario happens try communicate busy people dear dan recently met major music industry player kind enough give card ive calling of\ufb01 ce ever since havent able get hold receptionist keeps saying hes either meeting get keep calling puzzled pacomia ok easy dont keep calling change media calls dont work try email email doesnt work send fax fax doesnt work send card letter dif\ufb01 cult understand realities demands communicate speaking experience im writing deadline telephone call someone communicating matters hand usually unwanted intru sion times email preferable something respond terms time sometimes opposite trueim tired writing dont want read email would love stand computer could use distraction moments welcome calls something isnt working dont continue try bludgeon contacts simply try another avenue telephone next human contact telephone probably intimate method communication think youre right someones ear youre speaking sound project phone one element communication like networking strategies effective telephone communication chapter telephone emailnetworking strategies new music business determined ability read emotions thoughts person end line simply talking \ufb01 rst year los angeles struggled gain foothold music business needed \ufb01 nd ways pay rent telephone worksurveys sales solicitingwas time honored method mak ing money musicians struggling actors whereas coworkers resented jobs found fascinating learned much human nature way intimate communication many skills developed use day honed making thousands calls people initially desire speak wonderful training future ive never hesitated make outgoing call since sound actual sound make telephone well modulated pleasing ear take cues person youre speaking research indi cates talk little faster person youre conversing youll considered intelligent certainly challenge youre talking someone new york city try listening matching rhythms person end line eating drinking lip smacking close phone negative signalsre\ufb02 ections power true power brokers use telephone use timehonored trick mirrors within close proximity positioned see speaking remind smile tele phone try smile actually heard also project energy forcefulness telephone conver sation stand make call best times make calls music business tuesdays wednesdays thursdays preferably lunch effective make groups calls psyche frame mind youre making calls diluting energy breaking \ufb02 ow make business calls business hours receive call of\ufb01 ce weekends yes im often dont always answer telegraphs person making call parttimer cer tainly music business professional similarly im considering working prospective client call night weekends holidays makes want become involved tells wont respect privacy time begin telling callee purpose con tact let tell im calling always helpful heres situation another effective intro ill brief prepares contact knowledge going lengthy encounter need script callnot word word outline main points need include get right point four things discuss show chapter telephone emailnetworking strategies new music business recipient call youre organized ready business ya clich\u00e9 never precede conversation someone dont know well timehonored basic business rule make call responsibility end call person makes call always drivers seat many heavyduty executives make going calls telephone basics people enthralled sound names youll need address person youre speaking name approximately per minute hold atten tion dont talk people listen words emotions behind person youve contacted sounds harried harassed dead line sensitive ask future telephone appointment something like would good time us speak im calling touch base state ment never fails elicit response good one tells caller real information impart theyre probably trolling information theyre playing arcane game apparent reason desig nated base never call someone without something speci\ufb01 c say let know clearly purpose communication simply vague notion long time since spoke maybe theres reason youre calling touch base playing game make rulesand youre youre receiving incoming call importance move away computer wont tempted check email youre phone yes know multitasking world transmitting telltale clicking computer supposedly concentrating telephone conversation project insincerity also kill background music relegate rambunctious children another area dismiss yip ping dogs room making outgoing calls music biz execs key staff members de\ufb02 ect calls youll generally encounter gatekeeper opportunity outreach introduce ingrati ate key staff often access boss determined persuasive techniques subordinates dont try con bully wont work tell short version story explain brie\ufb02 exactly youre calling recep tionist working would often intervene behalf caller made repeated attempts get always heeded advice telephone tracking lists people call proven effective savvy networking folks list contacts spoken weekly b list biweekly contacts c list associates contacted monthly basis although invent reasons call people invariably works best basis chapter telephone emailnetworking strategies new music business fact saw article made think effective icebreaker helpful take notes conversations avoid repeating recall details speci\ufb01 c inter actions mega hollywood execs often assistant listening line cell phones antennas satan ever device invented conve nient yet utterly abused ubiquitous cell phone wont add chatter matter say ive cell phone many years possibly irritating \ufb01 rst got many folks currently witness course back novelty today everyone children drug dealers plugged chattering away usually clue lessly using cell phone longer impressive way unless incredibly new modern one used reason user immediately identi\ufb01 ed neophyte poseur new term absentpresent coined iden tify compulsive cell phone users phenomenon wherein individual physically far away conversation invariably throws sense com munication since isolated wired phones people work may call whenever however wish \ufb01 rst telephone contact someone calls via cell phone sets red \ufb02 ag instance receive call unknown party uses cell phone hours pm p assume theyre work ing straight job using lunch hour make personalor case allegedly professional calls thought process invariably distracts cant take seriously good \ufb01 rst impression give someone know passing calls cell phone surmise theyre circumstances need kill time using good afterthought tiny piece pro toplasm image face \ufb02 oat someones consciousness sometimes receive calls \ufb01 rst thing hear roaring traf\ufb01 c freeway called im getting call driver car immedi ate turnoff tells someone chosen jeopardize others lives sake con venience england japan talking phone driving punishable offense la cell phones even telephonestheyre radios sound crummy sonically oriented person irritating calls lost dropped nothing infuriates much someone calls nasty buzzy cell phone bellows drops call generally dont answer call back instead let voicemail pick also unless absolutely imperative wont make going calls numbers recognize cell phones unless absolutely necessary youre forced circumstances make outgo ing call option use chapter telephone emailnetworking strategies new music business cell phone please excuse immediately callee answers im sorry call cell asked contact noon way proceed call hopefully making brief brevity key elongated conversa tions cell strain tell someone calling cell arti\ufb01 cial way talkingthe dreaded cell yell signal weak speaking louder wont help unless course person actually within earshot however used effectively cell phone marvelous device representing band attempting quite unsuccessfully book local hot spot id sent press kit cd course unable contact booker person allimportant followup decided take immediate action one afternoon parked venues parking lot using cell phone made call club asked booker received hes available rebuff determined actually id dressed occasion music biz garb nice sport jacket industry tshirt wellbuffed shoes carried briefcase presented receptionist announced meeting booker sure enough quizzically ventured greet invited back of\ufb01 ce sat business ended booking band beginning lucrative longterm relationship happening club retrospect think booker might imag ined wed arranged meeting hed forgotten using types tactics get front individuals need get important motives mechanisms remain transparent id begun meeting guffawing hah fooled doubtful would able book band indeed may gotten booted door selling selling whether music cars getting buyer fundamental \ufb01 rst step case cell phone con\ufb01 rmed bookers presence cell phone etiquette avoid unfortunate confrontations others might want observe basic rules cell phone etiquette l think phone portable answering machine youre appropriate placea parked car outside restaurant etcyou return calls l simply must available caller put phone vibrate mode youre nonprivate place l practice speaking quiet conversational tone one looks way youre speaking cell phone youve got acceptable tone voice l forget vibrate phone rings nonprivate place turn instantly unobtrusively possible nobody suspect jerk responsible matter dont answerchapter telephone emailnetworking strategies new music business really want available time truly make productive spread productivity thinner time cell phone wonderful tool also leash cell phone conversations interfere persontoperson contact might otherwise enjoy random conversation might person wait ing line stranger might encounter interact instead supplanted impersonal access everyone email email \ufb01 nd world phone calls probably dropped volume half past couple years emails increased dramatically email never take place tele phone inperson contact terri\ufb01 c way keep touch business personal contacts checking email internet caf\u00e9 istanbul able secure valuable writing gig required make immediate response email cannot however transmit much emotion energy also humor may fall \ufb02 sarcasm almost impossible convey brief guidelines composing email messages l check youre sending email correct destination horror stories abound inadvertently sent email communica tions bosses enemies etc l watch funny jokes cute stories might send friends family place business ditto warn ings scams messages virus supposed devour everyones hard drives united states governments dismantling national public radio check wwwsnopescom urban folk tales \ufb01 rst l avoid attachments canbetter cut paste body email include thing recipient may able open l messages concise point think telephone conversation except typing instead speaking keep mind people receive hundreds email messages per day l something important re\ufb02 ected text punctuation dont use caps l quest save keystrokes users traded clarity confusion fyi btw ok dont overuse acronymswrite every thing else l use similar symbols aka emoticons sparingly l casual introductions probably bypass standard formalities use something like dear edward edward busi ness realm things much complicated situation need evaluated normally address person missmrs msmr address identically email l email address business address include title company name sig nature email world letterheads used always include telephone number somewhere email chapter telephone emailnetworking strategies new music business email conversation require immediate response hundred people send email one day wont talk think hellos goodbyes unnecessary chitchat youve avoided email deal essentials deal time thats blessing curse impersonal cold cannot transmit energy enthusiasm warmth like networking tool email simply one component much larger picture never supplant power oneonone commu nication support chapter coming ranks popular music often intent putting trying make known recognizable leave little air room breathing learned long ago powerful position come youre pitching someone requests thing much control might imagine managing artists ascertained would encounter immediate resistance tried push artists peoples faces heavyhanded agenda often opposite tacka soft sellworked far better describing artists handling non offputting terms showing press photo logo wearing merchandise tshirt artists image would questioned would explain short preengineered sound bite would invariably asked may get press kit cd id love hear youre tocreating effective tools tradenetworking strategies new music business press kits like music biz professionals get sixth sense artists presentation sometimes fact tell quality music even open envelope containing press kit first look envelope comes \ufb01 ngerprinted dirty dogeared odds music equally shambles addressed dear journalist good sign since magazines write change location often sender checked address mail ing arriving forwarding mail notice front signs look open package begin open note ease need machete tear lay ers tape holding envelope closed pull package inevitably recall enterprising recording artists packaged press kit handfuls glit ter subsequently embedded plush carpeting of\ufb01 ce discovered remnants presentation months always reminded love need tailormake press kit according youre sending ive heard managers record company ar personnel swear fancy press kit isnt necessary journalist appreci ate wellwritten bio succinct press clippings professional photoeither color black white suitable scanning inserting magazine nice touch downloadable highresolution photos web site wellkeep presentation envelope size standard interesting eyecatching color permissible music equally colorful also use standard \ufb01 rstclass mail nothing predisposes like band waiting interminable post of\ufb01 ce line pick mystery package requires signature keep mind post of\ufb01 ce box addresses accept ups fedex check mailing folder given moment identical stack black glossy folders sitting desk know whats well neither since nothing cover way identi\ufb01 cation without logo sticker something front folder recipient nary clue contains folder doesnt extravagant although color coordinating materials press kit display sense unity unity important concept grasp putting together press kit visual elements reinforce re\ufb02 ect music odds heard recipient reading enclosed materials cover letter cover letters short sweet point best advice professionallooking letterhead goodquality paper help achieve positive impression tell reader especially youre sending enclosed materials youre sending journalist let know youre hopeful review youre chapter creating effective tools tradenetworking strategies new music business sending club booker materials include information pursuant live show generic letter addressed dear sirmadam suf\ufb01 cient spell name person youre addressing sure render title correctly sure include contact information every piece material submit name address tele phone number email web site cd dvd fully produced cd doubt included presentation kit course depending youre submitting may want limit exposure ar record labels music pub lisher example three songs suf\ufb01 cient listener wants hear always request additional material good position \ufb02 edgling band artist video presentation great certain artists dicey proposition others tacky subpar performance video diminish viewers opinion band artist substantially however ive seen impressionistic arty videos mirror music effective like cd may necessary deluge contacts much infor mation video may want reserve support material linethe bio probably written artist bios career many times harried journalists cut corners appropriating exact words ive written bio article totally acceptable course create bios worksforhire fee dont maintain control leave computer maintain bio cement holds press kit together bio l create identity l de\ufb01 ne musical style l lead reader directly music recording artists songwriters performers pro ducers bene\ufb01 wellwritten bios send music bio picture usually \ufb01 rst request someone interested talents dont major credits bio spotlight personalities histo ries creative processes bio must honest truth also sound good possible never mistake hype substance key phrases eagerly anticipated critically acclaimed always set bs meter beware hackneyed clich\u00e9 imprecise metaphor goofy strained adjective unique means nothing joe jones brilliant artist doesnt show tells sue smith destined stardom lame offputting bio must lead reader conclusions telling reader feel think may lead exact opposite impression double check proper punctuation grammar spellingchapter creating effective tools tradenetworking strategies new music business stating style music artist creates bio necessity dont like pigeonholed complaint hear often young bands artists guess reason retail cd stores categories music otherwise buyers would never know look bio r\u00e9sum\u00e9 speci\ufb01 c information required certain format followed hard fast rules though things avoided bio stranger listening demo \ufb01 rst time holding hand make re\ufb02 ective artist creative wellwritten bio make listener want hear music even affect way someone lis tens causing listen little closely inclined give bene\ufb01 doubt one pet peeves reading artists bio includes something along lines susie stiletto combines sensitivity joni mitchell fused aggressive lyricism alanis morissette combined melodicism sheryl crow know feel artists dropping names compari son doesnt really tell anything susie stiletto shed certainly need mindblowing powerhouse artist rank comparison triumvirate include facts dont music instance may pertinent say ride horses songs horses written songs riding horses draw correlation horses music otherwise leave horses pasture information educational background work experience broken marriage prison term dysfunctional childhood referenced relates music youre artist probably know dif\ufb01 cult objective music career youd well advised ask local journalist write bio length usually one page youve got fasci nating history extremely well written one half twopage bio permissible standard rate los angeles involved writing processyou ask drafts rewrites journalist receive average major indie label press kits weekly singular bio style appropriate artists seeth ing pierced neopunk aggregation soothing cerebral newage artist cant possibly share metaphors bio must speak voice music following example bio luis villegas bio luis villegas label releases revealed unfolding artistry master guitarist composer casa villegas bajatsr marks debut producer dual life writing arranging songs \ufb01 guring instru ments use setting sessions booking studio says villegas bases covered night initial session id forgotten book musicians laughs chapter creating effective tools tradenetworking strategies new music business clear villegas tightknit com munity worldclass players ready challenge began twomonth recording pro cess villegas blistering nylonstring guitar forefront casa villegas marks breathtaking musical odyssey gritty streets city sunswept plazas spain across plains morocco ancient temples india middle eastern percussion indian tabla provide aural backdrop african bata drums mesh congas timbales wealth musical cultures rhythms east los angeles villegas birthplace fuel opening song bienvendos welcome latinjazz grooves whittier blvd two songs featuring vocals lyricistvocal ist jos\u00e9 garcia balance instrumental mixojos verdes inspired luiss daughter krista mujer enamorada dedicated wife gloria shes love life living luis says told jos\u00e9 write lyrics go hit nail head song album framed distinctive vignette didnt want limited live instru mentation explains luis used violin horn section keyboards additional guest vocalists sonic minimalism illustrated austere simplic ity recuerdos de jerz featuring \ufb02 amenco singer maria benjumeda jaleo song two guitars percussion recall golden period villegas spent spain feeling youre standing right front street musicians banks guadalquivir rivervillegas channels rhythmic physicality heart gentle samba groove informs brazilian magic inspired transcendent tex tu res ndi n usic ka utra co n j u res u p frenetic mystic whirlwind villegas guitar charlie bisharts violin new audiences introduced villegas via previous album spanish kiss bajatsr single la reyna landed smooth jazz play lists coast coast corresponding appearances high pro\ufb01 le f e v l n c l u n g h e c l n j z z r x f e v l playboy jazz festival sedona hot latin jazz festival sealed reputation blistering live performer tracks debut cd caf\u00e9 ol\u00e9 domo landed warner bros hbo sundance warren miller \ufb01 lms record heard guitar greats volumes ii bajatsr music spirit volumes ii iii domo tabu mondo flamenco narada lost found soundtrack capitol gypsy magic emivirgin h e v e r g r w n g b f w r k r e \ufb02 ects musical maturation guitarist composer producer themes mirror real life husband father although time creative geog raphy charted global compass music always comes home casa villegas photo photos newspapers magazines transmit ted electronically uses lowresolution shots \ufb01 ne magazines youll need highresolution chapter creating effective tools tradenetworking strategies new music business photo one shot ideal live pic ture band generate energy vibe also selection blackandwhite color shots speci\ufb01 c uses excellent calling card press kit however limit one de\ufb01 ning shot dont pose front branches trees appear grow head make sure shot conveys exact attitude music fullcourt press many types media one spe ci\ufb01 c regarding needs contacting member press need focused strategy currently performing press releases calendar notices print media sent well advance monthly publications need pertinent information two months advance publica tion date weekly publications need least two weeks dailies need least week advance many major publicists prefer work press concur rent tour youre compile press lists contacts city youre visiting con tact press well advance always follow story press always prefer angle cant something arti\ufb01 cial corny contrived national press extremely hard come wont good reader cant immediately go familiar web site retail outlet pick copy cd press cumulative get press interested youve got offer include cover letter state exactly youre sending information make sure person youre sending info still publication proper recipient info dont assume theyll pass materials line address cover letter dear journalist fea ture journalist columnist magazine predisposed assist anyone hasnt bothered homework sends materials use pro\ufb01 le review calendar listingall completely different functions magazine news paper learn address correctly email query editor good method journalists usually slammed deadlines subsequently quite disorganized major record labels often send duplicate materials email snail mail highresolution photos web site could make difference cov ered since journalistic decisions often made last possible second something else fallen creation magazine columns much less objective may appear decision use photo may made photo art director doesnt care sound like look like begin local press move accordingly necessaryin fact even considered unprofessionalto thank press unduly chapter creating effective tools tradenetworking strategies new music business job simple thanks nailed note always appreciated unless embarrassing glaring error piece requires retraction dont correct calling attention insigni\ufb01 cant detail might incorrect follow accordingly dont harass press yes rare cases wear keep desperation bay personal contacts recommendations still strongest suit world multiplicity images makes strongest impact ill read press item hear song national public radio friend tell new act often day credibility credits honed method streamline listening pro cess volume packages receive weekly first put aside obvious clunkers eg polka bands interpreting music police favorite patriotic songs etc next select releases artists love generally small pile assure look artists songwriters interest publications assorted elec tronic media outlets provide content ive sifted major label offerings im left independent releases prior knowledge listen music read onesheet slick sheet prepared especially retail bio scan liner notes inside cd cover looking names people recognize involved project though seeing names may make want listen sometimes names give information illustrate ive invented imaginary artist harry haze whose package ive opened heres tells album songs written harry haze produced harry haze published harry haze music songs performed harry haze guitar bass drums keyboards harry haze cover art harry haze liner notes harry haze harry thinks hes projecting world competent versatile creative im think ing harry haze must godawful prickan insufferable control freak cant \ufb01 nd anyone crazy enough work uhoh harry haze also included full insert tinyprinted text thank yous various celestial deities departed family members current wife exgirlfriend deceased pet gratitude lovely quality best saved commercial release demo opinion grandiose sentiments seem self serving offputting everything re\ufb02 ection music cheesy cover art often mirrors contained within words equally revealing vague selfaggrandizing terms prestigious longawaited eagerly anticipated acclaimed never fail rev bs also chapter creating effective tools tradenetworking strategies new music business please competent proofreader check printed materials cd covers glaring errors best packages often simple clean distinctive logo smart wellwritten bio readable eyecatching font hip revealing photo say much simply seeing artists name repeated ad in\ufb01 nitum dont wish sound negative jaded packages pile of\ufb01 ce eyes become ever critical im reminded project music world propelling artistry therewere essence cramming messages bottles ultimately wash journalistic shore shouldnt let incompetent presentation sink package man gorilla suit recall san era excess success unabashed consumerism prediy days record conglomer ates \ufb02 ourished perception order become successful recording artist one signed major label artists representatives would go unpar alleled lengths get attention record company ar reps showering gifts appearing unan nounced foyers singing capella devising extravagant presentation packages one favorite stories time concerns band desperate get attention one band members donned gorilla suit deliver package record company today dont recall name band music remem berand im sure poor ar guy didnt drive businessis gorilla suit yes important get peoples attention entertainment want people remember right reasons extreme strategies told story class students england amazed audacity managing artist af\ufb01 liated performing rights organization one exec particular believed would make tremendous ally since someone knew began making calls of\ufb01 ce set meeting client left repeated messages wasnt getting return call defense let interject employees pros tremendously challenged huge membership rostershundreds thousands af\ufb01 liates still needed hookup created relationship sympathetic assis tant called one morning didnt ask spoke whats day like asked replied hes meetings morning lunch appointment meetings afternoon casually asked restaurant hed dining lunch provided name wellknown sunset strip eatery needed hear afternoon paid bill restaurant cash reg ister guess happened run opportunity reintroduce client apologized calling back promised meet us next day case chance encounter appear chapter creating effective tools tradenetworking strategies new music business natural accidental otherwise may seemed stalkernot good thing another secret weapon utilize appropriate albeit small onemy fourpound chihuahua shelby lynne accompanied drop materials brief meetings one memo rable occasion backstage visit wellknown diva considering ghostwrite autobiogra phy didnt get gig dog wasnt \ufb02 ying blindthis singer wellknown pet advocate traveled worldwide pooch utilize extreme tactic sure goods otherwise youre danger burn ing bridge dont guy gorilla suit rejection rejection cold hard fact entertainment busi ness songwriters artists particular crushing demoralizing reality indeed often cited factor forces people entertain ment business good thing leaves room order successful level cant let rejection derail classic example beatles turned scores record labels one bestknown tales dif\ufb01 cult anyone turn anything however viability proven artist touring solid fan base sell thou sand cds doesnt worry rejectionits momentary theyre already viable commodity songwriters collaborating artists placing songs indie \ufb01 lms cable television shows likely signed major publishing com pany already going hit songwriter mich\u00e9le vicemaslin notes writers discouraged rejection letters probably cares think key survivingother pitchingis respecting peoples opinions ar people like deal dont freak long keep listening im happy learned dont give les son ive learning hard way years get rejected get fueled ten thoughts overcoming rejection keep following mind experience rejection someone rejects song negating condemning existence earth mean time artist market los angeles especially industry people dont like say wont call back develop career multiple contacts numerous outlets catalog songs one song youre shopping youre waiting hear back youre precarious positionchapter creating effective tools tradenetworking strategies new music business one ever really waiting hear back move forward regardless ironically projects often succeed least need expect holding grudges rejection counterproductive understandable songwriters particular emotionally connected creations remember publisher says many times label artist producer said thing much likely rejected youre blindly pitching strangers salesmen know every rejection one step toward someone saying yes ten reasons calls returned sometimes dif\ufb01 cult perspective wrong communication others often may nothing us per se could simply issue timing following email received made analyze calls returned others arent dear dan last year good fortune meet major record producer music business convention listening session evaluated demo liked enough keep hasnt returned calls wonder something wrong feel differently music would suggest worried winnetka following response dear worried number possible scenarios come mind first appear needy may scaring take seriously appear near way level accomplishment pressuring probably enough demands world artists record companies associates doesnt need calling right time professionals call business hours evenings weekends try tuesdaysthursdays preferably lunch communication skills par people dont time read lengthy communiqu\u00e9s often return telephone calls short emails faxes preferable check spelling sentence structure moment someone hears something necessarily moment something listened music may rec ognized potential appropriate outlet time change ive seen songs \ufb01 lms used years \ufb01 rst submittedchapter creating effective tools tradenetworking strategies new music business make sure update progress fact regularly con\ufb01 gure press releases inform contacts career wary overthe top bragging shameless selfpromotion keep scale keep human keep true make truth sound good possible experience music business people always looking progression producer may indeed liked \ufb01 rst demo needs hear next easier imagine future career trajectory become involved believes music \ufb01 nd audience matter business everyone prefers get train thats running one stalled tracks need give impression growth career evolution really something new say reactiveand jump bandwagon therewe ultimately wind chasing trends creating delivering ultimatums closedend phrases close doors want produce easily answered asking input always preferable hard sell finally treating person stepping stone aware projects hes nowhis successes career milestones anything life try communicating lowkey personal tone payback expected may surprised responsei hope information helpful please let know goes dan kimpel webwise advertising director los angeles songwriters showcase lass cofounder director john braheny author craft business songwriting one foremost mentors music business told new technology called internet planned put orga nizations magazine songwriters musepaper web recall thinking going ever see time course proven jb right tracks legally downloaded internet outsell physical singles record legal downloads \ufb01 nal week compared singles bought counter week internet thewatershed business music incredibly empowering medium independent art ist home recording longer need truck full money abbey road make cool recording create great sounding personal work bedroom similarly longer need middle man deliver product direct audience internet barriers access dont exist anymorechapter creating effective tools tradenetworking strategies new music business need web site doesnt everyone personal site wwwdankimpel com designed one outstanding students liverpool institute performing arts simon barber musician band leader song writer simon also savvy web master company juicing room wwwjuicingroomcom specializes entertainment clients every objection instigating site easily overcome simon meeting coffee england soon great way folks world wide \ufb01 nd section networking strategies decided tap simons expertise since lectures subject dk give us little overview sb arming knowledge operate web allow forge career without waiting benevolent benefactor approve talent youre webphobic know theres really escape web need embrace make mantra bandartist needs web site soon trying build fan base ideal lowcost way communicate fans advertise gigs sell cds generally promote many bands assume theyre good theyll get picked major label take care hard graft involved indie know get ting signed guarantee getting famous getting cd stores getting paid cds released year mainly people youve never heard ever sells units really grassroots kind operations \ufb01 nding devel oping talent effectively especially local level dk economic rami\ufb01 cations indie artists sb youre independent using internet means distribution anything share revenue product may access large distribution networks marketing muscle major corporations worldwide platform zero overhead keep costs maximize pro\ufb01 sell cds thats lot money far would get royalty rate unrecouped wont earn penny go double platinum ever happens plus indie budgets nobody going bankrupt work like microsoft rolled product country realized defective still time grow artist concept bottom line major labels longer afford dk get sb formed independent label called digital wings label founded philosophy using new technology means liberating new artists traditional shackles industry released album called motion picture band santa carla built quite following web year record came almost two million visitors web site combination good web promotion good search chapter creating effective tools tradenetworking strategies new music business engine work want effectively drive traf\ufb01 c site need three things use good meta tags make good submissions likes dmoz see reference list end chapter siphon traf\ufb01 c popular web sites mp cd baby personal site putting free tracks photo link update regularly able keep percentage fans mailing lists marketing new releases course visited site daily post messages got excellent press america international radio sessions well end sold couple thousand copies made available indie stores series free downloads digital music services across web available buy online itunes cdwow tower records credible retailers support independent artists using net able two uk tours album actually people show gigs like prebooked audience self suf\ufb01 ciency youre prepared sweat art effective way operate dk give us hard facts numbers regarding setting site sb costs setting prohibitive might looking domain maybe year hosting dk ok sounds easy inexpensive far perspective web designer tell us making site alluring visitors sb youre \ufb01 nd someone good sense graphics fonts layout someone understands functionality basic commandments web dont end styleoversubstance situ ation easy spot homemade web sites poor functionality use entrylevel gimmicks poor color schemes unreadable text validate different browsersplatforms web site l get users email address l offer easy ways listen artist l make product attractive l show look like important sound like l acknowledge interact visitors music clips presented crossplatform format mp avoid proprietary formats possible people dont really buy music audio buy whole package make exciting pic says thing include bio get angle tie photo tell visitor represent create mailing list viable way harvest data visitors find much possible fans age location especially town youre playing etc sort music like w eb sites visit lists subscribe stores chapter creating effective tools tradenetworking strategies new music business visit online see cd stocked indie need manage contact list get used idea staying contact large groups people one time youll also need create easy effective way mer chandise way fans buy cds remember people in\ufb01 nitely interested put site message boards use create street team dont forget people music business pure magicput fan base work dk key sites utilized sb cd baby wwwcdbabycom root many great indie optionsa selling point builtin traf\ufb01 c digital distribution services tower records etc become aware local network whats going local bands theyre theyre playing dk valuable promo tools aware sb electronic press kit least one fulllength mp \ufb01 le track cd encoded standard k bit rate entertaining bio written four times four different lengths quotes reviews plus graphics artist photos cover art logoadditional resources tlcoolhomepagescom cool home pages excellent design resource wwwcoolhomepagescomcdacommandments ten commandments design interesting article subject wwwgooglecom google search engine need show wwwdmozcom dmoz humanedited search engine wwwphpbbcom phpbb message board software wwwhostbaby com hostbaby web hosting musicians wwwjetplanelandingcom jetplane landing excellent independent band powerful site wwwsantacarlacouk santa carlas site wwwjuicingroomcom juicing room web company wwwdigitalwingscouk digital wings record label wwwapplecomitunesstore apple itunes wwwnapstercouk napster wwlistencom rhapsody wwwpeoplesoundcom peoplesound wwwgaragebandcom garagebandchapter creating effective tools tradenetworking strategies new music business wwwtowerrecordscom tower records wwwcdwowcom cdwow wwwcdbaby com cd baby fopp unsigned wwwcafepresscom caf\u00e9 press music merchandise wwwgigwisecom gigwise local music community wwwglasswerkcouk glasswerk local music community indexshtml bbc unsigned valuable promotion tool wwwmusicbiasorg musicbias local music business support wwwmarketingyourmusiccom marketing music genius behind cd baby wwwbobbakercom bob baker marketing tips wwwgetsignedcom get signedchapter live venues ventures heart popular music beats within live per formance even engaged career performer odds youre working chapter youll go backstage band gigology since live los angeles would possible go nights year hit clubs every night never see even tiny fraction whats happening town given exhaustive possibilities unnerv ing invited wellmeaning band come club pm monday night catch set im apt home \ufb02 annel pajamas watching news chihuahua dog lap hour resting day ahead say dont go measure importance shows attend im likely go friend performing band im passionate networking strategies new music business im writing something act net working possibilities promising worst time showcase major music city weekends may rank \ufb01 le go party experience music industry profes sionals prefer reserve personal weekend time families hearing bands hard work living one wants work time busy professionals weeknights preferable early show come directly of\ufb01 ce ideal us industry clubs pre fer see artistswhere sight lines favorable sound pristine staff professional accom modating course opposite true would rather chew glass go another show certain hollywood club formerly owned famous actor staff invariably rude of\ufb01 cious makes feel like criminal search creative outlets certain mystique historical otherwise attached places like troubadour los angeles bitter end new york bluebird nashville present theory audiences respond entertainment direct correlation environment see reason mediocre entertainment accompanied laser light shows wows masses las vegasthe audience set surroundings conversely seeing great est band world sleazy club may necessarily showcase brilliance seamy circum stances prepared audience something less one point career los angeles promoting vocal trio original sounda manhattan transfer meets carter family vibe intricate delicate blend far subtle club envi ronment met three members band dinner one night modest japanese restaurant decor including turquoise pink walls black white checked \ufb02 oors devoured california rolls trios leader began bemoaning lack perfect venue asked looked wasabi gone brain restaurant club venue didnt even music perfect deduced later week wrote proposal approached restaurants owners guaranteed way bring people make money one evening busy daytime location sparse dinner business would produce music night bringing production staff sound system charge cover door would go band restaurant could serve regular food drinks desserts pro\ufb01 sales evening performance arrived venue packedso full fact restaurants wait staff panicked friends help serve food group made door evening huge buzz carried successive shows next booked trio small theaters weekend matinee performances since bands setup minimal acoustic could work chapter live venues venturesnetworking strategies new music business around preexistent set disturb physical elements evenings performances los angeles equitywaver houses seats less could sell saturday afternoon also provided concessions merchandise upping take considerably alternative venues creative new venues work multiple artists well managing performer devised worldin\ufb02 uenced brand pop music decided time take music stage couldnt \ufb01 nd adequate venue decided invent complement global grooves invited two acts friendly latin band east los angeles roots reggae group located appropriate venue historic womens club los angeles convinced directors creating event cultural signi\ufb01 cance set sponsorships magazines music store sound company wasnt paying pocket anything venue tickets affordable made three acts included respon sible selling set number assured full house bands would make pro\ufb01 initial sale could also move merchandise plus highpro\ufb01 le showcase concert media attention always recall standing parking lot trio matronly women clubs board directors reggae group arrived sound check looks faces \ufb01 hugely dreadlocked musicians emerged clouds pungent smoke billowed van jah rastafari evening huge success inventing show consider following tips plan create show give show name global music show titled world tribe create logo artwork speci\ufb01 c venue think way outside box ive art galleries fashion shows pet rescue events hear bands write proposal business people always respond better something print consider residency ongoing show one desig nated night per week keep mind natural lifespan events know time move soft ticket one artist thought bigof perform audiences people reality hawaii hadnt yet made impact mainland reputation speak devise way present front many people possible soft ticket refers event people attending alreadya fair chapter live venues venturesnetworking strategies new music business festivalwhere see entertainment well perfect opportunity highvisibility show approached entertainment committee annual asianpaci\ufb01 c celebration los angeles draws thousands visitors proposed presenting artist added incentive offered provide publicity public relations services event free charge able piggyback artists appear ance top event make appear subtly course headlining press stories publicity media saturation able create signi\ufb01 cant splash make soft ticket show work consider following tips creating soft ticket show research demographics dont want present numetal band gathering senior citizens write proposal focusing artist event viceversa play expenses even free necessary make money merchandise sales writeoff expenses value publicity outdoor shows place balladsdevise high energy visually engaging show make attendance stop watch create banner name band hang outdoor events anywhere else play band question audience walk away asking sounded fabulous accepting compliments seems dif\ufb01 cult many performers attended wonderful showcase liverpool england one students set went backstage congratulate terri\ufb01 c enthused nah sound awful couldnt hear monitors forgot lyrics mumbled response maybe honest course thats commendable circumstances show business denigrating performance id complimented unconsciously criticizing taste therefore undercutting enjoyment show ten postperformance tips gracious accept compliments thank person gives remember nonmusic people often less critical enjoying overall gestalt show often noticing mistakes chapter live venues venturesnetworking strategies new music business dont call attention negative conditions club always graciously thank spent good money came see perform youre hanging club performance dont hop table table stay one location let audience members come sign everything often fans pay cd signed artist person would retail online ive worked artists mark cds shows sell hundreds audiences pay opportunity meet artist youre selling merchandise dont handle money enlist help plenty sharpies similar pens hand prudent handing promotional materials upcoming performances venues one youve appeared club owner may frown promotion competing venue cover show clothes jacket change another out\ufb01 immediately performance performance peeves im mysti\ufb01 ed see many musicians swilling bottled water onstage show water wonder understand singer taking swig combat dryness everyone else draining aqua\ufb01 naat otherwise splendid show musical tribute joni mitchell could predict performed lead guitarist would play intro lick check tone song surprise good performance dont telegraph whats coming dont use weedlee weedlee licks singer introducing song music rehearsed intros outros part overall per formance dull selfconscious stage patter detracts performance song intro chance connect another level ten commandments club land dont piss soundman thats asking end less feedback appalling apathy respect club booker eventually house blues honest draw guarantee close friends attendance dont proclaim \ufb01 seat venue gonna slow ya suitable song intro dont rail member press threaten music journalist speak well bands circuit youll bill sooner later unerringly professional punctualchapter live venues venturesnetworking strategies new music business sound check rehearsal conscientious guest list dont demand freebies club devise original ways \ufb01 lling venue club clues goal selling many drinks possible clubs businesses plain simple goal club act thats \ufb01 ne point youll determine whether youre music business bar business act accordingly musician made decent living playing clubs tough markets including new york los angeles order however forced make many concessions art even though wrote songs rare audience wanted party unheardof material covers way go certain vibe club musicians acquire dif\ufb01 cult describe audiences feel read bob malones comments experiences realm chapter success stories realm service course exceptions rule coming band ohio transformed club college town bowling greenhowards club hinto mecca freethinking individuals persuasions los angeles club called limeys hosted hippest ever musicians sunday night jam scenes far perform clubs youre danger becoming part furniture careers built change progression doesnt take audiences long begin take granted youre comfortable club probably time move soundman scenarios list cautioned angering soundman many intricacies dealing technical personnel gig often thankless job accompanied howl feedback singer com plaining cant hear mics dont work monitors fail deliver sound terrible soundmans fault course \ufb02 awless one notices consequently soundmen women tend prickly lot often either oversensitive immune criticism since deal new band virtually every night always new raft complaints excellent idea always hard copy depiction setup mic monitor placements input list emailing faxing information club ahead time possible infor mation web site save time energy take multiple copies sound check case stage manager addition soundman club provides backline drums amps etc better multiple acts show band playing last headlining typically sound checks \ufb01 rst group opens show sound checks last since equipment place doors open time sound check \ufb01 rst objective since sound checks invariably run late everyone favor band arrive together chapter live venues venturesnetworking strategies new music business heres scenario works extremely well present artists club concert stay sound booth soundman adjusts levels line check instrument heard individually band runs song point dont say word soundman simply strong obvi ous presence hovering next board invariably soundman solicit opinion secret stay mum await moment come assure gently correct miscalcula tions mix always thank soundmaneither onstage imme diately performance note email next day sure let booker club owner know much youve appreciated hard work expertise technical staff venue sound stage personnel glad see next time scams envision scenario see solicitation magazine company reviewing type music create send package surpriseyou receive call company executive praises efforts proclaims music top percentile ever received stunning would love opportunity represent wondrous music major players big markets radio record companies etc fact music magni\ufb01 cent even give healthy discount fees usually charges servicesat point red light begins \ufb02 ashing brain money pay money say elo quent one ups intensity fevered pitch spend money make money ive worked insert platinum artist insert another platinum artist im respected business hearing hits believe music make happen music business \ufb01 lled inventive cottage industries however charging naive acts exorbitant fees shop material gray area ive seen many aspiring artist turn bleeding bait circling sharks instance one hollywoodbased pro moter turns pretty pro\ufb01 luring artists gold recorddecorated den pressuring pay services pitch rarely wavers next three days traveling new york convenient miles away meetings already set play material heads major record labels takes money upfront fee staff national nonpro\ufb01 organization songwriters encountered numerous victims particular scamster many reticent complain like scam victims morti\ufb01 ed gullibility youre ever approached anyone business sketchy proposition would advise following first foremost trust instincts chapter live venues venturesnetworking strategies new music business ask names contact numbers clients request additional industry references check online theres site called velvet rope wwwthevelvetropecom mem ber post industryrelated queries prefer remain anonymous asking anyone ever worked dont assume operator legit advertises legitimate music business publication magazines would accept advertising satan paid front exert judgment music business small bottomfeeding sleazes depend upon victims information resources dont afraid ask references verify company persons legitimacy keep mind shortcuts music business nothing ever replace power creating personal contacts network educate business really works dont allow ego sense desperation make decisions compilation cds ok emerging bands youve performed postered pos tured proclaimed pinnacle powers youre starting kick notice youve invited song included compilation cd sure may cost hundred dollars delivered directly hands radio record com pany ar promoters bookers compilations wonderful moneymaking devices ones persuade bands give one song pay anywhere privilege turn producers master man ufacture couple hundred cds give copies bands mail contacts voila theyve pocketed grand process bands copies cd groups whose sole shared merit coming cash pay track course worthwhile legitimate compi lations performing rights societies ascap bmi sesac often showcase emerging bands writers via compilation los angelesbased orga nization la women music lawim diverse highly regarded release neither scenarios cost artists likewise worth cd compilations target speci\ufb01 c local scenes styles music often re\ufb02 ect emerging music community offer effective way groups share costs manufacturing artwork etc likewise certain record companies present emerging acts promotional sampler cds cost bands course latenight television one order everything heartwrenching patriotic songs nearly forgotten hair bands art ists even reduced royalty bene\ufb01 sale cdschapter live venues venturesnetworking strategies new music business lets get real record label exec lis ten disconnected bands one release would journalist really wade groups hope hearing something interesting connec tion producers believe radio programmers record label people realizing criterion inclusion compilations simply whether artist pay fee included generally disdain compilations one latest wrinkles wellworn scam event tiein works like going midemsxsweatemsundanceslamdance well distributing cds everyone sounds good know cds even distributed point wont anyway much baggage might conventiongoer accumulate couple days much actually want take home youre asked participate compilation cd project questions ask producers l type track record industry l acts signed previous releases l criteria inclusion l provide group contact info release l group maintain control songs copyrightask previous releases give good hard listen determine acts youd like share cd space music business way come way youre perceived often included dubious project almost worse heard especially youre sandwiched couple lousy groups compilation cds wonderfully lucrative endeavors producers bands limited economic resources included compilation project may land cd record company exec radio programmer journalist reaches needs coaster cocktail performing rights write songs band need choose performing rights organization youre luck three ascap bmi sesac immi nently accessible believe help songwriter af\ufb01 liate one society surface three performing rights organizations pros dissimilar collect money songwriters music publishers broadcast revenue sources including television radio internet licenses distribute funds members sounds good right keep mind never receive one penny sources af\ufb01 liate reason enough contact soon anticipate cd might receiving kind airplay chapter live venues venturesnetworking strategies new music business ascap oldest largest three organi zations boasts among membership many venerated songwriters history pop music ascap presents showcases unsigned bands various cities around us buckcherry lit gin blossoms save ferris alumni also among exten sive list workshops songwriters music business informational educational sessions guest speakers ascap swapmeet held various cities including la new works heard industry pros ascap governed board directors elected membership reached contacted online wwwascapcom bmi formed alternative ascap origi nally licensed rb country music today equally strong rock pop bmi cosponsors produces live performance opportunities members involved many grassroots events new music nights quarterly program west coast showcases wide variety genresrock alternative pop soul hiphop help expose new talent industrylawyers managers ar publicists journalists well general public large bands played andor signed showcase include counting crows roots stroke train creed contact bmi online wwwbmicom speaking alternatives sesac although widely known two organizations de\ufb01 nitely making lost time aggressive marketing campaign key signings oscar winning songwriter legendary bob dylan sesac writer sesac made strategic alliances host technology companies \ufb01 rst pro offer digital watermarking youre paid every time song aired also offer online licensing af\ufb01 liates online registration works sesac privately held company selective af\ufb01 liates reach los angeles online wwwsesaccom society right contact three examine materials offer concerning pay ment schedules contract length trust instincts remember someone believes performing rights organization one major step ladder businesschapter live venues venturessuccess stories mythology music business huge focus millionselling starsthe bands see mtv vhthose enjoy brief moment teetering charttopping pinnacle success ive reiterated book believe true success stories individuals \ufb01 gure work stay business love remain relevant time able sustain art love chapter pleasure introduce folks whose accomplishments varied wide enduring exemplify networking strategies steadfast commitment determination \ufb01 nd way keep game theres lot learned career journeyschapter jeffrey steele country craftsman songs recorded last three years nashvilles bankable stars including tim mcgraw faith hill montgomery gentry rascal flatts leanne rimes diamond rio jeffrey steele hot country songwriter could possibly songwrit ing success driven californian came two decades broken dreams bustedup bands deals gone sour experiences record executives thought knew country music jeffrey steele important thing song writer needs drive odds instinct keep writing rejection hardships states steele stories stuff turns songs think lot people run things need realize thats youre gonna writing next years independent releases sold web site live shows way procure steeles solo work outlaw lofton creek delivers power jeffrey steele artist backed power major distribution found one song mine played one radio station times week says steele song called good year outlaw outlaw country station theme song next thing know song showing billboard chart completely blue new record takes title track steele notes \ufb01 nally got record store eight years signed major record deals getting records feels good actual piece product walmarts targets chapter success storiesnetworking strategies new music business promote record steele opening shows brad paisley keith urban acoustic guitar youve really got work avows came people connecticut throngs screaming women wanting see brad keith said guys idea know songs whole place singing along stuff new record years ago earned standing ovation stage manager wouldnt let go back encore im getting success shooting foot time perfect born burbank youngest \ufb01 children steeles powers perception honed early observed older brothers sisters heard music recalls songwriter bottom end food chain eating stuff watching learning later things write little brother steele learned vie attention remember \ufb01 shaking hips elvis presley records front whole family brothers getting pissed beating later one familial theme steele referenced town montgomery gentry years ago ageold con\ufb02 ict father son brother father says id watch \ufb01 ght dinner table could never get along ten years went didnt talk dad deathbed morphineinduced state couldnt really make amends could look eye one last time tell writers dont turn way ok write thats big issue life therapy twenty years ago thought knew trying talk like taking wall thought man acting like want right kid dad gave ghost smiled said son let go years ago steele spent dual music career playing bands sunset strip country groups far center la country bars could make living decided concentrate writing songs still couldnt resist offer play bass one sunday afternoon put amp car drove orange country played gig larry parks brother cary hugh wright drums said guys unbelievable next thing know playing every bar town started bringing songs harmonies great onceinalifetime thing boy howdys huge radio hit shed give anything took band top country charts record company wanted band wasnt amenable squeezed polished nashville mold jeffrey steele tells harrowing days boy howdys demise subsequently signed solo deal got worst worst really worse anyone else signed curb records remember guys telling songs sucked wasnt really talented secretary of\ufb01 ce thought chapter success storiesnetworking strategies new music business cute going give record deal things say make feel like nothing meanwhile publishers equally underwhelmed told songs nowhere near market placeoff mile knew loved write gets point either slough think maybe theyre right look criticism see weight guys critics theyll say things discourage years become \ufb01 day nashville jeffrey behind board producing record rca keith anderson singersongwriter hes known six years penned beer run george jones garth brooks hed originally gotten production deal sony talked said youre going make terrible im never going get deal said dude sign production deal sony youre stuck wont option play anybody else well pay money \ufb01 rst couple tracks get everybody interested well get see showcased every label town champing bit six years ago left center promotional tours record production gigs steele tightly structures songwriting time unusual three writing appointments day like im doctors of\ufb01 ce people say anything artistic youre writing much first im freak answers question laughs steele \ufb01 rst appointment day productive inspires next two sessions keeps adrenaline running late hours know theres something wrong cant shut brain im getting writing three morning want keep practicing lyric craft get good want use less words say things instead two lines try get two words uninitiated may mystery jeffrey steele bmis songwriter year one nashvilles proli\ufb01 c talents chooses tour hin terlands instead luxuriating town writing songs checking mailbox must presumably formidable checks explains touring stirs creativity particularly small towns people come invariably tell lives cousins uncles talk something happened town theres something said playing three hours sitting autograph line two always give everybody time day let tell tell like say something positive make time theyre happy see im happy lot people get burned get stories titles gives example song cowrote marv green writer lonestars hit amazed autograph line guy comes introduces wife beautiful lady could tell theyre deeply love says could anyone school said get said alls love mental memory bank went wrote song couple days ago talked abouthe never riches promised life good herchapter success storiesnetworking strategies new music business steele reveals hes always prepared write thats anyone say even im hour late writing session im home working idea want seed something go putting minutes day playing trying think thing keeps mode time ready write something even crappy stuff youre letting thoughts hope new guy comes hes also armed dangerous focused bunch stuff wants write hit songs steele shares sometimes cowriters expect words lay golden egg explains thats hardest partwhen someones looking going going happen im like going happen intend lay golden egg im going privacy home im going front pal lindy robbins late bloomer productive times los angeles songwriter lindy robbins shes penned two songs shine carry clay aikens platinum debut measure man cut jesse mccartney disney soundtrack \ufb01 lm cinderella story shes renegotiated new publishing pact media powerhouse universal music publishing group shes preparing move home shes purchased san fernando valleys trendy noho arts district make mistake lindy robbins overnight success native angeleno relocated new york city robbins tale one fate faith trust timing two years ago money confesses late bloomer publishing deal rodgers hammerstein music new york writing theatrical cabaret art songs making living performing wasnt quit performing decided wanted write pop songs moved back la without deal without money without anything \ufb02 uke entered song unisong international song contest grand prize subsequently invited ireland celtic harmony weeklong songwriter retreat organized music bridges usa conjunction irish rights society imro cast intensive writing sessions hit makers around world moved back la fork laughs robbins onstage singing lamont dozier brenda russell happened fast ireland robbins met rowana gillespie polygram music publishing signed deal company since merged universal music publishing group addition music publisher robbins retains services manager still never stops hustling opportunities matter cuts never stop working songs emphasizes makes regular trips new york meet personally ar executives various labels ive found make connection theyll lis ten song later explains talk life second human thing robbins earned serious music city credentials faith hill cut back international recognition dreamed four half chapter success storiesnetworking strategies new music business millionseller cowritten recorded dance diva anastacia unless cowriting artist generally write songs speci\ufb01 c performer mind cautions writers becoming terms genre whores explains sometimes certain types songs radio try copy trend time youre shopping songs trend changed time youre pitching ar execs heard hundred songs want hear something different sometimes start trend shares many occasions necessary turn business mind order create like write great song today sometimes \ufb02 ow think businessjust write songs get cut theyre fun global perspective vital pop songwriters says robbins ive great things us like clay aiken faith hill ive gotten stuff england france australia important inves tigate avenues rather us go london write dance pop go nashville write country new york write urban thats keeps fresh robbins ability work quickly makes burgeoning catalog song day easily avows im writing trip ill songs percent get placed makes huge difference writes melodies lyrics generally prefers write producer dont work writers except im standards country af\ufb01 rms robbins notes production key getting cuts thats biggest lesson learn good songs tracks werent good enough songs wouldnt get placed demos sound good records robbins says common practice songwriters create words music share percent writing credit producer craft de\ufb01 nitive track worth without great demo song cant get placed mercantile world highstakes songwriting robbins testi\ufb01 es regular trips music city keep centered get burnt writing tracks go nashville get room great collaborator plays piano guitar training theater cabaret comes play anywhere else country songs funny clever pop cant poetic love nashville theyve opened arms universal of\ufb01 ceand faith hill cut didnt hurt one recent trend robbins observes coun try reverting rootsier style im valley girl laughs cant relate much whole southern experience try write know thats love collaboration write somebody really understands help express im writing something urban ill write someone understands world expands excel pop rock people bring expertise \ufb01 nding collaborators something different get lot versatility catalog one newest collaborators popmeister david frank writerproducer probably best known genie bottle song launched career chapter success storiesnetworking strategies new music business christina aguilera david clicked page creatively \ufb01 rst thing wrote together got cut new artist bree larson ive found helps write someone get imme diate response collaboration thats encouraging might someone youve written seven songs none gotten cut think maybe best situation ease com fort creative process another collaborative plus sometimes give one shot im type person likes go something think someone keeps saying thats interrupts \ufb02 ow want go home always fun robbins writing tools simple spiral notebook pen rhyming dictionary thesaurus small digital recorder pages ideas notebook every time something comes add digital recorder holds songs song demoed robbins erases work track make room notebooks dating back good thing using notebook go back look work pages explains also adept writing tracks especially pop dance music close eyes completely sing whatever comes mouth record ideas go back \ufb01 nd verse prechorus chorus like thinking process increasingly rare breed successful song writer producer whose strength uncanny ability write songs virtually cir cumstances wide scope styles still everyday lindy robbins line plenty days im driving writing session im thinking want go mall want go movies want go beach want mommy force work hard luis resto lost music luis resto resplendent detroit piston jer sey stepped accept award barbra streisand announced lose mile recorded eminem song year th annual academy awards resto detroit native forties worked artists anita baker patti smith collaboration marshall mathers eminem jeff bass hes improbable elated oscar winner started piano nine resto recalls brother mario biggest in\ufb02 uence since guitarist songwriter restos parents always supportive boys musical endeavors father even took see jimi hendrix cobo arena luis still elementary school remember leav ing parking lot guy came around checking everyones car horn tones honked intro purple haze laughs fusion music john mclaughlin jan hammer herbie hancock mesmerized young resto needed synthesizer said dad expensive theres something half years age began playing arp odyssey police auction fender rhodes bass amp electro voice mic came possession thats chapter success storiesnetworking strategies new music business began stay brother marios group resto relates remembers \ufb01 rst encounter resto friends piano student friend called said youve hear guy use record resto re\ufb02 ects think appreciate time pain ass boundaries mid resto spent seven months los angeles playing productions pondering move west coast received offer return home play patti smith patti \ufb01 gure resto offers brother brought home patti smiths horse id listen stare cover years later opportunity highlight restos longtime colleague joel martin connected resto marshall mathers worked eminem show mile collaborating songs score latter additionally worked cent shady records signees signi\ufb01 cantly resto acknowledged cowriter fact bears enormous economic implications mathers could certainly play way chooses takes high road know side well resto muses dont say bad way thats grew accustomed heres grand payoff would thought dont get kind record sales marshall give remarkable work mathers full thats hes concerned daughter halie thats main occupation getting next beat head getting next project artists label sessions begin around p ill walk hell drum machine tapping something boot keyboards melody strikes thats good sign evolve anything next half hour hes busy adding beat started might completely differ ent ends always dat going catching everything thats happening collaboration brought resto stage kodak theater accepting award streisand ive done every gig book weddings solo gigs knights columbus halls saw could think daddydaughter dances way evergreen thought oh god artist whose music used play weddings thats pretty classic bob malone road warrior everything bob malonefrom stride in\ufb02 uenced piano chops gravelly dixie growlseems like compass pointing toward crescent city sounds deceiving malone actually new jersey hes spent number years los angeles lived extended periods new york yes new orleans new york new orleans cities pianos every club malone intones new york one wants carry gear new orleans many piano playerschapter success storiesnetworking strategies new music business seasoned road warrior toured neville brothers opened rev al green manhattan transfer performed countless festivals including kerrville falcon ridge shows malone electrifying live performer learned drop proverbial hammer opening shows dont want hear opening act explains win often traverses crosscontinental road performing dates year headlining artist con cert venues seat anywhere patrons rooms biggest impetus tour states malones two delta moonchartmaker releases darkest part night bob malone combined relentless touring schedule earned tenacious troubadour national audience envi able sheaf kudos given impressive sales \ufb01 gures touring visibility would seem signing major label could take next level ive come close lot times confesses dont know change new record ive problem classi\ufb01 cation theyre sure thats reason ive independent choice independence lazy malone books shows handles promo sets interviews drives van even chronicles road adventures vivid prose web site wwwbobmalonecom hes contributing new book working musicians due fall harper collinsselling cds road accounts half malones income \ufb01 rst started touring lot gigs didnt pay opening acts cool rooms got seen id put good enough show every one would buy record id go freebie gig make sales lived last step turning strong live act desperation wonderful motivator prior road gigs malone admits spent time sitting around la awaiting magic record deal top gigs shit hated \ufb01 nally said im going cant taken seriously artist go play cover tunes six nights week smell audiences know guy artist changed decided anymorethen taken seriously summary four artists epitomize one crucial career key never got business instead discovered viable avenues project music also epitomize sterling networking strategy left standing succeed chapter success storiesgo wanna go leaving security home moving another location daunting reality may well necessary advancement career chapter evaluates scenes major us music capitals one sixyear span \ufb01 rst music business incarnation songwriter musician performer lived survived three music capitals today author journalist make home los angeles daily contact new york nashville travel interviews projects eventually aspire professional music career need correspond pitch visit write record live one three dynamic cities aspirations guide must search ideal locale talents willing pack tent move verdant pastures go make happen arechapter nashville nashvilles reverence song form cannot overstated days country music city either christian pop rock gospel alternativeand especially altcountry americanaare also viable forms nashville city surprises rumpled looking gentleman sitting next coffee shop could major songwriter executive record producer certain parts town near music row similar college campus many patrons restaurants music business nashville respects longevity credibility personal relationships key friendly songoriented town major music publishers of\ufb01 ces many smaller boutique companies exist plan visit need research publishers contact regarding submission policies possibility setting appointments visit songwriting business localized stretching along music row th th avenues refurbished homes newer of\ufb01 ce suites hotel rooms cost per night budget motels tend outlying parts town youre planning sightseeing youll probably need car nashville songwriters association international nsai valuable resource schedule trip spring nsai produces annual event tin pan south slate hit songwriter concerts showcases open mics classes panels workshops another new nsai program songwriters symposium twoday fall event offers pitch chapter go wanna gonetworking strategies new music business sessions evaluations music citys esteemed publishers record company executives songwriters guild america sga another strongly supportive organization slate song critiques askapro sessions connect edu cate writers member take advantage events reach online wwwsongwritersorg events town include nashville new music conference also held midfall four day event major industry participation highlights include trade show technology forum panel discussions mentor sessions keynote speakers studio tour nashville information wwwnmc com americana music association conference held fall features industry professionals array panels discussions performances speci\ufb01 c americana format information wwwamericanamusicorg songwriter musicians guide nashville authored sherry bond allworth press invalu able resource visiting songwriter showcases open mics variety places perform including famous bluebird cafe nashville scene published every wednesday free bookstores coffee shops comprehensive listings clubs writers nights going every night week including open mic events line sign play evening however planned hosts \ufb02 exible persuasive personality cancellation might get chance perform night youre going town days check chosen club early stay see scheduled perform later visit set may consist two four songs original cover tunes bmi music connection showcase series held various venues nashville features todays hit songwriters well upandcomers free open public bmi acoustic roundup held sec ond thursday every month sutler pairs top names songwriting soontobreak tal ent bmi roundtable created order arm songwriters powerful information help navigate todays highly competitive music indus try roundtable topics include performing rights bmis history nashville music industry operates tips help become songwriter want held second monday month bmi nashville of\ufb01 ces open songwriters information contact bmi writerpublisher relations department bmi songwriters workshop jason blume generally held second tuesday month invites songwriters serious committed successful com mercial songwriting attend workshop jason blume examines components hit songs covers variety topics including song structure lyric melody writing techniques musical hooks writing heart radio effective demo recording among others cost attend seating limited advance registration requiredchapter go wanna gonetworking strategies new music business decide move nashville temperate climate housing moderately priced countryside stunning keep mind although music industry free thinking southa locale historically progressive nashville arts entertainment communities would indicate nine steps nashville dont expect open doors overnight nashville town respects history longevity credibility take enough money least give illusion level success possible stay friends youre planning sightseeing youll probably need car business people incredibly savvy dont assume youre dealing yokels nashville doesnt care youve done elsewhere use performing rights organization help open doors contact well advance visit dont expect perform miracles behalf nashville songwriters association international nsai valuable resourceespecially youre member membership information contact check web site wwwnashvillesongwriterscom members receive booklet joining features variety informa tion including hotel listings information maximize visit nashville people nashville rip asking pay get deal even name production costs taken ride yes may wind cd wont major label may paid four times much record always wary name droppers people make promises price tags attached music row trade publication excellent source insiders look nashville music scene learn names positions movers shakers demos simpler better since nashville song town demo doesnt highly pol ished guitarvocal pianovocal often suf\ufb01 cient nashville takes music industry seriously caliber talent stratosphere theres lot pride quality dont ever sell short people wear cowboy hats boots nashville tourists new york tin pan alley brill building broadway greenwich village music soundtrack suc cessive eras history big apple since new york center theater world many outlets opportunities songwriters composers create stage cabaret pop world well represented hiphop rb cur rent climate heavily favoring songwriterproducers major music publishers midtown manhattan chapter go wanna gonetworking strategies new music business center songwriting world greenwich village caf\u00e9s coffeehouses clubs presenting wide spectrum acoustic songwriteroriented shows downtown new york songwriters circle showcase held twice monthly bitter end bleecker street village features many citys distinguished songsmiths alongside upandcoming singersongwriters artists selected via word mouth tapes heard listening sessions book eight months advance \ufb01 nd information wwwsongwriterscirclecom umo music presents sunday showcase baggot inn w rd street sullivan street thompson street sundays winter weather bad summer signup door information wwwumocom cornelia street caf\u00e9 cornelia street presents songwriters beat monthly showcase original songwriters booking information www corneliastreetcafecom wwwsongwritersbeatcom sesacs writers storm currently residence cutting room features four organizations writers showcase format due success club alumni norah jones living room also village home major scene ascap writers night intimate showcase series designed feature talents promising new songwriters providing opportunity forge new relationships laidback supportive atmosphere currently held every \ufb01 rst tuesday monthsongs footlights ascap manhattan association cabarets mac instigated showcase program cabaret theater songwriters present new material audience publishers songwriters ascap foundation also presents showcase series thru walls spotlights concerttrained composerperformers cross genres contact society wwwmacnyccom bmi late lehman engel joined forces cre ate setting new writers musical theatre could learn craft bmi lehman engel musical theatre workshop continues \ufb02 ourish consid ered foremost training ground new writing voices bringing forth musical milestones chorus line little shop horrors nine ragtime workshop presents series inhouse cabarets attract music theatrical industry attention workshop participates formally informally various new york regional theaters devel opmental programs contact bmi via email theatreworkshopbmicom songwriters hall fame songwriters hall fame national academy popular music sponsor meetings music indus try professionals enlighten educate attendees craft business aspects songwriting held eight times per year followed open mics cohosted bob leone april anderson information contact bob leone via email infosongwritershalloffameorg current members national academy popular music napm also eligible submit songs songwriters chapter go wanna gonetworking strategies new music business hall fame songwriter showcases held four times annually youll need submit materials least two months advance shows visit manhattan youll want cheap check web travel service like expediacom travelocitycom best deals hotels shouldnt priority since dynamic city never sleeps paraphrase kander ebb youll \ufb01 nd many things occupy time entertainment businesswise city breeze navigate via taxis welldesignated busses subways taking anywhere need go inspiring walk remember numbered streets descend head downtown cant get lost pick copy venerable village voice club listings decide move new york rents among astronomical country musicians opt live brooklyn queens cheaper across river new jersey trains whisk anywhere quickly acoustic artists distinct advantage living new york hub activity close prox imity northeast towns especially boston strong performing scenes multitude venues singersongwriters los angeles los angeles package town songwriters art ists succeed somehow connectedto artists producers \ufb01 lms media ever mutating city angels perhaps appropri ately city angles song essential component writerproducer teams two three specialistseg producer groove maestro lyricistare highly valued era single unconnected song ever existed supplanted corporate highstakes publishing environment film television explosion \ufb01 lm network cable television video games spawned innumerable outlets new music songs songs mirror whats happening charts writing edgy alternative rock singersongwriters requested easily placed check www\ufb01 lmmusicworldcom songwriters guild america sga pro duces variety educational events including askapro series sga membership available hollywood of\ufb01 ce unfailingly writer friendly environment always ongoing classes well contact sga online www songwritersorg another local songwriting group produces well regarded activities including ongoing songwriter showcases educational events web site says la songwriters network wwwsongnet org seeks establish develop promote sustain songwriting community los angeles global songwriting virtual cybercommunity free lowcost access tools required improve craft build successful careers host promote workshops events importantly give back world better music better lyrics greater positive chapter go wanna gonetworking strategies new music business wholesome uplifting sincere genuine musical artistic creation expression performing rights belong ascap try plan songwriting trip around general member meeting held la every year early february year round ascap hosts educational events including music business songwriters studio plus highly regarded acoustic showcase quiet set show spawned spinoff cover series celebrates writers whose works covered prominent artists past participants included vonda shepard jill sobule willie nile joseph arthur sixpence none richer jonatha brooke ben harper catie curtis allen shamblin deana carter rufus wainwright john mayer bmis contributions los angeles night life continued highoctane showsbmis circle songs songwriters club pick month among themare showcase tickets town information available bmis web site wwwbmi com wwwcircleofsongscom sesac west coast of\ufb01 ce located santa monica begun presenting highly regarded industry showcases edu cational events members get connected past years music connection magazine measured pulse las music business music connection publishes special editions throughout year including guide music publishers music supervisors open mics showcases song biz column domain information performing rights organizations publishing companies show cases read current issue online www musicconnectioncom call subscrip tion information distances los angeles vast music community spread beach towns santa monica venice inland west hollywood hollywood central silverlake san fernando valley especially universal city studio city north hollywood acoustic performers lil hals guide wwwhalsguidecom de\ufb01 nitive resource locat ing open mic showcase clubs taxi independent ar service holds annual convention road rally fall weekend classes panels pitch sessions etc member attend event free check wwwtaxicom events early stages development includ ing songsalive expo independent artists www songsaliveorg loyola marymount law school california lawyers arts present industry panel fall excellent networking resource lastly ucla extensions music business programs pres ent one free day songwriter events every september promote upcoming classes decide move los angeles may remind fable blind men elephant every part touch feels different live roaring city tran quil suburbs beach small town high hills neighborhood palatial mansions deep inside barrio still within city limitschapter go wanna gonetworking strategies new music business emerging cities population atlanta thirty ninth largest city united states supportive network musicians clubs radio publi cations city help set apart rb artists songwriters atlanta georgia become musical capital new south ludacris outkast p diddy homes home soul musicthe black crowes collective soul indigo girls shawn mullins elton john john mayer base operations well one things made easier bands emerge possible survive abundance local clubs feature live music east atlanta little five points midtown comes hiphop atlanta unrivaled rappers artists may started big apple city angels migrated atlanta another extension atlanta music scene ground dance clubs djs another supportive outlet helps atlantas music scene thrive local radio album wrasfm ga state universitys studentrun station x wnnxfm citys alternative station given local bands chance heard album georgia music show x gives bands airtime local heard via stations internet site xcom sponsors localsonly stage atlantas annual music midtown festivalall map visiting musician songwriter aspiring executive success determined inter action people meet imperative homework visiting locales make strong enduring impression youre follow keep touch contacts leave ascap bmi sesac members make visit performing rights organiza tion \ufb01 rst stop realistic dont expect perform miracles behalf music conferences maybe youre prepared make move yet major recording capital youll need contacts music conferences proliferate genres music dedicated web search display events coast coast invaluable opportunities make lasting contacts information contacts gained attending songwriting conference cannot overemphasized place meetits empowerment sense community joy belong ing many participants share come away sig ni\ufb01 cantly inspired experiences annual events two come mind quickly durango song expo wwwdurangosongcom name would indicate \ufb01 rst held durango colorado locale shifted telluride organization producing songwriting event wine country north santa barbara imagine chapter go wanna gonetworking strategies new music business combination hundreds songwriters endless bottles great wine durango folks pride limiting number registrants everyone opportunity songs heard industry reps nashville los angeles pros writ ers tend slanted toward countryrootsamericana create \ufb01 elds youre luck panels cover everything copyright basics promotion publicity hit songwriter concerts long nights guitar pulls many rooms second events west coast songwriters conference wwwwestcoastsongwriterorg seminars song screening sessions songs reviewed performance showcases oneonone sessions concerts conference wellspring opportu nities songwritermusicians attend event close enough los angeles draw strong crosssection hollywood publishers record label execs vibe conference endlessly supportive theres respect songwriter goes far beyond monetary commercialization many types music represented tips maximize conference experience bigger necessarily better smaller regional conferences valuable huge confusing cattle call plan plan plan generally save big bucks registering early minimize lodging costs sharing rooms staying friends dont assume youre staying hotel conference held youll pay less group rate check possibilities online sometimes youre better booking room stay hotel event held specify youll quiet area folk alliance conferences unusual musicians jam night consequently quiet wing hotel reserved require sleeping silence research anticipate classes panels work shops want attend often valuable events happening purpose open doors windows pressing press kits cds everyones hands offputting often leave conventions overwhelmed appreciate someone asking card contacting next week im deluged mixers social events key component conferences conventions save energy late night schmoozing return home dont procrastinate file names contacts made chapter go wanna gonetworking strategies new music business write thank letters panel participants whose presentations particularly enjoyed valuable contacts probably attendees dress comfortably distinctively project vibe possible set meetings advance event proffering invitation meal pay generous way interact booth areas also valuable places meet people natural setting especially slow times lunch hours see volunteer assist event conferences comp volunteers world beat teach students uk norway germany japan philippines us emphasize pop music global phenomenon sometimes successful one part world spreads across continents times payoff localized music industry professionals need apprised explosive potential world markets many examples us artists \ufb01 rst became successful uk struggling sideman little richard jimi hendrix came prominence uk returning conquer states monterey pop festivalin following decade aspiring rock singer ohio chrissy hynde moved akron london form pretenders similarly successful stateside breakthrough britain lowly ramones jokes hometown blew away english audiences inspired whole generation punks returning leatherjacketed triumph native new york market songs worldwide los angeles songwriter mich\u00e9le vicemaslin made living years writing songs global markets uk denmark spain scandinavia belgium holland whats secret pitch uk magazine songlink says ive gone midem six times went music bridges trip ireland dpop writers week denmark know ar people world solicit signed publishing deals would \ufb01 nd local pub lishers country id call send songs also id buy international music trades really research proactivity leads contacts vicemaslin says personal relationships music busi ness people worldwide sustained \ufb01 rst huge us hit songwriting career spanned plus years a\ufb01 eld londona pop dance techno music centeris cowriters mecca since much pop recording project oriented liverpool manchester also chapter go wanna gonetworking strategies new music business vibrant music scenes stockholm sweden emerged pop capital past decade dont rule tokyo japan seoul south korea china becoming major world power matter time theres blingbling beijing begin global music education reading trades billboard listing world charts check vicemaslins recommended publication songlink listing acts worldwide need material also search internet many variations theme business music different city state country however real toolscontacts people skills persistence dedicationare absolutely identical matter market youre inchapter de\ufb01 ning direction youve hopefully absorbed enough positive information help make real choices career youve banging head wall trying make things happen perhaps time inner dialogue easy ignore things dont exist writing goals ambitions hopes dreams \ufb01 rst step planning year spend last week december devising list want happen upcoming year whether new position show id like produce artists want interview book want write twelve months later im always amazed see although new benchmarks id set may reached many others efforts behalf primary goals secondary events occurred motion begets motionnetworking strategies new music business stir universe transmitting expending energy correctly know may sound like california newage malarkey try focus ing devoting energy achieving goals weekly daily monthly todo lists effective ways track progress remember small things accomplish eventually add following questions answer questions artists important career life successful music business practitioners go one comfortable situation another would ing move another city go road leave friends family behind pursuit dreams make happen discussed earlier book music business centers creativity creating scene hometown similar bands media artists help attract attention music takes willingness proactive work tirelessly certain personality convince others work good reference points music style viable new audiences remember buyers music progressively younger performing regionally imperative expand audiences live music may even cost travel another area perform long run well worth investment making much money working straight job point youll need de\ufb01 ne strictly music professionalsink swim time dif\ufb01 cult devote eight hours day working someone else attempt music full time may need cut job looseusually harrowing often necessary proposition improving chops classes workshops lessons essential pursuing art also making new contacts aspirations viable dreams marvelous live moment well great thing outreach personal contacts networking strategies practice every single day life others like working even talented musician wont get work one likes around los angeles example talent pool phenomenal goes far beyond technique comes time call players highpaying sessions vibethat best musicians also bring enthusiasm cando attitude make everyone feel like theyre winning team vibe intangible quality energy aura something makes others respond youthe chapter de\ufb01 ning directionnetworking strategies new music business elusive star quality detect cant explain still aspire career major recording artist others need feel coming fear success many ways sabotage intentions either consciously unconsciously using alcohol drugs overeating taking health risks obvious alienate others forget return tele phone calls general take care business may feel deserve successful psychologist psychiatrist least trained accredited one know much harder successful success lose many friends failure expected others resent intimidated may dif\ufb01 cult decide whether people like position talent reward perils instant fortune well known questions aspiring moguls read trades every week know names movers shakers music business track movements study pictures able recognize sight necessary relocated music center discussed many times book either create go recognize talent others try predicting movies well singers selected american idol shows ilk usually correct champion sell artists make mistake sales able convince others transmit enthusiasm emotion major attribute music industry professionals present correctly music people recognize others hip fastmoving world straitlaced suitwearing businessman may alienate musicians even youre side desk youre expected look handle economics planning strategizing tracking income expenses valuable abilities anyone hoping handle earn large sums money go \ufb02 ow virtually every situation music business happens last possible second overly rigid therefore detrimental environment plans always changing musicians typically follow clocks working requires understand ing creative chronology see big picture artist managers handlers talent must able deal details hand also must able visualize occur much road requires master plan capable longterm commitment others chapter de\ufb01 ning directionnetworking strategies new music business time devote career virtually impossible launch viable enterprises dont time energy cannot buy way business insular relation ships run long deep enterprising enough create niche market music business utilizes everything voice performance coaches dentists specialize trum pet players teeth possibly skill could tailored music business rememberthere rules creativity devising outlets applications talents teamwork \ufb01 lm business music business prob ably interactive enterprise entertainment industry artists visible tip iceberg sup ported immense cast players may less evident none less equally vital cases probably enjoy longer careers artist section examines principal players two sides one youre artist needing engage team members two necessary quali\ufb01 cations want work essential \ufb01 elds management need \ufb01 nd agent manager say need duties responsibilities quali\ufb01 cations totally different first managers back day managers often solo operatorssavvy visionaries would attach selves artists guide every aspect artists career longterm relationships norm brian epstein beatles colonel tom parker elvis albert grossman bob dylan interestingly enough grossman never used term manager preferred general works artist describe duties manager many things counselor sounding board partner svengalidepending course needs artist employee hired artist oversee elements need manager easy longer run busi ness affairs youve become successful artists tell think need manager \ufb01 rst question always much income currently generating answer none nil nada correct response need manager ive done everything within management sphere hand holding brow beating booking dates hauling gear bailing clients jail question manager answered phrase whatever necessary would always give keys house artists managed case needed safe peace quiet place laundry handling clients signed record deals taxing existence discovered spending time chapter de\ufb01 ning directionnetworking strategies new music business label artists learned events projects tours went well always artist things fell \ufb02 less successful always management manager take blows artist look manager manager interested act best sign biggest one necessarily ive known new artists signed highpro\ufb01 le managers fared poorly managers attention invari ably focused bigger higherearning clients ones still struggling \ufb01 nd audience technically anyone call manager quali\ufb01 cations whatsoever thats dicey proposition new artists better manager wrong one inevitably alienate need cul tivate record labels rarely sign artists without proper management place sometimes ar executive interested signing act without management recommend someone knows excel lent way come position power beware manager comes simply sign label however unknown unscrupulous ar execs cahoots managers skim split per centage signing bonus offered record label happeneda good manager long term sympathetic artist see big picture facilitate wide range scenarios negotiating record deals sync licenses publishing touring great manager doesnt need know everything know \ufb01 nd everything takes earnings exchange expertise want manager managers special breed business organized understand business works well connected aggressive irrepressible necessary attributes managers hard driving street hustlers smooth ivy league law school graduatesbut capable multitask ing recognizing talent knowing make good manager says yes virtually situation \ufb01 gures make lawyer lawyers music business different law yers civilian world paid hourly retainer basis reputable lawyers los angeles shop packages labels beware upfront fee donald passman author need know music business highpro\ufb01 le hollywood music business attorney whose reputation chapter de\ufb01 ning directionnetworking strategies new music business irreproachable jay cooper another highstakes player peter paterno talking major billings services probably excess hour unless youre negotiating multimillion dollar agreement doubtful need someone level end spectrum cadre eager young lawyers fresh law school eager earn reputation highstakes music world charge fraction fees often lawyers clubs discovering talent operative music business lawyer label familiar may advantage keep mind major labels hire lawyers work simply keep pocket comes time negotiation deals artistsa distinct disadvantage clear con\ufb02 ict interest good lawyer necessary time sign contracts ive seen sympathetic lawyers defer billing altogether relationship artist money problems agents agents work buyer period yes youll need agent successful major deal ready tour otherwise may better booking agents extremely selective generally sign artists know work speci\ufb01 c markets rarely take chance unknown elements relationships case agent buyer state california agent posts bond state order licensed quali\ufb01 ed holdover dark days movie business possible someone agent managerthis considered con\ufb02 ict interest agents generally earn artists gross earnings performances deduct expenses incurred well agent takes clues manager \ufb01 nds fees necessary far artist travel audience speci\ufb01 cs packaging plans recording touring special needs plus sound lighting effective agents highly specialized dealing speci\ufb01 c genre musiclatin jazz world rock example quali\ufb01 cations agent youre probably already booking bands shows parties publicist need publicist story tell product sell nothing could counterproduc tive engage pay publicist garner national publicity anywhere potential buyers go hear music buy cd good publicist map campaign gener ally two three months duration work shorter period concentrating local regional national press publicity campaign generally works around release cd andor tour publicist develop press materials advise photos bios chapter de\ufb01 ning directionnetworking strategies new music business press releases often generate relationships music press see press kits section chapter generating materials major publicists get major results journal ist interact daily variety publicists major companies hollywood small indie operators publicists also specialize youre speed metal example wont want publicist operates cabaret world per week threemonth campaign would ballpark artists responsibilities artist likely take many duties onset career valuable youll handle endeavors entails choose hire functionaries take chores youll know expect day uneducated artist long gone todays successful artistswhether independent signed labelsask questions theyre snowed smoothtalking con operators bullied doubletalk learn different aspects career stronger always music happening youre making headway meeting operatives come quickly naturally trust instincts work people share common philosophy ask truly person trust represent get job mentioned introduction book rarely see listings posted record company jobs theyre far especially age layoffs consolidations reason theyre generally \ufb01 lled within business whose motion upward lateral executives jump position position various companies career \ufb01 rst position ever held business performer songwriter selling advertising recording demo services studios equipment manufacturers los angeles songwriters showcase songwriters musepaper wages lowly minimal weekly draw plus com mission sold collected initially earning little position work parttime job night able afford work almost free day holding two jobs struggle knew build credibility industry id begin somewhere internships timetested method industry employ free labor cal poly pomona college often teach students hold internships labels music publishing publicity companies important realize often order get job business must \ufb01 rst job business work within paradoxical conundrum youll start somewhere keep mind companies leery hiring musicians songwriters may agendaschapter de\ufb01 ning directionnetworking strategies new music business youre located outside major music capital still meet regional promotional sales representa tives record labels turnover rate publicity departments tends high write talk great phone apply area clips articles youve written local school paper helpful indications interest ability write music record labels music publishing \ufb01 rms obvious places apply music becomes component businesseseg coffee companies like starbucks retail outlets fashion designers sporting eventsa forwardthinking aspirant opportunities advance little job security entertainment posi tions priority may need rethink strategy security need come everincreasing list contacts land job music business youll need devote fully company hires time realistic enough know jobs tenuous best belonging industry organizations widening list social business contacts observing patterns startup companiesall create atmosphere information job effectively noticed bosses superiors everyone else interact youll way uppersonal references always strongest calling card position put people together spe cial gift valuable attribute music business networking pro creative con\ufb02 uence would caution always aware balance relationships individuals use one reference let give example \ufb01 rst began managing artists musician somewhat questionable character told good friends promoter handled variety door festivals call use name urged called promoter dropped musicians name absolute silence took entire conversation recover gaffe found defend reputation stranger id dropped name someone respect wrapchapter networking strategies new music business five tips personal references people prefer music business friends peo ple enjoy working become whole person ladderclimbing opportunist musicians curious creatures often lend services people projects believe regardless immediate \ufb01 nancial incentives give take barterill play project play mine factors advantageous upand coming artists friendships camaraderie among musicians enduring force ask someone reference run risk putting uncomfortable position although suggestions may well lead conclusion better let make recommenda tions people like ideas best notice others use reference sometimes brush really referral someone submits music project clearly right rather rejecting often confounded listener might interject perfect \ufb01 lmtv placement means nothing aware personal relationships volatile shifting planning interview hit songwriter id never met whose cowriter top hit happened old acquaintance mine night prior interview happened run friend alerted potential lawsuit brewing two massive chasm friendship gone next morning trumpeted longterm friendship cowriter would uneasy session back home \ufb01 rst book networking published returned visit hometown lima ohio interviewed entertainment editor local paper youve done career isnt realis tic people insisted disagree world commitment resourcefulness imagination creativity shared trademarks contemporaries work safety net guarantees rules predestined career paths follow road golden years teenager cloistered room musical instruments magazines records little stand could forge career obsessions father used remark youre living dream world totally correct dreamed living new york hollywood life far beyond corn\ufb01 elds oil re\ufb01 neries surrounded staying hometown creating outlets art music locally wonderful thing everyone needs love music incorporating fabric life may ful\ufb01 teaching music performing local church choir singing senior citizen homesall worthwhile outlets talented people allow music ful\ufb01 elemental endeavor make others feel good sharing soundchapter wrapnetworking strategies new music business making happen decentralization recording industry may necessary move music capital scenes developed unlikely places recent years omaha nebraska akron ohio austin texas chapel hill north carolina sacramento california athens georgia among prominent make happen sizable audience support musica cdbuying concertattending audienceparticularly large college university nearby local media promote music scene visual artists identify audience hungry culture enlightenment prerequisites scene chris stamey produced artists including whiskeytown yo lo tengo alejandro escovedo forefront rootsdriven sound chapel hill north carolina stamey lived new york playing big stars alex chilton forming dbs north carolina refugees peter holsapple rigby gene holder years big apple stamey returned north carolina coming back south great stamey enthuses gain two three hours every day much easier get things done whether going get gar bage bags meeting someone lunch dont wear armor much love new york fertile stamey observes north carolina necessarily next musical mecca lot things seem like movements one person might one club owner making stand couple musi cians bring wurlitzers play certain way life songs music comprise compass guided chris stamey back north carolina playing alex chilton asked didnt live new york la stamey recalls said good things come provinces barsuk records began venture josh rosenfeld partner christopher possanza release album band busy monster taking name russian word badger label based seattle home death cab cutie jesse sykes sweet hereafter rilo kiley nada surf many others future soundtrack america fund raising compilation rem tom waits might giants others one newest projects rosenfeld explains label \ufb01 nds bands personal references signed artists used accept unsolicited demos got much stuff harder years ago easy someone make music home computer theres much became overwhelming started label band couldnt \ufb01 nd label wanted put music remember thinking time looked rosters labels admired seemed cliquish oh course signed know guys band ive come realize exactly functions time one huge place \ufb01 nd music like bands roster road play shows bring us cd back say band really good share taste music bands roster lot overlap clique thats hear music likechapter wrapnetworking strategies new music business given whatever attributes choose use either positive negative ways music business made individuals dont \ufb01 models said beginning book networking strategies becoming another person allow ing light within shine illuminate career path lives progress needs change successes failures shape personalities many things separate us music rejection changing trends \ufb01 nite abilities lure straight job partners spouses dont understand spend spare time basement tinkering instruments recording equipment recording artists signed progressively younger ages observe many bud ding stars hollywood managed family members mamagers newly coined term stage mothers navigate childrens careers jessica ashley simpsons father joe minister traded pulpit show business highpowered entrepreneur interestingly reverse also true oldschool crooner tony bennett become newly hip watch manager son danny tom jones offspring mark woodward provided service perennially swinging father maybe art love music expressed children dont children encourage nurture teach hope books write courses teach helped enlighten students aspiring artistsa responsibility take lightlyin conclusion plucky poultry childhood lore chicken little ran proclaiming sky falling hear echoed human counterparts lament music busi ness falling let clear music business \ufb01 ne thank video games independent \ufb01 lms cable television satellite radio digital transmissions ring tones remixing rise independent artists add ing burgeoning bottom line tendency use terms record busi ness music business interchangeably record businesssales music hard tangible form like cds dvdsis always state \ufb02 ux quite famously sales cds impacted \ufb01 lesharing music division entertainment dollar ever smaller increments back day consumers far fewer choices spend entertainment dollars music business much greater single commodity whenever wherever individu als make living connected musicperforming writing teaching consulting advisingthere solid music business djs remixers reinvent muse samples reconnect past future soundtrack becomes increasingly crossgenerational new palettes shine wellburnished hues new combinations spin togetherpunk rockers country queens classic rockers hiphop artists possibilities in\ufb01 nite always language reinvented rise hiphop fuels art spoken word world becomes smaller beat becomes bigger music potent passport across lines dimensions chapter wrapnetworking strategies new music business everyone feels skateboarding mis\ufb01 ts wearing tshirted kid street bigband loving grandmother music generated every single day satisfy everincreasing consumerism crossroads art technology even dead rock stars exhumed classic artists remixed todays hottest djs feel power music heartbeat even elvis new dance hit corporate radio squeezes playlist ever tighter new generation musicians hunches computers suburban bedrooms roams hinterlands packed vans gives back muse classrooms choir lofts video games computers advertising cable television independent artists digital transmission sat ellite transmission ipods pod casting years music business never seen many oppor tunities exist today music business two words may music always come \ufb01 rstappendix academy country music w alameda ave suite burbank ca el web site wwwacmcountrycom ascapnew york headquarters one lincoln plaza new ork ny el fax web site wwwascapcom ascaplos angeles w sunset boulevard third floor los angeles ca el fax ascaplondon cork street london wxpb el fax ascapnashville two music square west nashville tn el fax ascapmiami lincoln rd suite miami beach fl el fax ascapchicago n milwaukee suite chicago il el fax ascappuerto rico ave mu\u00f1oz rivera ibm plaza ste b hato rey pr el fax ascapatlanta pmb enth street nw atlanta ga el fax bminew york broadcast music inc headquarters west th street new ork ny el web site wwwbmicomresources organizationsnetworking strategies new music business bminashville music square east nashville tn el bmilos angeles sunset blvd rd floor west west hollywood ca el bmiatlanta peachtree road ne suite atlanta el bmilondon harley house marylebone rd london nw hn england el bmimiami blue lagoon drive suite miami fl el bmipuerto rico ponc\u00e9 de leon east wing suite banktrust plaza hato rey puerto rico el arizona songwriters association p box phoenix az el web site wwwpunkfolkercomassociation independent music publishers aimp los angeles chapter p box los angeles ca new york chapter co burton goldstein co llc w th st suite new ork ny web site wwwaimporg austin songwriters group p box austin tx el tune web site wwwaustinsongwriterorg baltimore songwriters association p box baltimore md el web site wwwbaltimoresongwriterscom black tock coalition p box cooper station new ork ny el web site wwwblackrockcoalitionorg boston songwriters workshop el web site wwwbostonsongwritersorg california copyright conference ccc po box sherman oaks ca el web site wwwthecccorgcalifornia lawyers arts fort mason center c san francisco ca el th st santa monica ca el j st suite sacramento ca el broadway st oakland ca el web site wwwcallawyersfortheartsorg colorado music association e first ave denver co el web site wwwcoloradomusicorg connecticut songwriters association p box mystic ct el web site wwwctsongscom dallas songwriters association sammons center arts harry hines box dallas tx el web site wwwdallassongwritersorg film music network co film music media group washington blvd suite los angeles ca el el web site www\ufb01 lmmusicworldcomthe folk alliance wayne ave suite silver springs md el web site wwwfolkorg georgia music industry association inc p box atlanta ga el web site wwwgmiaorg gospel music association division st nashville tn el web site www gospelmusicorg international bluegrass music association music circle south suite nashville tn el getibma web site wwwibmaorg international songwriters association ltd b new cavendish st london wi england el web site wwwsongwritercouk plain folks music organization n butler indianapolis el web site wwwjpfolkscom los angeles music network p box oluca lake ca el web site wwwlamncomappendix resourcesnetworking strategies new music business los angeles women music lawim national blvd ste los angeles ca el web site wwwlawimcom nashville songwriters association international w end ave rd fl nashville tn el web site wwwnashvillesongwriterscom outmusic p box old chelsea station new ork ny el web site wwwoutmusiccom paci\ufb01 c music industry association carrall st vancouver bc vb e canada el web site wwwpmiaorg san diego songwriters guild governor dr suite f san diego ca el web site wwwsdsongwritersorg sesac inc music square east nashville tn el web site wwwsesaccom west th st th floor new ork ny el santa monica blvd suite santa monica ca el sesac international upper berkeley street london wh qx england el web site wwwsesaccom society composers lyricists beverly dr suite beverly hills ca el web site wwwthesclcom songwriters guild america broadway suite new ork ny el sunset blvd suite hollywood ca el th ave suite nashville tn el web site wwwsongwritersguildcom west coast songwriters laurel st suite san carlos ca el el forsong california nashville web site wwwwestcoastsongwritersorgwomen music p box radio city station new ork ny el web site wwwwomeninmusicorg events breckenridge educational music seminars beams series music songwriting weekends held colorado oll free usa breck colorado outside usa fairfax st denver co web site wwwbeamsonlinecom durango songwriters expo currently producing two events fall expo elluride co spring expo santa barbara wine county el web site wwwdurangosongcom canadian music week p box st mississauga lm z canada web site wwwcmvnet cutting edge music business conference clairborne ave new orleans la el web site wwwjasscomcuttingedgefilm tv music conference wilshire blvd los angeles ca el web site wwwbillboardeventscom billboardevents\ufb01 lmtv folk alliance annual conference wayne ave suite silver spring md el web site wwwfolkorg independent music conference main ave pmb norwalk ct el web site wwwgomccom kerrville folk festival p box kerrville tx el web site wwwkerrvillefolkfestivalcom music business solutionscareer building workshops p box boston el web site wwwmbsolutionscom south southwest music conference sxsw p box austin tx el web site wwwsxswcomappendix resourcesnetworking strategies new music business west coast songwriters conference laurel st suite san carlos ca el el forsong web site wwwwestcoastsongwritersorg winter music conference ne errace ft lauderdale fl el web site wwwwintermusicconferencecom periodicals american songwrit er magazine web site wwwamericansongwritercom back stage west web site wwwbackstagwestcom billboard web site wwwbillboardcom canadian musician web site wwwcanadianmusiciancom cmj new music report web site wwwcmjmusiccom daily variety web site wwwvarietycom hits magazine web site wwwhitsmagazinecom jazztimes web site wwwjazztimescom music connection web site wwwmusicconnectioncom music row web site wwwmusicrowcomthe performing songwriter web site wwwperformingsongwritercom songlink international web site wwwsonglinkcomindex chorus line absentpresent phenomenon academy country music access proof accessibility practicing accomplishments discussing acronyms email advertisements advice asking af\ufb01 rmations working room age assumptions effects agents aguilera christina aiken clay air force air studios airplay monitor airports meeting people album atlanta alcohol use working room alcoholics anonymous night robertson need know music business passman ally mcbeal alpert herb alternative venues altman marshall records amazed green amazoncom american idol american songwriter magazine americana americana music association conference anastacia anderson april anderson chris anderson keith angelou maya arizona songwriters association arthur joseph artists responsibilities good gets ascap black tie dinners compilation cds general member meeting los angeles headquarters list los angeles swapmeet thru walls series web site writers night new ork askapro sga los angeles nashville association independent music publishers aimp assumptions avoiding asylum atlanta atlantic attachments email attorneys audio engineers austin songwriters group b back stage west back ou robbins baggot inn new ork baker anita baker bob web site ballard glen baltimore songwriters association bandwagons banners names barber simon barsuk records bass jeff bbc unsigned web site bds beach boys beatles rejection dealing networking strategies new music business beer run anderson beijing bellrays bennett danny bennett ony big personality billboard airplay monitor world chart listings bios example press kits web sites birth order bitter end new ork black crowes blackberries black rock coalition bluebird cafe nashville blume jason bmi acoustic roundup nashville black tie dinners compilation cds headquarters list lehman engel musical theatre workshop new ork los angeles music connection showcase nashville roundtable nashville songwriters workshop jason blume nashville web site writerpublisher relations department bob malone malone body language bond sherry book ruth boston boston songwriters workshop boy howdy brabec jeff brabec odd braheny john breath mints breckenridge educational music seminars beams broadway new ork brooke jonatha brooks garth browne jackson buckcherry buffy vampire slayer burning bridges bush george w business cards working room c cable television caf\u00e9 press web site cal poly pomona calendar notices california copyright conference ccc california lawyers arts canadian music week canadian musician capitol ower career changes carter deana cd baby web site cds compilation cds dmi networks press kits promotional sampler cds signing unsolicited cds cdwow celebrity strategies interacting cell phones conversations etiquette celtic harmony ireland chance opportunities changing careers character traits charles ray childrens music chilton alex chris thomas chris isaak show christian rock christmas holiday music index church songs soul inspiration cinderella story circle songs bmi clairvoyance clarifying comments clark ena clear channel cliches bios clothing information transmitted live performances tips visual cues clubs see venues cmj new music report cowritten songs cobain kurt cocacola cocker jarvis coffeehouses cohen leonard cole nat king collaborators collective soul colleges education colorado music association columbia records commitment personality comparing comments compilation cds compliments accepting conversations computers cond\u00e9 naste conferences see music conferences con\ufb01 dence posture con\ufb02 icts studio connecticut songwriters association consistency contacts multiple contacts developing conversations see also telephones compliments dynamics email conversations ending lines instigating leading questions negativity sharing sensitive areas \ufb01 rule meeting greeting working room cook au van coolhomepagescom cooper jay copyrights cornelia street caf\u00e9 new ork counting crows country music put downs steele jeffrey cover letters press releases cover ascap cover songs craft business songwriting braheny creative black tie credibility advice crisis resolution strategies crossed armslegs curb records curtis catie cutting edge music business conference daily variety dallas songwriters association dance music dankimpelcom darkest part night malone dave matthews band dawsons creek season death cab cutie demographics music demos nashville placing songs submission services suggestions submitting denny sandy denver joel networking strategies new music business desire details determination diamond rio digital transmission digital watermarking digital wings disc marketing disco music disney cinderella story distractions studio distribution internet radio promotion diy diy ourself convention djs dmi networks dmoz dozier lamont draw honesty drug use drummond bill durango songwriters expo dvds press kits dylan bob e email business cards including nonreturned emails setup copy edison media research education edwards kenneth babyface ego in\ufb02 ation mile einstein albert eisenhower dwight eleanor rigby electronica eminem eminem show emo emoticons emotions crisis resolution email logic telephones reading verbal communication employment industry engel lehman entertainment value enthusiasm entrepreneurs epstein brian equitywaver houses er escovedo alejandro ethnicity questions etiquette cell phones studio hang events list tieins evergreen streisand expanding comments expediacom extreme strategies eyebrows trimming f facial hair styles falcon ridge festival family management farrish bryan fate ony faxing copy setup fcc federal communications commission fees scams ferrari marc cent fight club \ufb01 lm independent \ufb01 lm los angeles film tv music conference film music network firehouse recording \ufb01 rstborn children folk alliance annual conference folk alliance conferences index fopp unsigned web site fox music frank david friends fugazi fusion music future soundtrack america g garageband web site gatekeepers general mills generalizations crisis resolution genie bottle frank genius loves company charles genres gentry montgomery georgia music industry association inc georgia state university get signed web site gigwise web site gillespie rowana gin blossoms girl interrupted glasswerk web site global perspective need goals de\ufb01 ning good ear outlaw steele google web site gospel music association gq gratitudes see thank yous green al green marv greenwich village new ork groban josh grooming tips grossman albert growth impression grudges holding grunge music h haircuts hammer jan hancock herbie harcourt nic hard copy setup harper ben harper collins hendrix jimi herd mentality hidden opportunities hien thomas hill faith hiphop atlanta bush george w put downs hits magazine holder gene hollywood dressing holsapple peter hometown musicians horses smith hostbaby web site hotel cafe howards club h bowling green hugo chad hung william hynde chrissy dreamed ou robbins carry ou robbins icebreakers conversation telephones imro ireland in\ufb02 ight audio entertainment independent artists independent \ufb01 lm independent labels independent music conference indie hour indigo girls insecurity namedropping instrumentals international bluegrass music association international markets international songwriters association ltd internet see also web sites distribution downloaded tracks networking strategies new music business radio worldwide market internships introductions intros performances ipods must love itunes j jackson jansch bert japan rappers okyo music jazz music jazztimes jesse sykes sweet hereafter jetplane landing web site jewelry jobs industry john elton jokes email jones brian jones george jones quincy jones om joplin janis juicing room plain folks music organization k kahn chaka kcrw chris thomas keel kekaula lisa kennedy john f kerrville folk festival kiley rilo king klf knowledgebased skills kodak theater korea rap seoul music kraft robert kragen ken kramer wayne l la songwriters network labelle patti laemelle movie theaters lapel pins larson bree las vegas shows lawyers lehman engel musical theatre workshop new ork leone bob lil hals guide limeys los angeles listening conversations skills little richard little shop horrors live performances see also venues compliments accepting inventing show peeves postperformance tips soft tickets liverpool liverpool institute performing arts lipa local press releases logic emotion logos shows london lonestar look visual cues los angeles moving los angeles music network los angeles songwriters showcase lass los angeles women music lawim lose ourself resto lott roy loyola marymount law school ludacris lullabies lyric partners index madonna magazines clothing tips education reading resource list mailing lists web sites major bowles amateur hour malone bob web site mamagers management dealing mamagers need quali\ufb01 cations manchester mancini henry manhattan visiting manhattan association cabarets mac manhattan transfer mann billy marital status assumptions marketing music web site martin joel martin sir george mashups mastersource mathers marshall mayer john mca mccartney jesse mcgraw tim mclaughlin john measure man aiken mechanicals merchandising radio promotion meta tags metallica middle children mingling moguls questions monterey pop festival moreira rafael morissette alanis morrison jim motion picture motown mouseketeers mp mrs fields cookies muffs mullins shawn multipliers murdoch alexi music money success brabec brabec music bridges usa music business ascap music business solutionscareer building workshops music conferences tips music connection magazine music publishing jobs \ufb01 rms music row music stores musicbias web site musicians goals questions international market malone bob personal references studios steele mystery air mystical beliefs myths success n nada surf names banners band names cover letters dropping names remembering names shows napster web site narcotics anonymous nashville moving showcases nashville new music conference nashville pussy nashville scene networking strategies new music business nashville songwriters association international nsai membership information national academy popular music napm nationality questions neediness appearance negativity eliminating personality sharing negative comments neptunes network television see television neville brothers new jersey new music nights bmi new ride josh emily new ork downtown area moving new ork songwriters circle niche markets nile willie doubt nonreturned calls north hollywood npr national public radio sounds eclectic older audiences oldest children ongoing shows children open body language openness communication opportunities creating hidden opportunities optimism outdoor shows outkast outlaw outlaw cultures outmusic outros performances overdressing overnight success mythology p p diddy paci\ufb01 c music industry association paisley brad parker colonel om parks cary parks larry parton dolly passman donald paterno peter payola radio paypal peoplesound web site performing songwriter performing rights organizations see also ascap bmi sesac los angeles nashville periodicals see magazines personal references personality assumptions avoiding big personality birth order negative traits success attributes pessimists phish photos press kits phpbb web site pick month bmi pink polar express politics assumptions polygram music publishing pop idols pop music creative black tie dinners put downs positive outlook possanza christopher posture power telephones practicing networking praisebased music prejudicial statements presley elvis presley lisa marie index press kits bios press kits cds dvds cover letters electronic press kits folders music conferences photos press releases pretenders pri programming princess cruises proctor gamble producers studios progression career promotional appearances promotional sampler cds proofreading materials proposals shows soft tickets prot ools public radio publicists publicity soft tickets publishing see music publishing pulp purple haze hendrix put downs putumayo records q quiet set ascap r race assumptions radio atlanta compilation cds internet radio kcrw promotion public radio satellite radio test shows ragtime ramones rap music atlanta bush george w put downs rascal flatts rb creative black tie dinners reagan ronald record deals record labels access proof jobs recording studios references regal cinemedia reinvention rejection overcoming rejection reliability religion assumptions praisebased music rem remembering names remixes renbourne john repeating names resources respect celebrities networking rejection treating people resto luis resto mario reversion clauses rhapsody web site rigby rimes leanne ringtones road rally robbins lindy robertson mae rock music christian rock rocket crypt rodgers hammerstein music rogers kenny networking strategies new music business rolling stones room working roots rosenfeld josh ross sean roswell rr russell brenda sacri\ufb01 ces samplers san diego songwriters guild san fernando valley santa carla web site santa monica santa monica city college kcrw satellite radio satellite technology save ferris scams avoiding compilation cds event tieins nashville scarves sears roebuck co selfdoubt selfful\ufb01 lling prophecy selfrevealing comments sesac compilation cds headquarters list los angeles web site writers storm setup hard copy sexual preference assumptions sexy clothing shady records shamblin allen shed give anything boy howdy shepard vonda shine robbins signing cds silverlake simpson ashley simpson jessica simpson joe sinatra frank sixpence none richer sixth sense developing press kits sixth sense slick sheets smiling telephone smith patti snopescom sobule jill society composers lyricists soft sell using soft tickets something believe mullins song biz column music connection magazine songlink international songsalive expo songwriter musicians guide nashville bond songwriters age international market music publishers resto luis robbins lindy steele jeffrey songwriters club bmi songwriters guild america sga los angeles nashville songwriters hall fame new ork songwriters musepaper songwriters beat new ork songwriters studio ascap songwriters symposium nsai sony sound checks soundman dealing sounds eclectic vista street sessions soundscan soundtracks south southwest music conference sxsw spears britney stage patter index stamey chris star search starbucks steele jeffrey stockholm stolen songs streisand barbra strengths assessing stroke strong personality studio city studio hang studiotechnical personnel summer donna support positions swag sxsw sync fees sync licenses synthesizers tshirts tag teams talent taxi teamwork technical musicians ed teeth cleaning telephones see also cell phones basics calling ending calls gatekeepers nonreturned calls power use purpose conversation stating sounds timing calls tracking calls television clothing tips los angeles songs en commandments design \ufb01 rule meeting greeting test shows thank yous demos music conference participants performance attendees soundman way streisand might giants busy monster thornley beth thru walls series ascap tickets ties timberlake justine timing artistry effective use time personality telephone calls tin pan alley new ork tin pan south nsai touching base phone calls touring see also venues radio promotion success ower records oyota tracking phone calls train training transferable skills travelocitycom trends troubadour los angeles ears ago steele u ucla extension classes ultimatums umo music underdressing unisong international song contest united airlines united kingdom london music working universal city universal music publishing group universities education university southern california usc networking strategies new music business unsigned artists unsolicited cds urban keith u v vanguard velvet rope web site venice california vennum bob venues alternative venues businesses equitywaver houses \ufb01 tting bands inventing show soft tickets sound checks soundman dealing tips dealing verbal communication see also conversations telephones crisis resolution viability rejection vibe vicemaslin mich\u00e9le victorias secret video games video presentations presskits village voice villegas luis virgin records vista street sessions visual mediums visualizing success vocals volunteering music conferences w wainwright rufus waiting rooms opportunities waits om warwick dionne water wide web designers web sites bios business cards including costs mailing lists merchandising requirements resources list sales updating weekend edition weekends performances telephone calls west coast songwriters conference west hollywood whiskeytown wifm concept wilde justin wine spritzers winter music conference witten patti wnnxfm atlanta women music woodward mark woolford keo working musicians malone working room workplay theater birmingham world cafe world markets wrasfm atlanta wright hugh writers night new ork writers storm sesac lo engo youngest children" +} diff --git a/Music-Syllabus-2024-25.json b/Music-Syllabus-2024-25.json new file mode 100644 index 0000000000000000000000000000000000000000..1a41fcf5d254efb9bd63790808fd0c83c3659fa0 --- /dev/null +++ b/Music-Syllabus-2024-25.json @@ -0,0 +1,5 @@ +{ + "filename": "Music-Syllabus-2024-25", + "department": "Ar", + "cleaned_text": "music department music offers courses designed meet needs students reading degree either specialist non specialist emphasis music curriculum designed following aims mind deepen students understanding functions concepts structures values music role society broaden students knowledge diverse musical cultures world histories styles ideas train students think critically music equip verbal skills enable articulate thinking promote creative activity composition performance music mode discourse uniquely complements modes discourse humanities provide comprehensive education integrates activities scholarship composition performance connecting larger world learning humanities sciences commerce curriculum consists series courses covering wide range topics approaches introductory advanced levels cross cultural cross disciplinary interests particularly encouraged courses carry credits unless otherwise specified prerequisites required stated course descriptions exceptional cases requirements may waived major course selections subject approval head school humanities recommendation departments undergraduate coordinator music majors first year music scholars intending majors must take musi materials structures music credits musi art listening credits introductory course taken arts programme credits major music shall consist credit units level courses music syllabus taken third eighth semesters prerequisite music majors must take musi music china credits musi fundamentals tonal music credits musi introduction contrapuntal styles techniques credits musi music western culture credits musi music western culture ii credits addition music majors must take least elective credits level advanced courses least one course capstone experience course see two courses performance courses musi musi musi musi musi musi musi musi also applies exchange credits transferred fulfil major requirements capstone courses capstone experience graduation requirement music majors capstone experience courses designed allow students advance analytical thinking permitting application disciplinary knowledge principles learned first second years requirement fulfilled taking least one following courses musi red colour music politics post china capstone experience musi music scientific thoughts past present capstone experience musi tonal counterpoint capstone experience musi special study capstone experience musi special performance study capstone experience musi topics ethnomusicology capstone experience musi qin capstone experience musi music analysis ii capstone experience musi opera capstone experience musi methodological perspectives music ii capstone experience musi advanced music performance capstone experience musi dissertation capstone experience music minors obtain minor music students required take musi art listening credits least one following two courses musi music western culture credits musi music western culture ii credits addition music minors must take least elective credits level courses music syllabus taken third eighth semesters least three courses advanced courses two courses performance courses musi musi musi musi musi musi musi musi also applies exchange credits transferred fulfil minor requirements level courses level courses introductory courses normally taken first year musi introduction musics world course introduces range musical traditions around world examines social cultural historical contexts course explores music reflection creation society discusses issues raised cross cultur al research provides theoretical framework understanding relationship music culture formal lectures supplemented class demonstrations hands experience selected musical styles assessment coursework musi advanced music performance students first year study one year course provides students opportunity develop musicianship perform public coordinator offers students advice choosing repertoire helps plan rehearsals performances invites local overseas visitors conduct two hour masterclasses students offer two public recitals one autumn semester one spring attend masterclasses write programme notes chosen pieces discuss selection works w ith course coordinator repertoire changes every year reflects students abilities well interests places course limited admission audition musi performance study students first year study students taking course enrol two performance ensembles workshops offered music department two semesters ensembles may include hku chamber singers hku early music ensemble hku gamelan hku percussion ensemble perfo rmance workshops offered vary year year may include individual group lessons voice percussion instrument students choice approved music department musi materials structures music course develops students conceptual perceptual understanding basic materials structures music including rhythm meter intervals scales modes keys well melody harmony contrapuntal practices course inte grates ear training analysis wide array musical examples students completing course expected established clear solid understanding rudiments music able make practical demonstrations know ledge course serve thorough review aural theoretical skills necessary intending major minor music also available elective students departments seek solid foundation music fundamenta ls musi jazz history appreciation course examine jazz origins present relation forms music including blues gospel rb soul etc different styles within jazz genre also explored including early jazz swing bebop cool jazz hardbop soul jazz bossa nova post bop avant garde etc special attention also given pivotal figures history jazz louis armstrong bix beiderbecke duke ellington count basie coleman hawkins lester young charlie parker dizzy gillespie thelonious monk miles davis john coltrane ornette coleman representative monumental instrumental vocal recordings past one hundred years also explored class time spent listening analyzing discu ssing wide variety recorded jazz performances watching jazz videos visiting artists may also invited perform class lecture relevant topics musi art listening music moves us know harder still explain listening taking issues point departure course introduces students wide array music well range ways thinking talking wri ting music attention given development listening skills vocabulary necessary articulate engaged response repertoire studied majority music dealt drawn classical music repertoire w ith supplementary examples musical cultures appropriate level courses except two introductory courses musi musi level courses advanced courses introductory courses normally taken within second year study advanced courses may taken within second third fourth note two performance courses musi musi designated students second year study musi music china course presents essential features music china role chinese culture history position world music subjects include qin musical instruments theatrical genres kunqu peking opera cantonese opera narrative songs peking drum song suzhou tanci cantonese nanyin folk songs music confucian buddhist taoist rituals course aims introduce students traditional chinese music also explore th e nature chinese culture musical practices important works chinese music introduced well issues changestasis politicsaesthetics theorypractice literatimasses professionalamateur ritualentertainment home grownforeign influenced hanminority musi popular music course introduction historical sociocultural study popular music course mostly focus anglo american east asian popular musics second half th century present goal course evelop analytic critical tools better understand popular music culture daily lives familiarize dominant themes issues study popular music musi fundamentals music composition conducted form lectures seminars one toone supervision course presents theoretical practical bases music composition view expand students knowledge styles structures notation score presentation emp hasis applications knowledge via composition analysis repertoire course culminates workshop showcasing student compositions prerequisite musi instructors consent musi chinese music history course introduces history china examination selective source material including bells bronze period book music attributed confucian philosophy earliest known musical notation composition th century ad major encyclopaedic compilations musical sources song dynasty mao zedongs talks yanan conference literature art musi film music music contribute fiction film used first place directors use music effect mind musics force movie going experience try describe study films various cinematic traditions various ways music functions within powerful meaning making element assumption film audio visual medium examine individual works repre sentative different genres musicals horrors dramas comedies cartoons consideration given relationship music image well music sound emerge close readings individual scenes also look music represented story world film whether character performs listens ignores musi advanced music performance students second year study one year course provides students opportunity develop musicianship perform public musi piano course open students either experience interest piano offers overview history piano montage lectures focus personalities involved repertories either composed performed social cultural milieus provided context extraordinary rise arguably important instrument history western classical music students given opportunity study piano medium musical exploration expression occasion display virtuosity staple th century bourgeois home object almost maniacal veneration course end overview disseminat ion piano east asia particular reference piano culture hong kong musi chinese opera course starts exploration structural theoretical aspects chinese opera including classification tune types text setting performance practice examples mostly drawn kunqu peking opera cantonese opera regional derivatives also introduced comparison analysis second half course comprises series reading examination representative operas performances interplay chinese opera religious social cultural political contexts investigated assessment coursework musi music mind body course considers music phenomenon human behaviour examines various aspects relationship music mind body explore questions humans came musical people listen understand perform mu sic listen make music following evolutionary bases musicality psychoacousticphysiological foundation auditory perception move cognitive issues mind represents musical structures exp ectation works process listening music also consider role multimodal body performing listening music emotion music brain significance social cultural contexts musical experience underlined embodied approach introduced discussion music mind body students opportunity pursue interests depth within individual project musi performance study students second year study students taking course enrol two performance ensembles workshops offered music department two semesters musi university gamelan one year course introduces students exciting world balinese gamelan students learn play instruments gamelan gong kebyar working together ensemble perform traditional contemporary music gamelan performs regular basis often collaborates composers instrumentalists prior musical experience needed course musi fundamentals tonal music course explores tonal procedures fundamentals introduced musi materials structures music examines tonal logic voice leading principles diatonic basic chromatic harmonic practices simpl e formal structures binary ternary sonata forms explored students completing course expected attained thorough understanding tonal syntax context diatonic simple chromatic harmony able analyze music simple forms prerequisite musi musi introduction contrapuntal styles techniques course examines principles linear structure voice leading intensive study species counterpoint two three parts help students understand logic music notes fit together implications r esolutions turn provide students solid basis analysing composing music prerequisite musi musi instrumentation orchestration course provides students working knowledge instruments modern orchestra instrumentation study investigates technical idiosyncrasies timbral potential individual instruments orchestration covers fundamental techniques combining instruments various ensemble contexts throughout course students undertake analysis listening scoring projects acquire skills create professional quality scores parts musi music culture overseas field trip course focuses study music cultural context overseas field trip students may study performance traditional setting conduct ethnographical study students required produce field trip report ir return musi introduction arts administration yearly course designed provide students comprehensive overview arts administration supervised practicum element discussions interaction guest speakers project based internships major topics explored nclude planning development marketing artist relations organizational structure outreach venue management well issues challenges commonly faced arts administrators today musi music analysis course endeavours develop students understanding tonal procedures melodic harmonic construction music th th centuries focusing particular music classical period students expected develop skills music anal ysis primarily examining schoenbergs ideas motif phrase period sentence developing variation order understand construction tonal form musi music western culture course examines topics musical practices works aesthetic ideas th mid th centuries various musical styles well conceptual ideas behind musical practices examined course emphasises socio cultural con text music created performed consumed well relationship art forms together musi course promotes students foundational knowledge music history stylistic listening skills also desig ned enhance students ability critically think music communicate thoughts focus course content may vary year year musi music western culture ii course examines topics musical practices works aesthetic ideas mid th century present day various musical styles well conceptual ideas behind musical practices examined course emphasises socio cultural context music created performed consumed well relationship art forms together musi course promotes students foundational knowledge music history stylistic listening skills also esigned enhance students ability critically think music communicate thoughts musi music performance exchange students overseas exchange students taking course enrol three music performance components administered music department one semester possible components include advanced music performance performance study ensemblesworkshops including hku chamber singers hku early music ensemble hku gamelan hku percussion ensemble either vocal workshop instrument workshop approved music department entry course discretion head school humanities recommendation departments undergraduate coordinator musi books images artifacts historical sources asian music course take heart music history written raw materials timeline human discourse constructed sources written come wrote sources nd interpretation trustworthy depictions visual arts tell story especially respect instrumental technique ensemble formation social context performance practice ancient types music archeological rtifacts sources scholars deploy artifacts excavated conditions similar objects recovered elsewhere treasured items preserved degradation answering questions course explores material culture music pre modern china neighbouring countries emphasis fields organology archaeology source studies ritual studies well collecting arch iving musi recording techniques sound design course covers fundamentals studio recording techniques sound design first part course devoted conceptual practical skills needed quality sound productions second part teaches basics sound design well application moving images media students learn theories techniques develop aesthetics sound design variety hands projects musi music business course provides overview music business different thematic sector focus every year aims equip students knowledge needed grasp business side music industry via variety case studies course discuss critical areas music industry basics music contracts economics deals issues unique specific music genre market introduce major players business record labels producers managers lawyers etc address new business trends opportunities actively transforming shared musical future throughout course balance industry knowledge critical cultural insights musi music entrepreneurship course provide students overview entrepreneurship investment opportunities within music industry explore ways identify business opportunities create maximize value focus spot start opportunity build business plan raise capital execute growth strategy prepare exit strategies needed discuss value music catalogues identify undervalued assets prime investment design management strategies asset acquired topics include limited mergers acquisitions well routes creating valuable music ip overall goal equip students tools needed identify entrepreneurial opportunities music business evaluate upside risks structure deals effectively manage ideas assets throughout course balance industry knowledge critical cultural insights musi music ai future creativity generating song split second reality advancements ai extreme cases requires little prior musical training therefore accessible technology democratized music making living st era creative thanks creativity extending tools technology threatening essence creative expression work flooding soundscape algorithmically generated music spam deepfakes ai end art r future creativity creativity anyway course explores questions intersection music ai creativity drawing rapidly expanding critical scholarship ai well perspectives popular media within music industry course prioritizes socio cultural philosophical approaches critiquing ai also engage history science media studies well writings fields music information retrieval mir computational creativity also options take creative projects eg ai assisted songwriting co mposing course semester level courses level courses advanced courses level courses taken either third fourth year except two performance courses musi musi students third year study level courses taken fourth year musi advanced music performance students third year study one year course provides students opportunity develop musicianship perform public musi performance study students third year study students taking course enrol two performance ensembles workshops offered music department two semesters performance workshops offered vary year year may include individual group lessons voice percussion instrument students choice approved music department musi composing concert world continuation musi course guides students adopt eclectic approach writing music introducing wide array strategies organising manipulating various musical parameters also helps students experiment th e incorporation extra musical inspiration alternative aesthetics prerequisite musi musi composing commercial world course cultivates fundamental literacy skills required commercial music composition topics covered include pop songwriting beat making film scoring jingle production students introduced contemporary practices th e music industry music demos instrumental tracking music arrangement music production techniques musi red colour music politics post china capstone experience course examines relationship music politics post china aims provide students critical perspective complex role politics played shaping contemporary chinese musical culture major issues explored include music national identity modern china conflict western style conservatories chinese traditional genres music propaganda maoist regime music red guards jiang qings model works cultural revolution music post mao china politics globalization since musi music scientific thoughts past present capstone experience course investigates link music science western history music frequently associated science way two realms interconnected varies throughout history exploring case scie ntific thoughts music history students expected obtain contextual understanding music science socio cultural products gain insight interdisciplinary nature study music musi tonal counterpoint capstone experience course investigates contrapuntal styles th century special reference works js bach students expected develop comprehensive understanding techniques stylistic features th century counterpoint thro ugh score analysis compositional projects substantial original work th century style required final project prerequisite musi musi special study capstone experience course student works one toone basis supervisor throughout year project may extensive research paper composition portfolio students planning take course must demonstrate competence particular ar ea wish work entry course discretion head school humanities recommendation departments undergraduate coordinator musi special performance study capstone experience pending approval course coordinator students enrolling course required work topic ostensible ties performative practices throughout academic year assessment based minute lecture performance event well supplementary reflective essay less words demonstrating competency cross specialism synthesis performative theoretical knowledge course may taken fulfil capstone req uirement entry course discretion head school humanities recommendation music departments undergraduate coordinator prerequisite completed least one musi musi musi musi topics ethnomusicology capstone experience course introduction theories methods ethnomusicology study music sociocultural context historically ethnomusicologists tended focus non western musical traditions although recent trends ha opened field include music culture regardless origin place including popular musics western art contemporary musics well folk traditional music cultures course provide overview history disci pline well introduce students key themes issues shaped ethnomusicology present time focus course content may vary year year musi qin capstone experience redolent scholar aristocrat literatus qin deep distinguished lineage within pantheon chinese musical traditions course survey qin music late bronze age present times several themes examined detail basic playing skills semiotics notation earliest known qin score different styles pivotal figures representative works repertoire typological analysis historical instruments transmission appropriation qin east asia readings musicology anthropology archaeology art history introduce variety approaches interpretation qin music musi music analysis ii capstone experience course depth introduction schenkerian analysis series assignments students learn voice leading procedures concepts tonal coherence well engage critical historical reflection theories prerequisite musi musi chromaticism post tonal techniques course examines chromatic harmonies larger forms classical music continuation musi later part course focus post tonal techniques using pitch class set theory methods analyze contemporary music prerequisite musi musi opera capstone experience course chart history opera western world relationship social political history major musical theatrical genres close reading genre students learn opera art singing poetry stagecraft make acquaintance remarkable protagonists history singers composers poets designers impresarios monarchs attention also placed strength resili ence local opposed national continental traditions ones flourished rome london th century naples th st petersburg th name course also provide students appea ling vivid demonstration diversity musical literary traditions europe period ca course end reflection current state western opera performed consumed east asia particular reference china note taken musi musi methodological perspectives music course aims equip students critical research methods focusing specific musical works media artifacts issues approaches object investigation various methodological perspectives eg historical theoretical philosophical anthropological provide overview reception history scholarship around object well latest research course promotes students critical reflection methods scholarly traditions object investigation may vary year year course students required formulate research question carry research course designed give undergraduates insights ethos post gradu ate research form bridge two realms prerequisite musi either musi musi musi methodological perspectives music ii capstone experience course aims equip students critical research methods focusing specific musical works media artifacts issues course students required formulate research proposal give written presentation form conference paper course designed give undergraduates insights ethos post graduate research form bridge two realms prerequisite musi either musi musi musi electroacoustic music course explores historical current creative approaches electroacoustic music variety research composition projects composers repertoires techniques stylistic aesthetic trends approximately present covered prerequisite either musi musi instructors consent musi music environment course concerns relationship music environment broadly construed key question course asks understand music ecological phenomenon course aspires answer question several ways firstly course introduce ecological models musical cultural analysis secondly discuss concept nature various music traditions including western art music japanese traditional music among others thirdly course wil l attend role music ongoing global environmental crisis components course cover soundscape studies ecocriticism well recent field ecomusicology musi performance study students fourth year study students taking course enrol two performance ensembles workshops offered music department two semesters musi advanced music performance capstone experience students fourth year study one year course provides students opportunity develop musicianship perform public musi dissertation capstone experience two semester research course requires submission musicological dissertation substantial composition portfolio students wishing take course must contact proposed supervisors advance secure agreement project recommended done end june entry course discretion head school humanities recommendation departments undergraduate coordinator contingent student providing working title plan bibliography later september prerequisite musi supervisors recommendation" +} diff --git a/Music-Video-Production-Agreement.json b/Music-Video-Production-Agreement.json new file mode 100644 index 0000000000000000000000000000000000000000..967a8d21fb1985f6606f6b59cbb533524fe7b6d4 --- /dev/null +++ b/Music-Video-Production-Agreement.json @@ -0,0 +1,5 @@ +{ + "filename": "Music-Video-Production-Agreement", + "department": "Manager", + "cleaned_text": "video production agreement agreement agreement effective artist address producer address witnesseth whereas producer recognized expertise video production whereas artist wishes engage producer record music video featuring artist performing song titled video therefore consideration mutual covenants agreements contained herein parties hereto agree follows production services producer shall provide artist video recording production services hereinafter production services described within agreement principal photography shall begin producer shall make delivery defined herein video artist later delivery shall consist delivery fully edited sound synchronized video master ii recorded elements created production including limited audio tracks video footage outtakes delivery deemed occurred artist accepts video suitable commercial exploitation producer shall provide production services artist promptly degree skill attention due care standard practice within professional production services industry producer artist agree budget attached schedule shall represent funds required produce video hereinafter budget amount represents producers total anticipated costs profit budget include costs producing video including producer director fees well post production editing costs examples music video budgets ranging shoestring commercialstudio budgets see httpgarrettgibbonscommusicvideobudgets producer hires director hereinafter director director shall employee producer purposes production delivery video employees representatives producer providing production services hereunder artist term agreement shall deemed purposes including compensation taxes employee benefits employees representatives solely producer employees representatives artist independent contractors artist video shall depict content included treatment script approved artist prior principal photography grant right work made hire clause transfers rights person company case may commissioning video production services provided producer person providing services shall deemed provided work made hire basis term defined us copyright law video materials created contributed producer including footage outtakes audio tracks materials shall sole property artist throughout universe free claims whatsoever producer artist shall exclusive right register copyrights materials name owner author thereof secure renewals extensions copyrights without limiting generality foregoing artist person authorized artist shall unlimited exclusive right throughout universe manufacture create copies video materials method hereafter known work derived video materials sell market transfer otherwise deal trademarks trade names labels refrain manufacture sale dealing artist person authorized artist shall right throughout universe may grant others right reproduce print publish disseminate medium name portraits pictures likenesses biographical material concerning producer director person providing production services news information purposes trade advertising purposes connection promotion marketing sale video used agreement name shall include without limitation professional names compensation parties agree effective date agreement shall set forth beginning agreement hereinafter effective date parties acknowledge total amount attached budget dollars within five days effective date artist shall pay producer budget dollars second payment dollars shall due upon completion principal photography third last payment dollars shall due upon delivery video materials artist overages regard overages budget producer shall charge artist monies addition approved budget without artists prior written approval notices notices reports accountings communication producer artist may require desire send must delivered either certified mail return receipt requested parties addresses first written address designated producer artist case may electronic mail following addresses artist ii producer assignment producer may assign agreement right obligations agreement artist may assign agreement rights obligations hereunder person firm corporation including corporation artist principal provided artist shall remain responsible payments required made agreement ii assignee necessary cash hand make payments required agreement warranties indemnification producer warrants represents legal right enter agreement including legal right sign behalf director producer warrants represents content contributed producer shall original interfere violate rights third party b content appearing video including artwork photography interfere violate rights third party producer warrants represents shall provide valid signed releases third party performing appearing video shall legally required secure valid signed location releases location appearing video acceptable forms release attached hereto schedule b respectively attached releases may used schedules b note releases allow producer assign rights secured releases artist producer representatives employees contractors agents representatives hereby release indemnify agree hold harmless artist agents representatives losses andor damages arise production services termination artist may terminate agreement upon written notice event material breach producer including late delivery video breach cured within days notice thereof breach cured within time producer shall entitled additional payments upon notice artist producer shall refund artist monies previously paid miscellaneous governing law agreement shall interpreted laws state without regard choiceoflaw rules parties shall submit exclusive jurisdiction courts state since artist party paying money agreement artist right decide state dispute arising agreement litigated relationship parties producer artist shall relationship independent contractors nothing herein shall construed place producer artist relationship principal agent employer employee master servant partners joint venturers neither party shall either expressly implication represented authority make contracts name binding obligate manner complete agreement producer artist acknowledge agreement represents complete exclusive statement agreement producer artist regard subject matter herein supersedes proposal prior agreement whether oral written communications parties relating subject matter agreement enforcement provision agreement shall found invalid unenforceable provision shall invalidate way affect enforceability remainder agreement understood agreed artists name name producer ss producer production company llc production company president managing partner sign personal guarantee order induce artist enter agreement hereby agree acknowledge read terms conditions set forth agreement b shall personally bound terms conditions agreement applying production company shall personally liable breach agreement production company president managing partner print name position personal release producer address understand producer producing video containing performance song titled video good valuable consideration including desire appear video irrevocably grant producer licensees assigns right film videotape portray photograph likeness performance record voice sound effects right use portion thereof name biographical facts may provided producer connection production video advertising promotion publicity therefor rights every nature whatsoever films video portrayals photographs performances recordings produced hereunder material including without limitation copyrights therein renewals extensions thereof exclusive right reproduce exhibit distribute otherwise exploit material whole part perpetuity throughout universe languages versions including digitized versions forms media known hereafter devised independently apart consideration accruing hereunder hereby release producer producers authorized designees covenant sue producer producers authorized designees claim cause action whether known unknown libel slander invasion right privacy publicity personality claim cause action based upon relating exercise rights referred herein understand nothing herein require producer producers designees actually produce utilize material hereunder grant irrevocable producer may proceed reliance thereon instrument contains entire understanding parties may changed terminated except instrument producer construed accordance laws state provided courts state shall exclusive jurisdiction resolve disputes arising release authorized signature print name" +} diff --git a/Performance Core | Berklee College of Music.json b/Performance Core | Berklee College of Music.json new file mode 100644 index 0000000000000000000000000000000000000000..d19ec087a52f78fadf88c2ec4ec705a00e303f72 --- /dev/null +++ b/Performance Core | Berklee College of Music.json @@ -0,0 +1,5 @@ +{ + "filename": "Performance Core | Berklee College of Music", + "department": "General", + "cleaned_text": "" +} \ No newline at end of file diff --git a/Pillars-of-a-Great-Release.json b/Pillars-of-a-Great-Release.json new file mode 100644 index 0000000000000000000000000000000000000000..a3fc8206c7738a67ee71037cd77e8f774bb9efd6 --- /dev/null +++ b/Pillars-of-a-Great-Release.json @@ -0,0 +1,5 @@ +{ + "filename": "Pillars-of-a-Great-Release", + "department": "Marketing", "Manager", + "cleaned_text": "practical review electronic music marketingthe pillars great releasechoose release platform every release option release record label independently indie require unique approaches order successful main advantage releasing record label access distributor distribution music gets onto streaming platforms music stores labels work closely distributors handle however release independently youll work distribution company choice directly often pay services labels often produce greater stream counts sales due larger marketing reach comes price labels regularly take sometimes greater songs revenue releasing independently retain songs revenue depending distributor choose youll need marketing yourselfleverage marketing database take time build database valuable contacts use release marketing even plan release label database include everyone industry tastemakers different verticals dedicated fansfriends artists identify \ufb01nd contact information curators spotify playlists owners large soundcloud channels send emails contacts song release include song playlist repost followers number spotifysoundcloud contacts well hundreds list reused future releases build network similar artists help market music playing artists music live performances radio shows soundcloud reposts tweets instagram stories artists comarket music fan bases sure equally supportive seek give support much ask itdesign release strategy isnt enough whimsically post social media pages whenever feel like extremely useful create organized detailed plan every release gets easier release every song create document like use excel house song information links calendar social media posts database contacts require personal outreach past support stronger personal relationship etc sure plan release relative releases recommend releasing song every months create least pieces ancillary content per release dj mixes inthestudio tutorials quirky social media videos instagram story takeovers etc effective ways market release audience without repeatedly posting spotify links important maintain constant contact audience create buzz around releaseassets artwork visual elements song written copy prepared advance release day achieve truly viral release needs go beyond simple album artwork copy important term understand exact text used marketing materials write social media posts emails advance release preschedule many allows strategize collective language used save precious time release cycle artwork pay visual artist first depends budget budget artwork working visual artist great way professionally build visual ideas leverage someone elses creative vision budget worries keep simple clean cant go wrong therethe keys spotify weve already touched going reiterate spotify dominating force music streaming cases without robust spotify presence hard grow brand artist focus playlists spotifys playlists snowball playlists song fewer times listeners skip song playlist new playlists spotifys algorithms place speci\ufb01cally discover weekly playlists order avoid skips make sure submit song playlists curated speci\ufb01c genre new spotify playlist system around corner currently beta artistsonly platform allow direct submissions playlist curators single submission page start using soon available remember even though convenient nothing beats personal contact playlister built upon individual direct contacthyperbits hyperbits hyperbits hyperbits hyperbits wwwhyperbitsmusiccom" +} diff --git a/Release-Strategy-2-0-Mark-Eckert.json b/Release-Strategy-2-0-Mark-Eckert.json new file mode 100644 index 0000000000000000000000000000000000000000..2e19599e2458c48010ad07b4fecf625cdc92b145 --- /dev/null +++ b/Release-Strategy-2-0-Mark-Eckert.json @@ -0,0 +1,5 @@ +{ + "filename": "Release-Strategy-2-0-Mark-Eckert", + "department": "Marketing", "Manager", + "cleaned_text": "release strategy release song run pr campaign get writeups get playlists build career artist mark eckert markeckertcomversion ebook downloaded nearly independent artists around world holy fuck cant even believe many people helped really rewarding thing seeing methodology help artists near far get closer goals inspired write artist ive worked years called crying eyes spent thousands dollars pr campaign someone know truly shit bed swore wouldnt let happen thats took time production focus writing writing starting simple guide artists produce develop becoming full fledged movement people tagging left right ig new write ups spotify official playlists shows tours radio even international festivals holy fuck landed directly indirectly ebook unbelievably cool see many truly helped anyways wanted thank everyone kind words truly means lot trying help everyone really proud everyones hard workweve approached new era music industry specifically independents results people getting prove ultimately harder work persistently work results get proud ya downloading taking steps needed share music need hear truly excited hear achieve words insight follow grab coffee sit get comfy take notes take action kickass day markcredits first need put credit credit due put perspective credibility youre going learn ebook methods used time time get artists work earmilk kick kick snare noisey spotify playlists radio store playlists hollister hm urban outfitters name also helped get connections pitching songs adsfilm publishing licensing companies advice particular ebook collection best practices badass pr agents knowhave worked well producers label owners fuckin slay huge shout lynn banks toronto well huge shout nicole riolo nyc thank advice willingness give back independent artists throughout world links provided sites need additional help larger campaign highly suggest putting investment either agents youd right hands working either wonderfulicon island nineties kid pitch call rioloso kick ass book divided parts first part called mentality covers overall process mentality needed successful release strategy pr campaign release strategy pr campaign mean shit ton people listen songs get along artist career second part called need covers everything need press release photos software etc also includes details materials things send music journalist playlister etc industry standard level dont embarrass third final part ebook called playbook gives actionable steps position artist run proper pr campaign upcoming song release get value book best read page page order youre confused fuck lets jump markmentality mindset overall strategy needed successful release strategy pr campaignso im going straight hell worked year half song hired producer got live show together got groupie homies rep merch trashy dive bar still cant remember name still idea release song get premiered cool blog get playlists subsequently keep telling everyone im getting release strategy together deep literally fucking clue means heard term release strategy youre repeating youve become parrot well dudedudet im remind youre parrot youre artist listen get seems crazy hayullll last thing want put track slaved get dreaded caption song spotify really shit thought sure something try avoid want right process biggest stressor thinking timeperiod overall waste energy artists work deal producing well artists around world drumming developing decided done fuck mentality lets get explained right reason made book want stop explaining constantly lot go dont consider educator like hooking everyone whos going really simple important though work artist record want provide actual results make track leave talk studio together passion developing artists produce drum meaning help get vision created matter means writing ebook offering resources artists produce develop helps get career even little bit im going period roll want know problem release strategy age old problem problem every single artist ive worked gone year year industry im reminded arent many secrets music business theres people knowledge acting mysterious inaccessible heres thing though really mysterious fuck ill accessible want make clear providing follow directions ebook change direction career save thousands dollars pr campaigns youll able run give actionable results running pr campaign continue build relationships gatekeepers without doubt finally prove old man yes song worthy rolling stone victoria secret instore playlist childhood dream vicariously live first decided write idea provide strictly artists produce literally minute thought decided fuck im going give ebook everyone free frankly think industry needs little less help little help plenty success go around plenty good people need guidance guidance good people earth offering homies massive hookup running pr campaign badass release youre proud know artists need help tell ebook always free afwho book independent artists building careers artists labels want rely less someone else take personal responsibility career whatever reason people dont blame surroundings lack success people take full ownership responsibility control career future book people arent willing hustle make happen means necessary people make excuses book people wait right time essentially book personally people wait get ducks row people find duck work ultimately build career anything need create hype propel forward salesmansaleswoman chutzpah dont fall book apply slightest hype perception reality someone says youre something cool people trust person means something cool whether youre actually unbiasedly something cool remember presented presenting thats everyone industry pushes credits know people making close million year independently also know people major label deal barely get every month yet label represented person treated differently peers associated establishment perceived higher decades decades societal training industry changing fast like see someone verified instagram first glance sometimes treated differently like higher tiered someone else without anything establishment instagram case declaring someone legitimate psychological music industry entertainment industry whole designed reason state hype essentially product masses music enjoyable plenty enjoyable free things hype though people buy let continuethe respected established publication puts first ultimately give credibility needed move publications relative status first writeup popular kids high school started trends average kid followed everyone follower certain degree im wearing joggers right dont jog things look fucking ridiculous lazy degree bought people hype perceptual value changed perception music product like something technology fixing problem medicine cures tangible diseases cars tangibly move us point b music incredibly beautiful things world saves lives cures depression brings together communities gives us identity nothing tangible see face value value convinced perceived feeling much feeling determined perception thus music heard masses hardest music play perform one best packaged attain higher perception value potential audience consumer music brand live shows everything packaged counts lets talk people give hype perceived value next chapter music journalists playlisters appeal music journalists curators skilled writers exceptionally hard working people craft music majorityhold gatekeeper audience never met person discounts importance social media course deserve respect admiration treat servant worked asses need aware goals career need empathetic time usually exceptionally busy never one reaching professional journalists notable publications typically paid article write approved editor typically journalist staff means write approved however reason high approval rate well respected full time write great stories audience resonates good story drives traffic sitepublication builds brand awareness respect gives potential quality stories attracts advertising dollars brand partnerships give ability grow publication many stories publications literally blew one exclusive story covered first example average consumers give flying shit wikileaks edward snowden story covered point made keep reading pitching story value music story needs help writer publications brand turn help business long run order provide value need interesting need good relationship need story target audience enjoy resonate first starting takes time self awareness understand position yourselfstory think youre going get writeup new indie group billboard tomorrow first song project friend whos done seemed like randomly got hooked ran show talked detail turns became tight journalist year period pitching eventually getting writeups previous band journalist familiar story took genuine interest new single building relationships takes real time providing value publication takes time proper positioning youre willing commit long term youre willing commit career career long term exhausting times bummer others best feeling ever occasion youre signing dont complain people chose path ebook give play play continue build always hire proper pr agent later trusted connections starting like said earlier got duck homie ebook duck work speaking building relationships lets talk detail relationships relationships everything know telling factually since howto book sotospeak way around solid relationships true music industry industry network net worth said living middle nowhere plenty ways still connect people high places via internet matter though ultimately need people behind believe youre need like music need like dont like music dont like story dont like get writeups wont get playlists surprise youre anti social miserable boring douchebag terrible songs nobody pay much attention th rereleased remix hungry like wolf duran durani know people incredible records process marketing personal connections didnt hustle subsequently record went nowhere also know people pretty great music arguably lifechanging though touring internationally tier artists able build hype craft story music life perceived value journalists found valuable readers music absolutely needs pass certain threshold badassery want make incredibly clear need incredible song incredible production book work providing already nonobjectively packaging perceptual value hype obtain like old days dont live nyc la london youre fucked taken seriously dont need hire producer costs k record yes normal thing get connected specific people chance maybe get brate radio station shelved next years contract saying meet anyone anything real rules anymore market fanbase open take position strategically people get scared rules thrive artists choose work also internet incredibly dope capable anything embrace realize find duck ignite chutzpah mentality put together run pr campaign form proper release strategy lets move forward actionable steps remaining portion ebook need playbook covering materials needed release strategy step step actions run pr campaignwhat need need hell things weeks time need weeks release date weeks press release bio single album paragraph max craft good story tell quickly brief bio artistband sentences max one shot get dont bore many words theyre busy simply wont read album single artwork image pxpx promo picture often writers want include promo shot artist band along albumsingle art hd promo photo email subject convincing headturning headline says interesting detail example asap rocky announces nj generation tour respect magazine example montreals golden child releases new single slime complex essentially write think headline publication publish story links socials website yes need website youre new web design suggest using squarespace buying site domain templates great simple design fine private soundcloud link need private soundcloud link share journalist premiere need public soundcloud link additional writeups release private converted public send mp wont open make simple possible listen insider tip someone asks mp weary typically theyre trying get quick licensing rights youtube channel would likely getting paid called getting fucked trying avoid representation false email remember perception key squarespace get custom domain name google apps get email site email someone bandnamegmailcom youll look like shit email yahoo askjeeves fucking give infobandnamecom pressfakemgmtcom much convincing youre someone legit sounds like together youre taking seriously anything doesnt sound like youre alone sounds like people already believe emailing want youre moderately good bullshitting create fake agent speak hi im janet soso agency interested premiere artist roster right wrong people time controversial please read back press fan email perception make alias email google look give ability send different departments speak email journalists pressfakemgmtcom etc contact booking agency bookingfakemgmtcom etc go inbox itll look good everyone else mailtrackio mailtrackio thats site free software install gmail tell someone opened email havent yet game changer following extra credit create mailing list mailchimp mailchimp incredibly easy software use mailing lists also syncs perfectly squarespace get fans friends grandma mailing list let know new song push new song post also give ability presave song distribute distrokid notifies song drops marketing sexytime heres gets real fuckin tech sexyyou also upload emails ad campaign facebook instagram audience targeting advertise pennies dollar extra extra credit make look alike audience facebook ads facebook generate audience similar likes email list market strangers probably dig ya thx zuckahboothangthe playbook actionable steps running pr campaign release weeks campaign timeline weeks release date weeks release daterelease date spotify apple etc hustle premierepremiere day release hustle playlists additional writeupsstep set release date distribute choosing distributor youre nobody distrokid ditto landr great understand since making money front distribution actively hustling material playlists already paid youre somebody leverage existing streams monthly listeners get something like symphonic united masters awal etc since make money backend take percentage streaming royalties exchange distribution service best get many streams possible make money make money charge nothing upfront require following already minimize risk release need minimum weeks time give enough notice premiere anytime works long give weeks hustle look diagram earlier check see releases bigger artists coming soon release isnt overshadowed day set friday new music friday spotify want less competition new music wednesday new music monday exist well significantly less listeners great cred builder long term less competition set release option giventhis sitestep pitch writeups land premiere start want get exclusive premiere make sure mention email premiering song site gives ability first showcase new work since offering exclusively incentivizes journalist itll place someone listen new song following increase traffic site potentially add tremendous taste respect writer blow think tiffanys worth somebody buying ring costco theyre fucking diamond onlyyyy get diamond tiffanys brand help increase brand work tiffany diamond bb get premiere thats things start moving people want write perceived worth something youve gained hype mazel tov exclusivity get premiere period offer every journalist initially whoever responds first decent gets land update every journalist reached premiere think missed feature song perceived value hype point really gotta hustle premiere solid premiere give way solid pr campaignstep email fomulas example initial coldcall email formula subject imagine believe subject writeup would goal premiere say exclusive followed ideal head turning subject writeup body first paragraph song second paragraph artist maybe quick additional info afterwords help sell mention creds links induldge socials past writeups etc follow email formula subject literally let know youre following body sentences asking whether saw previous email restating think would valuable audience alter email depending mailtrack lets know read email follow max times days dont respond stop may blacklist youclick examplestep release day release date send follow press letting know released public provide public link song instead private people havent responded try get public soundcloud spotify link sent write story release want one final time include details press release within email obviously send press writeups fans premiere additional writeups post instagram facebook twitter tinder feel free run ads talked earlier go back extra credit section need feel inclined fans already exist perceived successes turn increase engagement make avid listeners theyll consider ogs pridecommunity built strangers itll give incentive become listener always remember lot people havent listened music sucks simply dont even know release strategy proper pr campaign lets people know gives reason listen start pitching playlistsstep pitch playlists firstly difficult get major playlist unless established connection way knowledge spotify ai algorithm sees song organically extremely well independent playlists dont established connection focus independent playlists initially find playlisters net easy way going spotify streaming platforms find independent playlists looking person made easy pie email contact schpeel music journalists playlists mind playlist fits style music many note saw site proprietary master sheet around playlisters nearly journalists contact infos everyone spotify apple deezer pandora amazon major labels hqs etc give contacts info additional insight industry knowhow artists producing developing free charge however dont work together contacts bonus insight series available purchase site quite literally people gotten coverage cross platform marketed mtv earmilk hm played pretty massive festivals dont work together available purchase site markeckertcomindieprbundlestep follow writeups playlists remaining weeks campaign follow continuously reach literally everyone far week campaign goes release continue push spotify forever reason start winding weeks writeups simply youre old news weeks cant pitch old news youre able add much value publication point simple unless theres sex tape youre arrested get caught racketeering yeyenurture relationships vast majority artists work monthly retainer affordable average eps worth music year consistent basis reason need consistent material consistent relationships built consistent advancement youre trying achieve cyclical goes together need nurture career general follow journalists spotify playlisters anyone industry ig tight personal level keep building relationship youre city living touring offer take coffee treat someone writes send email text something thanking keep building relationships someone gave write small publication theyre likely hustling career much may move bigger publication later theyre youll still tight dont overlook becoming tight people good person friends checking people great mental health careerartist resources given basics need create proper release strategy pr campaign upcoming release along book many additional resources artists work along artists dont want help independent artist get along production shows getting song placed commercial building fanbase thats job producer artist developer youd like make pr campaign helluva lot effective access bloggers playlisters spotify apple music amazon music contacts really badass additional insight series made covering everything need know ins outs running campaign exact framework give artists produce develop want start pitching music advertisements major motion film sync licensing owner founder pitch send opportunities ads send us song pitch contact land keep everything dont take dime want produce develop want free artist resources go back site hit hereclick start pitching music called indie pr bundle available site herethis ebook intellectual property copy distribute try sell ill sue yo ass give downloaders ebook free evr alwyzzzzz markwe done heres legal" +} diff --git a/Sales-Marketing-and-Communication-Toolkit-Overview.json b/Sales-Marketing-and-Communication-Toolkit-Overview.json new file mode 100644 index 0000000000000000000000000000000000000000..270cd827a4a9e2bddf1ebd6d76efaccfa7563c46 --- /dev/null +++ b/Sales-Marketing-and-Communication-Toolkit-Overview.json @@ -0,0 +1,5 @@ +{ + "filename": "Sales-Marketing-and-Communication-Toolkit-Overview", + "department": "Marketing", "Manager", + "cleaned_text": "sales marketing communication strategy toolkit overview domont consultingsuccess stories companies using robust sales marketing communication strategy launched slack faced competitive market numerous established players including giants like microsoft however robust sales marketing communication strategy successfully gained significant market share key elements slacks sales marketing communication strategy productmarket fit slack focused making product loved rather liked built product addressed actual pain points companies unorganized scattered communication target market slack initially targeted tech companies startups recognized organizations open trying new tools would value efficiency productivity benefits slack offered freemium model slack adopted freemium pricing strategy allowed organizations try product upfront cost lowered barrier entry allowed slack gain users rapidly organic growth virality encouraged virality making product inherently shareable people organization started using slack naturally led wider adoption within company customer advocacy focusing customer satisfaction building product users loved slack created base passionate customers became advocates product driving adoptioninsights lessons productmarket fit key need product meets genuine need market target right customers identify target specific customer segment value offering pricing drive adoption consider pricing strategies like freemium models reduce initial barriers get users try product encourage organic growth virality think make product inherently shareable virally engaging customer satisfaction crucial satisfied customer powerful marketing tool focus creating product customers dont use love domont consultingsuccess stories companies using robust sales marketing communication strategy spotify launched music industry throes change music piracy rampant crafting effective robust sales marketing communication strategy spotify became successful also changed way people listen music key elements spotifys sales marketing communication strategy productmarket fit spotify identified people wanted easy legal way listen favorite music providing highquality streaming vast library songs spotify met real need market target market spotify initially targeted millennials gen z comfortable using digital platforms looking ways listen music without purchasing individual albums freemium model spotify like slack used freemium model free version offered great service paid version provided adfree experience additional features strategy lowered barriers initial adoption exclusive partnerships spotify secured exclusive rights stream certain artists albums driving music fans platform making stand competitive marketplace social integration spotify allowed users share playlists see friends listening integrating platform facebook creating social interactive experienceinsights lessons productmarket fit remains crucial spotify made sure provided product needed far superior piracy alternatives freemium models work freemium models work effectively particularly markets piracy problem spotifys model allowed users experience service also made premium offering attractive enough encourage payment partnerships provide competitive advantage markets products may similar exclusive partnerships help product stand social integration drives engagement spotifys integration facebook allowed higher level user engagement made product sticky encouraged organic growth target audience recognizing right target audience drive early adoption spotifys case focusing millennials gen z proved strategic move domont consultingto help create success stories exmckinsey deloitte bcg consultants created sales marketing communication strategy toolkit frameworks tools templates stepbystep tutorialsvideo trainingreallife examplesbest practices advice tier management consultants whats inside toolkit created toolkit toolkit created former mckinsey deloitte bcg management consultants number professionals leveraging toolkits executives consultants entrepreneurs leveraging toolkits improve performance organization trusted small large organizations domont consultingour toolkit help fulfill multiple objectives sales marketing communication strategy toolkit includes frameworks tools templates tutorials reallife examples video training best practices help define implement sales marketing strategy market analysis competitor analysis sales analysis marketing analysis funnel process company swot analysis strategy frameworks sales function vision mission values marketing function vision mission values sales strategic objectives kpis reach vision marketing strategic objectives kpis reach vision sales team budget marketing team budget four pillars productservice positioning value proposition communication strategy sales distribution strategy pricing strategy define productservice positioning value proposition target market productservice offering product life cycle productservice positioning key attributes customer benefits unique selling proposition usp value proposition product packaging design product bundling customer feedback integration define implement communication strategy background context communication objectives approach communication principles overarching messages stakeholder analysis communication channels key dependencies communication risks high level communication plan detailed communication plan define implement sales distribution strategy retail distribution wholesale distribution online distribution physical store distribution franchising strategic partnerships multichannel distribution sales team structure sales distribution strategy selection matrix define implement pricing strategy pricing fundamentals pricing maturity model current pricing maturity level target pricing maturity level pricing strategies methods set price discount types avoid price war list potential initiatives pillar create business cases financial models assess potential initiatives prioritize plan implement projects project prioritization business roadmap governance dashboards project implementation agile methodology design thinking traditional methodology continuous improvement post projects evaluation lessons learnt post program evaluation lessons learnt define implement change management strategy internal communication strategy change management strategy change management plans implementation tracking progress management effective communication engage stakeholders effectively stakeholder analysis stakeholder engagement strategy stakeholder engagement detailed plan domont consultingthe toolkit includes phase approach built refined past years constant trial error sales marketing strategy ii pillars reach sales marketing strategic objectives productservice positioning value propositioncommunication strategy sales distribution strategy pricing strategy target market productservice offering product life cycle productservice positioning key attributes customer benefits unique selling proposition usp value proposition product packaging design product bundling customer feedback integrationbackground context communication objectives approach communication principles overarching messages stakeholder analysis communication channels key dependencies communication risks highlevel communication plan detailed communication planpricing fundamentals pricing maturity model current pricing maturity level target pricing maturity level pricing strategies methods set price discount types avoid price war iv business cases financial models assess potential projects v project prioritization business roadmap implementation vi change management internal communication stakeholder engagementmarket analysis sales analysis company swot analysissales function vision mission values iii potential initiatives pillarmarketing function vision mission valuessales strategic objectives kpis reach vision marketing strategic objectives kpis reach visionsales team budget marketing team budget retail distribution wholesale distribution online distribution physical store distribution franchising strategic partnerships multichannel distribution sales team structure sales distribution strategy selection matrixcompetitor analysis marketing analysisfunnel processstrategy frameworks ansoff matrix blue ocean strategy entering new market introducing new product segmentation targeting positioning domont consulting small preview phase sales marketing strategy domont consulting small preview phase pillars reach sales marketing strategic objectives domont consulting small preview phase pillars reach sales marketing strategic objectives domont consultingsmall preview phase potential initiatives business cases financial models domont consultingsmall preview phase project prioritization business roadmap implementation domont consultingsmall preview phase change management internal communication stakeholder engagement domont consultingthe toolkit includes multiple powerpoint slides excel sheets video training download device immediately purchase editable powerpoint slides excel sheets hour video training please note number powerpoint slides excel sheets listed number unique slides sheets example powerpoint slide duplicated facilitate clients understanding counts one slideoverview approach sales marketing strategy value proposition communication strategy sales distribution strategypricing strategy list potential initiatives business cases financial models project prioritization business roadmap implementation change management internal communication stakeholder engagement domont consultingour management consulting toolkits include key benefits improve growth efficiency organization leveraging management consulting toolkits created exmckinsey deloitte bcg consultantsmake great investment career organization cost us usm past years create toolkits get fraction costget competitive advantage like hiring management consultants create practical frameworks tools templates need get job done quicker never start scratch readymade fully editable frameworks tools templates powerpoint excelimprove capabilities organization learning fortune global consulting firms get free support advice exmckinsey deloitte bcg management consultantsdecrease costs hiring tier consultants project would cost k way expensive toolkits last lifetimebecome organizations subject matter expert impress stakeholders worldclass approaches resolve common business problems dont reinvent wheel already worked hours past years create management consulting toolkits need domont consulting clients say toolkits click see reviews domont consultingjoin executives consultants entrepreneurs leveraging toolkits improve performance organization trusted small large organizations customer satisfaction number countries leveraging toolkits number professionals leveraging toolkits daily rate exmckinsey deloitte bcg management consultants kk domont consulting interested toolkit access toolkits half price gold access gold access click learn domont consultingneed additional help send us brief well find right talent network tier management consultants click send us project brief small preview wwwdomontconsultingcom" +} diff --git a/Secrets-to-Finishing-Music.json b/Secrets-to-Finishing-Music.json new file mode 100644 index 0000000000000000000000000000000000000000..a755031522fa328bc9c55182549b5c240c61957e --- /dev/null +++ b/Secrets-to-Finishing-Music.json @@ -0,0 +1,5 @@ +{ + "filename": "Secrets-to-Finishing-Music", + "department": "Ar", + "cleaned_text": "secrets finishing musicabout hyperbits im obsessed seriously im completely hopelessly obsessed making music computer teaching ive learned along way years ago ever remixed artists like beyonce tove lo nick jonas laidback luke miserable disgruntled cubicleslaving toer today ive worked producer remixer engineer biggest labels world like universal sony island records virginemi ultra ive almost million streams across spotify soundcloud youtube fans across social media realworld experience couldnt believe much misguided music production industry knowledge scattered throughout internet thats hyperbits masterclass comes started one simple reason discount myths share truth process things happened able connect hungry coming music producers dedicated honing craft fucking loved want show conquer advanced music production learning mix master like pros rapidly increase output improve work\ufb02ow creativity fun fellow producers cuttingedge online school really doesnt matter im remixing beyonce working fundamentals sameso look parents teachers sister teacher grandmother teacher literally blood teaching music production meant hopefully youll see energy teaching style watch one free production workshops enjoy free resources please hit questions music business life im looking forward getting know best music journey cheers hyperbits ps outside music im health enthusiast \ufb01tness lover handicap golfer avid planteater inspired world traveler try let genuine love life inform everything music business friendship community cant think writing block write thinking block john rogers lifeline project entire point lifeline project showcase exactly emotionally rocky journey making single song emotionally complex draining really one solution need \ufb01nish music faster need get \ufb01rst initial spark initial point inspiration \ufb01nishing line less time thats speed entire pdf going help take advantage best producers already \ufb01gured need move fast light entrepreneurs startup culture follows fail fast attitude music producers top game make track hours fail fast talking track talking commercially viable hits songs sound incredible billions plays end day best artists world know choice keep making music tried true systems techniques solve individual speci\ufb01c problems pdf attempts share best solutions problems slow producers \ufb01nal output completed \ufb01nished worksteal like artist austin kleoncreate maintain inspiration binsecret order excited create music need collecting nurturing love music lots ways worked consistently listening radio shows podcasts keeping date inspiration bin insane amount music producer needs playlist songs help inspire fact opposite want pull least songs songs small selection music act perfect guide inspire track make moving forward way youve pulled absolute favorite music stuff inspires borrow get inspired pieces songs inspiration bin creating organized current inspiration bin something keep religiously actual music production create inspiration bin current tracks inspire reference every time struggling come new idea summarybe ruthless deadlinessecret real quick want share story power deadlines remember \ufb01rst opportunity of\ufb01cial remix major label back beyond amped couldnt wait get started chance take advantage huge opportunity id working years towards chance catch less hours submit remix yikes minor panic attack sat got work wasnt easy stayed half night questioned everything things looking bleak see dark night soul lifeline project earlier eventually \ufb01nished song got approved looking back biggest takeaway \ufb01nished entire track day choice thats deadlines incredible dont care implement deadlines schedule work\ufb02ow exist make friends hold accountable deadlines build team holds accountable sign one accountability apps make bet someone pay dont \ufb01nish something consistent schedule fact thats best form accountability combines social \ufb01nancial pressure ruthless setting deadlines force make decisions force commit progressing song hopefully get away terrible pword call pcurse yep guessed perfectionism deadlines help put idea \ufb01nishing song front idea creating perfect song thats really really big distinction deadlines also help get habit deleting everything isnt necessary track dont save versions every idea really liked youll \ufb01nd way recreate later started saving different versions tracks never went back different versions stopped together didnt miss \ufb01nally dont forget printing audio printing audio nondaw speci\ufb01c way saying exporting bouncing audio save cpu help move forward ideas commit whatever front plus editing audio ton freedom malleability ruthless deadlines placing idea \ufb01nishing anything else yes means quantity quality commit decisions printing audio delete delete delete anything necessary time multiply whatever feed good habits make time allybad habits make time enemy james clear summarymake sound selection prioritysecret time devotion problem main issue pursuing sound design ground time devotion problem top two timerelated issues \ufb01rst time would take learn get good designing sounds even youve gotten really good time takes design sound youre using making entirely scratch youre trying focus making \ufb01nishing music fast slow exponentially much fact might able \ufb01nish music thats real problem quality sound problem even got really good sound design also got really good quickly creating sounds scratch issue quality sounds wont good people companies living know guys professionally professionals companies really good one particular skill set really hard even got became pro\ufb01cient even remotely compete companies highest level fact matter wont able get amazing sounding patch created scratch good professionals unless spend majority time designing sounds nothing else would leave things like composition mixing mastering course \ufb01nishing music wayside abundance presets positive thing comes huge abundance presets super highquality sounds using dont need make scratch fact shouldnt make scratch go get really take pride process take pride \ufb01nding best quality sounds samples sound banks lifeblood best way consistently make high quality sounding music start amazing sounds make overall process lot easier spending time nothing getting good sound design takes away main goal \ufb01nishing music even able become talented designing sounds likely fall short quality professionals companies able achieve insane abundance presets superhigh quality sounds affordable easy get access better anything youll make completely scratch cant use creativity use maya angelou summaryminimize distractions costssecret may seem somewhat basic im always surprised people actually anyone successful industry learn minimize distractions learn focus means turning wi\ufb01 im composing mixing also means making phone arms reach move away computer check messages emails socials become hyperaware often im sabotaging work\ufb02ow ill keep walking away actual work perfect example training apply keep productive habits day day add collaboration nice little bonus inside minimizing distraction idea ends happening assuming person work also generally focused allow monkeybrain run wild distractions think someone sitting next societal pressure person alone stop tweaking snare minutes seconds turn wi\ufb01 working put phone another room make sure isolate stagnate growth also make sure collaborate nothing stagnate growth isolation summaryget organized like life depends itsecret isnt meant satisfy inner ocd anything minimize mental effort necessary accomplish every tiny little production decision youll making throughout track become mentally exhausting make thousands little decisions every time make song youre organized youll able save mental capacity tackle important problems create maintain favorites folder absolute best thing possibly create favorites folder samples thing put repeat thing absolute favorite best sounding samples great way start go recent songs pull anything plan reusing general rule thumb done something times belongs favorites folder means want get song going quickly wont break \ufb02ow state youre go sample hunting save presets channel strips later use saving presets similarly favorites folder absolute musthave comes work\ufb02ow help de\ufb01ne sound youll start reuse speci\ufb01c patches stop resorting something completely new different every time make track go organizing make sure sustainable something keep found easiest save presets inside daw instead inside individual synth kept soundbanks organized synth actually pulled favorite patches daw easily accessible dependent like top also create channel strips entire processing chains \ufb01nd using often even set certain plugins default certain setting every time open almost always something given plugin synth set setting default youll save loads time every single instance open speci\ufb01c synth plugin ideal starting position utilize templates dont believe templates saving grace anything comes getting started minutes save start track using template ridiculously valuable process capitalizing inspiration like keep templates simple composition template synth piano empty audio track ready go sidechain trigger already set reverbs effects already bussed thats anything beyond found overkill create maintain favorites folder absolute best sounds make sure save presets channel strips future use utilize templates dont overdo make sure save presets channel strips future use utilize templates help quickstart productions dont rely much templates actually hinder creativity one person youre influenced everyone say youre next whoever rip hundred people everyone say youre original gary panter summaryborrow steal arrangementssecret know word steal super loaded word helps think borrowing stealing one ever know comes arrangements song structure better way stop bar looping phase people call loopitis know create idea play repeat never progress song simply drop track inspiration bin secret directly daw youve done map song directly reference track allows reference track become guide going happen song naturally create lot gaps production thats good thing force \ufb01ll gaps song complete youll transitionary gaps entire sections like breaks prechoruses intros outrosand guide map song become working towards solving speci\ufb01c problem need instead aimlessly looping music please please please dont worry plagiarism stealing using reference tracks structure guides one ever pick theres many things worry music production shouldnt one drop reference track daw map song reference \ufb01ll gapssummarylearn shortcuts speedsecret comes speed simply cant get around fact nothing dramatically quicken work\ufb02ow shortcuts im even talking advanced jedi professor stuff im talking simple easy learn shortcuts dramatically improve work\ufb02ow daw speci\ufb01c shortcuts ive included manuals popular daws reference im going get technicalities simple things like shortcut saving project \ufb01le shortcuts duplicating audio \ufb01les copying automation switching daws mixer vs arrangement window even correcting midi duplicating midi moving midi around go far improving day day work\ufb02ow spend day life learning piano roll said going spending ton time inside daw working midi theres avoiding thats reality situation probably worth spending one full day life learning everything know midi editing daw one day pay years comesummaryspend day life learning audio editing note audio editing youll manipulating warping chopping cutting stretching audio relentlessly making music might well know like back hand spend another full day nothing learning shortcuts audio editing techniques luckily relatively simple execute stuff lot producers never learn didnt take time \ufb01rst months even years get know basics learn daws important shortcuts spend one day life learning piano roll shortcuts spend one day life learning audio editing shortcuts easy reference weve included links manuals popular daws ableton shortcuts manual search shortcuts logic x manual search key commands fl studio manual search shortcuts dont think making art get done let everyone else decide good bad whether love hate deciding make even art andy warholget good entering flow statesecret \ufb02ow state also referred zone creative \ufb02ow best de\ufb01nition could come mental state relaxed high performance mental state energized focus full involvement enjoyment process quite honestly really rewarding part creating music hands whats interesting \ufb02ow state enter \ufb02ow state two conditions met work challenging enough keep minds occupied busy work easy enough avoid frustration boredom thats really important point means order consistently achieve enter \ufb02ow state need arm proper tools education get bogged dif\ufb01culties music producers face literally need enough technical knowledge able challenge next composition sound design session mixdown master whatever facets plan tackling next means formula entering \ufb02ow state learn something apply practice rest rinse repeatits important always learning always fueling mind new information whatever dont become person literally never anything learn take new information apply practice importantly use rest repeat enter \ufb02ow state formula simple learn something apply practice make sure rest repeat process make mistake \ufb02ow states goal seeking also happens fun rewarding part musical process separates superstars average seek criticism actually listen alex alvarez summaryhyperbits hyperbits hyperbits hyperbits hyperbits www hyper bitsmus icc om" +} diff --git a/Startup-Guide-to-Music-Business.json b/Startup-Guide-to-Music-Business.json new file mode 100644 index 0000000000000000000000000000000000000000..635df1773d0f9f4ad24830ead13c0131f23fcb33 --- /dev/null +++ b/Startup-Guide-to-Music-Business.json @@ -0,0 +1,5 @@ +{ + "filename": "Startup-Guide-to-Music-Business", + "department": "Manager", + "cleaned_text": "startup guide music businessthe association independent music aimorgukstartup guide music businesspresents startup guide music businesscontents aim authors foreword introduction brief history music business strategy business startup fundamentals business copyright recording publishing contracts collection societies funding covering initial outgoings core business skills team around artist launch countdown physical release marketing principles new model ownership data promotion live performance synchronisation third party commercial deals international expansion future wellbeing music industry information reading startup guide music businessabout aim aim association independent music notforprofit trade body exclusively representing uks independent music sector makes quarter recorded music market th year aims members range largest respected record labels associated music businesses world selfreleasing artists next generation entrepreneurs music aim promotes supports exciting diverse sector globally provides range services commercial opportunities practical help members enabling innovate grow break new markets larger end aim member businesses include companies beggars group domino records warp records mute records ninja tune pias release music artists including aj tracey arctic monkeys aphex twin blood orange bonobo danny brown hot chip high contrast little simz new order radiohead many many aimorguk guide association independent music limited rights reserved part guide may reproduced copied manner whatsoever without prior written permission except case brief quotation embodied articles reviews academic papers instance full credit must provided prominently alongsidestartup guide music businessabout authors tim ferrone tim ferrone founder owner wrapped music effectively pay go label hire uk independent music sector campaign management service available domestic overseas artists managers labels wrapped music culmination tims nineteen years recorded music business worked various major independent labels artist management ou reach say hello find details wwwwrappedupmusiccomgee davy head legal business affairs aim gee davy joined aim april oversee legal business affairs aim advisor aim members aspects impact law running independent music business previously gee spent seven years prestigious independent record label publisher cooking vinyl group companies including distribution company essential music partner label fatcat records looking across business activity working artists diverse prodigy billy bragg underworld amanda palmer honeyblood daysofstatic gee started technology studying electronic engineering working briefly telecoms sector following passion music industry music law running successful music events promotion business brother number years gee ardent supporter facilitating independent music industrys continued innovation success supporting evolution digital age regular speaker conferences music industry events interface music technology copyrights legal business industry issuespaul pacifico ceo aim paul pacifico musician music entrepreneur educator ceo aim paul worked finance strategy consulting nearly decade moving concentrate building business specific music last years music paul worked artist session musician creative director diverse range artists quincy jones nile rodgers high contrast prior joining aim paul ceo uks featured artists coalition fac organisation music industry represents interests rights artists paul also founding president international artist organisation iao unites artist organisations different countries speak one voice paul continues perform record musician visiting professor artist startup berklee college musics global masters campus valencia spain paul passionate meeting point creativity commerce helping people startup guide music businessforeword daunting start business daunting figure grow expand diversify specialise well guide intended practical nature deliberately remains focussed things things work rather strategic questions also academic doesnt dwell things work particular way whether took approach aims belief fixed starting point music business start performing gigs others putting others writing recording producing music publicising promoting music business landscape patchwork interrelated specialist areas majority music businesses active across number business areas making virtuous circle activity reinforces others uniting thread soon start make distribute try sell recorded music need know business works money flows everyone start somewhere know business works better chances success business grows needs vision strategy might work one might right another therefore clear strategic pathway instead walk path access specialist knowledge need turn example conferences expert tips networking peers potential business partners may access member aim startup guide help cut noise distil essential information need understand various parts business releasing music work fit together need know make work take business start scale read book cover cover start business hope find easier figure get going running dip various chapters become relevant diversify activities review basics make sure missing essentials ultimately book make everything little quicker little cheaper bit easier understand opportunities challenges regardless size business challenges remain part aims role help share knowledge ensure broad diverse music market levelling playing field big established businesses start ups challenge asked sum takes start build successful music business would say work hard substitute play hard love enjoy learn much find trusted sources information help inform way find balance without burnout common paul pacifico ceo aim startup guide music businessintroduction guide welcome new edition aims startup guide music business essential guide get started grow business working music st century intention guide help understand basics business side music outset improve way run existing music business intended definitive guide music industry operate ordered way one process naturally following another realistically combination activities processes occur number different orders often overlapping compiling guide assumed certain order events outline processes could look like please interpret one size fits solution thing exists might helpful think sections guide pieces music industry jigsaw every business fits together unique way suggestion read book full get overall view refer back specific chapters needed tips references along way digging deeper topic finding detailed information need aim also runs conferences training sessions throughout year various aspects covered guide looking detail new developments case studies aims website also hosts number guides specific business topics plus tip sheets explainers videos sessions various aim conferences training workshops startup guide music business brief history music industry need know order fully appreciate workings contemporary music landscape make money particularly useful understand arrived current model whilst might seem exciting relevant please stay course understanding business developed really help know negotiate negotiate sake quick modern music history recap reading next paragraphs time well spent th century music business th century saw rapid development music industry know time recording music purchasable physical product development recording artist star became well truly established model became norm record company entity chose record got record financing process making end result available general public purchase behold record business born staying much several decades resulted wellestablished business framework recording expensive process required lots studio equipment musicians production personnel manufacture distribution required vast amounts factory space machinery reproduce records means supplying wider retail environment marketing promotion required knowhow network relationships series sometimes dubious processes incentivise media support getting records shelves shops required similar breadth contacts often equally unspoken means ensuring got important window display space short artist recognised undoubted star show needed record company pay perform functions behalf reliance model almost complete absence alternative route market meant record companies artists held balance power usually record companies chose sign often would recorded artist would look presented even means general public would commercially engage artist formats evolved years whether shellac disc vinyl record cassette finally onto digital cd key point record company fundamental role process funding enabling artist reach audience often chose exactly music audience allowed hear result record companies exerted rare power dissimilar early movie business star actors exclusively contracted single studios allowed pick choose movies made compelled release whatever output company deemed suitable creative control loosened somewhat years artists flexed collective muscles able take greater control recorded output necessity operating one recording company bulk career remained throughout bottom line artist wanted record release music option deal record label record company meant career physical era certainly high cost therefore financial risk required launch new artist market along necessary relationships resources artist label contracts therefore unsurprisingly overwhelmingly stacked favour record companies would retain rights release recordings generally without rights ever reverting back artist would also claim lions share sales income recoup outlay generate income fund profits well release music complex deals made recoupable advances offset artist royalties startup guide music businesswhich later meant artists income often low kept control record labels time record company broken even made substantial profit back early days really one type record deal artist whats known work hire basis record label signed artists exclusive recording services complete ownership copyrights recordings made artist period signed usually whole period life copyright many independent record companies started making different deals wanted create different relationship artist business differently order attract artists werent able compete upfront fees advances none demonise record companies existed commercial environment fact individual artist needed record company record company needed individual artist result way system worked time also someone take risk front costs taking artist market surprising market started evolve smaller record companies market pressure ie independents quickest change use new models artist agreements relationships generally acknowledged operate balanced transparent basis artists whole process making money recorded music underpinned two primary elements writer writes song publishing company collects income artist records music record company collects income pays publisher use songwriters song worth noting rest music business many ways making money live performance example virtually exclusive domain artist manager record industry making much money record companies often disinterested artists channels monetisation even though played important role process making breaking star performers instance record companies get directly involved merchandise gig ticket sales recording income alone enough turn new millennium approached seemed like always would however rumblings dissenting foreseen disruptive potential internet begun express concern potential influence industry become set ways digital disruption democratisation hardly revelation observe digitisation music industry changed forever boom years cd gone virtually overnight record business reacted far slowly recognise respond threat opportunity online market presented fell decade half yearonyear decline first piracy eventually legitimate download services finally streaming harnessed potential small digital music files could shared via computer accessed within seconds digital files eventually begrudgingly welcomed new formats internet replacements record whilst downloads still exist market vinyl growing cd remains viable product many major markets perceived industry saviour appeared form streaming model whereby music accessed product level overarching subscription worlds music library customer music paid monthly basis artist share income paid small micropayments listen started smaller revenue stream predecessors might accustomed however market saturation still many years away increasing mainstream adoption streaming subscriptions current market recorded music fired startup guide music businesswith optimism absent best part two decades changes brought transition old world new farreaching consequences shape business done today expectations artists commercial partners labels managers publishers first cost technology massively reduced meaning almost everyone access need record music without necessary use expensive studio like abbey road home studios even able record via handheld device may always ideal work often good enough also distribution market opened online services available anyone sign use get music digital stores world media also experienced revolution advent social media millions blogs vlogs podcasts offering way artists connect fans would impossible old world without media industry contacts years artists offered many ways recording distributing music directly profit margins record business increasingly squeezed labels consolidated reduced employee numbers short process democratisation occurred whereby handful key decision makers traditionally decided music release overtaken whole world options creative talent least theoretically choose engage every single step processand relevant decades since artists gained increasing involvement creative side careers first told songs sing look years artists fought successfully increasing creative control careers artists today expecting significant input repertoire image voices literally metaphorically however artists still largely removed commercial side business feels like far cry today artists able pursue careers number ways build team around best suits vision sense increased freedom modern landscape though also doubleedged sword choice incredibly liberating also lead indecision confusion might best right way go making choices means taking responsibility choices adds pressure know increasing number aspects business guide tools though try help make sense things whether starting artist label manager mix roles wherever starting modern music market options options gamechanger know rights consider example one fundamental aspect traditional recording industry model ownership copyright recordings label underlying songs publisher prerequisite traditional deals artist accept rules wanted game old world artists sell assign rights label publisher new world startup guide music businessthe artist doesnt thing power sell rights wish also lease rights license deals longer shorter period time depending deal artist might choose none things instead release music directly options pros cons associated likely course long career artist days number deals probably mix ou need understand rights work build business creates trades major vs independent traditionally deal one socalled major labels thought require artist give creative control future earnings exchange bigger financial investment access major labels global reach infrastructure advantage deal major clearly business powerful organisation flipside business powerful organisation therefore negotiating power probably much reduced meanwhile independent sector tends made smaller niche businesses may less upfront cash greater specialist knowledge particular scenes offer artist higher degree creative control independents also tend less corporate majors often offer contracts whose terms much favourable artist conclusion democratisation market meant traditional record company functions ar recording marketing manufacturing distribution accounting etc owned controlled much little artist want long finance knowledge business skills allow useful know history recorded music business processes contractual arrangements often based upon old model become job artist around recognise every opportunity moreover balance power constantly shifting every deal reflect said operating outside traditional label structure comes risks sourcing costeffective sufficient knowledge skills experience networks core financing expensive business environment enter clearly one size fits model every artist traditional record company signing route remains hugely viable proposition option work often powerful players however increasing importance artists greater opportunity choose nature agreements relationships level commitment required stage long live record company predicting diy opportunity marked death record company many wide mark record companies still key commercial partners artists continue maintain position heart industry survival modern record company small music enterprise indie level large part due passion adaptability expertise leading charge independent recording sector majors international reach leverage market scale backcatalogues key factors taking artist market still expensive process requires degree funding proportionate artists ambitions options opened investment recordings used come record company host alternative funding sources opened grant funding private investment direct consumer crowdfunding whole host morestartup guide music businessy et major labels continue dominate global market whilst independent labels seeing growth market share exist thriving source talent new lifeblood industry clearly record companies vested interest ensure remain relevant reveals part story combination scale leverage relationships skillset make contemporary record company relevant ever nature relationships artists changed importance relationships remains undiminished independent record company sector led charge respecting valuing harnessing affiliation artist community ensuring even balance power healthier longterm view artists career clearly expensive taking record market making profitable exercise positive experience also extremely difficult infinitely nuanced process need strategic holistic approach get right led us contemporary music business landscape embraces capacity adapt spreads skillsets income generation across many revenue streams possible completely breaking open old world idea record company many record labels longer identify title likely offer mix services across industry artists seeking artists primary commercial partner company funds exploits recordings conversely majors spent years buying distributors labels catalogues well targets consolidation wider media landscape often part group companies includes example tv channels also actively invest digital services stores hoping gain long term strategic advantage market ensure music prioritised anyone elses theory potential completely democratised diy industry might sound wholly liberating reality process evolution revolution difficult know everything everything time makes potential record company commercial music partner important option ever artists starting today uk music market context uk consistently remained top three four recorded music markets world competing germany largest within europe uk undoubtedly benefits global strength english language popular music legacy groundbreaking acts uk dominated global charts uk music recognised around world one countries regularly produce artists succeed global stage uks diverse population openness absorbing influence cultures around world kept uk music fresh relevant generation generation reasons uk recognised musical standard bearer brings wealth positive cultural export opportunities fact recognised governmental levels current data suggests download market shrinking rapidly physical market refuses fall away rate many predicted recovering vinyl sales value rose roughly one fifth cd market thought sales vinyl overtake cds next year however downloads physical releases dwarfed continuing influence streaming undeniably true driver record industrys current growth uk overseas growth market potential continued evolution streaming help make big picture look positive individual artist starting important remember streaming earn even minimum wage would generate several million streams every year even still rights nevertheless decade half uncertainty decline sustained market growth clearly comes welcome development startup guide music businessit essential recognise building successful professional career music make living hard means impossible talent application good team around youso gone history come date lets turn attention bigger picture relates understand music business landscape came help guide understanding work recognise value options ever creator entrepreneur potential opportunities freedoms allows potential business consider realities options available practical level given wider landscape help plan focus accordingl try set realistic expectations stage startup guide music business strategy business many people starting businesses creative industries deliberate roadmap outset business begins founder simply active two distinct advantages terms innovation first allows evolve try different approaches figuring works second allows business pressure test viability micro niches new roles services hadnt previously identified tested many lifestyle businesses common music industry majority labels management companies publicists others thrive basis working projects cluster specialist lifestyle businesses form multidisciplinary team experts deliver precisely needed job hand without large overheads big corporation known nichenetwork boutique approach delivery advantage nichenetwork delivery team remains costeffective handpicked bespoke option particular project downside potential lack coordination fewer fixed structures place poor leadership communication make break efficiency delivery opposite nichenetwork known bulge bracket adopts approach looking mop opportunities market requiring fulltime staff generalists well specialists take anything time work bigger scale nichenetworks carry higher central costs upside bulgebracket operators potentially take bigger projects create economies scale client take advantage downside higher running costs often generalist delivery driven processes way things rather specialism focus around particular project outcome developing business important think sit two models building boutique lifestyle business optimum operating size maintain quality profit balance going scale personal touch try identify whether building business highly personalised service delivers whether business grow times size still genuinely deliver standard better answer yes consider carefully planning achieve scale need get choices make limited roadmap scale drastically reduce likelihood experiencing called choice anxiety equally answer feel business building needs personal touch consider services subscribe systems implement prioritise need assist delivering vision vision business built vision ou ideally able describe vision anyone meet within seconds indicator thinking still needs refinement key benefit clear vision unlocks decision making confidence power speed considering expanding business new area ask whether fits vision could part virtuous circle adding value whole could money time energy sink distracts detracts even could make quick buck may worth saying strategic point view every decision take tested vision help stay track build effective efficient successful enterprise say everything succeed vision business often vision flawed need refinement adjustment need revisiting challenging periodically startup guide music businesswhat consider type business want run going nichenetwork bulge bracket building boutique business personal touch systemsbased operation potential scale take time consciousl work vision writing help focus core elements make clear simple use elevator pitch explain anyone meet less secondsstartup guide music business startup fundamentals number fundamentals business place order commence trading music industry without robust framework function business runs sorts risks trading illegally operating way financially problematic inefficient clearly starting right foundations vital fundamentals include legal structure law required specify whether operating sole trader partnership limited company form social enterprise nature business likely dictate implications repercussions tax uk government department responsible collecting tax hmrc need informed youre startingrunning business type business youre running legal structure also necessary find youre likely start charge vat determined whether income pre specified level ou find hmrc guidance starting business website helpful alternatively consult accountant small business advisor qualified specialist accounting practice accounting simplest keeping record transactions essential managing cash flow also making sure know tax need pay deal income expenses vat aspects managing money business well organised understand rules course keep track things often however important area seek outside help employing accountant expensive specialist bookkeepers help keep track money year help keep top things whilst keeping costs lower accountant review bookkeepers work help end year accounts required regulations government provides guide businesses order ensure compliant various regulatory issues health safety data protection mostly straightforward designed help avoid pitfalls provide safe legal framework within operate business name setting company registering sole trader think name trading name used open bank account register company companies house ou always keep business money separate personal finances choosing trading name whether sole trader company advisable research purchase relevant corresponding web domain names social handles time consider appropriate website content accordingly business bank account separate business account necessary clearly separate business personal finances insurance depend nature business well obvious relating property equipment accidents workplace example also necessary insurance place safeguard responsibilities employer well public liability professional liability cover ensure youre protected potential claims negligencestartup guide music businesswhat understand type business setting creating promoting manufacturing distributing providing service etc think impacts fundamentals ensure fundamentals addressed prior commencing commercial activities writing help shape business plan research sources free small business advice central government local authority banks trade associations sources government funded local organisations offer advice helplines startup guide music business business copyright business releasing music actually business copyright want succeed worth spending minutes understanding copyright actually works underpins majority youre likely youre likely earn income intellectual property copyright form intellectual property many ways intellectual property similar physical property way traded except dealing intellectual creation opposed physical object rights attached songs cannot traded designed specifically protect original creators later part record business focused two copyrights underlying song often known musical work technically music lyrics separately often tend amalgamated solitary song copyright sound recording master recording master song written copyright created recorded another type copyright created imagine two lads liverpool writing song together decide call hey jude head famous london studio record song two copyrights created one protect rights song composition lyrics songwriters hence writers messrs lennon mccartney one protect rights specific recording artist case beatles another artist wants record version song beatles release portion money made new recording go back original writers song copyright note used beatles recording song nothing due back artists via recording copyright fact new recording copyright credited new artist covered beatles original version original new version share song copyright two fundamental copyright streams created two distinct business models designed remunerate two types core creators business songwriters artists models music publishers song writers sell assign lease license copyrights music publishers publishers job try monetise rights collect associated income retaining portion pay onward songwriter obviously better known song songwriter value attached works therefore deals possible administer revenues songwriting takes time knowledge admin go get songs used advantages finding right partner songwriters also join relevant collective management organisation uk songwriter publisher cmo prs music see info collect income public performance creating copies physical digital song prs act behalf mcps second use record companies way songwriters trade rights songs artists also either sell assign lease license rights record companies happen recording made record company could fund process making recordings record companys job try find ways make money rights monetise collect associated income retaining portion pay onward artist record companies expertise project managing releases including promotion marketing design manufacturing elements needed best possible chance successful releasestartup guide music businesshow creators make money rights put simply songwriter writes songs benefit protections copyright earn money exploitation copyrights performing artist doesnt write material focussed deriving income exploitation recording tracks monetising associated sound recording copyright driving revenues areas business live performance merchandise etc creator happens artist songwriter receive parallel streams income publishing recording copyrights copyright actuall start uk copyright said commence work created documented recorded writing physical means example making demo recording video even writing musical score aware different different countries example us copyright must formally registered us copyright office owner copyright song nearly always owned creator least initially exception occurs someone specifically employed create song behalf another eg piece commissioned music advert case whoever paid process owner sound recording owned whoever arranged paid payment crucial element recording take place artists signed traditional recording agreements later would normally record company unsigned even signed artists sound recording copyright paid related studio hire catch arranged deal studio free basis technically sound recordings belong studio owner case home studios ownership could theoretically come whoever paid equipment even electricity supply complex area uncertainty owns particular copyright root cause many lawsuits music industry whenever write record people really important set understanding writing contract least email written form establish expectations others sign repost confirm agreement legal advice always sought make sure understand consequences agreement enter whether formal informal musicians union publishes series simple agreements act useful starting points dont lot experience support legal advisor law firms help template agreements often low cost see long term benefit working way artist team long copyright last copyright song ie songwriters uk lasts years death last remaining writer copyright sound recording uk different lasts years end year first released copyright types take care working internationally durations vary country country important properly understand consequences could affect legally financially legal advice sought cover songs moment song commercially released anyone play song live record without seek permission copyright owner long straight cover startup guide music businesswith changes lyrics substantive elements underlying song release cover may need get mechanical licence collection society mcps fact practice prs music prs music website lots information helpline information song used way change made composition structure lyrics require additional prior approval songwriters publishers worth noting dont give permission cases even take long time must permission order use song way cant make available publicly unless often royalty pay return permission could significant complex area get good legal advice specialist music lawyer going ahead sampling procedure clearing use third party sample seek approval songwriter publisher song labelartist sound recording advance release approval required parties order proceed recording portion denied possible rerecord utilise newly recorded version sampled work instead long song structure remains intact see know copyrights business likel invol ved extent wont ownership permissions crucial whilst much value recorded music business lies ownership recordings also possible derive income copyright creation exploitation curation promotion think ahead make sure right permissions place plan get need legal advice number good music specialist law firms listed aim websites friends aim directory many offer discounts low rates aim members additionall universities queen mary university london offer legal clinics cost musicians union also source valuable advice guidance musiciansstartup guide music business recording publishing contracts recording contracts interested releasing music important understand basis recording record deals types recording deal various types agreement arranged label artist broadly split two types exclusive recording deal sees label become sole rights owner entirety often life recordings copyrights license entails label limited set rights release exploit recordings exclusively usually given period ownership reverts back artist licenses little like leasing recordings label renting label many contemporary label deals cover recording capture songwriting publishing even live merchandise aspects artists business tend called deals signing deal important assess rights responsibilities attach transfer rights artist ask business signing expertise areas captured deal signing artist ask expertise investment capital capacity deliver promising contract contract significant impact artist always advisable everyone involved gets expert legal advice music specialist lawyers key clauses two clauses record deal greater importance primarily set baseline income levels due artistthe advance amount money due artist lump sum usually paid front intended cover artists subsistence well recording new material record company paying creation new recordings owned company artist royalty rate percentage income sales due paid back artist contracts specify base royalty payable artist every sale substantial part rest agreement likely outline ways deductions made base royalty rate payable artist major label recording agreements particular become ever complicated lengthy usually requiring many rights restrictions independent deals independent deals tend straightforward increasingly geared towards transparency easiest way work various split revenue record company usually obliged pay artist royalties sales time amount royalties accrued excess value advance notion known recoupment even artist recouped record company still owns sound recordings basis time recording funded process recouped advance royalties paid artist according terms recording agreement territory clause outlines deal limited geographically speaking uk europe world cases defined solar system known universe minimum commitment used specify minimum content deliverable artist contract specify least release obligations label make recordings commercially available whilst still fulfilling obligations release commitment specific soon delivery recording must released usually relates main territory clauses intended ensure obligation commercial release material timely fashion startup guide music businessoptions refer maximum number tracks albums album cycles otherwise known option periods label entitled pick choose artist may offer recordings another label current label used options released artist sometimes possible current labels permission usually cost released earlier tour support commitment relates minimum financial commitment record company fund otherwise lossmaking touring artist offering signing legal agreement make sure take independent legal advice music specialist lawyer remember paying lawyer client agreements may offer seemingly attractive rates get lower lower get small print equally new label take care overcommit artist find position cannot afford deliver promises made even best intentions dont rely generic templates without understanding legal financial implications agreement bind sometimes long time part financial considerations impact relationships artists well reputation extremely important get right publishing contracts involvement writing songs important understand basis publishing deals number different types publishing agreement tends increase songwriter gains reputation top scale might attract socalled admin deal offers administration lowest possible royalty due publisher full publishing agreement favourable income split favour publishing company advance royalty rate dictate basis agreement advance recoupable via writers royalty rate similar recording agreement described although instance royalty substantially weighted favour writer publishing company opposite historically true comes record deals reflecting greater financial risk taken broader range services generally offered record company clauses regarding royalty rate may vary order incentivise procurement cuts ie songs commercially released sync deals music placements tv film adverts video games etc advances spread across term perhaps triggered intervals delivery specified quantity cuts option extensions see due many fewer recoupable costs lodged writer likely recoup far quickly recording artist elements worth noting exclusivity determine type deal writer signing whether exclusive basis works given period singlesong assignment oneoff basis specific song admin subpublished whereby existing publishing entity assigns rights third party territory clause determines whether deal administered overseas either publishers local country affiliate via subpublishing agreement another company rights period duration publishing company able exploit relevant songs though subject variation often set period perhaps ten fifteen years whilst deals endure entire life copyright term ie years death songwriter whilst rights period specific songs term relates actual writer determines length time songwriter exclusively signed publishing company normally period three years additional option periods assessing options company consider degree startup guide music businesswriter recouped advance well minimum commitment clause designed incentivise writer maintain high standards creatively deliver high quantity songs also actively seek many commercial release opportunities possible example minimum commitment five songs twelve month period would necessitate writer written five songs commercially released within year finally rights granted specifically detail exactly assigned publishing company might usually expected encompass performance mechanical income ie income due recorded music sales well sheet music sync fees understand able utilise key contractual clauses recording publishing agreements particular relating advance roy al ties notion recoupability read much deal types structures see recommended reading section end talk many people pros cons different approaches experiences example attending networking events accept perfect contract every deal compromise clear priorities abilities whenever negotiation dont promise anything cant deliver dont understand full ystartup guide music business collection societies important understand ways exploitation copyright result income coming back course record publishing companies handle royalty flow due sales relatively directly straightforward fashion record downloaded artist paid royalty et writers contributed song recorded session musicians responsible recording string section industry support notion every writer artist compensated work exploited via sale broadcast whether via media live performance apply multitude creative entities make modern music business aside artist writer producers performers musicians arrangers step forward performing rights organisations pros short also known collection societies collective management organisations cmos collective licencing performing rights organisations created reasons cost saving simplification procedure uk music industry applying system known collective licensing occurs majority rights owners collate rights one pot appoint central organisation handle licensing behalf resultant performing rights organisation strike one deal rights owners entire groups licensees instance licensees could radio stations tv channels venues cafes bars etc indeed public commercial entity likely want use music clearly far simpler coming arrangement every single use music every single potential licensee equally licensee come enormous amount agreements every party involved ownership every single track theyre hoping use order ensure relevant creatives fairly compensated public performance work several different organisations created tasked overseeing specific use copyright prs music short performing rights society principle role prs music collect royalties users music uk perform broadcast music public collect behalf songwriters composers publishers hence way concerned artists principle means income derived issuing annual licenses businesses organisations utilise music premises agreement paythrough set rates payable use songs broadcast radio television live performance venues b mcps mechanical copyright protection society whilst mcps operates behalf creatives prs ie songwriters publishers sole purpose collection specific amount every time record either pressed sold downloaded streamed majority resultant income paid back songwriter respective publishing company two independent entities merged operate name prs music c ppl phonographic performance ltd effect ppl performs role prs relation sound recording copyright song public performance scenarios radio tv space music exposed number people also collectively licence ppl instance though royalties collected paid relevant record companies performers equally split basis note ppl prs music collect royalties uk also around world series bilateral agreements equivalent organisations territory vpl video performance ltd vpl perform similar function sister ppl organisation respect music videos hence extends anyone featuring music video artist band member backing dancer featured actor etcstartup guide music businessthe ppl prs music licence ppl prs music formed joint venture order simplify process licensing music public performance providing single point contact entity requiring mentioned licenses joint venture allows occur via one application newly termed themusiclicence collected royalties distributed two parent companies pros work broadcasters prs music ppl issue socalled blanket licence main domestic broadcasters entitles use track administered respective pro without seek permission individual songbysong basis turn broadcasters must provide detailed lists music utilised pros pay correct rightsholders note blanket licenses issued uk broadcasters meaning sky one still required procure licences case case basis prominently lucky chosen ones often profitably us tv film industries obliged seek individual agreements use music productions process known synchronisation later public performance broadcast neighbouring rights performance rights neighbouring rights term used describe performance public broadcast tv radio secondary rights attaching recording copyright master right international collection neighbouring rights become ever important source income industry worth spending moment learning little music played radio uk overseas lot good general information ppl prs websites advanced information aim two guides area well video resources website members startup guide music businesswhat understand principle collective licencing applies pa roy al ties copyright type find wa relevant businesses creators ensure works recordings registered relevant collection societies start keep database works recordings metadata dont rel distributor collection society tools systems companies help check friends aim directory aims website come relevant aim events learn thisstartup guide music business funding covering initial outgoings process maximising artists reach requires substantial investment make business model challenging one many developing artists small labels face difficulties set route market whilst requiring substantial funding order break historically much funding development promotion artist came via record company whilst still occurs much later process using plethora tools data available record companies incentivised wait observe artists market potential develop rather commit early back less likely winner way cost earlystage development swung away record companies places responsibility artist develop level attract substantial investment whilst artists days likely get get signed old world availability social media free low cost tools makes process feasible achievable getting music career ground always said creating buzz many ways still typically number different options generating early stage investment grants contemporary music industry benefits government backed grant funding funding form grants available application number different sources example prs foundation arts council england devolved national governments regional local funding help musicians uk music export growth scheme megs department international trade administered bpi crowdfunding artists increasingly taken direct control early release activity options funding process opened crowdfunding remains popular option spite high profile failure year pledge music collapsed particular reasons proves rule essential read small print crowdfunding nature encourages members public contribute towards project offering incentives products purchase often advance creation result process lends direct artistfan relationship many early adopters eager liaise direct creative talent support career crowdfunding allowed artists viable means raising funding way engaging directly relevant loans though loans remain option music business reality artists often struggle get traditional business loan bank course investors also found though lenders charge interest may involve exchange copyright ownership least ensures intellectual property remains within control borrower private investment trying identify speak language business investment tends strength creatives startup music businesses nevertheless third party investment become increasingly viable means funding projects whether artist entrepreneur simply knows someone might want invest via formal investment programmes looking target music instances programme help package artist investment opportunity seek interested parties set terms resultant deal return initial investment investor may well expect percentage stake forthcoming release get share portion artists income across multiple streams given number yearsstartup guide music businessbrand deals music remains attractive glamorous business one industries hugely keen associate order promote products services underscore brand values energise offering artists create cachet third party brands recognise willing pay association resultant promotional value substantial brand owners principle ambition often reinforce brand identity association definition mean partnering newer developing artists considered better fit target audience notion early adoption applies much commercial partnerships mediawell considered frugal budgeting whilst true upfront costs music promotion expensive worth asking much outgoings actually essential expenditure likely add bottom line day age lot free think everything creative simply considering essentials given piece activity might easy ascertain elements could considered necessities luxuries say business benefit investment merely due consideration given investment made consider investment needs range potential funding options open reach accordingl alwa ys read small print full aware obligations repa yment money kept provided clear deal alwa ys seek specialist legal advicestartup guide music business core business skills worth examining greater depth core principles underpin running business brand values allocate plenty thought constitutes brand values business principles importance want product service business context perceived determine everything type service youre offering market ultimate audience considering want reach help reach possible identify target audience whole business community suppliers advisors investors beyond separating personal business finances essential separate business finances personal money dramatically simplify processes accounting tax preparation could also help event things go wrong means separate business bank account whether set company operate sole trader budgeting advisable make effort budgeting likely expenses consider potential income setting new venture ou research lot likely costs incur looking online consulting contacts industry trial error smaller scale experiments pilot projects think whether require premises website build types insurance staffing transport costs likely accrue onetime expenses regularly incurred costs expenses also help define price point make product service available ie order start try generate revenue costs associated making goods labour packaging shipping processing marketing relevant taxes must considered sales projections many coming music business already involved degree commercial entrepreneurial activity music good basis ascertaining sales projections ideally combined research whether anecdotal literal similar businesses consider know might prepared provide ballpark numbers research artists admire identify different levels within industry see making money learn bookkeeping accounting bookkeeping process tracking recording daily transactions whether sales expenses recording impact financial status words helps track show health business given moment cash flow cash flow single important indicator whether business survive small businesses across wider economy music fail due cash flow problems poor cash flow management biggest single risk business matter good music cant afford pay debts fall due risk going bust maintaining good cash flow making sure get paid due get paid able deliver obligations bills fall due remember cash flow position company vary enormously accounting position number reasons perhaps common late payment invoice one business process need prioritise keeping top cash flow golden rules make sure send invoice soon work actively make sure people pay timestartup guide music businesstax business essential recall business need pay tax profits guide worth assuming approximately twenty percent annual profits need set aside separate deposit account order allocate towards tax obligations due accounting artist accounting royalties due artist extremely complex task one even experienced industry veterans tend outsource third party platform days many platforms available several work commission basis cost nothing front well worth using proper third party system helping run administration particularly comes royalty accounting late getting wrong fundamentally damage relationships artist commercial partner writing business plan writing business plan allow road test proposal identify gaps existing knowledge base also essential circumstances seeking attract third party investment business plan overview document describes business intends generate profit also core elements might want think staffing levels premises managerial leadership operating model course financing words comprehensive blueprint relay business intentions given third party identify commit brand values community vision look numbers separate personal business transactions research employ business forecast process identify employ suitable accountant utilise robust accounting procedures consider outsourcing roy al ty accounting specialist company find details companies tools friends aim directory aim website attending aim events looking area write robust marketing plan stick itstartup guide music business team around artist important understand core team might exist around artist support business needs boundaries role become increasingly blurred recent times nevertheless principles remain understanding roles functions team help formulating strategy artist career campaign manager manager maintain strategic overview across every aspect artists career broadly speaking entails enabling artist free possible focus creative element role whilst management oversees business elements role therefore include involvement aspects far reaching ar logistics legal matters marketing promotion artists health wellbeing important clauses management agreement stipulate basic rate commission due happens rate parties go separate ways legal notion attempts ensure manager always acts artists best interests even may prejudice interests manager highest legal duty care known fiduciary duty lawyer guiding rule business collaboration substantial exchange money undertaken issue regarding ownership exists wise consult lawyer whilst generally suggested guidance tends come cheaply anyone first encountering legal document legalease language utilise understand exactly trustworthy experienced legally trained eye add substantial value prevent multitude later issues employed outset money lawyer could save long run almost certainly worth initial outlay music industry lawyers also tend well networked senior levels within industry organisations making valuable allies connectors earliest stages artists career external input assistance often beneficial booking agent booking agents responsibility procure live performance opportunities artist likely form headline shows support slots festivals artists reach beyond immediate locality agents extensive network contacts capacity understand suitable opportunities exist makes potentially valuable addition team tend work exclusively commission basis gross fees live income accountant often paid annual basis via set fees specific tasks accountants optimise business terms corresponding tax obligations also contribute areas optimal business setup selfassessment book keeping vat returns tour accounting even auditing unsure anything financial recommendation decent accountant worth weight gold blurring role boundaries whilst roles arguably specialist position sometimes necessity oftentimes choice roles end getting combined experienced manager well versed legalease key contractual clauses negotiation tactics example might mean rely less lawyer daytoday issues equally also uncommon days lawyers accountants make move management combining technical training commercial skills entrepreneurial nouse benefit clients ever business necessity remains driver invention problem needs solving solution often found consultation right teamstartup guide music businesswhat understand roles responsibilities value manager lawyer booking agent accountant consider respective importance relative business model consider roles undertaking roles musician make sure clear written agreements setting paid outset get specialist legal advice startup guide music business launch countdown timeline timeline simple document outlines key elements campaign sequential order allows anyone else involved process see intending helps teams coordinate makes possible readily highlight unrealistic deadlines gaps process oversights sequencing issues missed opportunities possible synergies areas improvement addition becomes core document around everything else relates every moving part ie person team refer timeline campaigns encompass specific moment time around build principle focus attention normally would start moment work backwards identify deadlines need whether enough time hit first process creating timeline therefore lies ascertaining key moments likely rather initially focussing going work want work likely achievable purpose document likely separated key areas activity outline exactly campaign begins core elements need created delivered scheduling promotional activities offline digital clearly highlighting key impact points aim focus important elements campaign order allow quick glance understanding ambitions well associated sequencing responsibilities digital release one perceptions digital age able distribute information instantaneously reality digital music distribution established processes developed require time might first imagine processes timing procedure depend nature distribution set whether label example independent third party aggregator services available artist vary accordingly may include elements promotional marketing support synchronisation leads data analytics asset creation retail sellin playlist pitching much come fore recent times streaming consumption increased terms importance worth sometimes taking step back making sure good plan place rushing release track album finished also whilst everyone wants get playlists dont forget highly engaged fans build relationship artist worth significantly revenue time whether sales music tickets merchandise almost number passive listeners hear music playlist may never even know artists name official charts major territories longstanding officially recognised chart systems log sales provide weekly update form chart basic process releasing new material automatically make known relevant chart entity important confirm label distributor behalf feel release may chance featuringstartup guide music businesswhat need order distribute digitall three key elements delivering music distributor include music delivered prespecified audio quality standard format accompanying artwork every release format upload piece artwork must accompany particular specification terms size resolution metadata delivery every finished master recording producer responsible also delivering accompanying label copy details owns copyrights person credited involvement recording process track identified every person correctly remunerated timescale digital distribution possible make tracks available within matter days aiming optimum scenario wise allow four weeks ahead release delivering elements distribution system digital release income every digital download fair assume approximately half value every single track sale make way back owner mechanicals vat sales taxes retailers cut streaming inevitably income due back far less individual transaction varies platform country amount paid per stream quantified third decimal place penny somewhat supports much early criticism around streaming simply doesnt pay sufficiently reality streaming provide promotional channel vital source income many starting revenues tiny look build time really start add deliver constant monthly income business clear make decent money streaming requires large quantities streams individual artist better still combined number streams across number successful artists repertoire owner whilst average pay per user much lower rate downloads likes apple music deezer spotify remain far profitable artists commercial partners per listen populated streaming platform namely outubestartup guide music businesswhat understand use begin employ timelining process map core elements campaign sequential order identify choose suitable digital distributor based upon financial model potential procure pla ylist support ensure release artwork music metadata supplied correct specification distributor four weeks advance release order allow retail sell appreciate digital earnings alone enough support individual artist certainl earl stages understand successful artist often relies combination income streams whereas successful label publisher often relies income comes broad catalogue music startup guide music business physical release physical product still relevant contemporary reality many major territories physical sales still account sizeable portion marketplace whilst sales undoubtedly decline many typically older demographic consumers yet adopt subscription based streaming model preferring notion owning something touch see harder grasp concept cloudbased access whilst appears inevitable sales may well continue decline long cds vinyl somewhat remarkably even return cassette tape account reasonable volumes markets diverse prominent uk usa germany japan clearly relevance consumer remain important physical product right artist whilst difficult paint broad brushstrokes typical music fan genre clear consumers certain types music appear likely purchase physical stock others dance artists operating rapidly moving technology embracing environment might well overlook physicals example whilst heavy metal band could well base income model sale physical product one form another therefore well worth researching similar artists releases give least indication potential uptake said much relies upon type quality product means via communicated typically highly engaged audience likely make purchase even moreso direct artist uber fan seeks opportunity actively engage support making likely purchase higher spec expensive product choosing physical distribution partner distributors simply cater physical market typically choosy artists take limited stock capacity need allocate space inventory items likely sell equally physical distributors consider deal digital rights cannot factored proposition decision may well boil whether intent service physical retail whether artist looking conduct physical sales via direct consumermerch space direct consumer sales regards direct consumer abbreviated dc literally meaning selling straight artist consumer without via third party retailer self fulfilling clearly simpler proposition allowing artist team take direct responsibility matters taking receipt manufactured goods whilst facilitates retention ownership process income come associated logistical issues space keep potentially large quantities stock packing shipping every order dealing subsequent customer queries also requires investment capital upfront stock may may sell see section cash flow fulfilment partner could handle process shipping warehouse customer subsequent customer queries exchange percentage income accrued typically around sometimes flat monthly fee also services print press order require payments stock front alternatives may pay much reduced margin sale beneficial impact cash flow might make drop margin worthwhile distribution retail artists realistically able place merch high street shops necessary secure distribution deal uk likely retail outlets broadly break supermarkets mostly chart product major specialists hmv really sole countrywide survivor independent specialists network independent record stores online likes amazon distributor take logistics customer liaison responsibilities startup guide music businessperhaps true value lies retail relationships capacity procure favourable retail space rates indeed simply sell stock physical retail first instance presence profile physical environment almost certainly lead sales retail sellin process selling retail invariably deal dependant whilst retailer simply wont take stock product believe wont sell even necessary strike deal retailers expect discount works premise increasing proportion quantity stock prepared take return distributor might barter better quality racking shelf space position whilst purchases premeditated many remain impulse buys reliant upon entering consumers consciousness therefore distribution partner require promotional bullet points information much promo team limited space environment necessary fight hard placement making particular importance relaying date accurate promotional momentum sales team order justify sales push retail instores many retailers frequently independent stores recognise value artist performance within retail space driver sales called stores store performances act potential call arms customers effectively attend free live performance conducted within local music retail space opportunity see artist perform intimate setting well meet greet sign merchandise highly effective stimulator sales otherwise quiet times day aim publishes members list independent record stores around uk invite artists perform instores well tech specs requirements information would help incorporate tool release schedule marketing planlikel deal terms procuring distribution partner certainly entail signing associated deal order outline core elements relationship principle amongst term duration agreement last type rights whether physical inclusive digital whether repertoire owner needs provide finished goods territories outlining geographical reach terms royalty split digital split would expected lower distributor physical acknowledging reduced logistical effort digital distribution may base starting place around due distributor remainder going repertoire owner costs timescale physical distribution selling physical product invariably starts manufacture many options available independent artist economies scale principle applies process manufacture produced lower cost per unit cost also determined relative complexity product type manufactured terms timing manufacturer turnaround standard cd ought around four weeks receipt elements delivery finished stock warehouse allowing potential stock issues priming distributor retail sell vinyl timings much greater often running twelve weeks instances repertoire owner requests test pressing effectively sample listening copy check quality prior mass manufacture physical items processes also apply broad range merchandise items sold retail via dc artist repertoire owner generally required provide finished stock hence bear cost manufacture upfront also merchandisers work printondemand type basis reacting orders real time albeit inevitable downside unit cost expensive startup guide music businesswhat need order distribute physicall music audio cd manufacturers request music delivered ddp file format alternatively red book cdr tracklisting also time embed isrcs manufacturing process desired international standard system identification recorded music allows individual track numbers permanently encoded track help ensure correct remuneration creators issued ppl labeldistributor uk vinyl files generally provided wav format standard bit rate bitkhz artwork physical product require delivery artwork every element product front back cover booklet inserts cd vinyl labelon body print need designed delivered onto prespecified manufacturer grids order ensure margin design print manufacture error reduced metadata ostensibly comprised information digital release addition physical product specific information vinyl side splits differing catalogue numbers etc physical release income commercial terms physical sales uk based upon retail price ppd published price dealer price per unit paid retailer repertoire owner vary according prescribed price points price points used make product available might considered full price reduced mid price budget price sometimes employed shift old stock numerous additional intermediate price levels vary according strategic aims product format content etc pay back repertoire owner therefore based percentage ppd may typically around half value retail price albeit subject whatever pricing retailer chooses make available customer clearly much rough approximationstartup guide music businesswhat decide selling physical product right artist decide whether retail presence necessary source manufacturing quotes either setup fulfilment partner prepare selffulfil seeking retail presence locate choose suitable physical distribution partner negotiate terms accordingl ensure artwork music metadata supplied correct specification manufacturer less four weeks advance release date cd twel weeks advance vinyl keep distribution sales team speed promotional activity order aid sellin process retailstartup guide music business marketing principles marketing process generating maximum possible awareness via efficient timeframe expenditure marketing message effectively amplified via tastemakers influencers buyin tastemakers rapidly facilitate growth fanbase reality music business handful key gatekeepers carry even greater influence support significant negative reaction severely obstruct progress artists career extreme circumstances effectively finish industry relies people order magnify marketing message reach mass market marketing plan marketing plan mainly focussed means get buyin tastemakers remains key document campaign armoury plan outline likely demographics target audience artist usp unique selling points campaign sequencing impact points retail support core messaging well key content assets also outlines media ideally right specific individuals make targeting magnifying message target audience three pillars music marketing central element marketing plan giving campaign team tools work help make artist sufficiently distinctive amongst backdrop incredibly crowded marketplace many thousands tracks uploaded given day artistic message becomes vital part fight media consumer attention usually relayed via combination three separate interrelating elements music music core campaign sufficiently distinctive outstanding quality order justify effort involved bringing marketthe visuals imagery video content associated artist often first important component capturing given targets attention ideally sufficiently striking instantly engaging also logical visual reference music applies increasing array elements press shots artwork music videos social media content live backdrops much message message often key contrast artists combination many elements often based around artists narrative logical extension music accompanying visuals expressing coherent simple narrative media consumer easily pick owned channels versus third party channels owned channels sense refer artists website well social media channels basis controlled artist safe knowledge immediate team deciding exactly posted different third party owned channels controlled someone else eg media retail etc artist might hope use gain access following requires owners buy support owned channels one space whereby artist control messaging content posted result remain fundamental part promotional arsenal makes artists social channels else artist homepage digital web presence definitive place communicate outside world startup guide music businesscontent planning consumer targeting social media allowing much direct engagement consumer use suitable cta call action ie action want fans users take engage content arguably important element marketing plan conceived early enough process around release used means communicate sort content needs created creative process order facilitate desired cta digital targeting professional plan also contain plan degree detail digital advertising targeting perhaps advertising offline platforms eg print tv radio order find routes target audience communicate useful information similar related artists context support key moments throughout campaign period digital platforms contain relatively sophisticated ways advertise specifically segmented audiences whether reaching existing fans expanding fanbase eg geographical lifestyle based segmentation impact points campaigns tend built around key impact points moments activity boosted maximum impact identifying communicating points occur fundamental planning process hooks rest campaign built giving clear direction certain activities needed whether led media promotions marketing advertising content content content reality contemporary musician comes social media love hate youd better impact always audience places enormous strain artist maintain dialogue presence regardless point campaign reached answer nearly always creation yet quality content share often quicklystartup guide music businesswhat understand hierarchy tastemakers principle procuring support media consumer leaders order magnify marketing message number people create marketing plan achieve detailing content used attract tastemakers ensure plan clearl rela ys interesting distinctive musical visual narrative themes seamlessl relate include marketing plans content required perhaps plans digital ad targeting help engage deliver content consumers recognise opportunity engaging audience social media best wa engage via regular feed interesting contentstartup guide music business new model ownership data ownership data well copyright business music based copyrights exclusive rights things music generates income whether thats song recording preferable outright owner either preferably long possible use music technically exploitation copyrights owners beginning though additional layer ownership audience customer data although marketing effective impact combined capacity copyright owner reach directly artists audience unlike commercial sectors music business product content owner doesnt usually control ways getting product market presents dilemma effective marketing promotion dont truly understand composition behaviour audience though social media opened capacity artist engage directly fan associated data owned artist platform exists content owner distance potential barriers audience whilst also mercy controls social media platform result emphasis switched called dc direct consumer model selling music direct fan effect acting artist retailer content owner owns fan data well first time allows direct artisttofan relationship controllable fully transparent also creates ability remarket principle lot efficient sell music already engaged attempt reach new potential fans owning data one purchase therefore possible see consumer purchased proactively engage merging capacity track buying habits real time possible enhance optimise sales marketing process every stage making marketing efficient potentially saving cost effort data anal ysis alongside growing understanding importance data ownership recognition increased amount data returning digital platforms inspected however often useful learnings data hidden need greater complex analysis revealed also worth recognising data often reveals rarely final question arguably significant decision making mix result ever greater emphasis placed upon highly skilled data analysts recognise significant amongst insignificant interpret said data increasingly meaningful ways build platforms tools present results advanced campaigns combination insightful data analysis meaningful market research tends give best results terms optimising marketing processesstartup guide music businesswhat acknowledge benefit owning consumer data make steps towards already place appl process remarketing order maximise owned data increase sales look sources services data anal ytics appl combination data anal ysis market research optimise understanding consumer behaviourstartup guide music business promotion promotion music industry amplifies marketing message usually series well established relationships traditionally practice promotion involved drilling onto various types areas media based around ambition getting tastemaker support working individuals relevant networks expert knowledge types areas media importance relationships field promotion perhaps music business even digital age exists strength relationships access prs network contacts usually much reason hired invariably comes cost ongoing need curation increasingly overpopulated market means higher tastemaker influencer exists food chain attention sought increases likelihood tastemakers influencers relying small group trusted promotions contacts time order filter otherwise enormous volume music confronted daily basis know targets one key theme resonates regardless campaign namely need wellconsidered targeting tastemakers influencers ensures highest possible uptake also avoids unnecessary practice carpetbombing people regardless stated preferences fields interest earn bad reputation cases make tastemakers trying reach avoid campaigns run even following campaigns appropriate radio radio uk national radio still often sits top promotional tree promotional wins occur substantial national radio playlist reverberate around campaign team though influencer podcasts playlists increasingly become relevant genres already overtaken radio fortunate uk national bbc stations commercial radio network means offering countrywide radio exposure station generally mostly democratically agreed playlisting policy whereby key personnel required meet regular basis decide tracks added list removed well quotas new music diversity policies station predominantly base broadcasting output upon content playlists major show major national networks tends producer dj whose responsibility contribute opinion playlisting process select tracks spot plays depending individual remit role radio plugger specialist promoter radio identify suitable radio targets deliver music importantly actually plug plugging portion makeorbreak element whereby plugger would expected use experience knowledge radio policy personnel work network relationships order sell given track increase chances getting radio airplay possible playlist places initiatives bbc introducing allows artists capacity upload music direct consideration local bbc radio station potential move higher food chain national level radio exposure democratised process procuring radio support away simply relying upon radio plugging regional radio uk radio network also made large quantity smaller regional radio stations delivering localised output smaller geographical audience significant proportion regional radio stations owned handful companies allowing create centralised content rolled across network certain times day also means process plugging startup guide music businessregionally always done particularly localised fashion getting support central company rolls across rest companys network therefore possible gain near national levels airplay handful key regional radio players regional radio support scale though also essential terms procuring early adopter influencer support form local specialist radio stations shows rather trying get national influencers likely receive attention tv tv performance openings contemporary artists dwindled last decades broadcasters moved away specialised musiconly programming leaving handful good opportunities exist tend lean towards major international artists considered likely deliver higher audience figures pecking order uk tv plugging therefore tends focus small number prime time performance slots mostly within format televised awards ceremonies variety shows reality tv shows presenterled chat shows occasional cameo spots soaps minimal number music specialists music video channels remain important part mix artists delivering official music video content sufficient quality though number mainly musicvideo channels also shrinking line growth digital video platforms strangely audience numbers remained fairly consistent initial dropoff following global embracing outube video based platforms channels opening new countries expansion digital tv channels tend deliver well targeted audiences specific music genres certain shows also make provision feature clips video content segueways advert breaks also impactful way finding new audience feature interviews also offer valuable televised promotional outlet artists opportunities leaning towards topical broadcasts tend narrativeled slots particularly impactful way communicating part artists broader message back story support cause particular interest good tv plugger often pr access types opportunities print online press capacity reach large amounts readers longer exclusive domain handful longstanding print institutions many still exist successfully added online offering digital publications formal informal created transformation printed word media blurred lines professional journalism amateur blogging dramatically increasing amount content places find whilst time reducing audience one publication clear promotional benefits developments ability cater considered niche markets smaller pockets interest could never fully serviced traditional print media much reachable via digital means shared interests groupings often makes targeted audience resulting higher rate conversion reader fan targets generally domain music pr likely spent great deal time effort building relationships order maintain direct line communication significant journalists written assets pr compile individual press releases significant moment campaign individual single track releases albums tours major content release announcements etc press release specific overview normally one page length detailing pertinent information journalists absorb deciding want feature part often also contain reference broader narrative previously mentioned startup guide music businessthe campaign message written communicated much greater length detail artist biography bio isnt necessarily detailed history timeline artists life point opportunity identify communicate particular indepth campaign story main opportunity communicate message discussed identified advance relevant artist also main musical content moment crisis management pr also person turn event unexpectedly unpleasant messaging relating artist leaking media circles inevitably situations develop new information comes light socalled crisis management pr crucial effort taking back element control nature surrounding messaging pressfacing person around artist pr field queries times must attempt steer positive outcome possible close coordination artist management others working campaign social media influencers power recommendation social media digital channels expand become significant need curation also spread however key difference nature influencers whose voices tend come less traditional fields journalism instead pubic domain nature social media provides platform anyone voice steer opinion enabling individuals gain enormous followings short space time net result environment populated large quantity socalled social media influencers specialising particular fields whose audiences buy tone voice branding messaging result carry enormous influence younger demographics particular whose opinion likely swayed power recommendation straight advertisingsuch influencers result high demand potential support given message get audience influencer marketing effectively takes place coming together tastemaker product andor service entirely authentic seamless product consistent influencers established brand values lack authenticity likely immediately apparent resulting limited commercial gain weakening perception brand product alike podcasts podcasting delivery specific audio file via digital means part wider programme uninitiated begun become increasingly important part promotional mix along growth influencers movement traditional media social media many turned podcasting means communicating passions opinions entertainment nature podcasts tend deliver loyal followers highly specialised content make targeting particularly impactful authentically linked music campaign streaming promotions major streaming platforms receive enormous quantity new music given week result need help applying sort sorting process tracks choose support whilst several spotify included opened capacity artists teams pitch directly utilising online forms also capacity pitch directly trusted distribution channels sizeable playlist community club specialist dj promo field club promotion remains core part process building local regional support particularly dance music across country specialist prs club promoters long standing relationships great quantities djs clubs across uk largely control means relaying new material generally done advance release tracks dispersed startup guide music businessacross network frequently across numerous different genre mixes maximise potential uptake djs play provide subsequent feedback better performing tracks feature top sections associated club charts indicating evidence broader specialist interest likely audience interest use existing relationships create new ones key promotional tastemaker targets direct media relations alwa ys likel prove beneficial operating via third party identify key promotional tastemaker targets consider hiring promotions personnel particular fields outlined chapter order enlist support artiststartup guide music business live performance live performance income stream live performance always fundamental income source artists wider music business took increased importance digital downturn followed turn millennium partially put core music fans placing increased value experiences subsequent process sharing social media boom research indicating peer group word mouth influence frequently friends social media posts accounts roughly onethird consumer discovery events would seem logical assume live performance attendance also well placed benefit socalled fomo fear missing factor seemingly increasing influence us recent years record labels common practice among major labels income sources reduced included income stream recording agreements socalled deals argument including label spending lot money resource particularly early artists career raising artists profile fronting tour costs therefore benefit live activity may well opportunity without labels efforts opposite argument particularly established artists label significantly contributing fees artist gain already live shows therefore shouldnt benefit independent labels broad range deals available previously discussed guide many avoided including share live income recording agreements leaving income stream artist help artists cash flow sometimes avoid potential areas conflict independents always included live dont agree practice see point principle take share income different good inspect business feel aspect outset reassess gotouring album standard industry practice ensure significant live performances planned correspond record release combination impact points occurring concurrently makes numerous promotional advantages least combined promotional activity causing artists profile peak opportunities consumer aware artist content maximised regardless whether impact point live event recording addition also possibility co ordinating marketing advertising messaging right fundamentals consistency branding visuals including tour dates posters adverts pr perspective live shows also offer added value able invite host key tastemakers influencers order help spread word ever agent artist reached certain profile booking agents often shortened agent role procure live performance opportunities behalf artists agents roster commonly work exclusive basis earning commission five fifteen percent gross live earnings early stages artists career invariably attract low fees make procuring agent somewhat difficult agents commitment requires absolute belief artists long term potential order justify early efforts bring little income form commission industry role promotional element required extensive network reliable contacts relevant territories book regional national international levels broad range contacts allow greatest opportunity securing right kinds performances whether headliner support slots many festival propositions relevant individual artiststartup guide music businessthis never stop artist immediate team finding opportunities contacts activities artist team agent reinforce raise profile artist agents role particularly early stages artists career replace artist teams activities add bringing contacts play support slots whilst artists start careers booking gigs reality reach difficult spread beyond locality agents first role often help spread artists geographical reach expand live fanbase getting support slots playing second third bill support headlining artist part bigger event risk performing afield empty rooms mitigated somewhat relying draw main artist attract crowd bring following still crucial artist immediate team continue promote gigs order artist show loyal fanbase recommended promoter others get repeat bookings headline shows types deal offer seeking grow audience right established following outside immediate locality next opportunities headline tours agents role book route headline tour based logistics ie sensible geographical reach order minimise travel time reduce tour costs venue suitability population density also upon customer location data available typically comes whatever digital platforms artist already using various types deal agent strike headline performances reflecting negotiating position either promoter artist relative confidence capacity sell tickets typically based upon called door deals meaning income collected night door reality also advance ticket sales sometimes referred hard ticket sales used calculate percentage gross ie costs box office receipts split artist promoter less relevant expenses costs expenses typically include things venue hire security insurance sound engineer fee advertising etc broken detail events completion income split artist promoter variety ways flat deals guarantee artist set fee regardless ticket sales versus deal offer whichever higher artist specified flat fee percentage ticket sales plus deal offer guarantee plus percentage ticket sales alternatively straight percentage split offered based percentage ticket sales guarantee shows promoters scenarios different worth asking basis calculation unclear festivals offer added bill particular festival also important part artists profile build giving valuable credibility mention exposure perhaps large new audiences promotional opportunities might otherwise available even importance artist festivals typically position pay higher fees artist might otherwise attract headline proposition shows mention artist pay associated costs putting show festival offers typically flat fee nature among reasons ticket sales cant attributed single artist promoter promoter individual company whose principle role put live event importantly bear financial risk means even event undersells runs loss promoter still pay whatever costs already agreed startup guide music businessincluding artists fee promoter pocket whatever left expenses artist fee meaning risk considered justifiable financial upside successfully selling large venue shows enormous promotional activities typically take form mailouts existing customer databases flyering postering venue elsewhere placement press adverts relevant publications listings gig programmes well contributing towards costs activity social media advertising campaigns live promotion previously mentioned gig promotion responsibility promoter reality much promotional momentum live shows likely come artist sense fundamental principles artist adhere includes putting great show prominent posts social media profiles targets ad campaigns advance pr promotion fall within direct responsibility artist team around artist tour manager principle role tour manager ensure live event takes place planned take overall responsibility wellbeing artist crew effect also eyes ears manager ground without manager attendance every event alongside artist key role play preplanning preproduction elements tour activity helping budget book resources accordingly ensure every logistical element likely encountered considered advance dealt speedily cost effectively possible tour support artists live fees sufficient cover projected expenses performance allowing deductions agent manager commission signed artist likely look record label help cover resultant shortfall principle rights owner likely want artist live performance profile benefit activity also therefore party hopefully cashrich position record companys responsibility fund shortfall form socalled tour support advance inevitably approved considered recoupable cost offset artist income previously discussed label may feel justifiable take share artists live income result merchandise substantial opportunities generating either income promotional mileage touring beyond core element good performance traditionally significant merchandising works basic premise already interested artist ie gig attendees highly likely make purchase ie merch stand artist makes clear whilst onstage also come front house gig sign merchandise meet greet fans likely merchandise income takings increase considerably many venues would expect take split often around ten percent merchandising earnings return providing facility often written performance agreement always involve promoter providing personnel attend merch desk putting live events concept curation develops within recorded music side industry idea expands world live music putting live event relies mostly combination strength performing artists corresponding lifestyle branding communicated potential target audience handling factors substantial impact likely success event entrepreneurs quick recognise transferability curational skills live recorded music startup guide music businessopportunities become involved live events promotion expanded crowded live market important make event distinctive appealing whilst musical choices made send clear message type event audience branding communicated combination elements including everything choice visual assets including logo media partners used promotion venue location encouraged attend nonmusical activities facilities entertainment food drink options relevant type range accommodation degree event narrative also important artist campaigns relays sense identity artist consumer relate understand roles responsibilities value booking agent promoter tour management roles able differentiate headline support slots festivals associated monetary promotional value differing types deal likel entail use knowledge put place suitable live strategy drive artists career forward ensure promotion live events corresponding record campaign mutual benefit utilise suitable promotional means support artists events understand engage additional financial promotional opportunities live events merchandise beyond consider whether existing curational expertise could applied expanded upon within live events contextstartup guide music business sync commercial deals definition sync sync use music accompany synchronise moving image visual production typically film advert television use plus gaming sometimes even live events sync practical terms refers oneoff licence agreement use piece music conjunction another media instances blanket collective license eg ppl prs already place third parties need music established terrestrial television networks uk bbc itv example blanket licences licence available law ppl prs covers effectively uk music place use music represented across output true others sky tv particularly north american television broadcast film syncs desirable visual media industry primarily emotional connection music provides music evokes high emotional connection people potential substantially enhance feeling message syncs music used help convey story already exists pictures adding impact depth music also carries element credibility brands media often excited associated value sync financial value given sync deal varies enormously depending number elements type media film tv programme etc duration frequency music used artists notoriety production budget value purely financial though whilst syncs clear source recording publishing income also exist highly valuable promotional opportunity many syncs right film example kickstarted helped boost artists careers crucial moments area business procuring sync relies substantially luck terms right music particular opportunity right time capacity licensable within often short timescale music supervisors role music supervisor match music particular visual production clear usage ideally supervisor chosen extensive network contacts across music business also equally extensive knowledge musical styles genres current musical trends generally already part existing production entity hired flat fee basis supervisors contact point visual industry music industry hence play vital role process musical placement increasing chances getting sync many record companies publishing companies increasingly distributors sync licensing departments work hard procure opportunities also specialist stand alone sync agencies working close coordination labels campaign teams forthcoming releases form close relationships music supervisors agencies brands prable element synchronisation associated network supervisors agencies many practical copyright owner generate cultivate therefore usually preferable employ company operate sync agency working behalf repertoire owner syncready housekeeping ease track licensed often difference finalising deal independent labels made usp clearing sync quickly painlessly therefore underlying good practices copyright owners put place order startup guide music businessmaximise visibility possibility music synced ideal scenario copyrights track recording song owned one party allowing music supervisor negotiate one copyright owner representative means straightforward rapid clearance process possible usually case least preferable parties open sync deals principle ready respond short time frame musical content potential sync relevance also ready comprehensive detailed metadata possible well track title artist name licensing contact ideally include performers elements artwork isrc reference relevant musical genre well description key moods themes music might prove relevant songwriter information promotional tastemaker uptake always useful relay help convince artisttrack worthy attention also advisable instrumental versions material ready deliver request audio clashes often required alongside main sync use capitalising upon sync necessary also artist take proactive approach promotion around sync activity majority newlyexposed listeners know name artist track heard starts making track easy find audiences easy associate sync music generally available dsps time broadcast availability sync eg release game also sensible capture actual sync visuals share artists socials allow spread consumers may missed initial broadcast fans particular show video game copyright clearance music licensing clearance famously messy affair involve number people companies ambitions perspectives represents good deal least wanting use track sync must seek licences rights sound recording song composition possible use particular track without rights signed typically sum offered publishing recording entities equal value offering one higher provision almost certain invite denial side offered less sync deal terms many points consider negotiating synchronisation terms equally relevant sound recording songpublishing rights owner perspective include actual product whether specific film tv programme video game example context use ideally relayed via synopsis scene overview duration time music featured media type whether placed within framework perhaps cinema online tv online advert mid movie end credits example term long song exploited context relevant territories sync made available indeed geographical restrictions course fee payable copyright ownerstartup guide music businessgaming use music context gaming exploded recent times fuelled technology increased quantities time users spend gaming engrossing nature many games require similarly immersive use musical content timelines creating video games much longer music business uncommon developers embedding music game eighteen twenty four months advance release fees gaming structured somewhat differently syncs either straight buy flat fee lots rights royalty basis per copy game sold though increasingly online gaming monetised advertising selling copies game lump sums payable hitting given quantities games bought advertising television adverts probably frequent likely opportunity sync income copyright owners artist team part decisionmaking process regarding advertising approach whether association particular brand relevant advertorial treatment way damaging artists message reputation brand whether broader connection artist sync sufficient integrity adverts tend mainly overseen advertising agencies highly specific briefs musical feel lyrical relevance budget given ad third party commercial deals brands need music usually brand owner use music way reinforcing brands identity turning artists whose brand meet brand values even film television syncs brands use excitement showbiz value music energise product using promotional mileage way would otherwise much harder without association artist brand association means opportunity connect artist particular set hopefully shared values chance broaden audience first foremost potential sometimes significant income brand partnerships maximised ideally need mutually beneficial add value connect audiences commercial deal terms various points consider commercial deals mostly based around notions control extent sever terms event association turning sour include details specific service artist required provide essence done accompanying exclusivity brands seek restrict artists similar association competitor geographical reach deal extent either party creative control prevent misuse association eithers perspective agreement duration terms conditions respect severance particularly illegal activity arguably likely advent adverse publicity lastly fee including specific points activities trigger corresponding payment startup guide music businesswhat create relevant sync relationships music supervisors agencies third party brand owners also possible aims sync events networking events year ensure filing sync housekeeping done full order maximise capacity harness sync opportunity potentiall short notice consider employing third party sync agency aim proactivel getting better opportunities artists improve knowledge referring aim sync guide resources available attend aims sync session starting looking start approaching syncs perhaps aims annual sync conferencestartup guide music business international expansion digital platforms allow spread content countries without distinction music operates increasingly borderless music environment creating potential artists find new audiences outside domestic territory potential dramatically increases though employment local market expertise help make connections opportunities represent artist local level go overseas decision make sustained overseas efforts complex one often decision chicken egg situation existing overseas label partner may want see evidence market interest territory ahead committing time effort likewise interest likely element seeking overseas partner keys determining overseas activity research opportunity passion research first copyright owner certain existence relevant audience analysis success similar artists ought provide insight certainly combined naturally occurring overseas fanbase evidenced artists social media channels opportunity uncommon opportunities present artist particular overseas markets little evidence support fanbase might form tour support offer successful international artist creative relationship overseas artist online sync festival offer artist band member able speak particular language passion perfectly possible local partner whether discovery recommendation direct approach express enthusiasm artist interest alone sufficient generate momentum situation may existing evidence local uptake obvious opportunity capitalise upon simply degree excitement justifies putting effort route market whilst digital distribution arrangement allows artist cross borders number alternative routes market add additional interest reach rollout via label subsidiary networks many ukbased independent labels distributors network subsidiary companies partner labels distributors major recorded music markets particularly us germany networks allow domestic rights owner capacity preserve copyright ownership benefits independent approach maintaining high degree centralized control campaign process assigning rights overseas label instances worldwide rights selfowned recording agreement limited uk single territory common practice seek sort overseas recording agreement lucrative sign deals territory byterritory basis time consuming requires considerable knowledge territory also advantages assigning rights one label likely major record label always fewer labels work groups territory often share language legal system basis efforts coordinated straightforward organise licensing limited licensing tends occur artist proven track record substantial industry buzz country position strength comes entering license rather assigning recording rights outright license allows copyright owner give right release record given market local label ultimate ownership copyright retained returned period time startup guide music businessthe pa ygo pa go label increasingly viable option proven pedigree enough funding solid team around hire people direct represent local regional level copyright owner bears costs team must knowhow hiring experienced local team ground key markets whilst retaining complete control process direct communication everyone involved model likely keep higher share available revenues need cash available hire people expertise run team effectively remotely could different part world joint ventures joint venture partnerships tend option wellestablished artists labels proven pedigree seeking greater degree control overseas markets yet without incurring expense knowledge hiring form inmarket setup partnering existing company given territory allow greater control process potentially higher degree financial reward straight licensing option compromise comes form parties contributing towards costs though dividing resultant income equally split net receipts basis export practice selling domesticallymanufactured product overseas known exporting viable option repertoire owners looking dip toe given overseas market requires local distribution agreement allows owner claim net income costs distributing due sales complicated option beyond realm guidelocating overseas partners aside reaching likes aim shortcut identifying right international team matter capacity relationship takes association music business impossible undervalue significance networking keeping resulting relationships live healthy understanding local landscape one key advantages overseas team place gaining indepth knowledge direct access local media retail landscape makeup relative importance key partners varies enormously regional individual territory territory level making information fundamental campaign direct media relations important comes procuring desired promotional opportunities afar absence longerterm relationships cultural technical knowledge bring fraught room misunderstanding value market even allowing intelligent planning modern technology generic asset creation simply substitute artist present market given territory fundamental reality campaign team artist even local media become substantially engaged instant artist spends time particular territory moreover prominent media demand presence artist person hence time market almost certainly help procure better quality coverage bespoke content key potential supporters whether media retail value campaign justify creation exclusive content also countries traditional models required exclusive content order build startup guide music businessmaintain audiences nature content vary relatively straightforward delivered upfront written qa streaming playlist example created whilst artist present marketplace exclusive performance interview generic content value artist market presents immediate problem simply cannot one place time conversely still overarching aim every campaign feed many media outlets consumers possible order generate coverage however possible service everincreasing quantity media despite limited artist access servicing media epks electronic press kits files contain broad spectrum digitally delivered materials seamlessly adapted local use giving media outlet appearance direct access artist decide right time become active overseas markets partners form activity take place start build networks attend conferences networking events potential international services partners tend go aim runs number conferences aim connected aim house great escape attract people aim membership also offers discounts many uk oversees conferences events committed allocate sufficient time market resource content creation effort order maximise impact key territoriesstartup guide music business future need know predicting future business difficult thing et order survive must aware need adapt stands reason adjust best allow maintain business also steal competitive advantage current environment provides clues likely directions music business might take vast majority driven technological developments associated cultures arise result also worth realising music business seems function cycles often inventing equally often referring back earlier patterns trends allowing us recognise past give us valuable clues direction future converging digital media digital media seldom operate entirely isolation whilst music synchronisation long allowed placement musical audio accompaniment visual media potential interactive media far greater occasional hit film soundtrack focus moving focussing listeners attention ability accompany activities gaming leading way area us consumed music important know total value global music business utterly dwarfed gaming industry reality gaming long since taken music go subculture youth whilst could seen lessen music music still essential part mix fact music retains value makes highly desirable addition gaming interactive better recognition soundtracking element gaming nature users frequently play several hours time streaming platforms specifically curated gaming playlists gives enormous potential discovery new music gaming consumers prefer heighten user experience addition music ever increasing opportunities target otherwise difficulttoreach audiences data anal ysis collection subsequent use understanding data remains everexpanding area focus virtually modern businesses music otherwise digital environments allow us attempt understand engage ever key dissemination information useful learnings applied commercial benefit data analysis therefore becomes differentiator truly harnessing data virtual augmented reality notion using technology create virtual environments add real world experience exciting potentially limitless clearly cusp dramatic expansion arenas might reasonably consider music play part process key surely lies understanding technology must substantially add experience order create situation whereby user something virtually simply cannot otherwise real world environment area great potential harness example musiclovers unable physically otherwise attend gigs many potential opportunities enhanced storytelling superimmersive experiences artificial intelligence history music business industry curated business genrebased sorting however combination smartphone technology streaming consumption changing towards either mood activity based models likely discover artist song via revision chill concentration workout playlist whilst still require element curation direct focus startup guide music businesswe dictates want listen every single listening experience logged used create highly detailed individual fingerprint user preferences likes dislikes result unique musical dna every single user given digital platform clear humancurated experience subject one made ai artificial intelligence defined usage computer systems performing kinds tasks usually associated human beings purposes particularly related decisionmaking perception track choices fed streaming platforms algorithmbased playlists built collection vast amounts data recognise match preferences similar users reflect tastes back form alternative track suggestions use ai inevitable experience acquired systems becomes ever complex future collection analysis data harnessed conjunction application ever finessed ai systems emerging markets recorded music business dominated certain territories many decades us via japan germany uk downwards markets effective legal technological systems allowed grow flourish equally potentially enormous markets china russia india far greater population sizes didnt systems result represented opportunities piracy far legitimate commercial counterparts one effects dominance western music culture broader global picture global superstars invariably american occasionally british though reasons vary country country generally combination technological ideological governmental commercial developments historical borders musical expansion broken introduces tantalising proposition music socalled nontraditional markets greatly improved platform break globally considering population india alone greater north america europe combined potential impact development becomes obvious full stack media companies music income becomes ever spread across different sources workers within business adopt ever entrepreneurial approaches companies become less singlefocussed mentality result commonly known within business full stack principle rather departments subsidiaries operating independently one another combining across breadth business extreme right way content creation distribution promotion even retail becomes feasible control input stage process hence benefit processes multiple ways startup guide music businesswhat dont fear progress innovation change inevitable learn recognise harness dont jump onto every new app piece software lands desk fail survive making capacity select informed decision important sta date developments current industry affairs due diligence future aim runs quarterl musicmeetstech mixers covers technology subjects conference programme training sessions year make time project forward consider business look like two five ten years time innovation help hinder much need prepared al ter approach business model go make tremendous success businessstartup guide music business wellbeing music industry modern business world would failure address wellbeing make career music whether musicians people working support careers greatly increased cultural awareness mental health real widespread occurrence thankfully many establishments charities organisations offering support advice better way sign turn input longstanding british charity help musicians uk kindly relayed message publication nearly years help musicians uk providing help support opportunities empower musicians stages lives independent charity whose wide spectrum work includes integrated programme combining health welfare services creative development funding ground breaking research mental health helpline entire music industry hearing health scheme aims prevent hearing problems would otherwise bring musicians careers untimely end ou find helpmusiciansorguk musician crisis eg unexpected event illness accident means heshe cannot work work much subject eligibility criteria help musicians uk offer financial support including paying therapy medical treatment well making payments towards household bills living costs help cope working medical help via british association performing arts medicine including assessment specialist health advice treatment required information appropriate health care practitioners taking account needs musician visiting service understand need signposting sources support step change business debt line medical specialists ou contact hmuk also runs mental health helpline called music minds matter dedicated service anyone music industry trained advisors understand complexity working music listen support help time day night offer emotional support advice information signposting specialist services debt legal advice well access help musicians uk grants free confidential available across uk ou contact music minds matter email mmm helpmusiciansorguk also organisations help aim help signpost ou never suffer alone best seek help early possible finally know power friends networks peers help support us pass useful experience information aim encourages networking related activities anyone know vulnerable need emotional psychological support know help hand please reach appropriatestartup guide music businessfurther information information sources aims website aimorguk aims online resources publicly available information wealth exclusive content aim members guides tipsheets explainers articles video content aims conferences training events aim events conferences training events networking socials annual aim independent music awards opportunities substantial discounts available aim members friends aim directory evergrowing number companies offer services people releasing music pr plugging legal accounting data services venues dsps uk governments small business support services govukbusinesssupporthelpline queen mary universitys law arts service free legal advice creative industries lac qmulacukadvicearts musicians union advice guidance legal support musicians musiciansunionorguk help musicians uk music minds matter mental health helpline email mmm helpmusiciansorguk number groups organisations trade bodies music ecosystem focus specific activities genres areas business may also good sources information support principle ones found listed website uk music set provide collective voice across recorded published live arms british music industry lobbying government policymakers promoting shared interests uk music sector go ukmusicorg information recommended followup reading ou need know music business uk edition passman slackers guide music industry phil taggart getting es roger fisher william ury bruce patton music business essential guide law deals ann harrison secrets negotiating record contract moses avalon music licensing bob kohn note us centric dissecting digital dollar cmu insights diy access guide attitude everything traction startup achieve explosive customer growth gabriel weinberg touring mental health manual tamsin embleton fun kill friends john niven black vinyl white powder simon napierbell big life jazz summers another planet teenager suburbia tracey thorn close edge search global hip hop generation sujatha fernandes startup guide music business" +} diff --git a/Strategy-Consulting.json b/Strategy-Consulting.json new file mode 100644 index 0000000000000000000000000000000000000000..64866c2734dab8b4629816b56b5f85edcbaca637 --- /dev/null +++ b/Strategy-Consulting.json @@ -0,0 +1,5 @@ +{ + "filename": "Strategy-Consulting", + "department": "Manager", + "cleaned_text": "kraaijenbrink strategy consultingstrategy consulting one highly respected time deeply detested jobs planet despite attention controversy surprisingly little written specifically address void element provides comprehensive overview fascinating emerging profession relying existing research authors practical experience describes strategy consulting comes effectively practice take future taking position individual strategy consultant element offers insightful perspective useful scholars students consultants clients strategy consulting moves away dominant corporate practice analytical strategy consulting instead offers idealized wholebrain wholeperson view strategy consulting could like order fully live promise profession contributing society series business strategys reach vast field strategy long history medieval colonial times todays developed developing economies series offers place interesting illuminating research including industry corporate studies strategizing service industries arts public sector new forms internet based commerce meet needs fields demanding methodologies series also cover todays expanding gamut analytic techniquesseries editor jc spender kozminski universitybusiness strategy issn online issn printstrategy consulting jeroen kraaijenbrink cover image irinkshutterstock terms use available httpswwwcambridgeorgcoreterms httpsdoiorgdownloaded httpswwwcambridgeorgcore ip address aug subject cambridge coreterms use available httpswwwcambridgeorgcoreterms ip address aug subject cambridge coreelements business strategy edited jc spender kozminski university strategy consulting jeroen kraaijenbrink university amsterdam terms use available httpswwwcambridgeorgcoreterms ip address aug subject cambridge coreuniversity printing house cambridge cb bs united kingdom one liberty plaza th floor new york ny usa williamstown road port melbourne vic australia rd floor plot splendor forum jasola district centre new delhi india anson road singapore cambridge university press part university cambridge furthers university mission disseminating knowledge pursuit education learning research highest international levels excellence wwwcambridgeorg information title wwwcambridgeorg doi jeroen kraaijenbrink publication copyright subject statutory exception provisions relevant collective licensing agreements reproduction part may take place without written permission cambridge university press first published catalogue record publication available british library isbn paperback issn online issn print cambridge university press responsibility persistence accuracy urls external thirdparty internet websites referred publication guarantee content websites remain accurate appropriate terms use available httpswwwcambridgeorgcoreterms ip address aug subject cambridge corestrategy consulting elements business strategy doi first published online august jeroen kraaijenbrink university amsterdam author correspondence jeroen kraaijenbrink jkkraaijenbrinkcom abstract strategy consulting one highly respected time deeply detested jobs planet despite attention controversy surprisingly little written speci \ufb01cally address void element provides comprehensive overview fascinating emerging profession relying existing research author practical experience describes strategy consulting comes e\ufb00ectively practice take future taking position individual strategy consultant element \ufb00ers insightful perspective useful scholars students consultants clients strategy consulting moves away dominant corporate practice analytical strategy consulting instead o\ufb00ers idealized wholebrain wholeperson view strategy consulting could like order fully live promise profession contributing society keywords strategy consulting wholeperson consulting strategy making consulting roles future consulting jeroen kraaijenbrink isbns pb oc issns online print terms use available httpswwwcambridgeorgcoreterms ip address aug subject cambridge corecontents introduction origins strategy consulting traditional strategy consulting limitations nature purpose strategy consulting strategy consulting process strategy consulting roles conclusion outlook references terms use available httpswwwcambridgeorgcoreterms ip address aug subject cambridge coreany chief executive hires consultant give strategy \ufb01red henry mintzberg introduction strategy consultant aware job people love hate relationship one hand triggers awe envy although perhaps much used wellpaid career strategy consultant still high wish list many mba students within whole market consulting jobs strategy consultants top hier archy least like think hand strategy consultants consultancy \ufb01rms heavily criticized scholars writing executives worked ask quite critical strategy consultants added value ethics way work ing illustrative critical perspective books consulting baring titles dangerous company oshea madigan consulting demons pinault witch doctors micklethwait wooldridge consulting \ufb01rms awe criticism apply strongest mckinsey company mckinsey short along also apply major consulting \ufb01rms boston consulting group bain company kearney booz allen hamilton seems either love hate time paradoxical attitude towards strategy consulting insightful fact companies hire strategy consultants pay signi \ufb01cant amounts money services shows serve important purpose valued customers time though sheer volume severity criticisms strong indicators something entirely right strategy consulting practised today purpose element therefore explore strategy consulting lead practised effectively focus speci\ufb01cally strategy consulting surprisingly despite impact controversy much written numerous works management consulting general baaij kipping clark newton even strategy consulting large speci \ufb01cs strategy consulting exception armbr\u00fcster kipping blom lundgren delany payne lumsden van den bosch baaij v olberda clear void element intend help \ufb01ll void dual perspective interview duff mcdonald april quoted mcdonald business strategy terms use available httpswwwcambridgeorgcoreterms ip address aug subject cambridge corea scholar aim give balanced overview research others done strategy consulting experiences described add views experience strategy consultant combining outsider insider views element intends offer fresh perspective speci \ufb01cs strategy consulting goes beyond status quo related work even though much written speci \ufb01cally strategy consulting extensive body literature management consulting broadly since strategy consulting part much literature relevant strategy consulting well therefore starting point element brie\ufb02y outline \ufb01ve main types publication available helps demarcate element serves point reference reading the\ufb01rst type publication comprehensive work provides almost encyclopaedic overview management consulting entails comes works single three \ufb01rst page reference work management consulting guide profession edited milan kubr targeted primarily prospective consultants contains contributions numerous authors giving indepth practical understanding management strategy consulting second reference work oxford handbook management consulting edited bymatthias kipping timothy clark targets academics offers theoretical understanding \ufb01eld outlines avenues research third mention mckenna world newest profession management consulting twentieth century ti singleauthored widely praised historical analysis management con sulting offers fascinating deep understanding management con sulting emerging profession getting thorough understanding management consulting strategy consulting practised studied past century three works recommended also comprehensive instrumental various management consulting textbooks written strategy management consult ing high wish list many mba students numerous textbooks facilitate courses topic three examples marc baaij san introduction management consultancy baaij philip wickham jeremy wilcock smanagement consulting delivering effective project wickham wilcock joe mahoney calvert markham management consultancy omahoney markham strategy consulting terms use available httpswwwcambridgeorgcoreterms ip address aug subject cambridge corecomprehensive textbooks giving representative view management consulting large consulting corporations looks like typically combine overview consulting history industry instrumental advice consult practice practical side also books directly targeted aspiring practising consultant \ufb01rst editions printed many copies sold peter block sflawless consulting guide getting expertise used block alan weiss million dollar consulting professional guide growing practice weiss amongst in\ufb02uential books offer extensive prescriptions effective consultant another example richard newton sthe management consultant mastering art consultancy although covers similar contents fact written personal perspective makes useful additional read fourth book category trusted advisor david maister charles green robert galford maister green galford like previous three book instrumental work explaining reader become trusted advisor particularly worth reading focus concept trusted advisor rather management consultancy return means relevant later element fourth also instrumental works describing approach speci \ufb01c consulting \ufb01rm unlike previous three categories books zoom one consulting company explain detail management consulting works particular company clear majority books mckinsey examples include mckinsey way ethan rasiel mckinsey mind byethan rasiel paul friga pyramid principle barbara minto andthe firm inside story mckinsey world controversial management consultancy duff mcdonald \ufb01rst three written ex mckinseyites actively promoting distributing way mckinsey works offer insider view means work world dominant consulting \ufb01rm revealing merely contents also style written mcdonald work different offers deep peek inner workings mckinsey time neutral comprehensive analysis mckinsey reveals strengths weaknesses finally critiques al ready referred earlier james shea charles madigan sdangerous company management consultants h eb u n e e st h e ys v ea n dr u n oshea madigan lewis pinault sconsulting demons inside unscrupulous world global business strategy terms use available httpswwwcambridgeorgcoreterms ip address aug subject cambridge corecorporate consulting pinault john micklethwait adrian wooldbridge sthe witch doctors management gurus saying matters make sense micklethwait woodridge polemical works criticizing management consulting various perspective less polemical critical critical consulting new perspectives management advice industry e e db timothy clark robin fincham primarily emphasizes rhetorical character much management consulting also insightful richard rumelt sgood strategybad strategy difference matters rumelt criticism strategy consulting per se strategy ge neral however given strategy consultants amongst important causes bad strategy provide useful insights wo r k x hw r ki nt h sc e g r yi ewald weiden sfolienkrieg und bullshitbingo handbuch f\u00fcr unternehmensberater opfer und angeh\u00f6rige slide war bullshit bingo manual management consultants victims relatives weiden parody approaching management consulting strike humour main added value helps take consulting consultants seriously together critical approach works makes worth reading helps understand weaknesses downsides managem ent strategy consulting practised far highlighting show improvement needed take strategy consulting next level altogether books offer thorough balanced view manage ment consulting looks like far evolved get upsides downsides even though concern management con sulting large much say applies directly strategy consulting element therefore repeat strategy consulting works already said means element attempt provide comprehensive overview strategy consulting explain big consulting \ufb01rms strategy consulting even though contain critical notes polemical attack strategy consulting main aim element look forward sketch strategy consulting could perhaps even look like future order fully live promise profession contributing society therefore element contains idealized future perspective accurate representative account strategy consulting today unfolds next sections leads wholebrain wholeperson view strategy consulting moves beyond dominant practice analytical strategy consulting strategy consulting terms use available httpswwwcambridgeorgcoreterms ip address aug subject cambridge core de \ufb01ning strategy consulting discussing strategy consulting useful \ufb01rst de \ufb01ne means goal come \ufb01nal allencompassing de \ufb01nition goal provide foundation view strategy consulting outlined element based since parts term strategy consulting discussion \ufb01rst de \ufb01ne separately strategy almost many de \ufb01nitions strategy authors writing means attempt de \ufb01ne strategy introduce debates disagreements nevertheless de \ufb01ne strategy consulting essential de \ufb01ne mean strategy important demarcate differences strategy types consulting alsoaffects strategy consulting could explained two earlier books strategy handbook p r sa n kraaijenbrink id e\ufb01ne strategy organization unique way sustainable value creation means organization strategy expresses value creates way differentiates itsmain competitors sustain difference longer period oftime de \ufb01nition neither unique original relies various previous de\ufb01nitions notably foundational work michael porter henry mintzberg mintzberg waters empha sis value creation uniqueness sustainability way organizations achieve points four important aspects focus value creation creating competitive advantage many de \ufb01nitions course competitive advantage organization helpful means towards unique sustainablevalue creation goal reason existence organizationis value creates customers therefore value creation centrestage strategy emphasis uniqueness means strategy aims standing com pared competition implies strategy \ufb02ects organiza tion aims different relevant competitors ideally difference \ufb02ects organization unique strengths speci \ufb01c needs customers targets focus sustainability means strategy longterm orientationa strategy sustainable provides organization suf \ufb01cient business strategy terms use available httpswwwcambridgeorgcoreterms ip address aug subject cambridge corereturns based resources soon depleted considers key stakeholders interests hard imitate cir cumvent others four requirements met strategy really sustainable strategy concerns way organizations try realize previous three aspects plan document set goals aspirations wishes way series steps actions enables organization create value unique sustainable way given organization environment change continuously way never \ufb01xed means strategy continuous process never stops starts brief de \ufb01nition strategy means important implications strategy consulting see sections continuous action oriented nature strategy results signi \ufb01cant implications strategy consultants cannot strategy consulting process looks like furthermore argued section focus sustainable value creation also signi \ufb01cant implications purpose outcomes strategy consulting looking consulting like strategy numerous de \ufb01nitions consulting exist examples include form providing help content process structure task series tasks consultant actually responsible task helping steele p consulting time trying change improve situation direct control implementation block p x x n management consultancy thus form situationspeci \ufb01ca n c e provided independent external professional interventionexpert enables management client r g n z nt ot k ea c ni na n complex management situation hagenmeyer p w h l et h e differ together de \ufb01nitions highlight number characteristics de \ufb01ning consulting external consultant outsider supports organization orga nizational unit part also applies consultants within organizations outsiders units consult independence never percent independent income depends consulting assignment consultant independent possible means personal stake issue consult solution sought strategy consulting terms use available httpswwwcambridgeorgcoreterms ip address aug subject cambridge coreprofessionals consultants quali \ufb01ed individuals relevant mindset experience skills expertise needed support clients high standards committed best clients support consultants help organizations solve problems execute tasks achieve goals cannot also means con sultants responsible control consult change consultant initiates designs facilitates andor executes change organizations task help organization make improvements help survive prosper along lines consultant external independent professional supporting organizations make changes consulting providing organiza tions support making changes external independent professional strategy consulting combining two aforementioned de \ufb01nitions strategy consulting providing organizations support making changes achieve unique sustainable value creation external independent professional simply helping organizations achieve unique sustainable value creation external independent professional simple de \ufb01nition starting point dive deeper scrutinize detail element strategy consulting entails need make two observations complement de\ufb01nition first strategy consulting something reserved big corpora tions neither client side consultant side organizations need strategy matter small even independent freelancers need unique sustainable way value creation survive prosper strategy consultancies large \ufb01rms small \ufb01rms independent consultants provide clients support making changes external independent professionals therefore whatever said strategy consulting element applies various types consultancies clients second de \ufb01nition simple strategy consulting complex kubr reminds us multidisciplinary involving social psycho logical legal technological aspects etc multifunctional concerning mar keting production engineering \ufb01nance hr rd etc multisidedness strategy makes strategy consulting one complex types con sulting even though functions marketing engineering \ufb01nance internal complexities fact strategy concerns integration adds another level complexity strategy consulting business strategy terms use available httpswwwcambridgeorgcoreterms ip address aug subject cambridge corefurthermore add strategy takes place environment characterized high volatility uncertainty obvious strategy consulting challenging job importantly referred introductory quote means strategy consultancy many things something static disengaged providing organization strategy strategy consulting profession words profession professional appeared several times aforementioned text brings us decadesold discussion whether management consulting therefore also strategy consulting profession notmckenna andkubr example explicitly use word profession title books also several aforementioned works explicitly address question therefore needs addressed element well matters question whether strategy consulting profession part broader discussion whether management strategy profession whether khurana rousseau spender sheer attention given question academics suggests matters two reasons the\ufb01rst reason language behaviours strategy consul tancies tend present professionals job profession suggest like example healthcare providers lawyers accountants following agreedupon practices rules guidelines present legitimate ask whether rightfully case may challenge consultants credibility ethics second reason strategy consulting aspires profession ideas profession entails serve frame reference assess current strategy consulting practice assess whether strategy consulting ful\ufb01ls criteria profession provides directions strategy consulting go words strategy consulting aspires profession criteria professions provide normative framework strategy consulting entail means whether strategy consulting profession depends identify whether something profession three ways \ufb01rst strategy consulting terms use available httpswwwcambridgeorgcoreterms ip address aug subject cambridge corea traitbased approach means listing traits profession assess whether strategy consulting traits traits mentioned include one professional associations formal training certi \ufb01cation standardized shared body knowledge code ethics one commits professional liability work done selfdiscipline selfregulation focus contributing greater good baaij kipping clark kubr mckenna second way assess whether strategy consulting profession follow developmental approach means looking whether stake holders involved strategy consulting currently taking required actions needed turn profession means assessing whether deliberate conscious coordinated attempt going translate set scarce cultural technical resources secure institutionalized system social \ufb01nancial rewards kirkpatrick muzio ackroyd third way look much whether \ufb01eld developing profession look whether strategy consultants act professionals follow professional approach includes appropriate competences avoiding con \ufb02icts interest impartial objective treating sensitive information con \ufb01dentially accepting inappropriate payments offering good value money taking account wider social concern ethical principles kubr whether strategy consulting profession evaluated seven traits \ufb01rst approach widely shared conclusion management consulting thereby strategy consulting implied best emerging profession \ufb01nd conclusion clearly work mckenna also works including kubr baaij kipping clark andgreiner motamedi jamieson conclude management consulting hardly quali\ufb01es profession seven traits example professional institutions international council management consulting institutes icmci membership low authority mentioned website example icmci represents individual consultants less percent total number management consultants united states alonealso lot strategy consulting training mostly given within boundaries single consulting \ufb01rm focused distinction rather creating shared body knowledge furthermore shared code ethics wwwstatistacomstatisticsnumberofmanagementconsultantsus numbers business strategy terms use available httpswwwcambridgeorgcoreterms ip address aug subject cambridge coreno professional liability selfregulation clear focus greater good light practised today strategy consulting clearly profession following developmental approach conclusion similar even though strategy consulting presents often profession signs developing direction scattered initiatives example icmci widely spread coordinated attempts realize surprising mckenna andkirkpatrick muzio ackroyd observe consultancies interest develop profession professionalization would constrain currently bene \ufb01t professional image without constraints responsibilities come actual profession according \ufb01rst two approaches conclude strategy con sulting neither profession developing direction however seems agreement strategy consultants follow professional approach always exceptions large majority strategy consultants work manner kubr describes earlier relevant competences avoid con \ufb02icts interest try impartial objective together three brief assessments lead straightforward conclusion strategy consultants professionals function profession developing direction whether strategy consulting profession a\ufb01nal important question whether strategy consulting profession take two perspectives societal perspective individual perspective adopting societal perspective answer seems clearly con \ufb01rmative argued well supported evidence examples comprehensive works referred kipping clark kubr mckenna critical ones mcdonald micklethwait wooldridge oshea madigan pinault consultancies signi \ufb01cant role failure many clients also stimulating illegal unethical practices enron scandal mckinsey involvement notable example therefore societal perspective one could easily argue unconstrained power self interested behaviour ought constrained institutionalization formal training certi \ufb01cation selfregulation answering question personal perspective strategy consultant though leads different answer consultant want constrained like freedom fact standards strategy consulting terms use available httpswwwcambridgeorgcoreterms ip address aug subject cambridge coredictating work furthermore need institution legitimiz ing believe formal training going make better consultant think certi \ufb01cation institutional membership increase credibility also think regulation code ethics make behave ethical focus contributing greater good things inherently intend anyway conclusion personal standpoint strategy consultant therefore clear well think professionalization needed would even object especially means formalization adherence norms regulations imposed institutions follows two opposing perspectives even though many aspired effects professionalization desired given criticisms consulting way forward necessarily systemic attempt towards professionalization expect many consultants object similar reasons furthermore vested interests large powerful consulting corporations unlikely signi\ufb01cant progress towards institutionalized professionalization foreseeable future result bottomup gradual change individual con sultants adjusting approach mindset may best way forward along lines intention element written idealist perspective strategy consulting element provides idealist perspective strategy consulting means offers perspective strategy consulting could even look like given criticisms enough describe strategy consulting like today furthermore referred section others already done therefore follows forward looking perspective strategy consulting moves beyond status quo addresses criticism pseudo consulting various reasons strategy consultants hired may useful legitimate considered pseudo consulting actual consulting takes place cases strategy consultants primarily hired rhetorical reasons scapegoat applies many consulting \ufb01rms especially mckinsey known hired legitimate imple ment decisions already made take blame along idea mckinsey saying must true cases hiring business strategy terms use available httpswwwcambridgeorgcoreterms ip address aug subject cambridge corestrategy consultants primarily rhetorical act enforce previously made decision type pseudo consulting outside scope element critical scholars go even far de \ufb01ning consultants \ufb01rst fore fad bringers rhetoricians nikolova devinney call critical model consulting thereby referring view consulting offered amongst others alvesson andclark key point model consulting consultants specialists impression man agement giving clients impression buy something valuable often without much actual value created may overly critical interpretation consulting general occur also type consulting outside scope element element focus genuine strategy consulting aimed helping clients forward strategy along lines de\ufb01nition given earlier work focused helping organizations achieve unique sustainable value creation external independent professional wholeperson approach strategy consulting approach strategy consulting outlined element described awholebrain wholeperson approach details approach unfold throughout next sections overall idea summarized follows far strategy consulting largely leftbrain activity strong factbased cognitiveanalytical focus aimed deconstructing solving problems scienti \ufb01c engineering fashion however right part brain associated creativity intuition holistic thinking empathy selfawareness largely ignored given strategy consulting requires halves given endorsed two brain halves evident effective wholebrain approach strategy consulting needed even need wholeperson approach strategy consulting far strategy consulting primarily headonly activity image strategy consultants get descriptions far cold talking heads supposed switch emotions provide clinical advice supposed get hands dirty next head people heart hands using strategy consulting today challenging envir onment waste potential furthermore actually helping organizations make changes requires strategy consultants use full capacity human beings including speci \ufb01c character preferences aspirations viewpoints emotions strategy consulting terms use available httpswwwcambridgeorgcoreterms ip address aug subject cambridge corethere another reason wholebrain wholeperson approach strat egy consulting needed increasingly next generation employ ees looking various studies reveal people entering labour market increasingly look interesting jobs give freedom selves provide sense contribution people increasingly want make difference competition talent wholebrain whole person approach help ensure becoming strategy consultant remains attractive career choice organization sections element organized follows section offers brief overview history strategy thereby primarily focusing exists came section summarizes traditional mode consulting criticism received together two sections set stage provide understanding strategy consulting like far next three sections outline view strategy consulting departs takes strategy consulting towards future section discusses purpose outcome strategy consulting section strategy consulting process section various roles strategy consultants play throughout process element ends section conclusion outlook origins strategy consulting like \ufb01eld strategy consulting speci \ufb01c history describing manage ment consulting broadly thereby including strategy consulting history extensively covered previous works kipping clark kubr mcdonald mckenna instead repeating comprehensive accounts section follows different approach starts providing brief summary history strategy consulting basic development \ufb01eld understood thereafter section provides inventory various explanations strategy con sulting exists provides understanding strategy consulting works way section concludes offering alternative history section reason premise element rests strategy consulting different future today correct alternative perspectives come history wwwdeloittecomglobalenpagesaboutdeloittearticlesmillennialsurveyhtml wwwaccenturecomuseninsightsstrategywholebrainleadershipforcsuites business strategy terms use available httpswwwcambridgeorgcoreterms ip address aug subject cambridge core brief history strategy consulting understand strategy consulting comes useful summarize key historical facts developments taken place past century industrial revolution going hand hand emergence \ufb01rst\ufb01eld consulting operations consultancy roots engineering \ufb02uential work frederick w taylor harrington emerson charles eug\u00e8ne bedaux focus improving ef\ufb01ciency development second \ufb01eld consulting organizational consulting parallel emergence multidivisional corporate form building upon ideas engineering consultancies like arthur little booz allen hamilton mckinsey company founded focused solving organizational issues designing changing organizational structures processes parallel organizational consulting \ufb01eld human relations organizational development od emerged \ufb01eld con sulting notable contributions mayo hawthorne studies published john rockefeller s\ufb01nancial support industrial relations eric trist work tavistock institute result \ufb01rst mainframe computers development consultancy new consulting discipline especially ibm founded played \ufb02uential role advancing discipline emergence strategy consulting separate discipline notably foundation boston consulting group roland berger bain company useful notice roland berger bill bain bcg alumni interesting facts roles us legislators military business schools david well development strategy consulting sector today kipping clark early history helps understand strategy consulting comes important notice \ufb01elds engineering roots evidenced strategy consulting direct predecessors operations organizational con sulting also important notice role boston consulting group consulting \ufb01rm strategy consulting started growthshare matrix bcg matrix cash cows stars question marks dogs \ufb01rst main strategy consulting tool mcdonald strategy consulting terms use available httpswwwcambridgeorgcoreterms ip address aug subject cambridge core strategy consulting exists understand strategy consulting look historical development also develop better understanding exists \ufb01rst place reveals strategy consulting works way developed way across literature less ten alternative partly overlapping nevertheless distinct complementary explanations economic perspective widely used explanation strategy consultancy exists specializing strategy involves economies knowledge saam like specialized services idea consultants develop accumulate advanced specialized knowledge strategy working different organizations since every single organization develop knowledge consultants thereby knowledge advantage bene \ufb01t information asymmetries economies knowledge developing advanced knowledge reusing various clients resourcebased perspective closely related strategic perspective strategy consultants obtain develop valuable rare inimitable nonsubstitutable resources capabilities provide competitive advantage exploit assumptions similar economic perspective resourcebased view barney kraaijenbrink spender groen emphasizes value \ufb01rms create offering strategy consulting services rather ef\ufb01ciencies achieved institutional perspective another historically oriented explanation found looking conditions institutions played role shaping strategy consulting market david mcdonald mckenna show developments legislation business schools military situation busines press created conditions strategy consulting could develop \ufb02ourish strategy consulting seen expected lmost inevitable response conditions business strategy terms use available httpswwwcambridgeorgcoreterms ip address aug subject cambridge core organizational perspective parallel developments society emergence strategy consulting also explained looking organizations david points development multidivisional form corporations dispersed decentralized units made complex hard manage created opportunity strategy consultants step related many organizations today marginalized strategy knowledge processes extent dif \ufb01culties managing strategy thereby opening door strategy consultants isomorphism perspective deciding whether adopt certain practices managers often look organizations idea others probably useful called isomorphism dimaggio powell also plays role adoption strategy consultants result \ufb01rst four perspectives idea emerged hiring consultants strategy right thing applies particular strategy generation phase managers hiring strategy consultants managers think hire isomorphism keeps idea alive even original reasons hiring strategy consultants apply anymore mysti \ufb01cation perspective strategy consulting well types strategy services like strategy education publication bene \ufb01ts actively mystifying notion strategy consulting learn textbooks mba courses strategy must high level abstract soon becomes practical operational strategy anymore deliberate secrecy surrounding large strategy consulting \ufb01rms contributes mysti \ufb01cation result mysti \ufb01cation managers may feel incapable proper strategizing thereby creating opportunities strategy consultants enlightenment perspective result centurieslong development going since enlightenment th century europe arguably even since plato bc conditioned think scienti \ufb01c rationalanalytic approaches best even way solve problems strategy consul tancies experts solving problems way thereby allude almost builtin idea makes attractive hire idea strategy consulting terms use available httpswwwcambridgeorgcoreterms ip address aug subject cambridge coreis problems addressed rationalanalytic way strategy consultants experts ones asked solve problem marketing perspective success strategy consultancy also understood looking marketing sales perspective various scholars argued strategy consultancies particular consulting gurus play central role creating distributing management fads fashions abrahamson clark bhatanacharioen greatbatch jung kieser introducing new information frameworks tools publishing consultancies actively create maintain demand supply services sociological perspective success strategy consulting also understood sociological network perspective faust strategy consultancy reputation net work position provide various bene \ufb01ts make attractive partners organizations often well connected respected use networkbased strengths advantage furthermore many alumni working organizations strategy consultancies often strong ties clients prospective clients career perspective last perspective explaining strategy consulting exists attractive career choice offers good salary status interesting clients travelling destinations working toplevel organizational issues without responsibility lemann puts odd uppermeritocratic combination love competition herd mentality aversion risk makes consulting job appealing mckenna attractiveness makes many highly quali \ufb01ed stu dents apply job strategy consultant ten perspectives show reasons strategy consulting grown extensive business multifold isolation provide partial explanations altogether help us understand strat egy consulting become \ufb02uential business today perspec tives also reveal strategy consulting works see example works developing exploiting specialized generic strategy business strategy terms use available httpswwwcambridgeorgcoreterms ip address aug subject cambridge coreknowledge across clients developing tools active publication create awareness demand services thereby \ufb01lling void organizations created alternative history brief history perspectives help us understand strategyconsulting currently know emerged helpful notenough want look forward strategy consulting may orshould heading suggested section wholebrain whole person approach strategy knowing history strategy consulting aswe know enough particular development hr odconsulting become crucial part history complementthe leftbrain orientation strategy consulting know engineering roots seen strategy consulting father responsible leftbrain focus hrod consulting seen itsmother responsible rightbrain part mostly missing far section already brie\ufb02 mentioned work mayo trist important contributions \ufb01eld consulting less emphasized accounts strategy consulting history worthwhile giving attention place next section show detail mode strategy con sulting emerged engineering expert consulting strategyconsultants supposed come solid analyses leading wellfounded answers hrod consulting side process andpeople oriented greiner et al also whereas strategy consulting adopts primarily problemsolving approach focused \ufb01xing wrong hrod consulting focuses much building upon organization strengths aspirations foundational contributions development line thinking come mary parker follett follett follett fox urwick unlike wellknown contemporary frederick w tayler scienti \ufb01c management taylor follett outlines view management organizations people developmentoriented work beenthe source many hrodrelated ideas consentbased decisionmaking transformational leadership reciprocal relationships integrative andholistic thinking diversity importance informal processes eversince many others built follet ideas including kurt lewin douglas mcgregor abraham maslow chris argyris chris argyris putnam mclain smith argyris sch\u00f6n strategy consulting terms use available httpswwwcambridgeorgcoreterms ip address aug subject cambridge corewhile signi \ufb01cantly \ufb02uenced hrod consulting one approach worthwhile mentioning speci \ufb01cally explicitly focuses consulting deviating complementary traditional strategy consulting approach appreciative inquiry cooperrider srivastva whitney cooperrider core idea appreciative inquiry start already works organization build upon cooperative coevolutionary search best people organizations relevant world around involves systematic discovery gives life organization community effective capable economic ecological human terms whitney cooperrider p principles approach need necessarily fully adopted next sections show embracing core principles appreciative inquiry helps developing whole brain wholeperson approach strategy consulting traditional strategy consulting limitations result speci \ufb01c history outlined previous section dominant approach strategy consulting emerged past decades refer traditional approach strategy consulting dominant approach source much criticism important stand approach want move forward stay brief focused description limited mckinsey approach fully representative best documented \ufb02uential approach applied taught across globe furthermore various consulting \ufb01rms origins inside mckinsey approach dna sector traditional strategy consulting approach overall traditional approach strategy consulting best summarized expert approach described general textbooks baaij newton speci \ufb01cally accounts mckinsey way work ing mcdonald minto rasiel rasiel friga following twelve characteristics expert expertisebased traditional approach strategy consulting assumes consultants know strategy clients therefore position provide expert advice move forward clients employees considered important sources information business strategy terms use available httpswwwcambridgeorgcoreterms ip address aug subject cambridge coreconsultant really understand going client strategy right expertise offer client proper advice also outsiders consultants able make objective diagnoses deliver unbiased solutions adviceoriented main aim traditional strategy consulting provide client proper actionable advice advice instructional telling client exactly ideally advice presented structured convincing way laid substantive report well energizing presentation involvement implementation sometimes included advice mostly aspired end result consul tant engagement problemfocused the\ufb01rst step primary focus engagement following traditional approach strategy consulting identify organization key strategic problems organizations seen machines broken need repaired therefore meticulous diagnosis problem analysis take place identify categorize prioritize organizations main problems rasiel p puts mckinsey exists solve business problems projectbased traditional consulting approach built around projects projects speci \ufb01ed upfront demarcated scope start end point de \ufb01ned accompanying price agreed upon usually follow staged approach distinct phases initiation diagnosis solution development closure projectbased approach emphasizes temporary nature consul tants engagement well clearly de \ufb01ned work outcome expected analytical structured diagnose problems traditional strategy consulting approach follows systematic structured analytical approach using tools like cause diagrams logic trees following mece principle analyses lead set mutually exclusive collectively exhaustive components organi zational problems decomposed \ufb01nest details root causes identi \ufb01ed solutions designed \ufb01x problems strategy consulting terms use available httpswwwcambridgeorgcoreterms ip address aug subject cambridge core hypothesisdriven expert consultants embrace mckinsey works hypothesis driven means early process consultants stimulated use gut feeling make estimate hypothesis think problem solution analytical process follows focused proving disproving hypothesis makes focused approach directed towards particular diagnosis solution beginning factbased quantitative traditional strategy consulting approach relies facts claims made supported qualitative preferably quantitative data except initial hypothesis little room speculation hunches opinions emotions explicitly kept side keep interfering rational factbased analysis makes data gathering one important consulting skills required especially early stages consultant career rasiel friga bestpracticeled mentioned section one explanations consulting exist knowledge ef \ufb01ciencies idea knowledge used one organization used organizations well strategy consultants use \ufb01nding solutions diagnosed problems every large consulting \ufb01rm set generalized solutions tools \ufb01rm decentralization layoffs experience curve database previous projects even though solutions tailored speci \ufb01c needs clients origin often lies reusing generalized best practices brainstormingbased solutions come previo usly used practices also come brainstorming seen thesine qua non strategic consulting clients really buy lets face large modern corporations chock full intelli gent knowledgeable managers darned good daytoday problem lving mckinsey offers new mind set outsider view locked company way things rasiel p h e rw r n e x tt ot h e x p e r e ti also creativity outsider view makes expert consultant valuable business strategy terms use available httpswwwcambridgeorgcoreterms ip address aug subject cambridge core persuasive expert advice works client convinced strategy consultant made right diagnosis proposes right solution therefore persuasive communication another hallmark traditional strategy consulting clark fincham mckinsey wellknown pyramidstyle communication minto exempli \ufb01es well fact entire part rasiel mckinsey way titled mckinsey way selling solutions emphasis continuously mentions importance generating buyin longcycle planningbased strong emphasis problemsolving analysis brainstorming generating persuasive advice traditional approach strategy consulting based longcycle thinking dedicates long time cognitive work de\ufb01ning problem solution action taken means case traditional strategy clear divide strategy generation execution clear focus creating plans execution takes substantial time effort top managementfocused important persons traditional strategy consulting client top management higher rank important person usually person highest rank considered represent client people lower organization seen potentially relevant information sources least mckinsey case considered intelligent openminded enough meet mckinsey standards otherwise considered liabilities avoided two kinds liability members client team merely useless actively hostile rasiel p traditional consulting process along characterization traditional approach belongs process approach delivered process mostly described along set steps preferably executed linear order illustrative following decompositions consulting process steps baaij problem diagnosis solution development solution commu nication solution implementation strategy consulting terms use available httpswwwcambridgeorgcoreterms ip address aug subject cambridge corenewton propose win \ufb01nd focus frame deliver satisfy commence collect consider create counsel consult close cultivate close rasiel friga business need competitive organizational \ufb01nan cial operational analysing framing designing gathering interpreting presenting structure buyin managing team client self implementation dedication reaction completion iteration leadership vision inspiration delegation kubr entry diagnosis action planning implementation termination descriptions process common suggest process clear start eg propose win entry analytical phase client problem diagnosed eg problem diagnosis analysing design stage solution generated eg solution development action planning stage solution communicated eg solution communication presenting implementation stage solution implementa tion implementation stage engagement ended eg close cultivate termination also common distinguish strategy consulting types management consulting implying process used various kinds manage ment consulting strategy consulting equally \ufb01t picture emerges process twelve characteristics outlined section provide reasonably accurate description strategy consulting emerged historical developments summarized previous section approach strategy consulting responsible majority criticisms therefore need look problems limitations traditional approach strategy consulting course strengths always attracted brightest minds produces meticulous analyses persuasive advices put stamp nature corporations know today furthermore resulted various powerhouses signi \ufb01cant money made corporations feel virtually obliged work despite success approach delivered consulting \ufb01rms broad deep criticism review literature shows less seventeen important points criticisms raised drawn polemical works referred earlier micklethwait wooldridge oshea madigan pinault business strategy terms use available httpswwwcambridgeorgcoreterms ip address aug subject cambridge core well balanced critiques clark fincham delany greiner et al kipping clark mcdonald cmckenna mckenna payne lumsden arrogance substantial arrogance expert approach summarized earlier particular mckinsey version various authors observed commented mckinsey consultants \ufb01nd clearly superior clients even worked one experience reading rasiel books superiority express rasiel rasiel friga arrogance may come types consulting especially present strategy consulting strategy assumed supersede disciplines pretence knowledge observed arrogance matter style one could argue even though might like strategy consultants know better clients therefore right arrogant necessarily case experienced strategy consultants probably know strategy general clients cases clients know speci \ufb01cs company well industry much better speci\ufb01cs matter creating unique sustainable value therefore even though strategy consultants may possess important knowledge best partial incomplete pretence science one key mechanisms support pretence knowledge scienceinspired methods tools language strategy consultants use cause diagrams logic trees hypotheses data gathering mece criteria make strategy consulting look like scienti \ufb01c discipline much rhetoric based stylized image natural sciences one could seriously question example whether decomposing strategic problem components mutually exclusive collectively exhaustive useful course one want overlook important aspects problem imply aspects mutually exclusive exhaustive reality inter connected interconnected nature strategy makes important strategy consulting terms use available httpswwwcambridgeorgcoreterms ip address aug subject cambridge core lack integrative view applying scienceinspired approach especially mece criteria draws strategy consultant attention details even though much talk integrative views even though tools cause diagrams logic trees pyramid principle help keeping bigger picture mind emphasis analysing factual details result especially informal social intuitive rightbrain aspects easily overlooked lend equally well analysed tools used holistic view rightbrain qualities provide though essential ingredient strategy consulting pretence creativity referred section consultant creativity assumed clients really buy hiring strategy consultant outsiders using brainstorming hypothesisdriven approach strategy consultants come outofthe box solutions companies come idea though based one particular view creativity sudden spark view ideas must come suddenly unexpected outside large part creativity though hard work based cumulative previous experience people client company experience strategy consultants negative orientation starting point traditional consulting approach something wrong client organization therefore entire focus repairing broken little attention given appreciative approaches build achieved energizes organization strikingly mckinsey famous consultant gurus waterman peters book search excellence peters waterman jones offer outright attack mckinsey problemoriented approach mcdonald search excellence therefore focuses work instead problems project instead processbased projectbased approach strategy consulting suggests clear start end point de \ufb01ned strategy like practice start end strategy process always continues organizations environment continuously evolve business strategy terms use available httpswwwcambridgeorgcoreterms ip address aug subject cambridge coreconsciously organizations always process executing changing strategies makes projectbased approach mismatch withthe nature strategy isolates project ongoing processes thereby reduces integrative nature strategy slow linear focus analysis strategy generation traditional strategy consult ing suffers problem see traditional strategy generalitswaterfall approach slow linear compared fastchanging world live pays little attention strategy execution worldwhere organizations increasingly shift agile experimental trialanderrorbased ways working traditional consulting approach t\ufb01t instead asks shortcycle iterative approaches implementation integrated part continuous learning cycle disengaged mckinsey project often called engagement criticism traditional consulting approach exactly disengagedcharacteristic traditional approach strategy consultant engage much client consultants talk employees stay ata distance keep objective outsider view engage withemployees smart enough meet consultant standards provide information needed making strategic changes much social process analytical disengagement majority client employees make implementation advice given dif \ufb01cult dehumanized traditional strategy consulting reduces people largely rational thinkers people provide gather information process communicate allother aspects makes us human beings especially emotions considered nuisance applies clients employees primarilyseen information sources also applies consultants one thehallmarks large consulting \ufb01rms individual consultants anon ymous interchangeable since meet certain standard intelligence apply consultancy methods matter consultant involved also consultants required keep subjectiveopinions emotions interfering work strategy consulting terms use available httpswwwcambridgeorgcoreterms ip address aug subject cambridge core lacking diversity another related criticism concerns overly caucasian masculine character traditional consulting strategy consulting well strategy large far strong white male bias applies board room academia consulting even though various diversity inclusion pro grammes \ufb01eld still bias author included n l appear composition population strategy consultants also appears leftbrain masculine approach strategy consulting outlined earlier liability risk distance kept focus providing advice fact respon sibility implementation left client make strategy consulting low risk activity even though advices major consequences client organization people working strategy consultants rarely accept liability work argued one reasons qualify profession riskfree nature strategy consulting makes consultants provide ineffective even harmful advices consequences hired client pro \ufb01toriented primary aim traditional strategy consulting making client orga nization pro \ufb01table pro \ufb01table often involving strategy consul tants leads costcutting layoffs thereby reducing organization yearly expenditures emphasis valuecreation instead costcutting targets primarily increasing organization turnover light elkington triple bottom line people planet pro \ufb01t emphasis traditional consulting therefore clearly last light increasing attention sustainability \ufb02ects rather narrow view purpose strategy consulting selfcentred another criticism raised strategy consulting projects sometimes seem targeted con \ufb01rming growing consultant status rather helping client along lines clients must grateful strategy consultant willing work must make sure everything let consultants work properly important outcome case necessarily client really helped business strategy terms use available httpswwwcambridgeorgcoreterms ip address aug subject cambridge corethe consultant close another successful project adds glory career opportunities creating dependence selfcentredness limited individual consultant strategy con sultancies management consultancies generally also criticized creating dependencies lockin effects client cannot without anymore supposedly driven greed also criticized making acquiring next project major aim current project creation lockin search additional moneymaking opportunities necessarily best clients selling fads strategy consultants also criticized creating selling fads rather actually helping clients publications \ufb01rst create feel ings anxiety prospective clients client receptive consultant advice subsequently consultants come self developed tools solve problem take away anxiety created criticism goes strategy consultants merely wellskilled salespersons marketeers able sell hot air unethical a\ufb01nal broader criticism results several criticisms strategy consulting extent unethical degree unethical obviously depends largely degree consultancies individual consultants show behaviours invoke amount strongworded arguments critical literature criticism cannot taken lightly light discussion strategy consult ing profession point criticism needs addressed adequately together seventeen points criticism form broadfronted attack traditional consulting approach particularly used large consulting corporations course criticism directly related approach part aimed particular practice mckinsey even particular cases consulting received media attention also outlining traditional approach previous section providing criticisms section used bit strawman approach practice nuanced things may bad seem past sections strategy consulting terms use available httpswwwcambridgeorgcoreterms ip address aug subject cambridge corenevertheless criticisms form coherent attack thereby emphasizing main limitations weaknesses traditional approach strategy consulting suggests want better thefuture strategy consulting needs change next three sections offera suggestion direction nature purpose strategy consulting outlining productive approach strategy consulting withstandthe critiques previous section start identifying nature strategy consulting lead section thereafter thenext two sections zoom strategy consulting process bringus section roles strategy consultant plays achieving section nature strategy consulting insection strategy consulting de \ufb01ned helping organizations achieve unique sustainable value creation external independent professional better understand means useful closer look atthe nature strategy consulting along \ufb01ve dimensions exploration vs exploitation reductionism vs holism strategy generation vsstrategy execution instrumental vs normative idealism vs pragmatism exploration vs exploitation strategy management literature full references notions ofexploration exploitation variations thereof especially publicationson ambidexterity birkinshaw gibson oreilly iii tushman raisch birkinshaw organizational learning march distinction made exploitation refers organization operational activ ities aimed delivering products services focused ef \ufb01cient way creates stability exploration refers innovation developing new productsand services renewal thereby creates \ufb02exibility effective long run organizations need balanced approach theirplace operational consulting approaches lean orsix sigma focus improving organization se f\ufb01ciency exploitationfocused characteristic consulting projects clearly de \ufb01ned upfront aimed resolving unnecessary inef \ufb01ciencies organization applies many forms hr marketing \ufb01nancial consulting take organization strategy current way value creation business strategy terms use available httpswwwcambridgeorgcoreterms ip address aug subject cambridge corestarting point thereon derive needs done order realize strategy operational hr marketing \ufb01nancial perspective means types consultancies overall goal assumed largely given making consulting primarily helping organizations achieving goal strategy consulting different purpose de \ufb01ning goal assumed given types consulting de \ufb01nes direction organization near far future therefore strategy consulting mostly oriented towards explorative side spectrum means open opportunityoriented types consulting rather starting clear problem de \ufb01nition objective strategy consulting starts broader assignment help client identify realize new better ways creating unique value difference consequences nature strategy consulting along lines criticisms previous section means strategy consulting cannot merely problemfocused hypothesisdriven best practiceled projectbased often upfront problem hypothesis best practice project de \ufb01ned strategy consultant involved timely even problem instead example aspirations ideas observations questions client needs help sorting turning strategy action reductionist vs holistic thinking another important distinction understand strategy consulting reductionist thinking holistic thinking reductionist thinking one decomposes something \ufb01nest parts order understand improve works understanding \ufb01xing machines inef \ufb01ciencies opera tional problems also sciences work traditional approach strategy consulting clear example reductionist thinking science engineeringinspired cause diagrams logic trees mece cri teria exactly reductionist approach tells us decompose problem \ufb01nest parts start solving thereon strategy works strategy integrative nature therefore requires holistic thinking course de \ufb01ne compo nents strategy consists even useful done two earlier books kraaijenbrink decomposed notions strategy organization key components two frame works developed strategy sketch organizational map part backbone approach strategy certainly believe strategy consulting terms use available httpswwwcambridgeorgcoreterms ip address aug subject cambridge coredecomposing strategy constituting parts useful point understanding strategy integrative whole system gestalt also called mutually dependent components cannot separated means leftbrain science engineeringinspired approach unravelling problems \ufb01nest mece components cannot work strategy consulting least means severely limited needs complemented rightbrain holistic thinking strategy consultants may\ufb01nd uncomfortable means departing analytical mindset safe structured approaches relying loosely intuition understanding judgement strategy generation vs execution traditional strategy consulting strong focus strategy generation formation strategy execution implementation often optional preferred means getting one hands dirty taking responsi bility advice given means ideal traditional strategy con sulting project ends convincing plan presentation telling client exactly leave three reasons approach strategy consulting preferred first creates arti \ufb01cial watershed strategy generation execution martin part one process separating one creates conceptual distinction exist practice see problem strategy generally one causes much unrealized strategy since organization needs strategy executed strategy generation execution always need go hand hand second reason separating strategy generation execution limits possibilities learning leads static linear process little experimentation learning take place especially world dynamic today mean generated strategy likely outdated even consultant s\ufb01nal presentation strategy genera tion execution go hand hand however learning adjustment take place continuous basis leading strategy date relevant ongoing basis third separating two focusing strategy generation hinder creating commitment throughout client organization traditional approach much speak selling advice create buyin buyin real commitment next fact usually targeted client management buyin aims changing people minds believe business strategy terms use available httpswwwcambridgeorgcoreterms ip address aug subject cambridge coreand suggested commitment though means feeling responsible making something work believe requires participation involved execution instrumental vs normative fourth dimension key strategy consulting instrumental vs normative consulting instrumental consulting accepts client values goals given helps client achieve consulting instrumental question client values goals takes given norms concerns realize normative consulting hand consultant also involved de \ufb01ning proper values goals client involves bringing moral ethical judgements methods help client decide right values goals organization consulting value norm free interacting clients consultants always bring normative views consciously unconsciously means instrumental normative elements every type consultancy normative element though especially relevant strategy consulting referred section strategy consulting helping client de \ufb01ne organization aspired directions includes de \ufb01ning key values goals guide organization including vision mission key values want adopt traditional starting points strategy since depend held desirable derived normative frameworks involved tension instrumental normative aspects consulting challenging strategy consultants one hand could simply accept client values goals help instrumentally achieve however strategy consulting like profession enough client questionable values goals may harm particular groups stakeholders society large also strategy consultant professional responsibility help client reconsider adjust favourable direction idealism vs pragmatism previous two dimensions strategy generation vs execution instru mental vs normative imply \ufb01fth one idealism vs pragmatism one hand strategy consultant one reaches ideal strategy realized would help organization make substantial step forward value creates case strategy generation normative approach strategy consulting terms use available httpswwwcambridgeorgcoreterms ip address aug subject cambridge coreconsulting may given weight hand though one must also keep mind realistic practically achieved case strategy execution instrumentalism given weight needed without idealism strategy consulting merely instru mental job nothing close profession without pragmatism largely fantasy feelgood exercise without actual impact client organization means strategy consultant one always needs \ufb01nd balance two along idea mediocre strategy well executed better great strategy poorly executed argue pragmatism important idealism strategy consulting weak course great strategy executed little use organization however helping client execute mediocre questionable strategy little use generating executing strategies organizations need strategy consultants hired come something better mediocre questionable work strategy making ackermann eden refer tension idealism pragmatism arguing strategy needs analytically sound politically feasible strategy analytically sound good strategy paper strategy makes sense executed help organization forward \ufb02ects idealistic dimension strategy politically feasible people organization feel capable committed execute strategy following line reasoning using rumelt terminology good strategy one combines idealism pragmatism client needs common industries speak customers consultants usually speak clients following habit also use word client throughout element identify purpose strategy consulting \ufb01rst need get clarity client client needs client identifying client needs starts de \ufb01ning actually client trivial question multiple possible answers single stakeholder usually person highest rank execu tive responsibility unit organization requires consulting eg ceo also person responsible budget consultant paid business strategy terms use available httpswwwcambridgeorgcoreterms ip address aug subject cambridge coremultiple stakeholders one also follow multistakeholder approach consider one group clients typical stakeholders include management board employees group speci \ufb01c needs stakes addressed organization one also de \ufb01ne organization whole client means abstracting speci \ufb01c persons targeting con sulting best survival prosperity organization society taking even broader view one also see society key client means looking economic social environmental impact organization aiming consulting improving impact case societal needs direct consulting work traditional approach client typically single stakeholder ceo another executive high rank mean stakeholders considered means one stakeholder considered primary stakeholder needs satis \ufb01ed convinced \ufb01nal advice key reason stakeholder decides whether consultant invoice paid therefore satisfying needs important satisfying needs stakeholders despite wide usage singlestakeholder approach want make case third option seeing organization rather one speci \ufb01c types stakeholder primary client approach use consulting arguably effective today dynamic complex world greiner et al reason prefer \ufb01rst approach twofold first organization needs strategy ceo particular stakeholder particular stakeholder might recognize need express one generates strategy organization whole organization needs execute means taking organiza tion primary client increases likelihood strategy consulting services given relevant second reason taking organization rather particular stakeholder client fosters consulting ethical valueadded society reduces chances used consultant personal bene\ufb01t particular stakeholder accordingly considering organization client helps moving strategy consulting forward becoming profession topdown fashion installing institutions bottomup adopting approach makes ethical valueadded consulting likely even though taking society primary client possible consider far normative idealist side terms dimensions distinguished strategy consulting terms use available httpswwwcambridgeorgcoreterms ip address aug subject cambridge coreearlier end strategy consultant hired paid client organization implies primary duty serve society whole however applying proper ethical standards focusing consult ing sustainable value creation adopting wholeperson approach societal needs automatically addressed indirect way means taking organization primary client approach outlined element contributes society well tell personal experience treating organization primary client always easy becomes particularly challenging person holding budget paying example ceo problem organization usually highly involved strategy consequently exceptional also large extent cause bad ineffective strategy leads interesting dilemmas require smart navigation idealism good organization pragmatism keep good enough relationship respective executive always dilemmas therefore following greiner motamedi jamieson advice preferred approach strategy consulting considering organization rather single stakeholder primary client need taking organization primary client rather speci \ufb01c person group persons makes understanding needs slightly challenging usual abstract entity organization strictly spoken needs living creatures needs means organization people needs given various backgrounds responsibil ities people speci \ufb01c needs differ problem exists every businesstobusiness service client organization problem far follow reductionist approach aim de \ufb01ning exhaustive list speci \ufb01c needs speci \ufb01c stakeholder holistic level though speak organization needs without problems organizations perceived needs real needs perceived needs refer clients think need hire strategy consultant likely think need new adjusted strategy might mind based conventional ideas strategy written strategic plan next three \ufb01ve years unless convince \ufb01nancier rarely really need fact organization needs strategy per se formulating one intermediate step client really needs actual changes changes market approached changes organization structure resourcebase changes \ufb01nancial structure business strategy terms use available httpswwwcambridgeorgcoreterms ip address aug subject cambridge coreso always factual change real need means client perceived needs actual needs may differ substantially consultant job make client realize take account also useful recognize client functional needs emotional needs functional needs strategy organizationrelated needs search unique sustainable value creation organizations need support identify realize opportunities improvement needs refer contents strategy traditional consulting approach focuses needs emotional needs hand refer people organization feel want feel given limited attention given needs consulting literature maister green galford notable exception worth listing clients may feel concerned worried future organization employees uncertain insecure lacking ideas con \ufb01dence next steps take afraid going come failing taking risk making wrong decision overwhelmed stressed busy able take time strategy threatened superiors competitors world around generally incapable lacking strategic skills expertise ignorant impatient fed lack progress glad \ufb01nally get started sceptical suspicious whether consulting going help curious eager learn new perspectives receive new insights information clients advertise feelings would make look vulnerable weak may think recognizing feelings key successful consulting functional contentoriented part strategy consulting course important emotional part least important bottomline clients want peace mind want negative feelings resolved con \ufb01dent right thing make organization survive prosper without addressing emotional needs one could develop great strategy never implemented people emotions changed strategy consulting lead described nature strategy consulting general needs clients turn targeted outcomes strategy consulting strategy consulting terms use available httpswwwcambridgeorgcoreterms ip address aug subject cambridge corenot analyses models plans projections powerpoint decks presentations means best neither necessary suf \ufb01cient de \ufb01ning strategy consulting lead distinguish shorttermand longterm outcomes shortterm outcomes core targeted shortterm outcomes strategy consulting shared insights endorsed decisions committed actions mightbe \ufb01rst three refer type outcomes strategy consulting lead shared insights means people organization develop common understanding things matter mean agree percent means speak language andthat mostly agree facts matter key itcreates mental alignment organization leading everyone page concerns organization strategy endorsed decisions means choices decisions made approved least accepted people organization strategythere absolute right wrong since concerns future nocertainty decision decisions widely preferablypublicly supported people throughout organization increases thelikelihood strategy embraced successfully executed committed actions means people know needs done willing also means clear needs donebut also whose task even means people feelresponsible see job even prideto successfully commitment key success execution ofstrategy three main types outcomes strategy consulting immediately see strategy consulting merely giving organizations strategy strategic advice leading helping organization towards shared insights endorsed decisions committed actions abouthow create unique sustainable value insights decisions actions generated always something generally along de \ufb01nition strategy given organization improve unique way sustainable valuecreation overall purpose divided four questions thatstrategy consulting help answering business strategy terms use available httpswwwcambridgeorgcoreterms ip address aug subject cambridge corewhat \ufb01rst question strategy consulting help answering creating shared understanding current factual strategy organiza tion thorough understanding things currently thestatus quo needed basis strategizing provides foundation future strategy rely might bestrategy consulting also help elicit preexisting ideas generate new ones open people eyes could might also strategy consultants bring ideas perspectives thefuture organization help envisioning one moreinspiring attractive scenarios future bethere also role strategy consultant help client de \ufb01ne new improved strategy look like consultant help client de \ufb01ne goals values criteria organi zation strategy thereby facilitate making right choices instrumen tally normatively willbewhereas \ufb01rst question factual second third hypothetical fourth question consultant helps client makechoices new improved strategy going involvesmaking shift towards actually making decisions committing making changes reader familiar appreciative inquiry recognize fourstepapproach discovery dream design destiny cooperrider srivastva whitney cooperrider four questions listing four questions imply full appreciative inquiry approach isrequired implies fundamental questions strategyconsultant needs help client achieve shared insights endorsed decisionsand committed actions longterm outcomes next shortterm direct outcomes strategy consulting believe thatstrategy consulting also aim fundamental longterm outcome building strategic capability ability effectively generate execute strategy light known core competenciesprahalad hamel dynamic capabilities teece pisano shuen striking many organizations hire strategy consultants shows organizations lack suf \ufb01cient strategic capability strategy con sulting help solve crucial void live time possibilities generating sustainable compe titive advantage limited past decades thoughts strategy consulting terms use available httpswwwcambridgeorgcoreterms ip address aug subject cambridge coreachieve shifted resources barney dynamic capabilities teece et al idea sustainable advantage exist mcgrath however capability give organiza tion competitive advantage today capability effectively generate execute strategy organizations capability effective process place generating executing strategy ongoing basis enables seize opportunities respond strategically internal external changes also enables adjust strategy needed keep execution aligned strategy consulting help organizations develop capability engaging consultant client learns strategize initially may require full supervision consultant gone process multiple times increasingly able thereby gradually taking ownership process back consultant thereby gradually improving strategic capability outcome cannot achieved traditional consulting approach expert approach relies information asymmetry client consultant fact client remain dependent consultant furthermore clients develop strategic capability selves reduces need traditional expert consulting means direct incentive traditional consulting make sure client develop strong strategic capability engaged coconstructive approach strategy con sulting outlined element clients actively involved thereby learn core process outlined next section participative process consultant client work side side better strategy organization throughout process people throughout organization develop better understanding organization strategy could strategy consulting process given description strategy consulting like lead previous sections section gets heart strategy consulting process describing process element covers actual consulting process means example selling negotiating project covered steps explained extensively elsewhere baaij block similar strategy consulting types consulting create solid understanding strategy business strategy terms use available httpswwwcambridgeorgcoreterms ip address aug subject cambridge coreconsulting process section \ufb01rst characterizes nature process whole describes parts consists nature process previous sections already provide us highlevel idea strategy consulting process looks like seen example tradi tional approach criticisms kind outcomes strategy consulting lead makes evident process analytical scienceinspired problemfocused linear projectbased traditionally suggested already anticipated section approach outlined element wholebrain wholeperson approach strategy consulting leads following highlevel characterization strategy consulting process coconstructive client consultant key expertise bring process none ultimate expert learn consultant offer sell strategic advice client together create shared understanding endorsed decisions committed actions help move organization forward intersubjective implied previous worthwhile mentioning sepa rately objective truths strategy best achieved agreement people purely subjective opinions basis either coconstructive approach intersubjective ideas emerge regarding four questions referred earlier iterative idea future speculative likely wrong strategy consulting needs rely shortcycle approach ideas put test means strategy generation execution go hand hand process \ufb02exible open new insights opportunities participative since organization whole affected strategy involved execution strategy consulting needs participative process many even employees involved point time merely sources information change agents within sphere \ufb02uence appreciative hinder progress problems need resolved problems energize people organization weaknesses good basis strategy therefore focus searching best people organization environment focus problems easier resolve strategy consulting terms use available httpswwwcambridgeorgcoreterms ip address aug subject cambridge coreintegrative key purpose strategy creates alignment least energy used direction therefore strategy consulting foster integration alignment parts orga nization implies always keeping whole picture mind also bringing people closer together social strategy consulting induces changes people roles relationships process inherently social course identifying fruitful direction organization important people need get applies execution also generation strategy parts process social continuous even though consultant actual involvement may temporary strategy consulting needs take place continuous per spective strategy process consultant joins running organization help direct better destination unlike project start end point nonsequential process nonlinear iterative nature also parts steps run parallel logical sequence things theoretically done see later large extent things done parallel require attention throughout process inferred nine characteristics strategy process sug gested differs substantially quite fundamentally traditional approach see next section remainder element consequences steps process comprised well roles strategy consultant plays process parts process characteristics described earlier imply strategy consulting process linear strictly phased sometimes suggested rather ongoing process various activities performed parallel nevertheless distinguish main activities process comprised divided three groups establishing context generating strategy executing strategy visualized figure explained establishing context the\ufb01rst set activities consulting strategy types making sure right context place effective consulting without right context strategy consulting lead satisfying results client consultant six types activities distinguished business strategy terms use available httpswwwcambridgeorgcoreterms ip address aug subject cambridge coreestablishing maintaining good relationship consulting \ufb01rst foremost people process consultant talks people listens guides particular direction effectively requires good relationship client ceo people throughout organization consultant need best friend research example cialdini shows one achieve much people like therefore essential part consulting job establish good relationship actively maintain relationship throughout process de\ufb01ning rede \ufb01ning task objective also crucial effective consulting agreeing consultant client aiming achieve consultant role traditional approach de \ufb01ned upfront turned clearly demarcated project planning necessary manage mutual expectations upfront strategy often explorative continuous dynamic de \ufb01ne everything advance therefore acknowledge activatingmapping assessingestablishing relationship ul n g bridging organizingplanningrealizinginnovatingdefining objectives understanding organization arranging supportcreating commitmentachieving openness figure strategy consulting process strategy consulting terms use available httpswwwcambridgeorgcoreterms ip address aug subject cambridge corenature strategy de \ufb01nition tasks objectives best seen continuous iterative process adjusted rede \ufb01ned new insights emerge understanding organization works every organization particular structure culture habits language spender effective strategy consultant needs understand client organization works includes understanding communica tion takes place relationships units power formal informal organization organization strategy emerged last years meant diagnosis problem analysis necessary step understanding consultant one act one say since throughout strategy consulting process new information appear getting know organization like previous activities ongoing process checking arranging support resources strategy consultants cannot work isolation goal help client organization change means need position achieve necessary support resources needed achieve tasks objectives agreed upon available includes suf \ufb01cient budget manpower available process consultant access information needed also includes obtain ing necessary mandate freedom operate given direction process may change repeatedly also fourth type activity requires attention throughout process creating commitment engagement matter great strategy consultant client create together lead aspired changes suf \ufb01cient commitment engagement people affected commitment means people feel responsible needed engagement means actively participate contribute process take time develop strategy consultants need work creating commitment engagement earliest phases continuously throughout pro cess means involving people listening informing regularly taking contributions seriously business strategy terms use available httpswwwcambridgeorgcoreterms ip address aug subject cambridge coreachieving openness transparency strategy consulting effective addresses things really matter organization given importance complexity topic potential impact may important issues involved get immedi ately table often concern quality leaders lack trust unwillingness talk real issues going may lead elephants room hinder signi \ufb01cant process since strategy consultant aim help organization part task identify elephants name create atmosphere people willing talk six activities particularly important early phases engage ment stay important throughout entire process context emerging new adjusted strategy change particularly complex situations change dramatic tensions present six types activities require constant attention setting direction generating strategy second type activities traditionally seen heart strategy consulting generating strategy unlike traditional approach though refer generating strategy forthe organization refers generating strategy interactive cocreative process means consultant joins client strategy generation process since described process extensively strategy handbook kraaijenbrink adopt \ufb01ve steps explained summarize brie \ufb02y step activating key stakeholders making key persons organization receptive new strategy mobilizing resources needed strategy generation \ufb01rst step resides intersection establishing context generating strategy fact strategy consultant hired shows least one \ufb02uential person organization convinced organiza tion strategy requires attention certainly mean however others think alike mean \ufb01rst activities consultant need creating awareness motivating people organiza tion actively commit engage strategy making process includes making sure right people present teams consultant works getting people board actively contribute step mapping strategy identifying organization strategy describing basis core elements strategy consulting terms use available httpswwwcambridgeorgcoreterms ip address aug subject cambridge coreto effectively generate new improved strategy suits organization next step developing thorough understanding organization status quo current factual strategy outsider consultant needs understand organization going also internally step serves important purpose generates shared point reference understanding current strategy organization actually people involved may \ufb01rst time talk explicitly organization strategy step forms beginning productive dialogue de \ufb01nition step hints suggested way open black box strategy describe elements relatively \ufb01ne level detail various frameworks used including hambrick fredrickson five major elements strategy popular business model canvas osterwalder pigneur consulting use strategy sketch kraaijenbrink framework containing ten key elements strategy value proposition customers needs competitors resources competencies partners revenue model risks costs values goals organizational climate trends uncertainties framework builds business model canvas provides systematic complete view elements strategy composed using detailed frameworks like three important bene \ufb01ts first creates shared language visualization making clear strategy second allows people throughout organization participate even experience knowledge strategy third makes dialogue concrete thereby actionable highlevel discussion example generic strategies porter organization swhy sinek step assessing strategy judging testing quality organization strategy relevant criteria step aimed creating shared understanding mostly descrip tive move forward improve organization strategy third step assess set agreed upon criteria traditionally done swot analysis identify organization strengths weaknesses oppor tunities threats distinguishing positive aspects strategy strengths opportunities negative ones weaknesses threats though one implicitly explicitly uses criteria making judgement make assessment objective possible useful make criteria explicit literature provides various criteria business strategy terms use available httpswwwcambridgeorgcoreterms ip address aug subject cambridge corecompile following list coherence ef \ufb01ciency effectiveness uniqueness \ufb02exibility robustness scalability responsibility kraaijenbrink advantage separating assessment step mapping helps clarifying whether one merely describing status quo assessing normative framework makes judgement transparent less subjective also makes mapping step focus standing things without interference ideas things furthermore separating assessment step mapping step also enables performing another assessment newly generated improved strategy next step process fosters iterative process steps follow short cycles step innovating strategy renewing redesigning organization strategy incremental radical innovation steps provide important input developing new improved strategy show problems aspirations exist strengths organization build though automatically lead new strategy additional creative designoriented step needed consultant together organization redesigns organization strategy various approaches used including blue ocean strategy kim mauborgne scenario planning schoemaker design thinking brown applying one techniques previous steps leads one points departure new strategy could valuable resource market opportunity creative idea substantial problem particular aspiration anything else starting points departure consultant help organization develop complete strategy along elements framework used step case means together client redesign strategy along ten elements strategy sketch step formulating strategy capturing organization strategy words pictures understood target audience strategy redesigned also needs formulated imply extensive documents presentations also powerpoint slide sheet paper brochure picture formulating strategy essential step strategy effective formulated clear comprehensible manner people understand act upon furthermore formulating strategy also helps discover unclarities strategy may remained surface previous steps finally turning strategy consulting terms use available httpswwwcambridgeorgcoreterms ip address aug subject cambridge corethe developed strategy convincing formulation motivate direct people attitudes behaviours this\ufb01fth step forms temporary closure strategy generation process explained earlier strategy generation execution ongoing processes inextricably linked organization go back forth however point time one needs stop generating new ideas focus execution realizing change executing strategy third group activities strategy consulting focused realizing actual change executing developed emerging strategy even though strategy generation execution closely linked separated conceptually furthermore evidenced fact strategy consultant engagement often ends step practice strategy generation execution often considered distinct strategy consultant truly involved organization strategy process engagement includes activ ities related strategy execution involves additional steps draw strategy handbook kraaijenbrink describes detail help clients execute strategy four additional steps involved step bridging gaps identifying gaps organization current aspired strategy de \ufb01ning projects tasks bridge point time voids organization aspired strategy resulting step status quo resulting step \ufb01rst step executing new aspired strategy make voids explicit de \ufb01ne actions resolve advantage detailed structured approach using single framework strategy sketch describing status quo aspired strategy appears comparing elements framework straightforward activity directly facilitates formulating projects tasks bridge gaps step organizing strategy identifying important organizational de\ufb01ciencies de \ufb01ning projects tasks solve projects tasks de \ufb01ned previous step suf \ufb01cient successfully execute strategy also require organizational changes example organization structure incentive systems communication processes step aims identifying required changes de \ufb01ne actions achieve collaborative process described earlier business strategy terms use available httpswwwcambridgeorgcoreterms ip address aug subject cambridge corelike previous steps helpful use structured framework identi \ufb01es main components organization wellknown framework mckinsey model developed waterman colleagues early waterman waterman peters phillips consulting work prefer recent complete organizational map kraaijenbrink contains ten key elements organization leadership controls motivation commitment expertise information technology structure communication processes policies elements consultant client together identify changes needed order execute strategy successfully step planning strategy developing committing dynamic prior itized course action way working closing gap actual aspired strategy step newly developed strategy identi \ufb01ed actions needed executing still largely hypothetical together client consultant identi \ufb01ed issteps could step steps transparent cocreative process people engaged normally increased willingness execute well however actual commitment asked yet changes step transition made hypothetical could andshould actual includes helping client decide actions priority execute many resources dedicate responsible importance different nature eighth step hardly overestimated step consequences new strategy become real consequently also step resistance change tends strongest comprehensiveness participative nature previous steps help reducing resistance much possible given strategy virtually always implies substantial changes remain resis tance resistance likely uncover step goes beyond scope element discuss detail deal resistance various valuable contributions change management literature ford ford ford ford amelio also else expanded context strategy execution kraaijenbrink step realizing strategy effecting aspired strategy putting execution plan action managing relevance progress emotions time strategy consulting terms use available httpswwwcambridgeorgcoreterms ip address aug subject cambridge corewhile actual execution may largely left client r g n z tion strategy consultant engagement often tends end realization phase reached strategy consultants play important role last step engaged form might serve ad interim manager responsible overseeing overall progress receive client mandate actively manage process case however client stays dependent strategy consultant interest long run suggested section longterm purpose strategy consulting helping client organization improve strategic capability detached form engagement realization phase preferred means primary responsibilities executing strategy reside people within organization strategy consultant serve mentor monitor keeps eye whether organization still relevant whether suf \ufb01cient progress made whether mood organization remains favourable depicted figure strategy process continuous process organizations always engaged one way means strategy consultant role help organization move forward process one steps entire process altogether \ufb01gure also shows single cycle three strategy generation trategy execution overall process reason twofold first making iterations strategy generation usually simpler less expensive strategy execu tion therefore piloting testing one wants maximize likelihood newly generated strategy right one feasible second execution one immediately question strategy things work according plan \ufb01rst thing de\ufb01ne alternative actions \ufb01nd different ways achieving aspired strategy work one may need go back drawing board engage phase strategy generation process outlined deviates various ways traditional consulting approach summarized section characteristics outlined section also detailed strategyspeci \ufb01c threecycle process strategy consultant help client generate execute strategy effective ef \ufb01cient way staying open unex pected outcomes changes opportunities means roles capabilities need process covered next section business strategy terms use available httpswwwcambridgeorgcoreterms ip address aug subject cambridge core strategy consulting roles inferred previous sections good strategy consultant needs broad repertoire capabilities plays variety roles need understand strategy strategy process also need able understand client organization collaborate people working balance shortterm longterm purpose outcomes see precisely needed section explains nine roles strategy consultants need play thereby skills need attentive listener one crucial roles skills needed strategy consultant attentive listener throughout process strategy consultant needs keep close eye ear happening said said \ufb01rst obvious reason attentive listening strategy consultant receives important information organization strategy aspirations problems second equally important reason though listening attentively gives people feeling say matters thereby matter crucial getting keeping engaged committed throughout process therefore achiev ing results attentive listening requires ability create safe environment people dare even want speak sense strategy consultant sometimes far psychiatrist experience people want speak especially concerns aspirations frustra tions maister green galford emphasize book trusted advisor means building trust like psychiatrist require building strong personal relationship take long one comes genuine intention help listen trust built matter minutes listening also implies staying silent let people talking consultant needs ask questions main goal trigger people organization tell want need tell often means resisting temptation respond ask another question simply waiting may enough people continue stories often experienced interviews half hour turning point whilst may politely respond questions initially repeatedly experi enced point people said something like okay really say everything also like tell usually point valuable information given strategy consulting terms use available httpswwwcambridgeorgcoreterms ip address aug subject cambridge core principal investigator strategy consultant also requires strong researcher widely acknowledged traditional consulting approach reason junior consultants oftentimes involved research early stages careers research also important part approach strategy consulting outlined element strategy consultant role somewhat different traditional approach intersubjective cocreative participative nature approach less focus plain data gathering effective strategy consulting one rarely needs meticulous details company even \ufb01nancials highlevel data often enough create standing size situation organization rest information come people working organization include views insights judgements means primary skill needed researcher gathers information principal investigator listens people company say interprets connects dots draws conclusions cooperation client consultant role see connections generate insights people company may see make see discussion leader one primary forms strategy consulting takes place approach outlined interactive sessions people client organization step process may consist one sessions workshops strategy consultant works group people elicit views cocreate new improved strategy along lines steps outlined section means sessions insights generated could organization strategy interactive sessions one primary working forms another important role strategy consultant discussion leader facilitator moderator also called sessions strategy consultant role foster productive dialogue make sure people contribute say want say listen generate insights decisions collaborative way implies making sure sessions constructive involve everyone present result disputes people taking sides business strategy terms use available httpswwwcambridgeorgcoreterms ip address aug subject cambridge coreit also implies paying careful attention people saying want say give opportunity speak happens frequently one people room remain largely silent sometimes facial expressions gestures show actually want say thing nevertheless task strategy consultant either make feel con \ufb01dent enough speak session work listen say outside sessions critical inspirator the\ufb01rst three roles largely process oriented distinct expert approach strategy consulting large extent process consulting focused guiding client towards generating executing selfdeveloped strategy however also contentrelated role strategy consultant critical inspirator clients also interested hearing consultant views unlike expertconsulting point consultant come answers point offer outsider view challenges client views may provide new insights could generated role implies making two types contributions \ufb01rst source inspiration speci \ufb01c background experience strategy consul tants bring refreshing opinions ideas people within organiza tion thought contribution emphasized part traditional approach argued brainstorming sine qua non consulting mckinsey rasiel p whether brainstorming elsewhere part strategy consultant role inspire client ideas second contribution strategy consultant also needs challenge ideas views held client people numerous preconceptions assumptions especially worked long time industry organization makes take things granted may valid discover strategy consultant may need ask repeatedly seemingly naive questions really may also take role devil advocate asks people defend clarify positions communication channel strategy consultant serves communication channel people talk talk people organization turning consultant de facto communication channel since strategy consultants talk strategy consulting terms use available httpswwwcambridgeorgcoreterms ip address aug subject cambridge corepeople various levels organization often serve channel people might otherwise never rarely talk provides unique position use bene \ufb01t organization things avoided hurt process \ufb01rst engaging gossiping add anything seriously hurt consultant reputation trusted dependable outsider client beyond perhaps trivial mention consultant also break trust means someone tells something private kept private matter \ufb01nally consultants need make sure misused messenger someone personal bene \ufb01t consultant cannot someone spokesperson ceo anyone else sbecause undermines role neutral independent outsider strategy consultant though serve communication platform people make point could otherwise make unlike many employees strategy consultant direct regular contact top organization means make sure message important gets heard top sometimes problem people direct contact top dare speak may hurt position case strategy consultant serve anonymous platform inform top without saying received message may make message part advice overall observation without even mentioning came someone spe ci\ufb01c organization progress manager since strategy consultants assumed experts strategy generation client likely gives consultant responsibility strategy genera tion process means sixth role strategy consultant make sure suf \ufb01cient progress made steps outlined section proceed according plan since unexpected events may always happen since hard know upfront strategy generation process unfold exactly also includes adjusting process necessary next taking care strategy generation progress strategy consul tant also ful \ufb01l role progress manager execution strategy oftentimes client takes responsibility execution phase makes sense strategy indeed ones need execute may early completely withdraw consultant already several consulting assignments experienced business strategy terms use available httpswwwcambridgeorgcoreterms ip address aug subject cambridge coreyou involved anymore execution process attention receives gradually fade away risk strategy partially executed makes full potential achieved thereby part money energy spent strategy generation considered wasted avoid effective role strategy consultant strategy execution mentor manager team take responsibility execution strategy role actual responsibility lies client strategy consultant monitors whether progress whether right things given priority also strategy consultant consult coach team lead execution process step help needed stable anchor fact strategy consultant involved virtually always means organization change come implied de \ufb01nition aim strategy consulting providing organizations support make changes achieve unique sustainable value creation without change result added value limited means always certain degree uncertainty unrest strategy consultant involved partly useful classical change management approaches tell us organization needs unfreezing sense urgency prepare making changes kotter lewin time exactly reason additional role strategy consultant stable anchor client rely anything client needs times change emotionally stable tower strength maintains creates necessary calm organization implies working con \ufb01dence stressing also implies approaching everything bit humour lightness thereby taking things seriously even though things may feel extremely important dif \ufb01cult uncertain unique client putting things perspective shows rarely lifethreatening hundreds thousands organizations going similar processes time adding dose groundedness realism exactly clients need times process moral guide may bit controversial believe also role strategy consultants serve moral guide consultants ethical strategy consulting terms use available httpswwwcambridgeorgcoreterms ip address aug subject cambridge corestandards applying everyone would expect also consider strategy consultant duty offer clients moral guidance cases seems necessary reason strategy consulting wants get closer profession \ufb02uencing client towards ethical behaviour part job therefore eighth role strategy consultants moral guide \ufb02uence client ethics say in\ufb02uence consultant cannot take actual responsibility client behaviour moral guide mean preaching lecturing client appropriate ineffective trying provide strategy outsider since strategy consultant usually hired moral guidance preaching lecturing quickly lead dissolving engagement serving moral guide therefore needs subtler intrinsic part strategy consulting starts de \ufb01nition strategy focus sustainable value creation de \ufb01nition provides implicit moral guidance makes organi zation focus creating value sustainable way furthermore since strategy involves normative question forming judgements desirable bringing normative framework naturally \ufb01ts strategy consulting setting goals assessing strategy one bring example triple bottomline people pro\ufb01t planet elkington stakeholder theory freeman seventeen sustainable development goals united nations using frameworks helps directing organization towards ethical strategy natural implicit way practical educator a\ufb01nal role strategy consultants practical educator role also bit controversial implies sharing knowledge skills client order improve strategic capability may consider undesirable makes clients less dependent consultant thereby limit longterm consulting possibilities client exactly desirable important last role discussed section longterm outcome strategy consulting improved strategic capability client taking role educator helps achieving time due fast changes uncertainties organization possibilities creating sustaining competitive advantage limited strategic capability may one sources rely capability organizations able effectively ef \ufb01ciently generate execute strategy response internal external challenges business strategy terms use available httpswwwcambridgeorgcoreterms ip address aug subject cambridge coreface looking status quo many organizations though capability generally underdeveloped one reasons strategy consulting able \ufb02ourish strategy consulting help organizations \ufb01ll void practical educator imply teacher lecturer implies creating learning environment process people atthe client organization stimulated supported learn cocreative process outlined earlier facilitates learning impliesthat strategy consultant collaborates client creates strategytogether \ufb01rst time go process strategy consultant likely lead experienced thepeople client become better become executing processby roles take nine roles show takes serve strategy consultant thesame time also give idea roles strategy consultant shouldnot nevertheless clarity worthwhile mentioning brie \ufb02ya well decisionmaker consultant role supportive lead client \ufb01nding answers making decisions client responsibility make decisions scapegoat closely related \ufb01rst nevertheless distinct exceptions mistakes decisions consultants totake blame executor consultants help execute work course required work role consult toprovide capacity persuader consultant job present client strategy convince right one job help client generateand execute strategy knowitall one know everything even strategy consultant saying know changing minds needed improve credibility showoff point impressing client knowledge jargon credentials consultant behaviour nine roles impress rationalist explaining reasons providing evidence viewpoints important gutfeel consultants ignore substitute numbers facts strategy consulting terms use available httpswwwcambridgeorgcoreterms ip address aug subject cambridge coreneutralist consultants want remain objective opinions count facilitators also part process complete subjective persons joker even though humour important consultant role funniest person room trying undermine credibility nine roles colleague especially working together long time consultants may seen part organization need keep role outsider boss consultants serve client way around therefore avoid arrogant snobbish trying force things upon client acquirer consultant job safeguard position \ufb01nd next project serve client best capacity current engagement echo chamber may tempting agree everything people say con \ufb01rm consultants disagree different viewpoints important saint even though moral standards high consultants also take commercial bene \ufb01t situations long keeps client satis \ufb01ed problem owner engaged consultants may feel responsible client organization worry end problem actor consultants play strategy consultant strategy consultant way authentically \ufb01ts background experi ence style personality conclusion outlook element started quoting henry mintzberg said chief executive hires consultant give strategy \ufb01red might seem remarkable way start book strategy consulting hope shown course th e previous sections quote capture traditional approach strategy consulting much appreciated alternative approach needed also captures alternative approach strategy consult ing giving organizations strategy \ufb01nal section iw l l brie\ufb02y conclude strategy consulting instead might want go business strategy terms use available httpswwwcambridgeorgcoreterms ip address aug subject cambridge core wholebrain wholeperson strategy consulting insection argued approach strategy consulting outlined element wholebrain wholeperson approach throughout previous sections become clearer meant subsequently discussed starting point affects purpose strategy consulting section process strategy consulting section roles strategy consultant plays section image get strategy consulting differs substantially traditional approach strategy consulting know large consulting \ufb01rms textbooks less factbased rational linear analytical leftbrain intuitive creative holistic rightbrain cognitive brainonly activity much social activity personal interactions empathy emotions play central role making wholeperson activity compared existing approaches approach comes closest maister green galford description trusted advisor andblock approach consulting emphasize importance rightbrain emotional social aspects consulting strategy consultant outlined element trusted advisor person rely genuine intent help client speci \ufb01c type trusted advisor focusing helping client generate execute strategy expert strategy helping client organization achieve unique sustainable value creation end spectrum strategy consultant depicted close opposite one described rasiel friga mckinsey way rasiel mckinsey mind rasiel friga strategy consultant described element empathic modest cooperative serving less focused convincing client implement analytically derived advice much traditional approach approach strategy con sulting element aims based creating symbiotic relationship consultant client bene \ufb01t relationship based creating dependencies hierarchical idea one party consultant telling party client instead relationship equals work together improve organization help learn time schein approach addresses many criticisms leveraged strategy consulting management consulting large summarized section less seventeen criticisms arrogance pretence knowledge pretence science lack integrative view pretence creativity strategy consulting terms use available httpswwwcambridgeorgcoreterms ip address aug subject cambridge corenegative orientation project instead processbased slow linear disen gaged dehumanized lacking diversity liability risk pro \ufb01toriented selfcentred creating dependence selling fads unethical explained throughout sections wholebrain wholeperson approach directly addresses large majority criticisms seventeen criticisms lacking diversity liability risk explicitly addressed outlined approach like traditional approach approach outlined element accept liability support given therefore still relatively free risk even explicitly argued decisions made client consultant nevertheless approach less susceptible criticism traditional approach engaged way working focus sustainable value creation approach implies committed strategy consul tant feels responsible helping client even though cannot held legally accountable sense responsibility provides effective substitute makes criticism less relevant applicable approach explicitly address criticism lacking diversity either approach outlined universal agnostic gender race characteristic differentiating one person exactly makes addresses criticism indirectly focus wholebrain consulting approach less masculine traditional approach focus authentic wholeperson consulting embraces everything makes us human appreciative attitude makes approach open tolerant differences traditional approach caveats limitations presenting idealist approach strategy consulting contrasting traditional approach used strawman approach described section approach used practice one described literature part literature origin could argue block approach consulting differs substantially mckinsey type consulting refer tradi tional consulting traditional leaving description focusing mckinsey large consultancies approach created rather outspoken picture traditional approach practice strategy consulting mostly exactly take place according description however since approach \ufb01nd described literature since approach heavily criticized found useful summarize outspoken way business strategy terms use available httpswwwcambridgeorgcoreterms ip address aug subject cambridge coresome may \ufb01nd alternative approach strategy consulting outlined element naive soft may object world strategy consulting tough world facts power superior intelligence analysis needed tell organizations wrong instruct friendlier personal participative approach described might argue cannot work experience different though approach outlined element approach use consulting work fact clients stay return also suggests works indicated repeatedly idealist approach means describe strategy consulting currently practiced could even practiced certainly naive soft one could argue traditional approach naive limited reliance cognitiveanalytical work assumption superior expertise side consultant embracing strategy consulting involves whole brain whole person substantially less naive regarding softness approach indeed soft people side terms style relies friendly relationships aim helping people client organization develop move forward tough content side helping people discover limitations mistakes confronting simply telling furthermore longterm emphasis developing strategic capability approach reaches deeper merely giving strategic advice directly intervenes way organization generates executes strategy everything soft substantial limitation lack evidence effectiveness approach far anecdotal examples mostly mediumsized organizations handful industries even though approach grounded existing approaches based current understand ing people organizations work hard quantitative evi dence works exactly wholebrain wholeperson approach much depends person using approach whether work everyone ful \ufb01l roles section everyone equally equipped help organization nine steps process section furthermore strategy consulting relational activity client consultant also depend speci \ufb01c relation whether approach works works one client consultant relation ship may work another equally important realize sides respond strategy consultant adopts traditional approach client respond way \ufb01ts approach strategy consultant adopts approach element client respond differently strategy consulting terms use available httpswwwcambridgeorgcoreterms ip address aug subject cambridge corethis means choice traditional approach approach outlined largely choice paradigm one chooses look world approach accordingly might feel comfortable using traditional approach believe right approach apply accordingly others might feel comfortable applying approach outlined element implies approach everyone evident traditional approach work also evident convinced alternative approach outlined better route convincing anyone main point element main point sketches alternative traditional approach may viable alternative approach direct response various criticisms leveraged traditional approach less sensitive criticisms therefore seen move forward moving forward element described approach strategy consulting deviates mainstream approach intention sketching alternative addresses main limitations fact still idealist approach rather description status quo means substantial work want move forward described direction \ufb01nal section present \ufb01ve possible routes together help strategy consulting become relevant appreciated profession towards profession section asked whether strategy consulting currently profession whether conclusion currently something worthwhile striving getting think two approaches systemic topdown approach individual bottomup approach given vested interests complexity magnitude required changes argued \ufb01rst approach viable means strategy consulting get closer profession viable route individual bottomup route evaluated seven traits profession mentioned insection observe approach outlined element step forward lead professional institutions standardized training shared body knowledge code ethics imply greater professional liability selfregulation focus greater good establishing rules suggesting approach characteristics profession builtin strategy consulting approached whole business strategy terms use available httpswwwcambridgeorgcoreterms ip address aug subject cambridge corebrain wholeperson way adopting purpose section process section roles section outlined element de facto get closer profession realizing key focus mindset informal changes formalities profession institutions standardized training shared body knowledge code ethics arti \ufb01cial meaningless underling mindset intention place hand mindset intention place need formal aspects signi \ufb01cantly decreases mindset intentions easily changed begs question move forward realize suggested changes education answer merely formal education also selfeducation coaching learningby includes teaching approach business schools using practice one strategy consulting communicating books articles blogs means others take notice learn role technology element paid attention technology refrained approach depend technology time though various technological developments especially help advance approach effectiveness examples big data analytics arti \ufb01cial assisted intelligence virtual augmented reality digitalization virtualization block chain cybersecurity large consulting \ufb01rms process adopting technologies consulting practices especially \ufb01rst data getting increasing attention lot trust put possibilities datadriven consulting sceptical fact obtain effectively process much detailed data organizations importance data consulting light approach outlined element data merely small fraction needed instead strategy consulting much social process triggering people creativity intuition conceiving realizing could armbr\u00fcster kipping andvan den bosch baaij volberda pessimistic impact strategy consulting observe established strategy consulting \ufb01rms pressure knowledge accumulationbased expert approach quickly losing rele vance result far concerns pure strategy consulting seems place smaller niche players argue extent share pessimism arguments given traditional large consulting strategy consulting terms use available httpswwwcambridgeorgcoreterms ip address aug subject cambridge core\ufb01rms convincing however optimistic commercial chances strategy consulting general approach outlined element real advantage large \ufb01rm standardization methods knowledge accumulation knowledge ef \ufb01ciencies relevant using furthermore working consultants largely interchangeable one principles large consultancies even disadvantage ability establish personal relationships trusted strategy consultant guides clients generating executing strategy gaining relevance might realized smaller \ufb01rms independents focusing particular niches given tre mendous possibility improving organizations strategic capability enormous market potential type strategy consulting one alternative way profound effect strategy consulting approach outlined earlier adopted without signi\ufb01cant technology traditional brown papers postits techniques work effectively however approach effective digital twin organization exist strategic level organizations strategy represented living digital version iterative participative approach work effectively way software systems erp \ufb01nancial crm systems example create virtual represen tation organization resources \ufb01nances customers managed digital strategy twin help manage strategy truly dynamic way making implementation use digital strategy twin part strategy consulting help make signi \ufb01cant leap forward advancing approach fact approach outlined element directly addresses seventeen critiques leveraged traditional approach makes step forward furthermore also compare greiner motamedi jamieson outline new consulting roles practices needed today world seen step forward argue following thirteen transitions needed effective consulting today dynamic environment consultant expert consultant guide longcycle consulting fastcycle consulting content process expert content process facilitator simple incremental complex discontinuous single entities transorganizations hierarchical organizations network organizations business strategy terms use available httpswwwcambridgeorgcoreterms ip address aug subject cambridge core command control self organizing boss client organization client labour intensive informationprocess intensive doctor patient resource partners study analyse recommend joint data diagnosis survey research action learning plan \ufb01rst implement plan implement together compare approach outlined element thirteen transitions concluded follows large majority approach indeed makes transition consultant expert consultant guide longcycle consulting fastcycle consulting etc thus also light recommended transitions approach signi \ufb01cant step forward compared traditional consulting approach also requires advancement strengthening date based literature previous research personal experiences handful con sultants means creative intellectual power masses barely tapped along lines element open invitation others scholars consultants leaders anyone else adding amending critiquing approach intent advancing next general call advancing approach one aspect requires speci \ufb01c attention two greiner motamedi jamieson suggested transitions addressed yet single entities transorganizations hierarchical network organizations two transitions related signal change organizations closed hierarchical systems organizations open networks approach outlined element could compatible transition speci \ufb01cally address challenges open networked organizations therefore advancement needed make approach tailored situations multiple organizations networks ecosystems client instead single organization strategy consulting research given signi \ufb01cant volume impact remarkable little research conducted strategy consulting publications speci\ufb01cally strategy consulting even fewer concern empirical research historical studies development strategy consulting armbr\u00fcster kipping david couple case studies blom lundgren seidel van den bosch et al older assessments strategy consultant impact delany leontiades strategy consulting terms use available httpswwwcambridgeorgcoreterms ip address aug subject cambridge coretezel payne lumsden course larger body research management consulting focused strategy consulting hardly research published along lines general direction given actually conduct research speci \ufb01cally strategy consulting whether conceptual qualitative quantitative design oriented research mere importance strategy consulting warrants even though strategy consulting approached various research paradigms approaches seems natural least occurs part strategy practice tradition emerged past three decades carter clegg kornberger chia holt jarzabkowski whittington focus praxis practices practitioners strategy one would expect signi \ufb01cant volume studies strategy consulting sometimes implied referred strategy practice studies though dedicated work strategy consulting published far part tradition whether research actually taken place hard tell kind research may required challenging conduct challenging get published obtaining detailed insights strategy consult ing requires deep involvement interventionist approaches action learning designoriented research conducting research requires strategy consultant following closely strategy scholar practitioner trainer experienced challenging especially case since involved client consultant primary emphasis helping client conducting research nevertheless done element largely result attempt based action learning taking place applying process roles outlined \ufb02ecting upon adjusting accordingly would qualify research certainly relevant research cannot think impactful journal would accept kind research done lacks traditional rigor expected along lines directions given conduct interventionist kind research b systematic documented way c help legitimizing methods needed moving strategy forward field progress made advancing \ufb01eld strategy consulting depends state \ufb01eld strategy large numerous others argued \ufb01eld strategy particularly good shape criticisms business strategy terms use available httpswwwcambridgeorgcoreterms ip address aug subject cambridge coreleveraged include fragmented relevant enough narrow much focused analytical tools even harmful practice bettis ghoshal moran mahoney mcgahan oxley et al powell vaara durand hitherto strategy still mostly presented cognitiveanalytical skill largely consists application wide range different frameworks one look major strategy textbooks see whittington et al given focus cognitiveanalytical skills extensive use frameworks given impact strategy consulting contents strategy textbooks training surprised strategy con sulting bias therefore order bring strategy consulting forward also need bring \ufb01eld strategy forward requires new integrative dynamic approaches strategy generation execution ninestep approach outlined personal attempt achieve kraaijenbrink spirit others develop better ones thereby help strategy strategy consulting move forward strategy consulting terms use available httpswwwcambridgeorgcoreterms ip address aug subject cambridge corereferences abrahamson e management fashion academy management review ackermann f eden c making strategy mapping strategic success london sage alvesson professionalism politics management consultancy work clark r fincham eds critical consulting new perspectives management advice industry pp oxford blackwell argyris c putnam r mclain smith action science san francisco josseybass argyris c sch\u00f6n organizational learning theory action perspective reading addisonwesley armbr\u00fcster kipping strategy consulting 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university press terms use available httpswwwcambridgeorgcoreterms ip address aug subject cambridge coreclark bhatanacharioen p greatbatch management gurus celebrity consultants kipping clark eds oxford handbook management consulting pp oxford oxford university press clark fincham r eds critical consulting new perspectives management advice industry oxford blackwell business cooperrider srivastva appreciative inquiry organizational life rw woodman wa pasmore eds research organizational change development vol pp greenwich jai press david r j institutional change growth strategy consulting united states clark eds oxford handbook management consulting pp oxford oxford university press delany e strategy consultants add value long range planning dimaggio p powell w w iron cage revisited institutional isomorphism collective rationality organizational \ufb01elds american sociological review elkington j cannibals forks triple bottom line st century business oxford capstone publishing limited 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h waters j strategies deliberate emergent strategic management journal newton r management consultant mastering art consultancy harlow pearson education nikolova n devinney nature clientconsultant interaction critical review oxford oxford university press omahoney j markham c management consultancy oxford uk oxford university press references terms use available httpswwwcambridgeorgcoreterms ip address aug subject cambridge coreoreilly iii c tushman ambidextrous organization harvard business review april httpshbrorgtheambi dextrousorganization oshea j madigan c dangerous company management consultants businesses save ruin new york penguin putnam osterwalder pigneur business model generation handbook visionaries game changers challengers hoboken john wiley sons oxley j e rivkin j w ryall strategy research initiative strategy research initiative recognizing encouraging highquality research strategy strategic organization payne lumsden c strategy consulting shooting star long range planning peters j waterman r h jones search excellence lessons america bestrun companies new york harper row pinault l consulting demons inside unscrupulous world global corporate consulting new york harper collins porter competitive strategy techniques analyzing industries competitors new york free press porter towards dynamic theory strategy strategic management journal special issue winter powell strategy without ontology strategic management journal prahalad c k hamel g core competence corporation harvard business review raisch birkinshaw j organizational ambidexterity antecedents outcomes moderators journal management rasiel e mckinsey way using techniques world top strategic consultants help business new york mcgrawhill rasiel e friga p n mckinsey mind new york ny mcgrawhill rousseau designing better business school channelling herbert simon addressing critics developing actionable knowledge pro fessionalizing managers journal management studies rumelt r good strategybad strategy difference matters new york pro \ufb01le books saam n economics approaches management consulting oxford oxford university press references terms use available httpswwwcambridgeorgcoreterms ip address aug subject cambridge coreschein e consulting mean clark r fincham eds critical consulting new perspectives management advice industry pp oxford blackwell business schoemaker p scenario planning tool strategic thinking sloan management review seidel v moving design strategy four roles designled strategy consulting design management journal sinek start great leaders inspire everyone take action new york penguin spender jc management regulated profession essay journal management inquiry spender jc business strategy managing uncertainty opportunity enterprise oxford oxford university press steele f consulting organizational change amherst university massachusetts press taylor f principles scienti \ufb01c management new york harper brothers teece j pisano g p shuen dynamic capabilities strategic management strategic management journal vaara e durand r connect strategy research broader issues matter strategic organization van den bosch f baaij g volberda h knowledge accumulation changed strategy consulting strategic options established strategy consulting \ufb01rms strategic change waterman r seven elements strategic \ufb01tjournal business strategy waterman r h peters j phillips j r structure organization business horizons weiden e f folienkrieg und bullshitbingo handbuch f\u00fcr unternehmensberater opfer und angeh\u00f6rige m\u00fcnchen piper verlag weiss million dollar consulting professional guide growing practice new york mcgrawhill whitney cooperrider appreciative inquiry positive revolution change oakland ca berrettkoehler publishers whittington r strategy practice long range planning whittington r johnson g scholes k angwin regn\u00e9r p exploring strategy harlow pearson wickham p wilcock j management consulting delivering effective project harlow uk pearson education limited references terms use available httpswwwcambridgeorgcoreterms ip address aug subject cambridge corebusiness strategy jc spender kozminski university jc spender visiting scholar kozminski university research professor kozminski university active business strategy \ufb01eld since author coauthor seven books numerous papers principal academic interest knowledgebased theories private sector \ufb01rm managing advisory board jay barney eccles school business university utah stewart clegg university technology sydney thomas durand conservatoire national des arts et m\u00e9tiers paris ct foo independent scholar singapore robert grant bocconi university milan robin holt copenhagen business school paula jarzabkowski cass school city university london naga lakshmi damaraju indian school business marjorie lyles kelley school business indiana university joseph mahoney college business university illinois urbanachampaign nicolai foss bocconi university milan andreas scherer university zurich deepak somaya college business university illinois urbanachampaign eduard van gelderen chief investment \ufb03cer apg amsterdam series business strategy reach vast important since wherever business activity strategizing \ufb01eld strategy long history medieval colonial times today developed developing economies series \ufb00ers place interesting illuminating research including industry corporate studies strate gizing service industries arts public sector new forms internet based commerce also covers today expanding gamut analytic techniques terms use available httpswwwcambridgeorgcoreterms ip address aug subject cambridge corebusiness strategy elements series scenario thinking infusing planning foresight brad mackay peter mckiernan agentbased strategizing duncan robertson corporate social responsibility christopher wickert david risi austrian perspectives management entrepreneurship strategy organization nicolai j foss peter g klein matthew mcca \ufb00rey microfoundations nature debate promise nicolai j foss stefan linder strategy consulting jeroen kraaijenbrink tools strategy starter kit academics practitioners henri hakala tero vuorinen full series listing available wwwcambridgeorgebus terms use available httpswwwcambridgeorgcoreterms ip address aug subject cambridge core" +} diff --git a/Submit-Music-for-Commercials-Make-Money-Off-your-Music-Through-Commercials.json b/Submit-Music-for-Commercials-Make-Money-Off-your-Music-Through-Commercials.json new file mode 100644 index 0000000000000000000000000000000000000000..d69db4819936c24b537792a1a1c79dfaf4eb4981 --- /dev/null +++ b/Submit-Music-for-Commercials-Make-Money-Off-your-Music-Through-Commercials.json @@ -0,0 +1,5 @@ +{ + "filename": "Submit-Music-for-Commercials-Make-Money-Off-your-Music-Through-Commercials", + "department": "Manager", + "cleaned_text": "submit music commercials make money music commercials submit music commercials musician days tough wait record label sign bills pay fortunately submit music commercials get paid hefty amount money takes little bit work need understand goes behindthescenes definition writers share publishers share writers share ownership belongs writers song one coowners writers share writers share claimed songs melody bassline lyrics original youre cover songs make sure tweak lyrics verses little claim writers share httpstwittercommpquicktipsstatus publishers share ownership belongs company individual holds publishing rights music publishers share split songwriter record company musicians manager comprehend writer publisher share concepts need know kind music licenses youve sign record labels acquaintances music industry different types music licenses music licenses complicated simplest version possible mechanical license musician wants remix song cover song redistribution mechanical license needed music writer originally composed song synchronization license synchronization licenses needed musicians want cover song use version form media original songwriter allows musician share writers share asks certain percentage publishers share instance artist finds songs cover wants publish songs digital media intention earn mechanical license well synchronization license original composer song master license master licenses required musicians sign record companies music licensing companies generally record companies owncoown music rights musician wants use song certain project master license required copyright owner record company learning music licensing concepts important time going need lawyer assist need know basicshow submit music commercials might vague idea license music commercials heres clear picture details resources used music submission network building connections media industry helpful want submit music commercial placements meet industry professionals various parties events clubs also ask email address office address manager talk assistants set meeting send press kits great press kit totally going jolt marketing game good way make sure uniquely designed press kit impresses producers first glance also send epk physical copy yet heres great example epk httpswwwyoutubecomwatchvuxvnqaxqyw know everyone doesnt naturally happen place famous musicians media professionals hangout dont worry awesome online resources use pitch music advertising companies soundcloud soundclouds potential reach wider audience far beyond expectation youre promoting music soundcloud youre losing lot audience letting competitors capitalize famous dj diplo received placement song express doritos commercial httpswwwyoutubecomwatchvxpexnxorg song collected million plays soundcloud youre dj want submit music commercials soundcloud provide big market stream song add appeal important songs ones likely wind commercial buying plays send song links licensing companies media agents bigger numbers catch attention social media social media one best places promote music millions active users multiple websites like twitter facebook instagram youtube potential audience limited fans also media professionals music licensing companies always choose best channels suit marketing plan even website great website work wonders want license music good website resembles brand image musician always make sure add relevant details like soundcloud links announcements concert dates website edm trio group neros website modern design information need main idea promote songs get much online exposure neros song licensed beats dre commercial group used social media sites cross promote website music httpswwwyoutubecomwatchvktbeescqylm joining music licensing company also submit music commercials registering music licensing company afford spending extra bucks membership fees example companies directional music directional music lot experience music licensing business hasslefree submission process working best brands world like adidas microsoft music bed music bed registered indie musicians clients include companies like google nike netflix abc mercedes benz truly establish music licensing commercials business httpsvimeocom audio socket audio sockets artist list huge experienced management team provides endtoend music licensing solutions helped build solid reputation music dealers music dealers started raised rank cant go unnoticed company formal partnership cocacola works kinds independent artists globally recent client nick seeley managed license music airbnb commercial httpsvimeocom rumblefish rumblefish also great company works everyone music business advertising business like music distributors record labels artists music publishers different marketing options business verticals covered know submit music commercials lets look one last concept behind music licensing jump types music licensing deals need know kind licensing deals youre going deal submitted music accepted commercial complete buyout complete buyout deal musician paid onetime fee composing piece music licensing musician ownership track deal allowed claim publishers share royalties depending upon agreement partial buyout deal musician gets upfront fee also retains rights writers share musician claim royalty payments respective royalty collection body per agreement exclusive musician gets certain percentage royalties publishers share still writers share means licensing company record label owns publishers share wants retitle song musician gets royalties still remains owner original song nonexclusive musician full ownership song also use multiple projects licensing media agents advertising entities entitled pay royalties artist air time depending upon agreement youre still rising artist licensing music earning could great way build career pay bills knows song gigantic hit like john mellencamps country licensed chevys truck commercial even though faced huge criticism timing release guess worked best song nominated grammys httpswwwyoutubecomwatchvqrinbvcisow john mellencamp trucks clich\u00e9 advertising world submit music commercials get paid making money licensing music commercials beneficial many ways artist advertising industry growing rapidly rising artist capitalize using opportunity prefer submit music licensing tvs movies thats also lucrative business article told submit music commercials get licensed types license deals information regarding writers share publishers share writers share ownership belonging music writers publishers share ownership belongs copyright owner music submit music commercials connections tools like soundcloud youtube social media websites also helpful links afford membership fee join music licensing company understanding different types music license deals equally important complete buyout artist gets fixed fee upfront composing new track claim royalties publishers share partial buyout artist gets small fee upfront full writers share partial publishers share exclusive musician gets certain percentage fixed royalty payments full writers share nonexclusive musician use song multiple projects without hassles also claim royalties publishers share theres actually limit much money make depends upon valuable music project continue build audience music licensing companies see important artist add roster" +} diff --git a/THE BUSINESS OF MARKETING AND PROMOTION.json b/THE BUSINESS OF MARKETING AND PROMOTION.json new file mode 100644 index 0000000000000000000000000000000000000000..9284d7887d9baf6287605d7f67a593d0762ff0ba --- /dev/null +++ b/THE BUSINESS OF MARKETING AND PROMOTION.json @@ -0,0 +1,5 @@ +{ + "filename": "THE BUSINESS OF MARKETING AND PROMOTION", + "department": "General", + "cleaned_text": "" +} \ No newline at end of file diff --git a/THE POWER OF MUSIC.json b/THE POWER OF MUSIC.json new file mode 100644 index 0000000000000000000000000000000000000000..64678e822754978e15d37ae0e332d59d3f361cb6 --- /dev/null +++ b/THE POWER OF MUSIC.json @@ -0,0 +1,5 @@ +{ + "filename": "THE POWER OF MUSIC", + "department": "Manager", + "cleaned_text": "obpthe power musicsusan hallam evangelos himonidesthe power music building earlier work power music research synthesis impact acti vely making music intellectual social personal development children young people volume susan hallam evangelos himonides important new resource \ufb01 eld music educa prac ce psychology well signposted text helpful subheadings power music gathers synthesises research neuroscience psychology educa develop understanding e\ufb00 ects listening ac vely making music chapters address musics rela onship literacy numeracy transferable skills impact social cohesion personal wellbeing well roles music plays everyday lives considering evidence large popula samples individual case studies across age groups authors also pose important methodological ques ons research community power music defends qualita research requirement randomised control trials obscure diverse en fraught contexts people ages backgrounds exposed engage music magni\ufb01 cent comprehensive volume allows evidence power music speak thus providing essen al directory researching music educa social personal cogni impact across human ages experiences authorapproved edi open access tle open book publica ons en book available download free publishers website printed digital edi ons together supplementary digital material also found h pwww openbookpublisherscom cover image tabitha lincoln rights reserved cover design anna gatti susan hallam evangelos himonidesan exploration evidencehallam himonides power music exploration evidenceebook ebook oa edi ons also available open access wwwopenbookpublisherscomthe power musicthe power music exploration evidence susan hallam evangelos himonides httpswwwopenbookpublisherscom susan hallam evangelos himonides work licensed attributionnoncommercialnoderivs international license cc nc nd license allows reusers copy distribute material medium format unadapted form noncommercial purposes long attribution given creator attribution include following information susan hallam evangelos himonides power music exploration evidence cambridge uk open book publishers httpsdoiorgobp order access detailed updated information license please visit https doiorgobp copyright details cc byncnd licenses available httpcreativecommons orglicensesbyncnd external links active time publication unless otherwise stated archived via internet archive wayback machine httpsarchiveorgweb digital material resources associated volume available httpsdoi orgobp resources every effort made identify contact copyright holders omission error corrected notification made publisher isbn paperback isbn hardback isbn digital pdf isbn digital ebook epub isbn digital ebook azw isbn digital ebook xml isbn digital html doi obp cover image tabitha lincoln rights reserved cover design anna gatti contents author biographies xiii susan hallam xiii evangelos himonides xiv preface xvii introduction music functions origins transfer learning methodological issues ways engaging music varying levels commitment music therapy interpreting research findings music neuroscience neuroscientific methods changes brain following musical activity comparisons musicians nonmusicians expertise automation skills expertise increases bimanual motor coordination multisensory learning neurological differences relating genre instrument played studies child musicians nonmusicians genetic maturational effects versus training effects intervention studies overview vi power music aural perception language skills explanations relationships music language comparisons musicians nonmusicians research children research auditory language impairments overview literacy related language skills correlation studies comparisons musicians nonmusicians intervention studies children facing challenges literacy skills pitch rhythm programmes effective enhancing literacy reviews metaanalyses conclusions spelling writing overview music spatial reasoning mathematical performance comparisons musicians nonmusicians correlation studies musical interventions spatialtemporal reasoning relationships spatial skills mathematics relationships music spatial skills mathematics musical engagement mathematical performance overview impact musical engagement memory visual memory research children verbal memory research children working memory research adults vii contents research children young people older adults reviews metaanalyses overview executive functioning selfregulation research adults research children research older people reviews literature overview intellectual development nature nurture correlational comparative research adults correlation comparative research children intervention studies music emotional intelligence studies older adults reviews metaanalyses overview musicians creativity neurological studies creativity correlational comparative research musicians personality musicians creativity intervention studies creativity later life reviews metaanalyses overview general attainment correlation comparative studies largescale research research disadvantaged populations intervention research reviews metaanalyses viii power music explanations research findings neurological studies length engagement music type nature quality musical training role executive functions attainment personality factors motivation overview music studying listening music prior completing task background music nature music preferred music familiarity liking preference music ones culture nature task completed background music memory background music attention reading comprehension secondlanguage learning background music english second language individual differences musical expertise gender personality background music metacognition impact background music childrens behaviour task performance background music primaryschool children background music older students research children emotional behavioural difficulties adhd developmental difficulties children attention deficit hyperactivity disorder attention deficit disorder emotional behavioural difficulties ix contents older adults cognitive impairment reviews metaanalyses explaining impact background music cognitive performance explanatory framework overview reengagement motivation motivation motivation developed engagement music children young people facing challenging life circumstances el sistema sistema inspired programmes raised aspirations motivation learning selfbeliefs school attendance positive attitudes towards school emotional behavioural difficulties transferable skills music interventions unrelated el sistema school attendance attitudes towards school integration young people special educational needs mainstream education schoolbased music therapy interventions children emotional behavioural difficulties role rap hip hop therapy school contexts music programmes young offenders music programmes adult offenders choirs projects using gamelan assorted music therapies overview personal social physical development personal development music identity music personality x power music selfbeliefs selfbeliefs deprivation disaffection children special educational needs disabilities ensemble participation musical preferences selfesteem social development musical ensembles teamwork school climate sistema programmes prosocial skills empathy interventions children special educational needs disabilities physical development music locomotor performance coordinated motor skills overview psychological wellbeing use music support emotional stability manage moods singing wellbeing young children music wellbeing schoolaged participants music wellbeing adolescents young people actively making music music wellbeing adults participation musical activities attendance music festivals music wellbeing older generation music wellbeing covid pandemic impact pandemic music professionals overview music physical mental health role music psychological physical health music stress immune system xi contents active musicmaking promotion general good health music health older generation music dementia care home reviews relationship music therapy dementia music public health music prescription role community music creative workshops music brain plasticity movement breathing speech impairment music hospital settings music mental health stress anxiety depression mental health care children adolescents young people insomnia music trauma abuse severe mental illhealth overview music inclusion social cohesion music conflict music refugees social inclusion overview music everyday life music leisure listening music attending live musical events actively making music socioeconomic status music arts listening support everyday activities music driving music work accompany mental activity xii power music music exercise music commerce consumption economics music music nonhuman species overview reflections exploration evidence power music bibliography index author biographies susan hallam professor susan hallam mbe studied violin royal academy music prior becoming principal nd violin bbc midland light orchestra deputy leader orchestra da camera studied ba psychology externally london university msc psychology education phd institute education university london currently emerita professor education music psychology university college london institute education past editor psychology music music performance research chair education section british psychological three times academician learned societies social sciences awarded lifelong honorary membership british psychological society international society music education awarded music drama education lifetime achievement award research interests music include practising performing musical ability musical understanding wider impact engagement music author numerous books related music including instrumental teaching practical guide better teaching learning power music music psychology education preparing success practical guide young musicians helena gaunt active ageing music andrea creech maria varvarigou hilary mcqueen impact actively making music intellectual social personal development children young people research synthesis psychology music contexts music learning participation developing sustaining musical possible selves andrea creech maria xiv power music varvarigou editor oxford handbook psychology music ian cross michael thaut music education st century united kingdom achievements analysis aspirations andrea creech routledge international handbook music psychology education community andrea creech donald hodges evangelos himonides dr evangelos himonides held university londons first ever lectureship music technology education holds countrys first ever chair technology education music evangelos works university college london leads number courses supervises doctoral postdoctoral research postgraduate level led serves music education programme ucl courses music technology education choral conducting leadership communication undergraduate level evangelos developed ucl first ever musicrelated course institutions near twocentury history called interactions music science offered innovative bachelors arts sciences basc programme fellow rsa chartered fellow fbcs citp british computer society musician technologist educator evangelos ongoing career experimental research fields psychoacoustics music perception music cognition humancomputer interaction special needs singing voice singing development publications currently number two hundred highprofile international journals frontiers psychology cognitive science psychology music ijme rsme journal voice logopedics phoniatrics vocology evangelos working numerous funded research projects leading uk research councils ahrc esrc epsrc grantmaking foundationscharities paul hamlyn foundation rnib ambertrust esm\u00e9e fairbairn foundation government agenciesdepartments dfes qca also european union evangelos associate editor journal music technology education intellect associate editor frontiers psychology past associate editor journal logopedics phoniatrics vocology xv author biographies informa healthcare reviews editor psychology music sage editor society education music psychology research sempre conference series section editor technology oxford handbook music education evangelos coedited andrew king two key volumes technology music education published routledge sound engineer researcher evangelos recorded numerous venues including york minster stpauls rcm various artists derek lee ragin farinelli vanessa mae sony bmg jarvis cocker pulp numerous media productions bbc ch discovery channel rtl cbs pbs history channel evangelos developed free online technologies sounds intent inspiremusic online afghan rubab tutor spare time evangelos likes record music play guitar handcraft musical instruments order raise funds charitable workpreface book written provide update power music research synthesis impact actively making music intellectual social personal development children young people evidence collated became clear much research undertaken since original book produced research focused much wider age range particular expansion work older age groups therefore decided expand book include research across lifespan covering wider range issues particularly relating health wellbeing become important research agenda recent years title referring exploration research selected make possible take account kinds research large scale population studies single case studies correlation studies experiments evaluations interventions focus listening actively making creating music interventions several different outcomes mentioned one chapter much controversy recently whether music impact particularly cognition felt important include examples individual research projects reader able draw conclusions impact music rather relying summary although overview provided end chapter means book always easy read research extremely complex takes time understand hoped despite reader enabled make informed decision power music range areas across lifespan hallam e himonides cc byncnd httpsdoiorg obp introduction speed change electronic media latter part th century revolutionised access use music peoples lives music accessed many ways radio cds dvds tv tablets smart technologies computers phones downloaded enable creation personal playlists achieved little effort always case historically people could access music participating religious social events changes made possible individuals use music manipulate moods arousal levels feelings create environments may change way people feel behave music used aid relaxation overcome powerful emotions generate moods appropriate carrying routine activities prepare social activities stimulate concentration short music used promote wellbeing young people supports development identity selfpresentation alongside technological advances research techniques increased understanding way music benefit intellectual social personal development children young people chapters book explore ways music benefit children young people well wellbeing health general population introductory section sets know functions origins music transfer learning methodological issues ways engaging music varying levels commitment music therapy issues related interpretation research findings power music music functions origins evidence engagement music prehomosapiens turk bone flute estimated years old found neanderthal burial site may predated singing china bone flutes found dating back bce stone flutes bce system classification instruments according materials made bce zhenxiong et al evidence early use instruments found several cultures carterette kendall despite evidence musical activity early humans consensus whether music evolutionary significance although arguments evolutionary role strong instance miller argued music exemplifies many classic criteria complex human evolutionary adaptation pointing culture ever without music universality musical development children orderly musicality widespread adults appreciate music remember tunes specialist memory music specialised cortical mechanisms involved parallels signals speciesfor example birds gibbons whalesso evolution may convergent music evoke strong emotions implies receptive well productive adaptations considering possible functions music huron set following theoretical positions mate selectionmusic performance may arisen courtship behaviour social cohesionmusic may create maintain social cohesion promotion group solidarity altruism group effortmusic may contribute coordination group work perceptual developmentmusic may contribute towards general development sound perception motor skill developmentsinging movement musicmaking provides opportunities refine motor skills introduction conflict reductionmusic may reduce interpersonal conflict within groups shared activities unlikely provoke argument dispute safe time passingmusic may provide way passing time avoids engagement possible dangerous situations transgenerational communicationmusic may originated useful mnemonic device passing information generation generation supporting sexual selection theoryfor example miller argue male musical performance influences female choice mate might also apply males choice mate could explain music becomes important adolescence theories propose music evolved emotional impassioned speech indeed imitation bird song cross huron suggested music evolved mother child relationshipin particular soothing comforting behaviour developed lullabies supported evidence systems processing sound develop foetus still womb fully operational processing music birth gaston parncutt dissanayake suggests musicality mother infant interaction might lay foundations grammar emotions considerable support role music promoting social cohesion instance sloboda speculates music making rewarding participating generates social bonding cultural coherence supported role music wide range ceremonies roederer survival value synchronising moods many individuals support collectively taking action strengthen means defending attack dowling harwood moving together rhythmically may reinforce process kogan approach suggests music reinforces groupishnessthe formation maintenance group identityas well collective thinking synchronisation catharsis collective expression experience emotion brown supported weinstein colleagues demonstrated small largescale bonding could power music occur choirs people larger groups findings corroborate evolutionary accounts emphasise role music social bonding large groups primates able manage cross drawing work smith szathmary mithen suggests appearance homo sapiens marked emergence flexible crossdomain cognitive capacity uniquely fitted played significant role facilitating acquisition maintenance skill member culture interacting socially othersas well providing vehicle integrating domainspecific competences endow us multipurpose adaptive cognitive capacities make us human intrinsically transposable aboutness music allows many meanings change situation situation may exploited infancy childhood means forming connections interrelations different domainssocial biological mechanical musical activity may simultaneously movement mood emotion mastery embodied sound affording opportunity explore crossdomain mappings authors agree music evolutionary purpose suggest music along arts evolutionary significance practical function barrow pinker sperber music condemned evolutionary parasite pinker argues music bound domain language auditory scene analysis habitat selection emotion motor control merely exploits capacities evolved subserve areas music evolutionary byproduct emergence capacities direct adaptive value exists simply pleasure affords basis purely hedonic st century music multiplicity functions operate several levels individual social group society general radocy boyle gregory merriam recognises ten major musical functions emotional expression aesthetic enjoyment entertainment communication symbolic representation physical response enforcing conformity social norms validation introduction social institutions religious rituals contributions continuity stability culture contributions integration society extensive evidence key role music plays lives individuals sloboda et al music generate feelings wellbeing facilitate working difficult emotions frequently linked spirituality juslin sloboda widely used exploring regulating emotions moods juslin laukka north et al saarikallio shifriss bodner effective inducing positive affective states north et al achieving desirable moods vastfjall also coping negative moods emotions miranda claes shifriss bodner common activity mood regulation listening music saarikallio erkkil\u00e4 even adolescents play instrument report best activity mood regulation listening music alone saarikallio adolescence music makes major contribution development selfidentity plays important role teenagers lives spend many hours listening bonnevilleroussy et al bosacki oneill greasley lamont teenagers listen music pass time alleviate boredom relieve tension distract worries north et al tarrant et al zillman gan music seen source support feeling troubled lonely acting mood regulator helping maintain sense belonging community schwartz fouts zillman gan also used relation impression management needs engaging social comparisons adolescents able portray peer groups positively groups network thus able sustain positive selfevaluations music facilitates process tarrant et al individual level music also seen vehicle emotional expression conveying ideas emotions might difficult communicate ordinary verbal interchanges music elicits physical responses aid relaxation stimulate activity particularly effective changing moods thayer listening music provides opportunities experience aesthetic enjoyment entertained making music seen source reward intellectual stimulation providing interesting challenging activities power music rehearsal stage opportunities demonstrate expertise musicianship performance successful lead enhanced selfesteem small groups music means communication making music social activity creating interpreting performing hearing music depend shared social meanings music serve provide shared experiences understandings assist binding together social groups supporting identities apparent use childrens games also adolescence music becomes one central aspects young peoples chosen youth culture music also used work contexts facilitate appropriate level stimulation mental physical activity may also serve ensure individuals literally work time together emotional expression also important group level instance protest songs provides means expressing feelings towards subjects taboo inhibitions regarding expression emotionsfor example love romantic love love god country school institution music fosters prosocial behaviour shared sense success physical coordination shared attention shared motivation group identity weinstein et al creates strengthens social bonds amongst interacting group members endorphins released synchronised exertive movements singing playing together involved social bonding across primate species tarr launay dunbar society whole music provides means symbolic representation ideas behaviours represent state patriotism religion bravery heroism rebellion encourage conformity social norms songs alternatively may incite challenges social norms provides validation social institutions religious rituals plays major part ceremonial occasions including weddings military functions funerals sporting events music also contributes towards continuity stability culture individuals respond similar ways music culture social nature musical activity invites encourages individuals participate group activities reducing social isolation introduction power music reflected way beenand continue beattempts exert control nazi germany music carefully selected use mass rallies generate appropriate patriotic emotions ussr music shostakovich censored soviet government cultural revolution china western music denounced decadent forbidden iran ayatollah khomeini power tight restrictions placed particular types music whitedominated south africa centres african music demolished musicians living exile continued influence attitudes world prevailing political system music western world criticism hard rock music establishment purported effects well documented martin segrave music also reflects values attitudes characteristics society instance weber suggests western classical tradition reflects drive rationalise understand environment technological advances impact way musicmaking develops extent contact withand influence ofother musical cultures nettl development musical literacy latter extends passed onto future generations oral cultures restrict remembered sloboda transfer learning transfer learning one domain another depends similarities processes involved transfer tasks function degree tasks share cognitive processes transfer near far stronger likely occur near salomon perkins refer low high road transfer low road transfer depends automated skills relatively spontaneous automaticfor instance processing music language using skills read different pieces music text high road transfer requires reflection conscious processingfor instance adopting similar skills solving different kinds problems power music musical skills near low road likely transfer othersfor instance relating perceptual processing sound timing pitch timbre rulegoverned grouping information fine motor skills emotional sensitivity conceptions relationships written materials sound reading music text memorisation extended information music text norton et al schellenberg far transfer may occur relation impact making music intelligence attainment high road transfer may also occur relation skills acquired learning play musical instrumentfor instance able recognise personal strengths weaknesses aware range possible strategies taskrelated personal relating motivation concentration monitoring progress evaluating outcomes throughout book ways transfer occur relation skills developed active engagement musicand ways skills may impact intellectual social personal skills explored impact music wellbeing health also considered particular reference impact music emotions consideration given extent learning control emotions music support development general change behaviour research exploring impact music cognitive skills long history going back however surge interest following discovery socalled mozart effect minutes listening mozart claimed enhance intelligence rauscher et al later discredited range studies cabanac et al hallam schellenberg hallam suggested music could change arousal levels turn affected performance cognitive tests since much research undertaken explore whether active engagement music enhance cognitive ability reviews see example benz et al bugos hallam holmes press jaschke et al miendlarzewska trost moreno rauscher schellenberg research explored detail later book introduction methodological issues research exploring ways active engagement music impact beyond development musical skills undertaken within number disciplines adopting different research paradigms designs methods adopted vary widely sample sizes much early research considering impact engaging music skills based correlation studies undertaken professional young musicians varying levels expertise criticised basis showing relationship musical skills skills demonstrate causality particularly case neuroscientific studies schellenberg research compared performance groups identified musicians nonmusicians research beenand continues beuseful highlighting possible areas transfer unable identify direction causality although studies using multiple regression analyses able take account possible confounding factors experimental studies outcomes musical interventions compared musical intervention alternative intervention offer possibility establishing causality studies vary length intervention range measures adopted measure outcomes age participants nature activity control alternative intervention group ideal scientific study participants randomly assigned intervention control groups longitudinal research followup may weeks months later difficult sustain participation high likelihood dropout reduced participants selfselect activity wish undertake constitutes confounding factor selecting musical activity may share particular characteristicsfor instance high levels intelligence particular personality characteristics context musical interventions natures also critical determining impact different outcomes might expected relation wholeclass general music lessons individual instrumental lessons quality teaching relationships learners teachers power music also likely important extent variability research design implementation tends produce conflicting evidence qualitative research including interviews focus groups ethnographiccase studies able provide insights perceptions participants contexts within music may wider impact however criticised subjective methods undertaking research potential enhance understanding nature transfer musical expertise domains skillsalbeit different ways systematic reviews typically used appraise summarise communicate results implications large bodies research relating transfer musical skills domains help overcoming bias may associated single research projects lack generalisability studies conducted one type population systematic reviews aim rigorously identify evaluate research provide objective interpretation replicable conclusions systematic reviews may include meta analysisa specific statistical strategy assembling results several studies provide single estimate size impact metaanalyses draw existing experimental research using complex statistical analysis reanalyse data assess impact interventions across many studies adopt different criteria studies selected inclusion greater numbers criteria studies need meet order included lead exclusion research perhaps metaanalyses frequently produce conflicting outcomes adopting metaanalytic approaches critical research adopt strict methodological requirements randomised controlled trials individuals randomly allocated groups also argue control groups participate alternative interventions rather intervention metaanalyses severely criticised instance ansdell denora argue much important information lost music forced beforeafter yesno grids variables outcome assessments inclusive research strategy adopted accessing literature included book academic databases relevant neuroscience psychology education music searched addition web based searches locate relevant grey literature analysis located introduction documents frequently led relevant material following chapters synthesise findings wide range studies develop understanding whether skills gained actively participating making music transfer skills circumstances might support book also examines evidence relating listening making music impact wellbeing health chapter synthesises research findings studies focusing one aspect transfer impact drawing conclusions appropriate ways engaging music varying levels commitment people actively make music listen although means engagement require listening listening music speech requires processing enormous amount information rapidly without conscious awareness blakemore frith idealised view musical listening focused activity undertaken solely purpose deepening understanding appreciation music practice listening takes place alongside activities including relating travel studying physical activity including relaxation taking exercise sloboda et al like activities listening necessarily preclude listening full attention herbert listening benefits terms impact mood emotions arousal levels actively making music take many forms informal interactions home children parents formal instrumental lessons recently greater recognition importance informal learning acquisition musical skills creativity personal social benefits may emerge hallam et al formal music tuition schools may include wholeclass teaching instruments ensemble work focus singing theory music listening history music singing learning play instrument individual tuition may also join ensembles school increases time commitment music alongside individual practice may undertake intellectual personal social benefits emerging power music active engagement music depend type activity level commitment learner quality teaching musically terms rapport teachers learners role individual preferences context diversity different people interact music need taken account carrying research interpreting findings frequently case many studies assess whether participants actually learned musical skills frequently assumed participation alone ensure musical skills acquired reasonable prospect transfer skill areas level commitment music another important factor possible impact music peoples lives music constitutes leisure activity many people either listening making music singing playing serious leisure activity others merely recreational similarly listening hobby devote considerable time energy others constitutes casual engagement attend live music performances tend higher level musical experience rate music important lives nonattenders attending live music event suggests greater level commitment listening recorded music main reasons attending live events include hearing particular artist style learning new music affirming challenging existing musical tastes personal social reasons engaging social interaction part community pitts burland pitts spencer amateur musicians music shares many characteristics work professional musiciansit seen extremely serious leisure activity others see merely hobby engage personal amusement gates reported reasons participation active musicmaking include love music desire develop skills respond challenges opportunities meet likeminded others musical activities also provide pleasure relaxation opportunity selfexpression cooper taylor hallam taylor argues amateur musicians seek affirmation validation verification musical selves part community practice similar manner professional counterparts however amateurs less well defined introduction strive attain group affiliation based cultural ideal musical competence taylor rewarding membership community practice develop group lessons wristen mastering new repertoire company others facilitate enhancement selfconfidence coffman adamek despite many differences forms levels engagement music considerable impact subjective wellbeing wellbeing enhanced listening undertaking tasks using music change moods emotions however music always positive effects cause distress liking listener control music therapy addition listening making music undertaken population whole music used therapeutically role music health healing recognised years referred bible historical writings ancient civilisations egypt china india greece rome music therapy provide positive psychological physiological cognitive emotional benefits patients done since development profession united states following two world wars music used relieve perception pain severe injuries medical staff noted benefits health wellbeing since developed considerably encompass musicmaking individuals groups work hospitals planned listening support mental health issues since increased availability music individuals able use music therapeutically manage moods emotions denora interpreting research findings extensive body research exploring wider benefits music interpreting findings important judicious suggesting may mean policy practice linnavalli et al currently possible say great confidence particular musical intervention lead specific outcomebe power music intellectual personal socialalthough clear making music support development wide range skills impact creativity making music generally pleasurable providing rewarding experience sense achievement participants although exceptions frequent social context also leads sense belonging engaged throughout lifespan clearly worth continuing try understand circumstances music beneficial music neuroscience music played important role neuroscience enhancing understanding brain functions human brain contains approximately billion neurons many active simultaneously process information neurons communicate nerve impulses allow information processed analysed neuron axons dendrites transmit nerve impulses axons pass nerve impulses away cell body dendrites towards cell body neuron approximately thousand connections neurons learn changes growth axons dendrites number synapses connecting neuronsa process known synaptogenesis event important enough repeated sufficiently often synapses neurons fire repeatedly indicating event worth remembering fields way changes efficacy existing connections made learning continues particular activities engaged time myelination takes place involves increase coating axon neuron improves insulation makes established connections efficient effectively neurons become wired together enables better connections within specific brain regions also improves functioning broader neuronal pathways connecting separate brain regions needed many human activities sensory cognitive motor pruning also occurs process reduces number synaptic connections enabling finetuning functioning combinations processes occur different timescales cerebral cortex selforganises response external stimuli individuals learning activities pantev et al overall evidence neuroscience suggests individual specific himonides cc byncnd httpsdoiorg obp power music learning biography reflected way brain processes information altenmuller brain three main parts cerebrum cerebellum brainstem cerebrum largest part brain cerebellum located cerebrum brain stem acts relay centre connecting cerebrum cerebellum spinal cord cerebrum divided two halves right left hemispheres connected corpus callosum transmits messages one side brain hemisphere controls opposite side body functions hemispheres shared generally left hemisphere controls speech comprehension mathematical literacy functions right hemisphere controls creativity spatial ability artistic musical skills people left hemisphere dominant hand use language brain also separated frontal temporal occipital parietal lobes frontal lobe associated executive functions motor performance temporal lobe associated retention short longterm memories processing sensory input including auditory information language comprehension visual processing centre occipital lobe parietal lobe associated sensory skills music played important role neuroscience facilitating study neural plasticity training music complex multimodal musicians aspiring become musicians spend many hours practising committed engagement music long periods time pantev herholz making music draws many brain functions including related perception action cognition emotion learning memory therefore ideal tool show human brain works different brain functions interact findings neuroscientific study musicians led greater understanding cortical plasticity barrett et al dalla bella habib besson herholz zatorre j\u00e4ncke merrett et al m\u00fcnte et al rauschecker strait kraus wan schlaug zatorre mcgill music neuroscience neuroscientific methods recently technology changed way neuroscience able study brain previously largely relied studying individuals suffering damage brain exploring damage affected particular behaviours common assessment techniques adopted include electroencephalography eeg measures electrical activity generated synchronised activity thousands neurons allowing detection activity within particular cortical areas even subsecond timescales eeg measures eventrelated potential erp eventrelated potential erp measured brain response direct result specific sensory cognitive motor event stereotyped electrophysiological response stimulus evoked potentials induced potentials subtypes erps types erp include frequencyfollowing response ffr evoked potential generated periodic nearly periodic auditory stimuli part auditory brainstem response ffr reflects sustained neural activity integrated population neural elements gammaband activity gba comprises eeg frequency range hz distributed widely throughout cerebral structures gba participates various cerebral functions perception attention memory consciousness synaptic plasticity motor control early left anterior negativity elan eventrelated potential electroencephalography eeg component brain activity occurs response certain kinds stimuli characterised negative wave peaks around milliseconds less onset stimulus often occurs response linguistic stimuli violate word category phrase structure rules early right anterior negativity eran potential electroencephalography component brain activity occurs response certain kind stimulus power music mismatch negativity mmn element event related potential odd stimulus sequence stimuli frequently studied relation auditory visual stimuli case auditory stimuli mmn occurs infrequent change repetitive sequence sounds usually evoked either change frequency intensity duration real apparent spatial locus origin magnetic resonance imaging mri type scan uses strong magnetic fields radio waves produce detailed images inside brain voxel based morphometry vbm technique using mri allows investigation focal differences brain anatomy using parametric mapping brain images smoothed voxel represents average surrounding areas functional magnetic resonance imaging fmri brain scanning technique measures blood flow brain person performs task fmri works premise neurons brain active task use energy haemodynamic response allows rapid delivery blood active neuronal tissues magnetoencephalography meg functional neuroimaging technique mapping brain activity recording magnetic fields produced electrical currents occurring naturally brain using sensitive magnetometers transcranial magnetic stimulation noninvasive procedure uses magnetic fields stimulate nerve cells brain changes brain following musical activity individuals engage different musical activities long periods time permanent changes occur brain changes reflect learned learned also influence extent developed skills transfer elsewhere extensive active engagement music induces cortical reorganisation producing music neuroscience functional changes brain processes information occurs early development alterations may become hardwired produce permanent changes way information processed schlaug et al b indeed evidence western classical musicians increased neuronal representation specific processing tones musical scale pantev et al largest cortical representations musicians playing instruments longest period time overall evidence suggests active engagement music significant impact brain structure function merrett et al norton et al playing musical instrument also seems speed brain maturation instance hudziak colleagues found rapid cortical thickness maturation areas implicated motor planning coordination visuospatial ability emotion impulse regulation following musical training comparisons musicians nonmusicians expertise longstanding strand research explored differences brains musicians nonmusicians different levels musical expertise first seminal studies provided evidence larger auditory somatosensory cortical areas adult musicians compared nonmusicians pantev et al elbert et al recent criticism approach drawn attention lack clarity classifying musicians nonmusicians musicians vary widely areas expertise levels achieve socalled nonmusicians may experienced listeners despite issues strand research enhanced understanding differences emerge brain related musical training starting childhood adulthood professional levels expertise herholz zatorre huotilainen tervaniemi munte et al tervaniemi certain pieces research exploring differences musicians nonmusicians functional changes due musical training highlighted differences basic cortical subcortical processingfor instance response latencies power music amplitudes responses random musical language sounds musicians demonstrate higher fidelity brain stem responses conveying temporal frequency information present sounds exposed wong et al fidelity increases quickly period year children actively engaged making music skoe kraus differences musicians nonmusicians evidence different levels auditory pathway brainstem kraus chandrasekaran strait kraus primary auditory regions bermudez et al gaser schlaug subsequently higher levels auditory processing low level neural enhancements likely considerable impact higherlevel processing ability cochlea brain stem replicate content sound deliver accurately higherlevel cortical processes forms basis sound processing turn leads better performance listening speech embedded noise hearing masked sounds strait et al strait kraus b slater et al overall trained musicians greater volume cortical thickness auditory cortex regions likely responsible fine pitch categorisation discrimination temporal processing structural differences level primary auditory cortex auditory association areas schlaug example gaab schlaug compared brain activation patterns musicians nonmusicians performed pitch memory task groups showed bilateral activation superior temporal supramarginal posterior middle inferior frontal gyrus superior parietal lobe however musicians showed right temporal supramarginal gyrus activation non musicians right primary left secondary auditory cortex activation since performance groups matched results suggest processing differences related musical training nonmusicians may rely brain regions important pitch discrimination musicians may prefer use brain regions specialising shortterm memory recall approach pitch memory tasks schneider colleagues used magnetoencephalography compare processing pure tones auditory cortex music neuroscience nonmusicians professional musicians amateur musicians found neurophysiological anatomical differences groups activity evoked primary auditory cortex stimulus onset professional musicians larger nonmusicians greymatter volume anteromedial portion heschls gyrus larger koelsch colleagues compared eventrelated brain potentials response harmonically inappropriate chords musical experts novices chords elicited early right anterior negativity eran larger musical experts novices probably experts specific musical expectancies novices chords presented deviant timbre elicited mismatch negativity differ across groups indicating larger eran expert musicians due general enhanced auditory sensitivity specific changes brain related processing harmony learned experience music also focusing aural processing shahin colleagues investigated whether neuroplastic components auditory evoked potentials enhanced musicians relation musical training histories highly skilled violinists pianists non musicians listened violin tones piano tones pure tones latter matched fundamental frequency musical tones compared nonmusicians musician groups evidenced larger responses three types tonal stimuli results suggest tuning properties neurons modified auditory cortex relation extent acoustic musical training similarly tervaniemi colleagues compared neural behavioural sound encoding nonmusicians amateur band musicians explored auditory eventrelated potentials changes basic acoustic features frequency duration location intensity gap abstract features melodic contour interval size statistically significant differences response location changes feature changes suggests compared nonmusicians even amateur musicians neural sound processing advantages acoustic information relevant musical genre power music nonmusicians seem need neuronal resources processing auditory information relative musicians evidenced stronger activation primary auditory regions instance besson fa\u00efta requin presented musicians nonmusicians short musical phrases either selected classical musical repertoire composed experiment phrases terminated either congruous harmonically melodically rhythmically incongruous note brain waves produced endnotes differed greatly musicians nonmusicians also function participants familiarity melodies type incongruity findings additionally showed musicians faster nonmusicians detecting incongruities functional magnetic resonance imaging scans fmri scans used study grey white matter brain grey matter contains brains neuronal cell bodies includes regions brain involving muscle control sensory perceptionfor instance sight hearing memory emotions speech decisionmaking self control structural differences grey matter several cortical areas including motor somatosensory auditory areas observed musicians nonmusicians luders gaser jancke schlaug using voxelby voxel morphometric technique found greymatter volume differences motor auditory visual spatial brain regions comparing professional keyboard players matched group amateur musicians nonmusicians differences related cortical folding indicating greater cortical surface longer distances cortical areas example fingers suggests larger patch cortical surface reserved finger control musicians nonmusicians similarly groussard colleagues compared brains nonmusicians amateur musicians latter playing instrument years musical training led greater greymatter volume different brain areas musicians changes appeared gradually left hippocampus right middle superior frontal regions later included right insula supplementary motor area left superior temporal posterior cingulate area together regions implicated many functions including verbal memories bodily awareness emotional experiences control movement language music neuroscience memory impulse control ensure findings linked musical training normal brain maturation researchers controlled age educational level indications musicians exhibit increased greymatter volume inferior frontal gyrus compared nonmusicians sluming et al voxelbased morphometry stereological analyses applied highresolution threedimensional magnetic resonance images male orchestral musicians nonmusicians matched sex handedness intelligence wide age range participants enabled researchers undertake secondary analysis agerelated effects findings revealed increased grey matter brocas area left inferior frontal gyrus musicians overall significant agerelated volume reduction nonmusicians cerebral hemispheres dorsolateral prefrontal cortex subfields bilaterally well greymatter density left inferior frontal gyrus positive relationship years playing volume grey matter musicians years old authors suggested orchestral musical performance promoted userdependent retention possibly expansion grey matter involving brocas area similarly james colleagues used optimised voxelbased morphometry perform greymatter density analyses age sex intelligencematched young adults three distinct progressive levels musical training intensity expertise findings showed functional difference areas exhibiting increase versus decrease grey matter function musical expertise greymatter density increased expertise areas known involvement higher order cognitive processing concerned executive function working memory auditory processing contrast grey matter density decreased expertise areas related sensorimotor function decrease may reflected high levels automatisation motor skills greater expertise multiple regression analysis showed greymatter density predicted accuracy detecting finegrained incongruities tonal music changes white matter also observed brains musicians white matter composed nerve fibres axons connect nerve cells covered myelin insulating layer power music forms around nerves consisting protein fatty substances gives white matter colour myelin speeds communication cells musicians greater anisotropy phenomenon varying magnitude according direction measurement suggests either larger number fibres greater myelination findings observed corticocortical connections neurons one cortical area communicate neurons cortical areas also corticomuscular connections neurons communicate muscles bengtsson nagy skare et al research shown musicians greater amounts substances brains related neuronal metabolism brain relies almost entirely circulating glucose rather storing energy glycogen majority glucose used maintain synaptic function resting potential neurons increase substances suggests active use example auditory cortical areas aydin et al musicians larger corpus callosum nonmusicians schlaug et al phenomenon particularly evident male musicians lee et al greater midsagittal size corpus callosum also found lee et al ozt\u00fcrk et al schlaug et al musicians andor thicker neuronal tracts left right motor somatosensory areas structural differences may relate range functional differences musicians nonmusicians fauvel et al amount musical practice also associated greater integrity corticospinal pathway bengtsson et al individuals absolute pitchthe ability categorise tones pitch classes without reference soundshave focus pieces research instance loui colleagues showed possessing absolute pitch increased functional activation music listening well increased degrees clustering local efficiency functional correlations difference highest around left superior temporal gyrus similarly loui colleagues observed hyperconnectivity bilateral superior temporal lobe structures linked absolute pitch furthermore volume tracts connecting left superior music neuroscience temporal gyrus left middle temporal gyrus predicted absolute pitch performance using vivo magnetic resonance morphometry schlaug colleagues measured anatomical asymmetry planum temporale musicians absolute pitch revealed stronger leftward planum temporale asymmetry nonmusicians musicians without absolute pitch results indicate absolute pitch associated increased leftward asymmetry cortex subserving musicrelated functions similarly bermudez colleagues used multiple methods compare musicians absolute pitch nonmusicians found functional evidence indicated importance frontotemporal network areas heavily relied upon performance musical tasks difference musicians absolute pitch significantly thinner cortex number areasincluding posterior dorsal frontal corticesthat previously implicated performance tasks involving absolute pitch automation skills expertise increases musicians expertise develops many skills become automated means neurological differences musicians nonmusicians become harder interpret since tasks reveal less neural activity musicians automatisation jancke et al others show brain activity kleber et al nikjeh et al simple motor tasks tend become automated complex tasks even related auditory processing may require neurological resources gaab schlaug review zatorre colleagues pointed brain imaging identified structural changes grey white matter occurred learning ascribing imaging measures underlying cellular molecular events challenging perceptual motor systems extended representation brain result musical training may process information efficiently using fewer neuronal resources less specialised systems enhanced efficiency might manifest lower blood flow demands skilled musicians compared nonmusicians performing complex power music motor sequences functional neuroimaging studies always present findings consistent observed anatomical differences musicians exhibit either lower localised activation primary motor cortex nonmusicians variable levels activation motor association regions premotor supplementary motor areas inconsistencies may reflect higher order cognitive processesfor example tonal processing working memory syntaxthat required performance may lead increased density associated brain regions processes instance sensorimotor functions basic motor control likely automated requiring fewer resources less brain volume james et al may also explain inconsistencies visible structural changes increased decreased activation musicians primary auditory motor regions using eventrelated potentials trainor colleagues compared responses adult musicians non musicians infrequent changes last note fivenote melody either altered contour interval findings suggested contour processing basic interval processing affected experience indicates always obvious whether training associated increased decreased activation underlying brain regions bimanual motor coordination pianists provided particular focus research exploring bimanual motor coordination automatisation processes means training systematically associated increased brain volume example decrease striatal volume observed skilled pianists function greater efficiency motor performance granert et al haslinger colleagues compared professional pianists musically na\u00efve participants carried inphase mirror antiphase parallel bimanual sequential finger movements functional magnetic resonance imaging tasks included performance two different kinds externally paced bimanual finger tapping involving index little finger hands one condition participants carry parallel finger movements starting either index finger right music neuroscience little finger left hand vice versa task consisted continuous bidirectional finger movements sequentially involving index middle ring little finger one hand versus little ring middle index finger hand second task demanded performance mirrorlike finger tapping corresponding fingers hands indexindex middlemiddle ringring littlelittle always moved simultaneously bidirectional sequential order resting condition without finger movements served control tasks correspond bimanually playing scales constitutes part pianists regular practice routines musicians nonmusicians showed significantly different functional activation patterns suggesting increased efficiency cortical subcortical systems bimanual movement control may fundamental achieving highlevel motor skills allowing musician focus artistic aspects musical performance similarly krings colleagues performed functional magnetic resonance imaging professional piano players non musicians overtrained complex finger movement task using blood oxygenation level dependent echoplanar gradient echo sequence participants performed complex finger opposition paradigm using right hand selfpaced light touches thumb pad finger pad without looking hand order tapping omitting one subsequent finger run pattern repeated rest periods participants asked relax task practised scanning session avoid learning effects scan activation clusters seen primary motor cortex supplementary motor area premotor cortex superior parietal lobule significant differences extent cerebral activation groups pianists smaller number activated voxels suggested longterm motor practice led different cortical activation pattern pianists needed recruit fewer neurons complete movements using selfpaced bimanual unimanual tapping tasks reflect typical movements made playing piano j\u00e4ncke colleagues measured haemodynamic responses applying functional magnetic resonance imaging two professional piano players two carefully matched nonmusician participants power music primary secondary motor areas activated much lesser degree professional pianists nonmusicians suggesting longlasting extensive handskill training pianists led greater efficiency reflected smaller number active neurons needed perform given finger movements similarly meister colleagues compared pianists nonmusicians performed simple complex movement sequences keyboard right hand nonmusicians complex motor sequences showed higher fmri activations presupplementary motor area rostral part dorsal premotor cortex compared simple motor sequences whereas musicians showed differential activations suggested higher level visuomotor integration required complex task nonmusicians whereas musicians employed rostral premotor network tasks neural plasticity result longterm practice mainly occurs caudal motor areas slowly evolving changes motorskill learning may extend adjacent areas leading effective motor representations pianists also focusing complex righthanded finger tapping task hund georgiadis von cramon investigated bloodflowrelated magnetic resonance signal changes time course underlying shortterm motor learning ten piano players nonmusicians functional learning profile based regional blood oxygenation level assessed participants achieved significant increases tapping frequency minute training session scanner pianists performed significantly better nonmusicians showed increasing activation contralateral primary motor cortex throughout motor learning concurrently involvement secondary motor areassuch bilateral supplementary motor premotor cerebellar areasdiminished relative nonmusicians throughout training session extended activation primary secondary motor areas initial training stage first seven minutes well rapid attenuation main functional patterns underlying shortterm learning nonmusician group attenuation particularly marked primary motor cortices compared pianists tapping sequence performed left hand transfer effects motor learning evident groups music neuroscience involvement relevant motor components smaller initial training right hand suggests involvement primary secondary motor cortices motor learning dependent experience using similarly complex unimanual bimanual finger tasks koeneke colleagues studied cerebellar hemodynamic responses highly skilled keyboard players nonmusician participants groups showed strong haemodynamic responses cerebellum task conditions however nonmusicians showed generally stronger haemodynamic responses cerebellum keyboard players suggesting longterm motor practice leads different cortical activation patterns movements required less neuronal activity palomargarc\u00eda colleagues found reduced connectivity motor areas control hands musicians compared nonmusicians particularly evident whose instruments required bimanual coordination effects mediated number hours practice multisensory learning structural differences brains musicians nonmusicians extend beyond auditory pathway motor circuitries parietal regions regions seem involved multisensory encoding integration music performance one complex demanding cognitive challenges human beings undertake requires precise timing number hierarchically organised actions well precise control pitch interval production implemented variably depending instrument involved zatorre et al structural differences due musical training extend motor sensorimotor cortices premotor supplementary motor regions involve subcortical structures basal ganglia cerebellum neuronal circuitry engaged motor control fine motor planningfor example finger movementduring musical engagement well motor learning schmidt lee musicians stronger connectivity right auditory cortex right ventral premotor cortex nonmusicians longer period time playing instrument stronger connection power music palomargarcia et al lahav colleagues used functional magnetic resonance imaging explore whether human actionrecognition system responded sounds found complex sequence newly acquired actions chose piece music model set acoustically presentable actions trained nonmusicians play ear monitored brain activity participants listened newly learned piece although listened music without making movements activation found bilaterally frontoparietal motorrelated network consistent neural circuits associated action observations may constitute human mirror neuron system presentation practised notes different order activated network much lesser degree whereas listening equally familiar motorically unknown music activate network findings suggest hearingdoing system highly dependent individuals motor repertoire network established rapidly brocas area hub neurological differences relating genre instrument played neural changes specific particular musical activities undertaken munte et al functional auditory responses strongest areas reflecting musicians instrument demonstrating timbral specificity related training pantev et al processing pitch classical string players create different pitches guidance frets characterised longer surveillance frontally distributed eventrelated brain potentials attention drummers whose focus rhythm generate complex memory traces temporal organisation musical sequences conductors demonstrate greater surveillance auditory space listen balance sounds various instruments ensemble conducting munte et al compared nonmusicians string players greater somatosensory representations finger activity amount increase depending age starting play pantev et al pianists violinists nonmusicians differentiated particular form music neuroscience shape motor cortex violinists pianists needing able move fingers quickly bangert schlaug trumpet players greater functional activation cerebellum coordinates voluntary movements dominant sensorimotor cortex left auditory cortex gebel et al may trumpet players need sensitive relationship embouchure minute sequential differences sound relation players wind instruments choi colleagues found significant changes cortical thickness liptongue related areas restingstate neuronal networks differential activation precentral gyrus supplementary motor areas comparison nonmusicians functional reorganisation motor cortex reflects differential usage instrumentalists comparing regions containing hand representations pianists violinists large anatomical differences precentral gyrus revealed bangert schlaug string players require highly developed fine motor skills particularly left hand keyboard players require highly trained fine motor skills hands particularly right hand frequently supports melody challenging technical passages lefthand accompaniment keyboard performers exhibit configuration known omega sign left right hemisphere whilst string players show right prominence sign related age musicians began play instrument cumulative amount time spent practising greater cortical representations fingers violinists left hands compared right hands found using magnetoencephalography elbert et al instrumentspecific neuroplasticity extends perception timbre specific neuronal responses observable different groups instrumentalists example string trumpet players reveal stronger evoked cortical responses presented sound respective instrument pantev et al particularly evident right auditory cortex shahin et al musicians also display increased gammaband activity induced sound instrument compared instruments shahin et al findings supported functional imaging evidence power music violinists flautists margulis et al suggests instrumentspecific plasticity restricted primary auditory cortex forms network including association auditorymotor integration areas experiencespecific plasticity shown level brainstem strait et al research explored whether style genre music might shape auditory processing tervaniemi colleagues studied auditory profiles classical jazz rock musicians particular reference genrespecific sensitivity musical sound features participants watched silent video instructed ignore sounds researchers recorded accuracy neural encoding melody groups showed cortical index deviance discrimination strength responses varied automatic brain responses selectively enhanced deviance tuning classical musicians timing classical jazz musicians transposition jazz musicians melody contour jazz rock musicians jazz players larger mismatch negativity mmn amplitude experimental groups across six different sound examples indicating greater overall sensitivity auditory outliers enhanced processing pitch sliding pitches found jazz musicians frontal mmn pitch location compared deviations observed jazz musicians left lateralization mmn timbre classical musicians overall characteristics particular styles genres music learned influence musicians perceptual skills brains processing training listening experiences musical styles genre shape musicians brains vuust et al folk musicians exhibit early right anterior negativity inferofrontal brain regions response chords deviate conventions western music indicating differences expertise compared nonmusicians brattico et al musical expertise one music culture modify chord processing enhancing responses ambivalent incongruous chords focusing communication musicians vuust colleagues explored jazz musicians exchanged non verbal cues played together musicians received interpreted cues performance departed regular pattern music neuroscience rhythm suggesting enjoyed highly developed sensitivity subtle rhythmic deviations preattentive brain responsesrecorded magnetoencephalography rhythmic incongruencewere leftlateralized expert jazz musicians rightlateralized non musicians suggesting functional adaptation brain task communication similar required learning language studies child musicians nonmusicians considerable research focusing structural functional changes occur childrens brains result engagement music enhancement brain responses musical sounds occur early development fourmonthold infants exposed melodies played either guitar marimba two hours course week exhibited mmn selectively sound exposed trainor et al effects musical training development extended brainstem responses processing speech noise strait et al trainor colleagues studied sixmonthold western infants randomly assigned six months either active participatory music class class experienced music passively playing active music participation resulted earlier enculturation western tonal pitch structure larger andor earlier brain responses musical tones positive social trajectory neurallevel changes also occur children participating musical playschool activities designed develop love music active engagement making music singing musical instruments putkinen colleagues explored relationship informal musical activities home electrophysiological indices neural auditory change detection two threeyearold children auditory eventrelated potentials recorded multifeature paradigm included frequency duration intensity direction gap deviants attentioncatching novel sounds correlations calculated responses amount musical activity home reported parents neurological findings implied heightened sensitivity temporal acoustic changes mature auditory change detection power music less distractibility children informal musical activities home environment one strand research focused effects training suzuki method children learn play ear imitation method implemented rigorously wherever adopted makes easier make comparisons studies one study four sixyearold children revealed changes auditory evoked responses violin noise stimulus musically trained group showed faster responses violin sounds nonmusician group fujioka et al changes accompanied enhanced performance musical task improved working memory nonmusical task another study adopting suzuki method tracked recorded brainwave patterns research included adult professional violinists amateur pianists four fiveyearold children studying piano measures taken children commenced music lessons one year later adult musicians showed robust enhancement induced gammaband activity specific musical instrument strongest effects professional violinists induced gammaband responses associated attention expectation memory retrieval integration topdown bottomup multisensory processes children receiving piano lessons exhibited increased power induced gammaband activity piano tones one year training children taking lessons showed effect shahin et al similar study trainor colleagues found larger induced gammaband responses fiveyearold children learning play instruments responses musical sounds larger adult musicians nonmusicians developed children one year musical training children age engaged music lessons trainor colleagues concluded musical training affected oscillatory networks brain associated executive functions turn enhance learning performance several cognitive domains standard musical training linked greater mismatch negativity responses melodic rhythmic modulations children years age received musical training putkinen et al structural changes brain music neuroscience found relation reading musical notation bergman colleagues undertook longitudinal study children young people ages six carrying neuroimaging investigations participants two three occasions two years apart playing instrument larger greymatter volume temporo occipital insular cortex areas previously reported related reading musical notation structural differences grey white matter also found children engage music particularly early childhood compared groussard et al habibi et al huotilainen tervaniemi pantev herholz schlaug colleagues found two years musical training five sevenyearold children committed music practice showed increased size anterior part corpus callosum similarly hudziak colleagues assessed extent playing musical instrument associated cortical thickness development among healthy children young people twoyear period young people aged six underwent mri scanning behavioural testing association cortical thickness years playing musical instrument later followup showed music training associated increased rate cortical thickness maturation areas implicated motor planning coordination similarly habibi colleagues investigated effects music training childrens brains comparing children engaged musical training others involved either sport regular afterschool activity two years training children music group showed brain changes related enhanced auditory processing skills different approach adopted hyde colleagues tested two groups children prior formal musical training instrumental group consisted children aged six years old weekly halfhour private keyboard lessons continued lessons months comparison group consisted children almost six years old receive instrumental music training participated weekly minute group music class school consisting singing playing drums bells children underwent magnetic resonance power music imaging mri scan twice beginning research months later second scan showed children learning play instruments areas greater relative voxel size within motor areas corpus callosum right primary auditory region contrast comparison group overall study demonstrated regional structural brain plasticity developing brain occurred months instrumental musical training early childhood study demonstrated type musical training important transfer musical skills hyde et al crosssectional study ellis colleagues explored impact agerelated maturation training using functional magnetic resonance imaging fmri linear regression techniques participants aged five range hours musical practice none agerelated effects common melodic rhythmic discrimination present three left hemisphere regions temporofrontal junction ventral premotor cortex inferior part intraparietal sulcusregions involved actively attending auditory rhythms sensorimotor integration working memory transformations pitch rhythmic patterns contrast trainingrelated effects localised posterior portion left superior temporal gyrus planum temporale area implicated spectrotemporal patternmatching auditorymotor coordinating transformations single cluster right superior temporal gyrus showed significantly greater activation melodic opposed rhythmic discrimination second study ellis et al using sample fmri study explored relative hemispheric asymmetries music processing making different discriminations shaped musical training assessed cumulative hours instrumental practice peak supramarginal gyrus characterised leftward asymmetry partial correlation participants cumulative hours practice controlling age task performance findings suggested direct link amount time spent practising instrument importance region auditory working memory starting musical training seven years age seems particularly strong effect stimulating brain changes barrett et al penhune zatorre structural differences corpus music neuroscience callosum musicians nonmusiciansand extent hand representations motor cortexare greater musicians begin training seven years age amunts et al elbert et al schlaug et al b early training also associated greater auditory cortex brainstem responses tones pantev et al wong et al confirmed even amount training controlled bailey penhune watanabe et al musicians begin training young display better sensorimotor synchronisation skills compared starting ages older seven difference underpinned brain connectivity terms white matter structural differences terms grey matter bailey penhune bailey et al steele et al genetic maturational effects versus training effects overall crosssectional studies suggest structural functional differences brains musicians nonmusicians engagement music leads behavioural changes underpinned changes primary secondary auditory motor cortices well sensorimotor multimodal integration areas age starting engagement music intensity duration engagement may account extent brain differences suggesting may causal link musical training changes brain however observed differences could caused existing predispositions genetic factors extreme end include difficulties processing sound instance tone deaf suffer congenital amusiadalla bella et al kirnarskaya peretz hyde williamson stewart extreme exhibit exceptional skillsfor instance prodigies musical savants mcpherson lehmann simonton individual anatomical functional properties brain genetic predispositions learning might impact learning musical skills zatorre might explain discrepant findings neuroplasticity implications research needs take account individual power music differences foster zatorre golestani et al merrett et al also issues relating maturational effects always addressed although exceptions ellis et al summarise studies compare brains musicians nonmusicians show neurological differences structurally functionally two groups age musical engagement begins intensity duration account differences cannot demonstrate causal link differences might accounted genetic factors predispositions longitudinal shortterm intervention studies address issues intervention studies shortterm intervention studies demonstrate causality instance chen colleagues used fmri investigate formation auditorymotor associations participants previous musical training learned play melody listening melodies training activated superior temporal gyrus bilaterally neural activity region significantly reduced right participants listened trained melody learning play melody involves acquiring conditional associations key presses corresponding musical pitches related activity dorsal premotor area superior frontal gyrus playing melodies random sequences activity left dorsal premotor cortex reduced latter compared early phase training learning play melody also associated reduced neural activity left ventral premotor cortex participants highest performance scores learning melody showed reduced neural activity left dorsal premotor area ventral premotor cortex overall findings demonstrated auditorymotor learning related reduction neural activity brain regions dorsal auditory action stream suggests increased efficiency neural processing learned stimulus evidence brain responds relatively quickly new activities measuring eventrelated potentials erps bangert colleagues found audiomotor coupling occurred following music neuroscience minute piano lesson another study eightyearold children eight weeks musical training differed controls cortical erps moreno besson music training minutes sevenweek period led changes electroencephalogram eeg frequencies associated enhanced cognitive processing flohr et al transcranial magnetic stimulation tms also revealed changes hand cortical representation resulting shortterm training novel fine motor skills pascualleone et al cortical motor areas tracked targeting contralateral long finger flexor extensor muscles participants learning onehanded fivefinger exercise piano second experiment researchers studied different effects mental physical practice fivefinger exercise modulation cortical motor areas targeting muscles involved task course five days participants learned onehanded exercise twohour daily practice sessions cortical motor areas targeting long finger flexor extensor muscles enlarged activation threshold decreased changes limited cortical representation hand used exercise research also studied effect increased hand use without requirement learn fivefinger exercise participants played piano two hours day using right hand participants changes cortical motor outputs similar significantly less prominent learned new skill similarly lappe colleagues reported erp changes young adults two weeks music training later lappe colleagues divided nonmusicians two groups provided two weeks musical training sensorimotor group training consisted learning play musical sequence piano group nonmusicians detected errors performances listening stimuli played participants following sensorimotor training participants showed enhanced detection incorrect pitch timing compared listening difference accompanied larger brain response pitch duration deviations indicating greater enhancement musical representation auditory cortex fostered sensorimotor training similar results showing greater benefits auditoryvisual multimodal power music training compared unimodal training also reported paraskevopoulos et al summarise shortterm changes behaviour brain activity observed result brief period musically related training sensorimotor multimodal training typical learning play musical instrument efficient engendering neuroplastic changes unimodal training effect likely underpinned brain changes occurring auditory motor sensorimotor integration regions involving feedforward mechanisms capable predicting outcome motor activity feedback mechanisms monitoring performance herholz zatorre practice lead dramatic improvements discrimination auditory stimuli carcagno plack investigated changes frequency following response ffr period pitch discrimination training twentyseven adult listeners trained ten hours pitch discrimination task using one three complex tone stimuli static pitch contour rising pitch contour falling pitch contour behavioural measures pitch discrimination ffrs stimuli taken training phase participants well untrained comparison group receiving training showed significant improvements pitch discrimination compared comparison group trained stimuli findings indicate even relatively lowlevel processes mature auditory system subject experiencerelated change similarly bosnyak colleagues found change functional brain attributes used discriminating small changes pure tones measured eeg nonmusicians training sessions menning colleagues used sequences pure deviant tones train participants discrimination skills threeweek period participants detect deviant tones differing progressively smaller frequency shifts standard stimulus frequency discrimination improved rapidly first week followed small constant improvements thereafter results suggested reorganisation cortical representation trained frequencies schulte colleagues designed melody perception experimentinvolving eight harmonic complex tones missing fundamental frequenciesto study shortterm neuronal plasticity music neuroscience auditory cortex fundamental frequencies complex tones followed beginning virtual melody tune fr\u00e8re jacques harmonics complex tones chosen spectral melody inverse contour compared virtual one baseline measurement participants exposed repeatedly experimental stimuli one hour day reported sudden change perceived melody indicating possible reorganisation cortical processes involved virtual pitch formation switch perception second measurement taken cortical sources evoked gammaband activity significantly stronger located medially switch perception results revealed primary auditory cortices involved process virtual pitch perception function modifiable laboratory manipulation adopting different approach loui colleagues explored brain activity occurring participants learned new musical system participants listened different combinations tones previously unheard system pitches based bohlenpierce scale chord progressions form ratios frequency different frequency ratios found existing musical systems event related brain potentials elicited improbable sounds new music system emerged onehour period findings demonstrated humans use generalised probabilitybased perceptual learning mechanism process novel sound patterns music functional neuroimaging yields results less consistent difficult interpret pitchrelated learning tasks associated either decreased j\u00e4ncke et al zatorre et al increased activation gaab et al auditory regions similar discrepancies observed following shortterm sensorimotor training instance pianolike instrumental learning listening melodies training associated either increased activation action observation regions instance premotor region brocas area inferior parietal region lahav et al decreased activation dorsal auditory action pathway chen et al findings reflect encountered crosssectional studies musical training manifests increased decreased activation certain circumstances learning seems improve efficiency encoding processing information thus requiring less neuronal resources power music ways learn reflected specific brain activity intervention study students aged taught judge symmetrically structured musical phrases balanced unbalanced using traditional instructions differences including verbal explanations visual aids notation verbal rules playing musical examples participating musical experiences including singing playing improvising performing examples musical literature comparisons two groups revealed activity different brain areas altenmuller et al similarly tervaniemi colleagues shown musicians play ear improvise may learn process complex musical information differently accurately classically trained musicians leading corresponding differences auditory neural responses seems way musical skills acquired direct influence brain development overview evidence neurological studies relating engagement music suggests human brain remarkable plasticity changes response training demands environment active engagement making music provides rich aural sensorimotor experience shape structure functions human brain skills needed become expert musician acquired association fine motor movements specific sound patterns developed based realtime multisensory feedback creates changes brain evidence comparisons made nonmusicians musicians involved different musical activities changes found children adults months musical training musicians become expert interpreting findings neurological studies becomes complex way many aural motor skills become automated thus requiring less neural activity despite challenges clear music made major contribution understanding plasticity brain well demonstrating role learning developing expertise albeit interaction existing genetic predispositions aural perception language skills language music unique human forms communication everyday life utilise complex linguistic systems process sound environment kraus slater environment full events necessary segregate sounds streams several sound sources present time bregman necessary differentiate relevant irrelevant able process sound high survival value hearing first sense develop foetus womb respond sound early weeks pregnancy moon fifer graven browne learning melodies timbres rhythms music language individuals culture begins mothers womb third trimester development point foetus discriminate speech mother stranger speech native language nonnative language kisilevsky et al kisilevsky hains foetuses also respond differently music speech kisilevsky et al granierdeferre et al impact prenatal auditory experience observed among newborns infants show strong preference mothers voice voice another female decasper fifer cooper aslin mothers language foreign language moon et al specific passages speech decasper spence music hepper presented final weeks pregnancy proposed early recognition music speech evolved crosscultural adaptation support mother infant interactions huron tarr et al freeman fritz et al gregory varney himonides cc byncnd httpsdoiorg obp power music advances technologyfor instance magnetoencephalography used record foetal neonatal cognitive functions non invasively recording magnetic fields produced active neurons brain later weeks pregnancy first months life cognitive capabilities related recognition emotion language acquisition develop rapidly newborn process emotional information speech sounds form basis childs development relation social tasks native language huotilainen early interactions adults infants include use infantdirected forms language music preferred infants trainor refers infantdirected speech type musical speech koelsc masataka fernand siebel suggest early developing brain processes language type music proposed singing develops directly motherese infantdirected speech consisting exaggerations elevated pitch slow repetitions melodic elaborations ordinary vocal communication dissanayake falk mahdhaoui et al saintgeorges et al motherese singing simple melodic arches cognitively easier process words therefore able support mother infant communication language development newborns relatively early stage neurological development bouissac infants prefer singing speech instance nakata trehub studied sixmonthold infants presented extended audiovisual recordings mothers infantdirected speech singing cumulative visual fixation initial fixation mothers image lasted longer maternal singing maternal speech furthermore movement reduction tends indicate intense engagement accompanied visual fixation frequently maternal singing maternal speech repetitiveness maternal singing may promote moderate arousal levels sustain infant attention contrast greater variability speech may result cycles heightened arousal gaze aversion reengagement regular pulse music may also enhance emotional coordination mother infant bosseler colleagues found exaggerated pitch contours infantdirected speech resulted differences brain aural perception language skills activity linked online statistical learning sleeping newborns karzon found young infants could discriminate three syllable sequences suprasegmental characteristics typical infantdirected speech emphasised middle syllable pattern results suggests exaggerated suprasegmentals infantdirected speech may function perceptual catalyst facilitating discrimination focusing infants attention distinctive syllable within series polysyllabic sequences learning comprehend communicate language places heavy demands auditory system understanding stress patterns childs native language helps segregate continuous streams syllables words ability present birth mampe et al neonatal brain stores auditory experiences speech music memory traces partanen et al b exposure music birth impact brain helps newborn make sense range sounds auditory scenes immediately birth newborn needs learn phonemes native language quickly effectively construct map first year life kuhl crucial development language skills function effectively auditory system requires high low level cognitive skills humans process begins cochlea information acoustic characteristics particular sounds presented information subject time frequency processes subsequently progressing higher levels auditory system highlevel cognitive skills required make sense auditory information skills include memory attention predictive processes processes vital speech perception instance able segregate sounds streams listening speech within noise perception music learning native languages saw chapter large body evidence active engagement music childhood produces structural changes brain functioningchanges related processing sound elbert et al huotilainen tervaniemi hutchinson et al pantev et al pascualleone schlaug et al b easily individuals able process sound depends prior experiences krishnan et power music al krizman et al whiteschwoch et al knowledge related auditory processing acquired exposure particular environments applied automatically whenever individual listens music speech bigand poulincarronnat process begins womb continues throughout infancy research aural processing relationship language taken several forms beyond undertaken neuroscience considered relationships language music terms processing also skill levels another strand research focused aural perceptionincluding comparisons musicians non musicians adults childrenwhile research considered music might help difficulties processing sound following sections consider issues explanations relationships music language language music share many characteristics including use auditory domain input path organisation perceptual elements structured sequences patel understanding relationship musical training speech perception proved challenging early work focused hemispheric specialisation example bever chiarello suggested language based left hemisphere music right technological developments neuroimaging revealed partial neural overlap two domains patel although clinical studies brain damage revealed separate deficits music language peretz coltheart despite evidence common brain regions processing music language herdener et al koelsch et al necessarily imply shared processing circuitry findings research open different interpretations kunert slevc however research focusing specifically shared neural circuitry indicated neural overlap processing speech music besson et al bidelman et al bugaj brenner chandrasekaran et al deg\u00e9 schwarzer gordon et al kraus chandrasekaran kraus whiteschwoch overy patel iversen aural perception language skills rogalsky et al sammler et al schulze et al tallal gaab wong et al despite extent nature overlap continues hotly debated normanhaignere et al patel peretz et al one area controversy whether brain networks involved separate whether neural resources shared kunert slevc normanhaignere et al peretz et al issue ease shared processes operate depends individuals prior experiences sound including music bigand poulincarronnat elmer et al krishnan et al krizman et al patel whiteschwoch et al strongest evidence neural overlap crossdomain experiencedependent plasticity brainstem followed auditory cortex evidence potential overlap becomes less apparent mechanisms involved music speech perception become specialised distinct higher levels processing ogg slevc relationship language musical abilities might explained terms signal processing dorsal auditory stream domaingeneral suggests overlap perceptual processing linguistic kotz schmidtkassow kotz schwartze musical affective prosodic sensory information fruhholz trost kotz dorsal circuit integrates auditory motor processes providing neural mechanism speech development articulation articulatory sequences encoding new vocabulary phonological shortterm memory feedforward function buchsbaum et al hickok poeppel putamen also plays pivotal role human motor cortico basal ganglia thalamocortical circuitry also involved perception beats involving local gammaband oscillations merchant et al circuit involved sequential temporal processing also rhythmic behaviours music dance audition plays crucial role circuit usually involved control voluntary skeletomotor movements includes supplementary motor cortex putamen fundamental cortical neostriatal nodes respectively two theoretical positionshickok poeppels neuroanatomical model patels opera hypothesishave power music underpinned much research hickok poeppel argue progress understanding nature extent overlap limited failure consider effects different tasks mapping speechrelated processing systems outline dualstream model speech processing ventral stream processes speech signals comprehension dorsal stream maps acoustic speech signals frontal lobe articulatory networks model assumes ventral stream largely bilaterally organised dorsal stream strongly left hemisphere dominant opera model proposed patel includes overlap subcortical cortical networks adds precision music must place higher demands networks language emotions music must elicit strong positive emotions repetition musical activity must repeated frequently must associated attention model suggests anatomical overlap neural areas process acoustic features speech music music requires greater precision speech places higher demands overlapping neural areas also suggests musical training requires repetition neural areas continually activated turn leads enhanced attention early life speech music processing shown rely overlapping neural substrates kotilahti et al mcmullen saffran perani et al brandt colleagues argued without ability hear musically would possible acquire language suggest music serves scaffold learn speech supported mothers use motherese interacts child fernald musical language processes might similar developmental underpinnings infants children modularised adults newborns understand syntax meaning words focus acoustic features voices prosodic features language rhythm speed pitch relative emphasis processing systems may become differentiated become familiar speech cognitive maturation occurs koelsch siebel koelsch suggests emergent modularity speech music processing depend perceptual categorisation speech focus primarily timbral contrasts music aural perception language skills focus distinguishing differences pitch sounds vowels sound frequencies spread along continua acquiring musical language skills requires individuals learn separate sounds continuum separate vowels pitches addition must also possible separate variation within categoryfor instance sound variation produced different speakers variation constitutes change category patel suggests challenges likely solved shared system shared soundcategory learning mechanism would suggest comparable individual differences language musical abilities support comes research individuals classed tune deaf shown poor musical performance tends associated deficits processing speech sounds jones et al may sensitive period musical training support comes findings musicians begin training early show better task performance greater changes auditory motor regions brain start later childhood bengtsson et al elbert et al gaser schlaug koeneke et al penhune schneider et al absolute pitch ability identify produce musical pitch without recourse reference tonesoffer support typically absolute pitch begin training age six almost examples absolute pitch commencing musical activity nine years age baharloo et al however auditory learning plasticity remain possible sensitive periods strait et al sensitive period learning largely bottomup process triggered exposure auditory input optimised underlying neural circuits still developing extremely sensitive input received following sensitive period learning largely topdown process depends attention enhance salience features order encode process involves changing structure efficiency preexisting circuits optimise processing music training may support developmental trajectory topdown control speech processing strait et al white et al recent research approaches draw clinical evidence musicrelated deficits neurologically impaired individuals also exploring processing music healthy people power music using neurocomparative music language research sammell elmer particular areas interest role general attention perruchet poulincharronnat rhythm neuronal entrainment predictive coding cognitive control slevc okada instance sammell elmer suggest temporal attention influenced external rhythmic auditory stimulation benefits language processing including processing syntax speech production research starts proposition speech music similar acoustic reybrouck podlipniak tsai li structural features bollavetisyan et al daikoku fotidzis et al lagrois et al lee et al myers et al silva et al snijders et al processing systems language music share challenge extracting small number categories meaningful flow acoustically variable signals analysis skills used language processing phonological distinctions blending segmentation sounds similar skills necessary perception rhythmic lamb gregory lipscomb et al harmonic melodic discrimination anvari et al barwick et al lamb gregory processing timing cues emerging particularly important leading better segmenting sounds speech quicker recognition distinctive units spoken language kraus chandrasekaran overy tallal gaab reybrouck podlipniak argue sound features common preconceptual affective meanings may reflect joint evolutionary roots music language continue present dayfor instance musical expressivity speech prosody recent neurophysiological models assume speech music processing well role rhythm language development based synchronisation internal neuronal oscillations temporally regular stimuli goswami lakatos et al large et al poeppel assaneo instance lakatos colleagues argue rhythms fundamental defining feature neuronal activity humans rhythmic brain activity interacts complex ways rhythms internal external environment phenomenon neuronal entrainment proposed role many sensory cognitive processes auditory senses aural perception language skills faced many rhythmic inputs entrainment couples rhythmic brain activity external internal rhythmic events serving fine grained routing modulation external internal signals across multiple spatial temporal hierarchies lakatos colleagues propose theoretical framework explaining neuronal entrainment dynamically structures information incoming neuronal bodily environmental sources instance doelling poeppel suggest brain exploits temporal regularities music accurately parse individual notes sound stream using lower frequencies entrainment higher frequencies generate temporal contentbased predictions subsequent musical events associated predictive models one strand research focused patterning strong weak syllables beats make rhythm pulse prosodic stress breen et al frey et al myers et al richards goswami snijders et al rhythmic patterning speech music proposed draw domaingeneral abilities required perceive process temporal features sound jones kotz et al richards goswami explain prosody particularly hierarchical structuring stressed unstressed syllables provides reliable cues syntactic structure speech selkirk may therefore facilitate acquisition syntactic language organisation cumming et al early disturbances rhythmsyntax interface may hinder normal language acquisition leading developmental language disorders richards goswami suggest basic processing rhythmic prosodic cues may provide key foundation scaffolding higher aspects language development strand research focused common auditory processing temporal regularities bollavetisyan et al fotidzia et al lagrois et al reybrouck podlipniak thought promote higherlevel linguistic functions breen et al frey et al fotidzis et al richards goswami rossi et al snijders et al possibly neuronal entrainment myers et al instance lagrois colleagues found socalled beat deaf individuals beatfinding deficits music showed deficits synchronising tapping power music speech rhythm generally regular tapping without external rhythms pattern deficits may arise basic deficiency timekeeping mechanisms affects rhythm perception across domains similarly bollavetisyan colleagues used multiple regression analyses found musical rhythm perception abilities predicted rhythmic grouping preferences speech adults without dyslexia fotidzis colleagues found musical rhythmic skills predicted childrens neural sensitivity mismatches speech rhythm written word auditory rhythm strand research explored topdown modulations common auditory processes domaingeneral cognitive motor functions perception production christiner reiterer daikoku lee et al instance jung colleagues demonstrated rhythmic expectancy crucial interaction processing musical linguistic syntax silva colleagues demonstrated topdown adjustment music language perception behavioural modelling found listeners placed break patterns ambiguous speechsong stimuli differently depending whether believed listening speech prosody contemporary music similarly tsai li found strength ambiguous stimulus perceived song rather speech depended acoustics stimulus also sound category preceding stimulus mathias colleagues showed pianists gradually anticipated sounds actions music production similar mechanisms auditory feedback control speech production hickok palmer pfordresher overall research suggests listening context listeners motor plans statistical domainspecific expectations may influence topdown anticipation perception acoustic features speech music myers colleagues summarise current state knowledge neuronal entrainment speech envelope tracking reflecting quasiregular amplitude fluctuations time speech envelope tracking neural occurs simultaneously multiple time scales corresponding rates phonemes syllables phrases giraud poeppel gross et al argue aural perception language skills slowest rate corresponding prosodic stress rhythmic pacing delta range constitutes particularly strong source neuronal entrainment crucial normal language development jung colleagues demonstrated rhythmic expectancy crucial interaction processing musical linguistic syntax supporting incorporation dynamic models attentional entrainment existing theories proposed sharing neural resources syntax processing music language patel dynamic attention network governs general temporal processing large jones findings suggest interaction music language syntax processing depends rhythmic expectancy supporting emerging theories music language syntax processing dynamic models attentional entrainment research examined domaingeneral topdown modulations music language perspective perception production focusing continuous interaction bottomup topdown processes line significant trends predictive coding erickson thiessen instance koelsch colleagues suggest music perception active act listening listening music constantly generate plausible hypotheses could happen next actively attending music resolves uncertainty within predictive coding framework koelsch colleagues present formulation precision filtering attentional selection explains lowerlevel auditory even higherlevel syntacticmusic processes elicited irregular events relatively exempt topdown predictive processes provide evidence attentional selection salient auditory features suggests listening active process traditionally conceived models perception examine predictive mechanisms music fogel colleagues presented listeners beginning novel tonal melody five nine notes asked sing note expected come next half melodies underlying harmonic structure designed constrain expectations next note based implied authentic cadence within melody authentic cadence melody matched noncadential melody terms length rhythm melodic contour power music differing implied harmonic structure average participants showed much greater consistency notes sung following authentic versus noncadential melodies although significant variation consistency melodies suggesting individual differences important examining perceived relationships perceptions speech song speechtosong illusion margulis colleagues presented nativeenglishspeaking participants brief spoken utterances repeated ten times speechtosong illusion occurs brief phrase repeated several times begins perceived song illusion exposes border perception language perception music phrases used either drawn languages relatively difficult native english speaker pronounce languages relatively easy native english speaker pronounce participants rated utterances repetitions fivepoint likertlike scale ranging sounds exactly like speech sounds exactly like singing speechtosong illusion occurred readily utterance spoken language difficult native english speaker pronounce suggests speech circuitry likely capture native easytopronounce languages reluctant relinquish perceived songs across repetitions research explored processing benefits rhythmically highly regular stimuli songs instance rossi colleagues investigated whether meaning extracted spoken sung sentences similar way participants listened semantically correct incorrect sentences performing correctness judgement task neural mechanisms assessed several methods combined results indicated similar semantic processing speech song findings effects general rhythmic processing skills higherorder linguistic abilities currently investigated context first language acquisition lad\u00e1nyi et al christiner reiterer found links musical aptitude phonetic language abilities imitation foreign speech preschool children mediated domaingeneral working memory resources preclude auditory perceptual connections music aural perception language skills language findings suggest may complex interactions yet identified miles colleagues suggest two different aspects music language depend two memory systems one brain system based temporal lobes helps humans memorise information language musicfor example words meanings language familiar melodies music system based frontal lobes helps humans unconsciously learn use rules underlie language music rules syntax sentences rules harmony music findings suggest one set brain structures underlies rules language music also different brain system underlies memorised information domains time research exploring relationship music language progressed exploring mapping music language functions brain trying understand mechanisms involved much investigation required clear understanding future research needs take account individual differences nature tasks studied neural overlap might taskdependent differences listening tasks may limit extent clear conclusions drawn underlying neurobiology music speech comparisons musicians nonmusicians altenm\u00fcller proposed cortical activation music processing reflects individuals auditory learning biography personal musical experiences accumulated time suggests complexity neural networks enhanced depending complexity auditory information experienced musical training leads development mental representations music may involve different cerebral substrates required types aural processing representations take several forms including auditory sensory motor symbolic visual means process level auditory information professional musicians use larger complex neural networks compared nonmusicians power music considerable body research developed focused making comparisons sound processing musicians non musicians research musicians tend identified terms playing instrument involved formal singing activities nonmusicians defined engaging musicmaking ways although may engage music ways despite crudity distinction much research undertaken basis participants ages children seniors research demonstrated musicians enhanced abilities process pitch temporal sound information chobert et al kishonrabin et al kraus chandrasekaran magne et al marques et al micheyl et al moreno et al schon et al strait et al tervaniemi et al van zuijen et al zendel alain improved performance range listening skills hyde et al pantev et al patel iverson tallal gaab enhanced auditory attention strait kraus strait et al better processing metric structure words presented sentences marie et al b better discrimination identification moraic units timing language features sadakata sekiayama musicians classify voiced sounds vowels easily quickly nonmusicians bidelman et al advantages relation processing linguistic syntax fiveash pammer making judgements grammar patston tippett better able distinguish rapidly changing sounds gaab et al harmonic differences corrigall trainor musacchia et al zendel alain temporal novelty herdener et al tonal variations nonnative speech sounds chandrasekaran et al cooper wang k\u00fchnis et al marques et al martinezmontes et al perfors ong wong et al wong perrachione yang et al perceive speech better without training accompanied noise parberyclark et al b identify syllables presented spectral information degraded elmer et al identify whether sentences foreign language tone based different marie et al b predict ability perceive produce subtle phonetic contrasts aural perception language skills second language slevc miyake also better nonmusicians perception processing vocally expressed emotion bhatara et al lima castro strait et al thompson et al subcortical level musicians demonstrate robust quicker auditory brainstem responses music lee et al speech bidelman et al bidelman krishnan instance musacchia colleagues demonstrated musicians compared nonmusicians earlier larger auditory audiovisual brainstem responses speech music stimuli strength brainstem response related number years musical practice similarly wong colleagues examined brainstem encoding linguistic pitch found musicians show robust faithful encoding compared nonmusicians extent subcortical consonant discrimination noise perception also enhanced musicians parberyclark et al finally musicians increased neural capacity perception processing vocally expressed emotion strait et al b high functioning peripheral auditory systems quality aural encoding related amount musical training wong et al also nature instrumental requirements demonstrated chapter subtle differences musicians aural processing depending instrument play instance rauscher hinton used four discrimination tasks adults aged musicians non musiciansand found auditory discrimination better musicians particularly true string players compared percussionists probably consequence many years subtle tonal discrimination required play stringed instrument findings demonstrated expertise playing musical instrument selectively improved discrimination thresholds corresponding skills emphasised training instrument similarly brattico colleagues established responses sound modulated expertise one music culture typical finnish folk musicians tervaniemi colleagues found amateur musicians still advantages nonmusicians neural behavioural sound encoding accuracy later study tervaniemi power music colleagues found classical jazz rock musicians exhibited automatic brain responses selectively enhanced deviants tuning classical musicians timing classical jazz musicians transposition jazz musicians melody contour jazz rock musicians another study found different brain responses six types music featured classical jazz rock pop musicians nonmusicians jazz classical musicians scored higher musical aptitude test band musicians nonmusicians especially regards tonal abilities jazz musicians greater overall sensitivity auditory outliers processing pitch sliding pitches vuust et al greater left hemisphere lateralisation shown musicians comparison nonmusicians presented musical stimuli bever chiarello hirshkowitz et al besson et al schlaug et al consistent efficient verbal processes asymmetry proposed potentially related language pitch processing skills ohnishi colleagues assessed cortical activation passive listening task also found greater activation planum temporale left dorsolateral prefrontal cortex musicians nonmusicians authors also found negative correlation degree activation left planum temporale age commencement musical training nonmusicians demonstrated right dominant secondary auditory areas task degree activation left posterior dorsolateral prefrontal cortex left planum temporale correlated significantly absolute pitch ability fujioka colleagues also observed greater left hemisphere lateralisation four sixyearold children received music lessons period year listening violin tones compared children receiving music lessons auditory expertise gained years music training finetunes auditory system strait kraus b strengthening neurobiological cognitive underpinnings speech music processing including enhancing neural responses changes pitch duration intensity voice onset time musicians enhanced perceptual skills play role enhancing language skills bever chiarello gaab et al hutka et al jakobsob et al aural perception language skills strait et al tallal gaab zatorre belin zattore et al increased sensitivity attention speech seems supported part right hemisphere processing jantzen et al musicians pitch expertise appears extend music language context significant differences domains alexander et al bidelman et al delogu et al lee hung marie et al mom zuo weidema et al musicians also better recognising vocally expressed emotion instance pinheiro colleagues investigated effects musical training eventrelated potential correlates emotional prosody processing fourteen musicians fourteen non musicians listened sentences neutral semantic content differing prosody one third neutral one third happy one third angry intonation intelligible semantic content unintelligible semantic content findings suggested auditory expertise impact different stages vocal emotional processing fujioka colleagues found people formal music education processed contour interval information auditory cortex automatically designed stimuli examine contour interval information separately contour condition eight different standard melodies consisting five notes ascending pitch corresponding deviant melodies altered descend final note interval condition used one fivenote standard melody transposed eight keys trial trial deviant trials last note raised one whole tone without changing pitch contour also control condition standard tone deviant tone presented results suggested musical training enhanced ability automatically register abstract changes relative pitch structure melodies language music depend rules memorised representations miranda ullman examined neural bases aspects music eventrelated potential study note violations melodies ruleonly violations consisted outofkey deviant notes violated tonal harmony rules unfamiliar melodies memory violations consisted inkey deviant notes familiar wellknown melodies notes followed musical rules deviated power music actual melodies finally outofkey notes familiar wellknown melodies constituted violations rules memory three conditions presented healthy young adults half musicians half nonmusicians results revealed double dissociation independent musical training rules memory rule violation conditions memoryonly violations elicited early somewhat right lateralised anterior central negativity consistent previous studies rule violations music analogous early left lateralised anterior negativities elicited rule violations language contrast memory violation conditions ruleonly violation elicited posterior negativity component depends least part processing representations stored longterm memory language domains results suggest neurocognitive rule memory dissociation extends language music strengthening similarities two domains harding colleagues recorded eeg participants range musical training listened melodies sentences identical rhythmic structure results showed participants years musical training comparable cortical response music speech rhythm however cortical response music rhythm increased years musical training response speech rhythm leading overall greater cortical response music rhythm across participants seems task demands shape asymmetric cortical tracking across domains focusing sound discrimination parberyclark colleagues established musicians increased ability detect small differences sounds showed conferred advantages subcortical differentiation closely related speech sounds example ba ga distinguishable harmonic spectra measuring degree subcortical response timing differed speech syllables ba da ga adult musicians nonmusicians showed musicians demonstrated enhanced subcortical discrimination closely related speech sounds extent subcortical consonant discrimination correlated speech noise perception similarly ott colleagues determined whether musical expertise led altered neurophysiological aural perception language skills processing subsegmental information available speech signals analysed neurophysiological responses voiced unvoiced consonant vowel syllables noiseanalogues germanspeaking adult musicians nonmusicians findings showed musicians processed unvoiced stimuli irrespective whether speech nonspeech stimuli differently nonmusicians zuk colleagues examined perceptual acuity musicians acoustic components speech necessary intraphonemic discrimination synthetic syllables musicians nonmusicians compared discrimination thresholds three synthetic speech syllable continua varied spectral temporal discrimination demands musicians demonstrated superior discrimination syllables required resolution temporal cues addition performance temporal syllable continua positively correlated length intensity musical training musicians also better processing intervals nonmusicians comparisons eleven musicians aged ten non musicians aged years required detect infrequent changes last note fivenote melodywhich either altered contour interval downshowed contour processing basic less affected musical experience trainor et al benefits musical training shown continue throughout lifespan bidelman alain showed musical training offset decline auditory brain processing frequently accompanies normal ageing recorded brainstem cortical neuroelectric responses older adults classified speech sound along acoustic phonetic continuum modest musical training higher temporal precision speech evoked responses better differentiating phonetic categories even limited musical training preserve robust speech recognition late life considered chapter comparisons musicians non musicians cannot demonstrate causality differences aural processing could present birth appear stage development due genetic programming differences language skills could power music developed diversity educational opportunities home circumstances however fact enhancements greater longer period training suggests musical experience cause ho et al lee noppeney musacchia et al norton et al pantev et al seitherpreisler et al strait kraus wong et al although nature particular musical activities may important may intensity commitment engagement music issue causality best resolved intervention studies usually take place research children research children reports benefits music language development extending early years childhood tierney kraus white et al addition benefits auditory skill development including auditory discrimination attention putkinen et al language skills including pitch perception linnavalli et al nan et al yang et al one strand research focused infants preschool children instance zhao colleagues examined effects laboratorybased intervention music speech processing nine monthold infants exposed music triple time waltz social context infants aid caregivers tapped musical beats maracas feet bounced synchronisation musical beats intervention incorporated key characteristics typical infant music classes maximise learning multimodal social offered repetitive experiences control group experienced similar multimodal social repetitive play without music following intervention infants neural processing temporal structure tested using tones triple time speech foreign syllable structures sessions infants neural responses temporal structure violations music speech assessed compared infants control group infants exposed music intervention improved detection prediction auditory patterns demonstrating enhanced temporal structure processing music speech musical pitch processing timing intervention enhanced infants ability extract temporal structure aural perception language skills information predict future events time skill affecting music speech processing similarly trainor colleagues reported neurallevel changes sixmonthold infants randomised engage active participatory music classes six months class experienced music passively playing active music participation resulted earlier enculturation western tonal pitch structure larger andor earlier brain responses musical tones positive social trajectory also working sixmonthold infants gerry colleagues found random assignment six months active participatory musical experience accelerated acquisition culturespecific knowledge western tonality comparison similar level passive exposure music infants assigned active musical experience showed superior development prelinguistic communicative gestures social behaviour compared infants assigned passive musical experience findings showed infants engage meaningful musical training appropriate pedagogical approaches used active musical participation infancy enhances culture specific musical acquisition impacts development social communication skills another comparable study snijders colleagues investigated whether infants could learn words ecologically valid childrens songs forty dutchlearning tenmontholds participated research explore whether infants could segment repeated target words embedded songs familiarisation subsequently recognise words continuous speech test phase infants participated song speech sessions findings showed monthold infants could indeed segment words embedded songs working children participating head start provision yazejian colleagues evaluated effects supplementary preschool classroom music movement curriculum language skills participating children made greater gains communication skills children comparison group although differences receptive language phonological awareness study children aged two three putkinen colleagues found relationship informal musical activities parents home auditory eventrelated potentials linked sound power music discrimination attention showed children higher levels musical activity heightened sensitivity temporal acoustic changes mature auditory change detection less distractibility children research also attended music focused playschool age four six displayed rapid development neural responses gave activity related crosssectional study showed enhanced control auditory novelty processing musically trained schoolaged children adolescents putkinen et al similarly soundplay project uk worked children aged two four years old using combination methods including observation music language tracker tools interviews written reports compiled early years practitioners parents workshop leaders found participating project children identified risk developmental delay achieved higher average development language skills pitts australia williams colleagues investigated parent child home music activities sample australian children participating national longitudinal study frequency shared home music activities reported parents children two three years old range social emotional cognitive outcomes measured parent teacher report direct testing two years later children four five years old series regression analyses found frequency shared home music activities small significant association childrens vocabulary numeracy attentional emotional regulation prosocial skills taken together studies provide causal evidence role music training less formal musical activities shaping development important neural auditory skills young children also consider studies looking older children trainor colleagues found fouryearolds received suzuki training better developed auditory cortex better able discriminate sounds fujioka colleagues recorded auditory evoked responses violin tone noiseburst stimulus four sixyearold children four repeated measurements oneyear period using magnetoencephalography found children participated music lessons throughout year aural perception language skills showed clear musical training effect response violin stimuli compared untrained children similarly shahin colleagues measured auditory evoked potentials response piano violin pure tones twice group four fiveyearold children enrolled either suzuki music lessons nonmusic controls children learning play instrumentpiano violin auditory evoked potentials observed instrument played comparable children musically trained approximately three years older chronological age suggesting neocortical synaptic matrix shaped accumulation specific auditory experiences process accelerated musical training children playing piano also exhibited increased power induced timbrespecific gammaband activity piano tones one year training comparison nonmusicians shahin et al using eventrelated potential behavioural measures longitudinal design nan colleagues showed musical training conferred advantages speechsound processing mandarinspeaking children aged four five years old pseudorandomly assigned piano training reading training nocontact control group six months piano training improved general auditory word discrimination well word discrimination based vowels compared control group although reading group yielded similar trends piano group demonstrated unique advantages comparison reading control groups consonantbased word discrimination enhanced positive mismatch responses lexical tone musical pitch changes improved word discrimination based consonants correlated enhancements musical pitch among children piano group results suggested strengthened common sound processing across domains important mechanism underlying beneficial impact musical training language processing research focused development musical skills auditory discrimination schoolaged children elbert et al hutchinson et al pantev et al pascualleone schlaug et al b provided evidence musical training enhances auditory processing children prior training power music exhibited preexisting differences chobert et al fran\u00e7ois et al kraus et al b moreno et al norton et al tierney et al making music shown strengthen childrens auditory encoding speech chobert et al magne et al strait et al b tierney et al auditory discrimination attention chobert et al koelsch et al moreno et al putkinen et al well leading structural changes auditory cortical areas brain hyde et al seitherpreisler et al instance hyde colleagues tested two groups children prior formal musical training instrumental group consisted children aged six years old weekly halfhour private keyboard lessons period months control group children almost six years old receive instrumental music training participated weekly minute group music class school consisting singing playing drums bells structural brain changes motor auditory areas critical importance instrumental music training correlated behavioural improvements motor auditory musical tests children played practised musical instrument showed greater improvements motor ability auditory melodic rhythmic discrimination skills changes right auditory area underlay improved melodic rhythmic discrimination similarly putkinen colleagues conducted longitudinal study schoolaged children showed children received formal musical training displayed enhanced development neural responses related preattentive neural sound discrimination auditory attention musically trained children also showed superior performance tests executive functions huotilainen tervaniemi investigated longitudinal brain development children starting musical hobby age seven children music group started training start group differences brain responses compared children age starting hobbies two years later beyond enhanced auditory brain responses developed music group development observed brain responses control group later study putkinen aural perception language skills colleagues studied nine fifteenyearold children participated musical training using auditory event related potentials showed musically trained children demonstrated enhanced sound encoding intervention studies music shown positive outcomes instance working seven eightyearold spanish children learning speak english second language fonsecamora colleagues showed participating phonological training program benefited training additional musical support clear benefits strait colleagues explored encoding speech quiet noisy backgrounds musically trained nontrained children thirtyone children normal hearing ages seven thirteen participated classified musicians received private instrumental training least age five practised consistently least four years musically trained children outperformed nonmusicians speechin noise perception overall demonstrated less auditory brainstem response degradation addition background noise nonmusicians perceptual speechin noise cognitive auditory working memory attention performance correlated extent musicians musical training similarly slater colleagues followed cohort eight nineyearold school children two years assessing ability perceive speech noise musical training initial assessment participants randomly assigned one two groups one group began music training immediately completed two years training second group waited year received one year music training research showed speechin noise perception improved two years group music training several studies compared impact music versus painting equivalent visual stimulation early study moreno besson tested whether eight weeks musical training affected ability eightyearold children detect pitch changes language twenty nonmusician children listened linguistic phrases ended prosodically congruous words weak strong pitch incongruities reaction times error rates eventrelated brain power music potentials recorded final words groups weak incongruity difficult detect performance significantly different groups however amplitude late positive component largest response strong incongruities reduced training music group results suggest relatively short exposure pitch processing music exerted influence pitch processing language later longitudinal study moreno colleagues studied eventrelated potentials eightyearold nonmusician children nine months performed tasks designed test hypothesis musical training improves pitch processing music speech following initial testing children pseudo randomly assigned music painting training six months tested training using tests musicalbut paintingtraining children showed enhanced reading pitch discrimination abilities speech results revealed positive transfer music speech showing short periods training strong consequences functional organisation childrens brains study moreno et al researched children half received visual art training half music training undertake training two computerised training programmes developed administered training programmes learning goals graphics design duration number breaks number teaching staff difference content training music curriculum based combination motor perceptual cognitive tasks included training rhythm pitch melody voice basic musical concepts training relied primarily listening activities curriculum visual art emphasised development visuospatial skills relating concepts shape colour line dimension perspective children engaged training programmes two daily sessions one hour five days week four weeks programmes projected onto classroom wall conducted groups led teacher findings showed training music listening skills transferred verbal ability music training children exhibited enhanced performance vocabulary knowledge significant increase verbal aural perception language skills spatial skills following visual art training although trend towards improvement spatial skills similarly chobert colleagues randomly assigned non musician children music painting training recorded neural responses syllables differed vowel frequency vowel duration voice onset time done three times training six months twelve months crossgroup differences found training enhanced preattentive processing syllabic duration voice onset time found twelve months training music group results suggest active musical training lead improvements aural processing similarly period two years fran\u00e7ois colleagues assigned eightyearold children matched cognitive abilities sex age grade school socioeconomic status music painting lessons prior study two groups children performed similarly test identify whether three syllable nonsense words present within fiveminutelong string syllables one year training music group performed better painting group speech segmentation skills difference increasing two year period another strand research considered impact second language training versus music training enhancing aural processing instance comparative study impact second language learning french musical training moreno colleagues recorded eventrelated potentials french vowels musical notes four sixyearold children children demonstrated improved processing relevant trained sounds increased capacity suppress irrelevant untrained sounds one year traininginduced brain changes persisted hemispheric changes appeared increased eeg complexity coarse temporal scales music french vowel tasks widely distributed cortical regions findings showed musical training increased diversity brain network states supported domainspecific music skill acquisition musictolanguage transfer effects similarly carpentier colleagues conducted day longitudinal study monolingual english speaking four sixyearold children randomly selected receive daily music french language training children completed passive power music eeg musicnote french vowel auditory detection tasks training comparison pretraining posttraining showed musical training associated increased eeg complexity coarse temporal scales music french vowel tasks widely distributed cortical regions findings demonstrated musical training increased diversity brain network states support domainspecific music skill acquisition musictolanguage transfer effects evidence benefits musical training language comes yang colleagues examined whether childrens experience music training related language skills chinese first language english second language performance musical achievement test seventyseven children received formal musical training school beginning semester three categorised musicians remaining children classed nonmusicians childrens musical skills semesters study improved received training performance second language english also enhanced although performance first language correlational study milovanov colleagues explored relationship musical aptitude secondlanguage pronunciation skills schoolaged children children good linguistic skills better musical skills children less accurate linguistic skills erp data showed children good linguistic skills showed pronounced soundchange evoked activation music stimuli children less accurate linguistic skills findings implied musical linguistic skills could partly based shared neural mechanisms regression study swaminathan schellenberg used sample six nineyearold children test links musical expertise language ability speech perception grammar analyses revealed language abilities significant partial associations musical ability music training rhythm discrimination better predictor language skills melody discrimination authors concluded links music language arise primarily preexisting factors formal training music aural perception language skills music training alter course auditory development late adolescence tierney colleagues investigated effects inschool music training versus another inschool training programme focusing development auditory skills tested adolescents neural responses sound language skills entered high school pretraining three years later showed inschool music training begun high school prolonged stability subcortical sound processing accelerated maturation cortical auditory responses phonological processing improved music training active control groups enhancement greater adolescents underwent music training research supports proposition singing supports speech development example snijders colleagues found tenmonthold infants able segment words childrens songsbut performed equally well segmenting infantdirected speech similarly rossi colleagues found differences speech songs study semantic processing healthy adults taken together data suggest presentation verbal material song may sufficient enhance vocabulary learning language comprehension healthy individuals children deprived backgrounds research focused children perceived risk deprived backgrounds instance kraus colleagues used randomised controlled trial investigate whether community music participation could induce change auditory processing children deprived backgrounds programme provided free music instruction children considered risk participants children mean age eight years living gang reduction zones los angeles children randomly assigned participate defer musical participation one year participants attended music classes twice weekly three ten months students began music appreciation classes learned pitchmatching rhythm skills musical styles notation basic vocal performance recorder playing power music students progressed instrumental instruction students given instruments participated groupbased instrumental classes four hours per week children committed music intervention attended participated greater extent classroom activities developed stronger brain encoding speech less engaged children completed two years music training stronger neurophysiological distinction stop consonants neural mechanisms linked reading language skills one year training sufficient elicit changes nervous system functions greater amounts instrumental music training associated larger gains neural processing research showed participation reinforced literacy skills enhanced neural encoding speech cuesimportant readingand perception speech noisy backgrounds kraus et al b kraus strait slater et al similarly elsistema inspired project habibi colleagues part ongoing fiveyear longitudinal study investigated effects music training programme auditory development children course two years beginning age six seven children music group compared two groups children socioeconomic background one involved sports training involved systematic training prior participating children began training music differ comparison groups assessed measures two years children music group comparison groups showed enhanced ability detect changes tonal environment accelerated maturity auditory processing measured cortical auditory evoked potentials musical notes research auditory language impairments auditory system full acoustic input case hearing deficits congenital deafness development skills related audition damaged working deaf children rochette colleagues compared auditory perception auditory aural perception language skills cognition phonetic discrimination profoundly deaf children completed weekly music lessons ages eighteen months four years deaf children receive musical instruction trained children showed better performance auditory scene analysis auditory working memory phonetic discrimination tasks multiple regression analysis showed success tasks least partly driven music lessons cochlear implants support hearing cannot deliver complete auditory information cochlea input small distorted impact communication skills however children receive cochlear implant months age demonstrate normal language growth rates achieve ageappropriate receptive language scores three years implant later implants lead significant language delay evident three years implant development speech follows similar pattern normal hearing children delayed leigh et al research explored whether musical interventions help children instance torppa colleagues assessed word sentence stress perception discrimination fundamental frequency intensity duration forward digitspan twice period months twentyone early implanted children agematched normalhearing children aged four years participated children cochlear implants exposed music improved age word stress perception intensity discrimination digitspan performance equivalent naturalhearing children laterimplanted children performed less well overall findings suggested music valuable tool rehabilitation implanted children study torppa et al b researched interplay singing cortical processing music children cochlear implants findings showed augmented development neural networks attention accurate neural discrimination associated singing addition torppa colleagues concluded musical playschool also supported learning children offered efficient use mirror neurons especially children cochlear implants participated alongside normal hearing peers emotional social aspects group musical power music playschool may also impact learning outcomes provision positive inspiring environment similarly good colleagues studied children cochlear implants aged six received either six months individualised piano lessons six months individualised painting lessons measures music perception emotional speech prosody perception obtained pre mid posttraining music training led improved performance tasks requiring discrimination melodic contour rhythm incidental memory melodies emotional speech prosody perception art training lead improvements good colleagues concluded music training may effective supplementary technique supporting auditory rehabilitation following cochlear implantation children born premature increased likelihood sensory cognitive motor deficits mikkola colleagues used neurocognitive tests preterm children one five years old suggested may altered primary auditory processing suggested early auditory environment within intensive care unit later hospitalisation might play role decreased auditory attention learning skills prematurely born infants ameliorate deficits virtala partanen developed interventions focusing music found music making parental singing promoted infants early language development auditory neural processing evidence aphasia rehabilitated music sparks colleagues used melodic intonation therapy involves sung intonation propositional sentences way intoned pattern similar natural prosodic pattern sentence spoken eight severely globally impaired righthanded aphasic subjects left hemisphere damage resulting cerebrovascular accidents participated patient acted control participants shown improvement verbal expression least six months time received language therapy recovery appropriate propositional language occurred six eight patients result melodic intonation therapy aural perception language skills also argued music may aid development listening skills support children learning difficulties hirt mannheimer humpal wolf wolf music helped children developmental disabilities mendelson et al particularly low reading levels cogomoreira et al infants dyslexic parents show minor differences auditory processing compared infants parents without dyslexia observed infancy using neurological measures review research auditory processing deficits individuals dyslexia h\u00e4m\u00e4l\u00e4inen colleagues showed measures frequency rise time duration discrimination well amplitude modulation frequency modulation detection often impaired may infants dyslexic parents children symptoms dyslexia might benefit training auditory systems overcome possible differences auditory processing early life indeed musical interventions found successful helping children dyslexia overcome difficulties flaugnacco et al children show delayed language development three four years age risk dyslexia although many children eventually diagnosed dyslexic perfectly normal language development however early language difficulties diagnosis language impairment childhood predictive reading disabilities later school years adolescence adulthood atypical entrainment rhythmic prosodic cues due deficits finegrained auditory perception may constitute risk development speech language disorders goswami lad\u00e1nyi et al case increasing regularity stimuli strengthening individual rhythmic abilities aim improving neuronal entrainment may enhance development research suggested song could used improving speech processing individuals language processing deficits including dyslexia vanden bosch et al musicbased training effects dyslexia already demonstrated enhancing auditory skills children dyslexia achieved attendance musical play school overy overy power music children developmental language disorders shown impaired language processing including syntax also rhythm metre perception sammler elmer suggest may role rhythmbased processing language processing acquisition frey colleagues longitudinal study using eeg demonstrated six months music training positively influenced preattentive processing voice onset time speech children developmental difficulties przybylski colleagues tested influence external rhythmic auditory stimulation syntax processing children specific language impairment dyslexia children listened either regular irregular musical prime sequences followed blocks grammatically correct incorrect sentences required perform grammar judgements auditorily presented sentence performance children including controls better regular prime sequences irregular prime sequences benefit regular prime stronger children specific language impairment dyslexic children results suggest rhythmic structures even nonverbal materials may boost linguistic structure processing regular music therapy also help children rett syndrome genetic brain disorder associated problems language coordination improve receptive language verbal nonverbal communication chou et al musicmakingwhether playing instrument singingis multimodal activity involves integration auditory sensorimotor processes ability sing humans evident infancy depend formal vocal training although enhanced training wan colleagues reviewed evidence therapeutic effects singing might potentially ameliorate speech deficits associated conditions stuttering parkinsons disease acquired brain lesions autism singing may help children stutter reducing stress using melodic architecture help formation longer verbal phrases clementscort\u00e8s wan et al aural perception language skills overview previous sections recent reviews benz et al engel et al hallam h\u00e4m\u00e4l\u00e4inen et al j\u00e4ncke patel sammler elmer wan et al white et al provide considerable compelling evidence musical training sharpens brains early encoding sound leading enhanced performance range listening aural processing skills active engagement music childhood produces structural changes brain related processing sound develop quite short periods time making music supports development aural processing systems facilitate encoding identification speech sounds patterns turn enhance language skills earlier active participation takes place greater length participation level commitment intensity greater impact musical experience training also enhance emotional perception range cognitive skills benefits musical engagement occur without conscious awareness participants demonstrated range different groups across lifespan despite possible say certainty musical activities beneficial young children informal musicmaking home formal activities playschools found effective later school music education impact instrumental tuition particular instrument played genre engaged lead specific neural behavioural changes overall enhancing auditory cognition requires sufficient training high levels personal motivation rewarding musical experiences supportive learning environments range highquality formal informal learning experiences effective learning approaches depend age individual characteristics learner identification optimal musical interventions important enable development conceptual understanding enhancement aural processing well amelioration problems aural processing language literacy related language skills literacy generally defined ability read write broadly considered ability identify understand interpret create communicate compute using printed written materials variety contexts chapter focus active engagement music may support literacy particular emphasis reading skills required become competent reader also consider research writing spelling evidence association music training musical skills reading skills typically explained neartransfer theories reading requires development decoding comprehension skills comprehension requires basic word decoding skills well higherlevel cognitive processes memory attention sesma et al active engagement making music may differential impact decoding comprehension decoding ability apply knowledge lettersound relationships including knowledge letter patterns enable correct pronunciation unfamiliar words strongly associated auditory skills ahissar et al order able decode written material readers aware sounds related written word ie phonics phonological awareness important precursor early reading bradley bryant children need develop phonological awareness begin able translate written text sound phonological awareness ability analyse manipulate language two levels word level phonological awareness refers ability manipulate analyse larger phonological units instance rhyming blending words phoneme level phonological ability refers ability analyse manipulate individual sound units phonemes within word himonides cc byncnd httpsdoiorg obp power music repeatedly shown phonological awareness important predictor later reading ability pratt brady bruck successful decoding occurs learner uses knowledge letter sound relationships accurately read word correlation studies comparisons musicians nonmusicians one strand research role music development literacy skills focused comparing musicians nonmusicians second strand examined relationship musical skills literacy comparisons musicians nonmusicians revealed musicians exhibit advantages making judgements grammar patston tippett better correctly pronouncing irregularly spelled words jakobson et al stoesz et al remembering lyrics kilgour et al novel words dittinger et al short excerpts speech cohen et al larger vocabulary forgeard et al one study showed enhanced comprehension complicated passages text thompson et al musical training demonstrate enhanced speech perception wide range different tasks instance perceive speech better without training accompanied noise parbery clark et al b identify syllables presented spectral information degraded elmer et al identify whether sentences foreign tonebased language different marie et al b predict ability perceive produce subtle phonetic contrasts second language slevc miyake also better phoneme perception kuhnis et al children four years music lessons aged nine found accurate fast accurately discriminating syllables varied duration frequency lessons chobert et al crosssectional studies shown preschool schoolaged children adults musical experience able make stronger distinctions speech syllables nonmusic students kraus nicol parberryclark et al literacy related language skills strait kraus zuk et al musical skills also enhances ability interpret affective speech rhythms thompson et al eightyearolds musical training outperform training music language tasks magne et al research chinese elementaryschool children yang colleagues examined relationship longterm music training students development first language second language mathematics musician children outperformed non musicians musical achievement second language development although music training appeared correlated childrens final academic development first second languages mathematics independently contribute development first language mathematical skills correlation studies able identify relationships musical skills various skills related literacy including verbal auditory working memory studies preschool children aged four five years found relationships musical skills phonological awareness reading development anvari et al positive relationship phonological awareness musical ability preschoolers children aged five six older children lamb gregory milovanov et al milovanov tervaniemi peynircio\u011flu et al loui colleagues worked children aged seven nine years old showed significant positive correlation pitch perception production phonemic awareness also relationships development auditory skills early childhood informal musical activities putkinen et al moderate relationships also found tonal memory reading age barwick et al magnitude neural responses speech harmonics correlated reading ability banai et al schellenberg found length music training predicted measures reading even controlling intelligence chandrasekaran kraus linked poor reading ability deficiencies processing essential sound elements corrigall trainor examining association length music training reading ability six nineyearold children enrolled music lessons found length power music training correlated significantly reading comprehension associated word decoding scores length music training robustly associated reading comprehension even age socioeconomic status auditory perception word decoding general intelligence number hours spent reading week taken account relationship individuals tone deaf phonological processing word discrimination syllable segmentation jones et al swaminathan colleagues series studies explored range relationships music skills reported relationship music training reading adults facilitated general cognitiverather auditory skills also working adults assessed reading ability comprehension speed musicperception skills melody rhythm general cognitive ability nonverbal intelligence shortterm memory working memory family income parents education found reading ability associated positively music training english native language general cognitive ability association reading music training significant socioeconomic status native language music perception skills controlled general cognitive abilities held constant longer association reading music training findings suggest association reading ability music training consequence general cognitive abilities association rhythm aptitude speech perception found sample six nineyearold children musical training associated positively performance grammar test musical ability iq openness age regression analyses revealed language abilities significant partial associations musical ability iq music training rhythm discrimination better predictor language skills melody discrimination musical ability predicted language ability independently iq correlational studies shown positive relationship music literacy skills establishing main subsidiary beats musical selection found significant predictor reading third fourthgrade students chamberlain hartas found relationship parentreported literacy related language skills frequency singing songs rhymes playing music three years teacherrated performance literacy strongest relationships childrens learning outcomes family income mothers educational level intervention studies learning read requires word decoding skills skills strongly associated auditory skills auditory analysis skills used language processing phonological distinctions blending segmentation sounds similar skills necessary perception rhythmic lamb gregory lipscomb et al harmonic melodic discrimination anvari et al barwick et al lamb gregory learning become expert reader involves dynamic crossmodal processes beginning mapping letters sounds culminating skilled reading involves simultaneous processing phrases sentences larger multiple sources information text integration contextually relevant background information readers experiences gellert elbro perfetti stafura dynamic multiplex process reading argued similar entrainment seen musical ensembles individuals segregate integrate concurrent streams information ragert et al reading requires integrative attending activates amodal interface internal external goals experiences intersect range intervention studies explored impact active engagement music phonological awareness reading skills research findings attempts demonstrate causality musical engagement phonological awareness reading mixed artsenriched programmes include music led improvements school readiness relation receptive vocabulary brown et al literacy phillips et al compared nonarts programmes schoolbased arts programme included music gardiner colleagues showed children lower score literacy baseline achieved similar scores reading tests one year visual arts music training compared controls power music research focused impact music sound processing relates phonemic awareness study preschool childrens informal musical activities home politimou colleagues found systematic associations rhythm perception production phonological awareness melody perception related acquisition grammar similarly eccles colleagues evaluated effect varying durations music instruction single academic year phonological awareness early literacy young children aged five seven compared children received class music children greater exposure music showed greater improvement phonological awareness douglas willats found group training involving singing use percussive instruments improved decoding good colleagues worked kindergarten children participated weekly music intervention lasting minutes consisted singing body percussion activity movement instrument playing singing use graphic notation completion programme music group exhibited significantly higher phoneme segmentation fluency compared controls similarly deg\u00e9 schwarzer showed preschool children randomly assigned intensive training music ten minutes day five days week twenty weeks showed improvements phonological awareness identical changes children received lessons perceiving segmenting speech sounds control group received sports training showed improvement also working kindergarten children moritz colleagues explored whether musical activity could support acquisition reading skills formal reading instruction began found rhythm skill related phonological segmentation skills beginning kindergarten children received music training kindergarten showed wider range phonological awareness skills end kindergarten children less training furthermore kindergartners rhythmic ability strongly related phonological awareness basic word identification skills second grade schon also shown phonological awareness influenced several months rhythmic training turn improves reading skills preschool setting elliot literacy related language skills mikulas investigated effectiveness integrated music curriculum language literacy skills yearlong study employed pre posttreatment design control group students treatment group received instruction using integrated music curriculum part preschool instruction findings showed students treatment group significantly greater gains language literacy effect size similar study vidal colleagues tested children aged three four years old phonological awareness test prior intervention period lasting full school year weekly music visual arts classes following interventions groups improved music class students outperformed visual art classes showing larger differences intervention working community setting linnavalli colleagues studied whether lowcost weekly music playschool provided five sixyearold children would impact linguistic abilities sixtysix children tested four times two school years phonemic processing vocabulary perceptual reasoning inhibitory control children attending music playschool compared peers attending dance lessons attending either activity attendance music playschool significantly improved development childrens phoneme processing vocabulary skills series studies rauscher colleagues rauscher rauscher hinton explored whether children receiving suzuki violin instruction performed better phonemic awareness tasks control groups seventyfive musically naive fiveyearolds participated lessons provided minutes per week weeks prior instruction differences childrens performance reading test following intervention children receiving music lessons scored significantly higher letterword calling phonemic awareness groups adopting training programme included range activities gromko studied five sevenyearold children received four months music instruction minutes week instruction included active musicmaking movement emphasising steady beat rhythm pitch well association sounds symbols children received music instruction showed power music significantly greater gains phonemic awareness compared control group learning discriminate differences tonal rhythmic patterns associate perceptions visual symbols seemed transfer improved phonemic awareness similarly welch colleagues evaluated impact music programme linked literacy activities range musical activities including chanting clapping copying composing rhythms improvising using rhymes alliterative unusual vocabulary children participating musical activities showed average months reading improvement compared months control group later study welch colleagues evaluated sixmonth specialist singing project undertaken young disadvantaged children london professional singers provided focused mentoringrelating specialised programme singing vocal activitiesto generalist primaryschool teachers mentored classroombased singing activities resulted significant improvements childrens singing changes reading aspects executive function related inhibition phonological working memory using painting comparison activity moreno colleagues conducted longitudinal study nonmusician children nine months following first testing sessions nonmusician children pseudorandomly assigned music painting training six months tested training using tests musicalbut paintingtraining children showed enhanced performance reading study eightyearold assigned pseudo randomly six months music painting tuition children music group showed larger pre posttest improvement reading irregularly spelled words moreno et al study pseudorandom assignment four sixyear olds four weeks daily computercontrolled lessons listening music visual arts children music group larger pre post test increases vocabulary moreno et al b music group also showed greater improvement task required match arbitrary symbols words skill prerequisite learning read moreno et al b similarly chobert colleagues conducted longitudinal study two school years literacy related language skills nonmusician children randomly assigned music painting training neurological responses syllables differed vowel frequency vowel duration voice onset time recorded three times course study results highlighted influence musical training development phonological representations normally developing children also using painting comparison activity fran\u00e7ois colleagues assigned children matched terms cognitive abilities sex age grade school socioeconomic status music painting lessons twoyear period start study two groups children performed similarly test identify whether three syllable nonsense words present fiveminute string syllables one year training music group performed better painting group difference increasing twoyear period nan colleagues studied mandarinspeaking children aged four five years old pseudorandomly assigned piano training reading training nocontact control group six months piano training improved behavioural auditory word discrimination general well word discrimination based vowels compared controls group receiving reading training yielded similar trends however piano group demonstrated unique advantages reading control groups consonantbased word discrimination three groups improved general cognitive measures including tests iq working memory attention focusing adolescents tierney colleagues investigated effects inschool music training versus school training programme focus development auditory skills participants tested neural responses sound language skills entered high school training three years later inschool music training begun secondary school prolonged stability subcortical sound processing accelerated maturation cortical auditory responses phonological processing improved music training control groups impact greater adolescents underwent music training interesting study directly related rhythm reading lipscomb colleagues provided form reading rhythm training children third grade participated four sessions power music week weeks read lists words varying tempi led dramatic improvement reading fluency children low socioeconomic backgrounds tend fall progressively behind higher income peers course academic careers music interventions proposed way help lowincome children improve academic attainment research pursued line enquiry instance register colleagues examined effects music therapy programme designed teach reading skills versus television programme designed support literacy skills early literacy kindergarten children aged five seven years low socioeconomic backgrounds class assigned one four treatment conditions music video music video control group activity childrens literacy assessed using standardised tests teacher assessment music video music groups achieved highest increase mean scores four seven literacy subtests video group scored significantly better phonemic segmentation groups strong correlations found letter naming initial soundfluency tests however children offtask video condition music condition children music video enrichment groups showed gains four eight tests used measure progress slater colleagues used controlled longitudinal design assess impact group music instruction english reading ability lowincome spanishenglish bilingual children aged six nine los angeles one year children received music training retained agenormal level reading performance matched control groups performance deteriorated consistent expected declines population extent change modest outcomes nonetheless showed music help counteract negative effects low socioeconomic status childrens literacy development similar study barbaroux colleagues studied impact classical music training programme d\u00e9mos cognitive development children low socioeconomic backgrounds children presented standardised tests start programme months music training findings showed d\u00e9mos music training improved reading precision literacy related language skills research found positive impact musical training literacy bowles kemmerer lu montgomery findings difficult interpret instance rauscher provided atrisk preschool children weekly piano instruction computer instruction instruction two years effects found relation verbal memory reading tests similarly piro ortiz focused way learning piano might impact development vocabulary verbal sequencing secondgrade children fortysix children studied piano three consecutive years participated children acting controls end study music learning group significantly better vocabulary verbal sequencing scores however already playing piano two years initial differences reading skills control group findings difficult interpret authors suggested enhancement occurred effects may take long time appear age tuition important summer holidays immediately prior testing may lowered initial scores tuition may also changed time luk\u00e1cs honbolyg\u00f3 evaluated transfer effect general elementaryschool music education development linguistic abilities relationship specific musical auditory skills phonological awareness reading investigated secondgrade children either attended class intensive music curriculum class regular curriculum findings indicated significant differences children experiencing intensive music education normal curriculum overall one year kod\u00e1lybased classroom music education sufficient yield improvement musical linguistic abilities although phoneme deletion accuracy associated tonal memory suggested similar quasiexperimental pre posttest design measurements taken across period two years kempert colleagues tested effects two interventions consecutive combination musical phonological training phonological training alone participants germanspeaking children aged four five years old findings demonstrated positive relationship musical abilities phonological awareness phonological training power music produced positive effects adding musical training contribute significantly development phonological awareness may differences initial level phonological awareness participants overall may range reasons differences research findings types training adopted differ may differences quality delivery large age range participating childrens ages likely different stages developing literacy although experimental designs able take account extent development phonological skills may important early process developing literacy skills may enhanced shorter periods musical engagement whereas longer training may needed influence decoding ultimately understanding children facing challenges literacy skills one strand research focused children difficulties reading evidence importance rhythmic training especially strong poor dyslexic readers overy tallal et al thomson huss colleagues shown dyslexics lower performance normalachieving readers tasks involving musical metrical structure supported range studies showing children dyslexia difficulties keeping beat corriveau et al corriveau goswami goswami et al tierney kraus b wolff et al children dyslexia impaired rhythmic processing skills especially rhythm production normal pitchprocessing skills overy overy et al musical interventions emphasising development rhythmic skills seem greatest impact children facing challenges literacy instance working children kindergarten bolduc compared effects two music programmes one programme employed musical activities increase interest reading writing special educational needs primarily designed enhance musical abilities programme focused enhancing reading writing effective literacy related language skills enhancing phonological awareness one designed enhance musical abilities similarly standley hughes evaluated effects music sessions designed enhance prereading writing skills children aged four five enrolled early intervention programmes programmes children particular needs intervention lasted seven weeks included two minute music lessons per week total fifteen lessons autumn musical activities designed teach writing skills spring reading skills children receiving normal kindergarten curriculum without music involvement acted controls participants tested intervention findings demonstrated music significantly enhanced print concepts prewriting skills children replicating work register colleagues studied children aged four five years old enrolled early intervention programmes programmes children particular needs intervention control group received two minute music sessions week entire school year differentiating factors structure components musical activities autumn sessions experimental group focused writing skills sessions spring taught reading literacy concepts music sessions control group based purely thematic material determined classroom teacher purposeful exclusion preliteracy concepts participants tested beginning end programme findings demonstrated music sessions significantly enhanced groups abilities learn prewriting print concepts experimental group showed significantly higher results logo identification word recognition test intervention working older children aged six eight nicholson studied impact music intervention children categorised slow learners music training experimental group exhibited significantly higher reading performance scoring th percentile versus nd percentile additional year musical training reading scores experimental group still superior control group power music drawing theoretical framework emphasised pulse underlying organisational feature common music language long hallam investigated impact intervention children aged eight ten years old rhythmbased music intervention involved entrainment strategy groups children rapidly developed musicnotation reading skills synchronising stamping clapping chanting actions time musical accompaniment ten minutes week intervention groups received rhythmbased music intervention ten minutes week six weeks effects rhythmic training assessed intervention measured reading behaviour rhythmic performance control group matched reading comprehension rhythmic performance statistically significant effects reading comprehension scores children lower attainment reading normalattaining children research demonstrated children reading difficulties benefit specific rhythmic musical training carried alongside normalattaining classmates similar study long recruited children aged nine ten identified weak readers school intervention consisted ten minutes rhythmbased exercises administered start childrens usual weekly curriculum music lessons childrens school music teacher trained deliver intervention two sessions gap one week following participation intervention statistically significant gains occurred childrens reading comprehension reading accuracy reading rate analysis reading fluency revealed significant gains prosodic features reading behaviour including syllable division grammatical structure phrase contours rhythmic training emphasised group interaction also led children reporting positive changes sense wellbeing research showed interventions effective delivered whole class class teacher intervention required mental anticipation inhibitory control participants order lift one foot striking floor synchrony strong beat musical accompaniment actions children entrainment activity applied theoretical modelling normal anti synchronyas one foot comes literacy related language skills goes clayton et al stable hierarchical distribution cognitive attention clayton et al jones jones boltz jones yee overall children required plan ahead synchronise monitor integrate multi level physical coordination turn required anticipatory inhibitory control keeping time musical accompaniment children teacher also modelled reading simple staff notation chanting alphabet letter names music notation monotone synchronised time stamping clapping actions training addition reading pitch note durations varied rests added following intervention children demonstrated statistically significant gains reading comprehension accuracy rate reading comprehension rate reading large effect sizes moderate effect size accuracy mean change reading accuracy intervention group standardised scores control group standardised scores mean change reading comprehension intervention group standardised scores control group standardised scores statistically significant difference rate reading using music programme ten minutes week tenweek period groups ten children total lowerthanaverage reading scores first year secondary school eleven twelveyearsold hallam found randomly allocated intervention groups showed statistically greater improvement reading accuracy comprehension controls reading rate differences reading accuracy equivalent standardised scores reading comprehension standardised scores similarly bonacina colleagues developed computerassisted training called rhythmic reading training reading exercises combined rhythmic background participants took part nine biweekly individual sessions minutes intervention positive effect reading speed accuracy significant effects also found reading speed short long pseudowords highfrequency long words text reading accuracy research demonstrated overwhelmingly positive effects music interventions find literacy challenging power music instance bhide colleagues compared effects musical intervention poor readers software intervention based rhyme training phonemegrapheme learning found interventions similar benefits literacy large effect sizes music interventions small effects instance working brazilian schools attempt improve reading skills cogomoreira colleagues studied children aged eight ten reading difficulties two hundred thirtyfive children reading difficulties ten schools participated fivemonth randomised controlled trial impoverished zone within city s\u00e3o paulo test effects music education intervention assessing reading skills academic achievement school year five schools chosen randomly incorporate music classes five served controls two different methods analysis revealed mixed results positive results found rate correct real words read per minute phonological awareness also improvements portuguese mathematics throughout school year overall effects relatively small children dyslexia studied number years core deficit underlying developmental dyslexia identified difficulties dynamic rapidly changing auditory information processing contributes development impaired phonological representations words overy argued underlying causes language literacy difficulties experienced dyslexic children linked deficits timing exhibit timing difficulties language music perception cognition well motor control based ideas overy colleagues designed programme administered dyslexic children aged seven eleven control children aged seven ten children tested musical aptitude scores compared results showed dyslexic group scored higher control group three tests pitch skills lower control group seven nine tests timing skills particular difficulties noted one tests involving rapid temporal processing subgroup five dyslexic children found account significant errors also correlation spelling ability skill tapping rhythm song involve skill literacy related language skills syllable segmentation results suggest timing presents particular difficulty dyslexic children may helped using targeted interventions since early research range studies considered issues relating dyslexia even shortterm rhythm instruction brought positive effects habibi et al sevenmonthlong training shown lead increase phonological awareness reading skills flaugnacco et al habibi colleagues tested efficacy specially designed cognitive music training method included series musical exercises involving jointly simultaneously sensory visual auditory somatosensory motor systems special emphasis rhythmic perception production addition intensive training various features musical audition two separate studies carried outone children dyslexia received intensive musical exercises concentrated hours three consecutive days hours musical training spread six weeks studies showed significant improvements several untrained linguistic nonlinguistic variables first study yielded significant improvement categorical perception auditory perception temporal components speech second study revealed improvements auditory attention phonological awareness reading abilities repetition pseudowords benefits persisted six weeks training flaugnacco colleagues carried prospective multicentre open randomised controlled trial children dyslexia aged eight eleven consisting test intervention retest intervention music group performed better control group tasks assessing rhythmic abilities phonological awareness reading skills findings showed music training modify reading phonological abilities even severely impaired thomson explored perception amplitude envelopes speech nonspeech necessity skill parsing sounds represented letters literacy group school children dyslexia sixweek rhythmbased intervention positive effects phonological awareness literacy equal control intervention phonemic awareness frey colleagues power music investigated whether six months active music training efficient painting training improving preattentive processing phonological parameters based durations often impaired children developmental dyslexia comparisons made typically developing group children matched reading age results showed normalisation preattentive processing voice onset time children developmental dyslexia music training painting training working adults bollavetisyan colleagues assessed reading musical abilities dyslexics agematched controls presented rhythmic grouping task listened speech streams syllables alternating intensity duration neither indicated whether perceived strongweak weakstrong rhythm pattern findings showed adults dyslexia lower musical rhythm abilities without dyslexia lower musical rhythm ability associated lower reading ability however speech grouping adults dyslexia impaired musical rhythm perception ability controlled rhythmic grouping predicted musical rhythm perception ability irrespective dyslexia overall results suggested associations among musical rhythm perception ability speech rhythm perception reading ability adults dyslexia cogomoreira colleagues review research dyslexia music found randomised controlled studies argued therefore impossible draw conclusions pitch rhythm programmes effective enhancing literacy researchers explored extent active engagement music may support development literacy skills ongoing debate kind interventions may successful musical programmes include pitch rhythm activities research focused trying assess whether rhythm melody important supporting literacy skills one approach considering examine relative skills poor musical literacy skills instance sun colleagues examined whether phonological impairments evident literacy related language skills individuals poor music abilities twenty individuals congenital amusia matched controls assessed pure tone pitch discrimination task rhythm discrimination task four phonological tests amusic participants showed deficits discriminating pitch rhythmic patterns involved regular beat group individuals performed similarly controls phonological tests eight amusics severe pitch impairment identified pitch discrimination task exhibited significantly worse performance participants phonological awareness regression analysis indicated pitch discrimination thresholds predicted phonological awareness beyond predicted phonological shortterm memory rhythm discrimination contrast rhythm discrimination task predict phonological awareness beyond predicted pitch discrimination thresholds suggesting accurate pitch discrimination critical phonological processing patscheke colleagues also investigated separate effects training rhythm pitch phonological awareness preschool children aged four six years old participants randomly assigned either nonmusic training condition sports programme music training condition either based rhythm pitch groups trained three times week twenty minutes per session period weeks phonological awareness tested training phase following training pitch programme showed positive effect phonological awareness concerning rhyming blending segmenting lamb gregory also found pitch perception associated reading ability fiveyearolds controlling nonverbal ability barwick colleagues found pitch perception associated reading ability seven tenyear old readingdisabled children controlling general intelligence similarly besson colleagues examined pitch processing dyslexic children found difficulties discriminating strong pitch changes easily discriminated nondyslexic readers rautenberg studied effects musical training decoding skills germanspeaking primary school children found rhythmical abilities significantly correlated decoding skills reading accuracy reading prosody tonal skills related reading skills power music research children experiencing difficulties literacy shown programmes focus rhythm particularly effective enhancing reading skills bollavetisyan et al fotidzis et al hallam long long hallam overy overy et al relationship tests auditoryvisual rhythmic patternmatching reading ability eight nineyearolds rudnick et al sterrit rudnick rhythmic skills may better predictor reading ability pitchbased skills douglas willatts huss et al strait et al b swaminathan schellenberg although research supports cultural factors play role individuals perceive metrical structure including beat perception tierney kraus b perception complex rhythms hannon trehub human ability perceive entrain beat flexibly accurately spontaneous universal across cultures savage et al b\u00e9gel et al although individual variability sensorimotor synchronisation including phenomenon known beat deafness nozaradan et al individuals inability distinguish musical rhythm move time nine months age coordination rhythm syllable structure usually sufficiently supportive infant segment speech streams syllables morgan saffran rhythmic movement may play role process many children naturally move time beat enculturation plays major role process repp su manning schutz jones colleagues propose pitchtime entrainment theory argues timing brain understood response regular irregular rhythmical events children display entertainmentthe patterning body processes movements rhythm musictypically four years age trainor cirelli takes longer adjust tempo usually occur seven eight years age kurgansky shupikova reading ability phonological awareness related variety rhythmic abilities including reproduction rhythmic patterns rautenberg tempo reproduction moritz et al tapping beat music david et al discrimination stimuli based amplitude rise times goswami et al leong et al literacy related language skills temporal patterns overy strait et al furthermore children languagelearning impairment tap variably beat corriveau goswami musical training improves verbal ability moreno et al speech segmentation fran\u00e7ois et al sentence processing moreno et al syllable processing chobert et al training beat synchronisation shown improve reading fluency taub lazarus overall seems rhythmic training may enhance learning read neurological evidence revealing direct link cortical behavioural measures rhythmic entrainment supports nozaradan et al tracking rhythm patterns seems play vital role music speech perception important acquiring reading skills beat induction humans derive pulse music even explicit suggested serve development auditory scene analysis language patel particular supplementary motor area known involved articulation speech preparation movement engaged performing music imagining listening music imagining performing music herholz zatorre brown et al also plays important role planning music performance terms rhythm melody sequencing de manzan\u00f6 ull\u00e9n link basal ganglia supplementary motor area along dorsal route supports finding ability synchronise beat positively correlated better prereading skills segmenting speech streams better neural encoding speech language carr et al tierney kraus kraus slater better subcortical neural timing adolescents tierney kraus well better cognitive linguistic skills tierney kraus b integration sensory motor information may provide mechanism predicting sequence timing large et al processes ensure smooth flow conversation tierney kraus c propose two theoriesthe temporal sampling hypothesis dynamic attending theorysuggest rhythm music envelope speech may tracked biologically mechanism temporal sampling hypothesis proposes neural mechanism tracking speech amplitude power music time goswami suggesting phaselocking slow neural oscillations delta theta range mechanism selectively samples lowfrequency information amplitude envelope crucial segmentation speech sounds dynamic attending theory proposes similar set neural oscillators phaselock resonate temporal structure music leading attentional focus changes relation rhythmic structure piece music velasco large speech inherently temporal boundary lengthening pauses enhancing experience language temporal phenomenon moberget ivry metrical intonational pitch components grammar experienced prosody ferreira karimi studies reported importance rhythmic pitch perception development reading skills atterbury forgeard et al atterbury found readingdisabled children aged seven nine could discriminate rhythm patterns well controls poorer rhythm performance tonal memory normalachieving readers anvari colleagues studied four fiveyearolds found rhythm pitch perception skills predicted early reading performance fouryearolds even taking account variance due phonological awareness fiveyearolds pitch perception predicted early reading performance accounting phonological awareness tsang conrad studied children without formal music training trained children outperformed untrained children pitch discrimination rhythm discrimination phonological skills although two groups performed tests word identification timbre discrimination receptive vocabulary jones colleagues shown pattern structure particularly initial patterns pitch time involving small pitch intervals important listeners rely heavily global pitch structure rhythm language processing range possible reasons differing outcomes research including different methods used assess reading nature musical interventions whether support development pitch melodic rhythmic skills prior musical literacy experiences participants musical activities literacy related language skills involve learning read notation may direct transfer reading text singing also proposed one possible way musical activity improves literacy involves reading predictable text segmenting words syllables lyrics matched music recognising patterns butzlaff forgeard et al possible explanations impact musical training reading performance relate changes concentration motivation aid children focusing long periods time helping persevere butzlaff reviews metaanalyses conclusions number reviews research considering relationship musical engagement literacy taken together indicate number similarities learning read text music auditory analysis skills used language processing phonological distinctions blending segmentation sounds similar skills necessary music perception rhythmic melodic discrimination five subskills underlying reading acquisitionphonological awareness speech noise perception rhythm perception auditory working memory ability learn sound patternsare linked music experience temporal attention influenced rhythm benefits syntax processing speech production music written text require reading notation left right conversion notation specific sounds reviews agree music education contribute literacy development children including find development literacy skills challenging bolduc bugaj brenner sammler elmer sch\u00f6n tillman tierney kraus rolka silverman carried systematic review analysing research music dyslexia twentythree studies included focused challenges studying musicin particular problems reading notationalthough explored music could used improve literacy skills test neural processing auditory information offering potential inform early diagnosis findings review revealed music training seen power music remediation tool improve literacy skills children dyslexia although specific type music support achieve predictable outcomes require investigation metaanalyses mixed results butzlaff carried two metaanalyses first included studies examining correlation music instruction reading performance second six intervention studies first demonstrated significant positive relationship music instruction performance reading tests second yielded reliable effects contrast standley analysis experimental studies found strong overall effect metaanalysis gordon colleagues based studies found music training led gains phonological awareness skills transfer effects rhyming skills became stronger increased hours training significant transfer effect emerged reading fluency measures conclude taken together evidence set chapter along research reviews metaanalyses suggests active engagement music positive effect childrens literacy variety musical activities appears contribute benefits although exact nature effective remains established differences outcomes research may depend rigour age general life experiences participants assessment measures used reliability validity nature quality musical instruction spelling much less focus impact active engagement music spelling compared reading early study douglas willatts working seven eightyearolds found positive correlations among tests pitch rhythmic aptitude vocabulary reading spelling vocabulary scores taken account association rhythm spelling abilities remained pitch aptitude spelling disappeared suggesting importance rhythm relation spelling overy found positive effect music lessons spelling performance children poor spelling skills benefiting hille literacy related language skills colleagues tested boys grade aged eight nine germany half learned play musical instrument boys played instrument showed better performance spelling effect occurred independently intelligence test scores weak correlation spelling mistakes nonverbal measures intelligence examination data performed poorly spelling showed played instrument underrepresented percent boys lowest quartile played instrument whereas percent boys highest quartiles active musicians singing choir taking part course entitled first experiences music associated spelling performance suggesting skills developed playing instrument potential transfer currently insufficient research relationship actively engaging musical activities spelling skills us draw firm conclusions writing spelling little attention paid influence active engagement music writing exception study children economically disadvantaged homes participated instruction focused concepts print singing activities writing children experimental group showed enhanced print concepts prewriting skills standley hughes register colleagues replicated study standley hughes evaluating effects music intervention using curriculum designed enhance prereading writing skills children aged four five enrolled early intervention programmes programme children exceptional needs intervention control groups received two minute music sessions week entire school year autumn sessions experimental group focused writing skills spring sessions taught reading book concepts music sessions control group based thematic material determined classroom teacher purposeful exclusion preliteracy concepts participants pretested beginning school year posttested power music school year ended findings showed music sessions significantly enhanced groups abilities learn prewriting print concepts although experimental group showed statistically significantly higher results logo identification word recognition following intervention research focused whether learning play musical instrument enhance development fine motor skills may contribute towards development handwriting neuroscientific studies shown changes cortical representation fingers intensive keyboard practice sessions periods short five days long two weeks pascualleone orsmond miller compared fine motor abilities children participated two years piano instruction never received formal music training significant improvement fine motor skills found children received piano lessons significant difference speed response found two groups end two years instruction innumerable opportunities assess refine time motor responses specific stimuli musical practice availability constant evaluative feedback sound may allow musicians improve accuracy speed perceiving responding relevant stimuli similarly costagiomi compared fine motor abilities children lowincome families participated two years piano instruction received formal music training significant improvement fine motor skills found children receiving lessons children experimental group supplied acoustic pianos practised average threeandahalf hours weekly costagiomi b motor proficiency two groups comparable start project costagiomi findings suggested improvement motor proficiency mainly caused differences speed subtest required children react quickly catch rod sliding wall scores tasks measured handeye coordination dexterity affected lessons costagiomi concluded music performance requires accurate quick motor reaction visual aural kinesthetic stimuli improves accuracy speed perceiving responding stimuli literacy related language skills conclude relatively little evidence appears learning play musical instrument contributes development fine motor skills may support development handwriting overview taken together evidence suggests active engagement music positive effect childrens literacy enhancement aural skills improves phonological awareness supports decoding written material sound rhythmic activities particular seem support reading skillsparticularly experiencing difficulties literacy little evidence draw conclusions relating role learning play musical instrument spelling handwriting music spatial reasoning mathematical performance historically long interest relationship acquired musical skills performance mathematics assumed strong connection music mathematics many musicians play notation constantly required adopt quasimathematical processes subdivide beats turn rhythmic notation sound recently interest relationship music spatialtemporal reasoning contributes areas mathematical understanding spatialtemporal reasoning ability transform mental images absence physical model rauscher et al shaw involves ability manipulate understand complex shapes mental imagery individual develops evaluates patterns change space time cooper viewed spatial temporal reasoning abstract model cognition consisting several elements including patternseeking recognition retention recall visualising imagery perceiving figures wholes generating whole image fragment grasping whole problem understanding spatial relationships multiperspectives among internal movement parts maintaining orientation within space mentally manipulating shapes within two threedimensional space key features used spatialtemporal reasoning include transforming relating mental images space time use symmetries compare physical mental images temporal sequencing grandin et al skills highlevel mathematical abilities useful learning proportional reasoning grandin et al shaw induce advanced understanding mathematical concepts fractions proportions symmetry arithmetic himonides cc byncnd httpsdoiorg obp power music operations tran et al developing spatialtemporal thinking may also related geometrical skills early mathematical skills tend one two types number knowledge number operation griffin latter linked formulation mental number lines enable children understand magnitudes relations arithmetic operations jordan et al gunderson mental number lines linked spatialtemporal reasoning development mental number line fundamental mathematical understanding facilitates performance especially arithmetic ramani siegler booth siegler van nes doorman gunderson et al spatial skills also linked spatial structuring important determining quantities well comparing calculating butterworth mulligan mitchelmore undertaking tasks early development occurs unitarily takes time also lead errors children gradually learn organise objects ways enable count accurately efficiently helps understand decimal system spatial awareness contributes development patterning temporal element might used structuring strategy choice explanations relationship music spatialtemporal reasoning sought neuroscience two main approaches developed first concerns connectivity proposes processing music spatial tasks underpinned overlap brain functions fiske contrast neartransfer theory suggests music spatialtemporal reasoning share processes development one leads development rauscher schellenberg explanations links music spatialtemporal reasoning relate connectionismthe development neural connections sporns modular theory related neartransfer jordandecarbo nelson connectivity proposal supported shaw suggested musical spatial processing overlap brain result cortical connections development certain kinds musical spatial abilities especially spatialtemporal abilities intertwined neartransfer suggests several kinds thinking required order learn make music multidimensional music spatial reasoning mathematical performance processes range spatial skills might improved practice required making music jordandecarbo nelson particular interest relationship music spatial reasoning skills developed following study rauscher colleagues claimed listening mozarts sonata two pianos k ten minutes adult participants showed significantly better spatial reasoning skills periods listening relaxation instructions designed lower blood pressure listening silence mean spatial reasoning scores eight nine points higher listening music two conditions however effect lasted ten fifteen minutes early attempts replicate phenomenon unsuccessful chabris steele et al using logical rather spatial reasoning task newman colleagues tested students listening either eight minutes mozarts music relaxation instructions silence found participants showed practice effect particular enhancement music group similarly rideout laubach tested four female four male undergraduates two equivalent spatial tests following either presentation mozarts sonata two pianos major nonmusical activity eeg recorded baseline two task performance periods correlations generated task performance eeg variables performance improved significantly following presentation music later study rideout colleagues studied participants showed reliable improvement paperfolding cutting task listening mozarts sonata two pianos major enhanced performance also noted participants listening contemporary musical selection similar musical characteristics cases control procedure included ten minutes listening relaxation tape similarly wilson brown examined effect mozarts music college undergraduates listened selection mozarts music participant performed pencil paper maze task tenminute presentation three listening conditions piano concerto mozart repetitive relaxation music silence limited support previously obtained enhancing effect listening mozarts music revealed measures performance accuracy spatial task whereas effect found either power music number maze recursions overall quality maze solutions hetland b carried two metaanalyses found music significantly enhanced performance variety spatial tasks music mozart also enhanced spatialtemporal performance short period time research explored socalled mozart effect children instance part bbc programme tomorrows world replication rauschers study undertaken ten elevenyearold children hallam tested listened simultaneously either contemporary pop music blur oasis piece music mozart used rauchers study talk given experiments assigned random one three listening experiences child completed two tests spatial abilities statistically significant differences found performance three groups two tests spatial reasoning reanalysis data using different statistical approach schellenberg hallam showed performance one testssquare completiondid differ function listening experience performance paperfolding test superior children listened popular music compared two groups interpreted terms arousing effects popular music children also enjoyed leading increase motivation mixed although mainly negative evidence relating mozart effect led research focusing role music played alongside completion range different intellectual tasks impact background music considered depth chapter comparisons musicians nonmusicians correlation studies one strand research compared performance musicians nonmusicians spatialtemporal reasoning tasks strand compared performance mathematical tasks neuroscientific research brain structures confirmed areas brain spatial reasoning occurs pronounced music spatial reasoning mathematical performance adult musicians processing music spatialtemporal tasks activates similar neural structures sluming colleagues found musicians achieved better results controls line orientation test better finding middle line patston et al skills used two tasks may related ability manipulate mental number line taking account importance concept mental number line development mathematical thinking possible active engagement music enhances process siegler booth ramani siegler considerable evidence research professional musicians training become professional musicians better spatialtemporal reasoning abilities nonmusicians including mental rotation pietsch jansen compared students music sports education demonstrated better performance mental rotation tasks among first two groups sluming colleagues found members orchestras outperformed controls mental rotation tasks suggested linked pronounced development brocas area brains musicians mark showed areas brain activated whilst performing music spatialtemporal tasks proximate musicians better range visuospatial search tasks patston tippett administered language comprehension task visuospatial search task expert musicians matched non musicians conditions silence correct incorrect piano music playing background musicians performed poorly language comprehension task presence background music compared silence effect background music musicians performance visuospatial task contrast performance nonmusicians affected music either task suggests musicians process music recruit network overlaps network used language processing musicians better reaction times selective divided visual attention tasks rodrigues et al better matching set coloured blocks visual image stoesz et al better memory line drawings jakobson et al accurate asked mark centre horizontal line patston power music et al asked judge orientation line patston et al findings might particularly important linking music mathematics ability visualise horizontal line localise middle proportional distance closely related notion mental line used variety mathematical operations gunderson et al however helmbold colleagues compared adult musicians nonmusicians matched age sex level education performance different aspects primary mental abilities including verbal comprehension word fluency space flexibility closure perceptual speed reasoning number memorythey found significant differences except flexibility closure perceptual speed musicians performed reliably better nonmusicians pannenborg pannenborg compared individuals varying degrees musical talent found slightly higher level mathematical ability high levels musical ability contrast haecker ziehen administered self report questionnaire via internet musical unmusical male participants doctorallevel members american mathematical association modern language association questionnaire assessed musicality music perception music memory musicianship music performance music creation mathematics group exhibit higher levels either musicality musicianship mathematicians reporting highlevel music performance ability report significantly greater musicality literature language scholars similarly haimson colleagues b recruited participants online membership american mathematical society modern language association presented questionnaire assessing skills musicality musicianship members groups reported relatively low levels musicality statistically significant differences revesz also found reported levels interest aptitude mathematics musicians low vaughn metaanalysed studies comparing mathematics achievement students without selfselected music study reported small positive association mathematics musical engagement working fourthgrade children haley music spatial reasoning mathematical performance investigated effects participating instrumental music programme band orchestra academic achievement children placed three groups first consisted children studied instrument prior introduction band orchestra fourth grade second consisted children beginning study instrument third consisted children experience instrumental instruction findings showed students studied instrument prior fourth grade higher scores mathematics achievement students groups comparing performance reading mathematics two schools different levels music education one outstanding music programme music programme deere carried survey students experiencing highquality music education higher tennessee comprehensive assessment program tcap reading mathematics scores fourth grade also high correlation music education tcap scores reading mathematics eighth grade musical education high quality students also reported higher tcap reading mathematics scores study young children williams colleagues investigated parentchild home music activities sample australian children participating growing australia longitudinal study australian children frequency shared home music activities reported parents children two three years old range social emotional cognitive outcomes assessed parent teacher report direct testing two years later children four five years old series regression analyses found frequency shared home music activities small significant partial association measures childrens numeracy findings suggested may role parentchild home music activities supporting childrens mathematical development catterall colleagues using nels data studied low socioeconomic status students exhibited high mathematics proficiency twelfth grade found percent involved instrumental music compared percent involved miksza extended research examining potential power music relationship participation highschool music ensembles extra musical educational outcomes including achievement mathematics using data education longitudinal study sample students representative white minority highschool students rural suburban urban schools across united states students belonged school music ensembles higher scores standardised mathematics tests study controlled socioeconomic status mathematical performance prior music training similarly bergee weingarten used multilevel mixed modelling test extent students music achievement scores related reading mathematics achievement scores four levels examinedindividual students classrooms schools districts individuals districts accounted significant portion total variance achievement scores strong relationship music scores readingmathematics achievement higher education barroso colleagues aimed identify cognitive affective factors related mathematics music theory best explained undergraduate music theory achievement findings suggested mathematic scores music theory confidence important predictors grades undergraduate music theory examinations musical interventions spatialtemporal reasoning research comparing musicians nonmusicians showing relationships music spatialtemporal reasoning mathematics important able demonstrate causality demonstrate causality necessary carry experimental intervention studies impact musical engagement compared impact activities activity rhythm may particularly important infants engage significantly rhythmic movement music rhythmically regular sounds speech also extent exhibit tempo flexibility zentner eerola general music instructionincluding singing movement playing percussion instrumentshas shown assist four music spatial reasoning mathematical performance sixyearold children development spatial ability bilhartz et al zafranas studied kindergarten children received two piano keyboard lessons weekly one school year following piano keyboard instruction participants improved significantly hand movement gestalt closure triangles spatial memory arithmetic matrix analogies similarly gromko poorman investigated effect music training preschoolers performance subtests wechsler preschool primary intelligence scale threeyearolds study musically intellectually stimulating environment resulted increase ability perform spatialtemporal tasks rauscher colleagues assigned students three preschools music computer instruction groups instruction groups received training one following piano keyboard either individually coupled group singing lessons group singing lessons computer instruction children pre posttested using one spatialtemporal reasoning task object assembly three spatial recognition tasks geometric design block design animal pegs differences groups pre test scores instruction children piano group scored significantly higher spatial reasoning task compared children conditions differences amongst groups spatial recognition tasks computer group singing noinstruction groups improve significantly time tests later studies rauscher rauscher zupan undertaken three years uppermiddleincome children provided eight months weekly minute keyboard instruction groups eight ten beginning either kindergarten aged five first grade aged sixscored higher two spatialtemporal tasks puzzlesolving blockbuilding compared children receive music instruction enhancement found pictorial memory task however effects maintained music instruction terminated although lessons resumed second grade childrens scores increased surpassing levels reached lessons terminated children received instruction period three years scored higher spatialtemporal tasks compared power music children received instruction scores keyboard group improved every year although significantly kindergarten scores children began instruction second grade improve suggesting important training began early rauscher la mieux also reported children received keyboard lessons singing training rhythmic instruction scored higher controls spatial reasoning tasks studies examined effects musical instruction spatialtemporal reasoning middleincome elementaryschool children rauscher hinton two groupsa music group animated reading groupreceived minutes lessons groups eight ten nine months end study children received keyboard lessons scored significantly higher spatialtemporal reasoning tasks received animated reading lessons although improvement keyboard group girls working elementaryschool students johnson davis investigated effects programme combining musical ensembles residence regular classroom music instruction students auditory discrimination spatial intelligence combination regular sequential general music classes participants programme received two halfhour lessons week musical ensembles residence lasting four consecutive years chamber ensembles provided aural models reinforcing fundamental concepts data collected stratified random sample students grades two four five receiving experimental programme demographically similar comparison schools receive regular music instruction total elementary students participated study children participating programme chamber music ensembles showed consistent statistically significantly greater scores auditory discrimination spatial intelligence measures holmes hallam examined potential active music making improve mathematics achievement primaryschool pupils quasiexperimental design children aged five six participated music programme number pupils parallel classes made two control groups lessons contained variety musical predominantly rhythmical activities based popular nursery music spatial reasoning mathematical performance rhymes spatialtemporal skills tested beginning end study throughout intervention pupils assessed musical skills well general specific mathematical skills strong relationship musical spatialtemporal skills found age groups younger group scored higher peers picture test puzzle test results older children also higher music group spatialtemporal tests enhancement mathematics intervention group found although significant contribution spatial temporal abilities general mathematics achievement one strand research focused preschool children deprived backgrounds participating head start programmes rauscher rauscher et al first study head start children randomly assigned one three groupspiano computer instructionfor weeks two years end intervention children received music instruction scored significantly higher control groups visual auditory tasks required spatial temporal skills performance arithmetic task also improved following music instruction second study focused whether different types music instruction different effects head start children mixed ethnicity assigned randomly one four conditions piano singing rhythm instruction children music groups received weekly individual instruction period weeks two years data three music groups replicated data first study children music groups scored significantly higher posttest tasks requiring spatial temporal skills rhythm group scored significantly higher piano singing groups temporal arithmetic tasks third study conducted determine whether effects endured instruction stopped scores head start children received lessons first second studies compared three groups gradematched children participating head start receive music instruction atrisk children involved head start middle income children receive music instruction children received music instruction first study continued score higher groups children exception power music agematched middleincome children three four tests two years instruction ended data children participated second study progressed kindergarten showed singing piano rhythm groups scored higher head start atrisk children five tests addition rhythm group scored higher singing piano groups arithmetic subtest scored significantly higher middle income children temporal arithmetic mathematical reasoning numeracy tasks findings suggest rhythm instruction strongest impact range mathematically related tasks rauscher hinton summarised results several studies showed music groups higher scores arithmetic spatial abilities following musical interventions although equivalent initially rauscher several research projects undertaken within context el sistema approach musical engagement structured extracurricular orchestral programme instance osborne colleagues studied pupils lowincome neighbourhood participating el sistema showed greater improvement spatial reasoning verbal mathematical skills comparison groups evidence music responsible enhanced spatial reasoning atrisk children comes israeli study twoyear music training intervention two three hours per week introduced afterschool centres atrisk children centres portowitz et al children participating intervention showed larger improvements remembering reproducing complex line drawing effective music interventions enhancing spatial temporal reasoning children seem based rhythm hetland holmes holmes hallam rauscher le mieux children early years primary school seem benefit interventions costagiomi graziano et al holmes holmes hallam rauscher rauscher la mieux rauscher zupan schellenberg optimal length interventions required sustainable impact conclusively established rauscher zupan showed improvement music spatial reasoning mathematical performance spatialtemporal skills continued throughout fouryear programme whilst rauscher suggested need programmes last least two years achieve lasting change underpinnings accelerated progression disadvantaged pupils yet clear enhancements might mediated development general cognitive abilities also possible programmes raise participants motivation selfefficacy perseverance overall majority studies shown spatialtemporal skills improved musical training interestingly related cognitive abilities assessedfor instance pictorial memory rauscher zupan spatial recognition rauscher number recall rauscher la mieux significant improvement related musical engagement research shown impact music spatial reasoning instance hanson investigated effects sequenced kod\u00e1ly literacybased music programme spatial reasoning skills kindergarten students fiftyfour kindergarten children participated one group children received kod\u00e1ly music instruction second group computer instruction third group intervention programme lasted seven months spatialtemporal reasoning spatial reasoning nonspatial measure assessed analysis revealed statistically significant differences pre post gain scores measures relationships spatial skills mathematics children engage arithmetic long experience formal mathematics education number processing present prior development language preschool children understand estimation comparison quantities often count use number terminology sense ordinality kaufmann use develop strategies procedures solving problems bisanz et al young children discriminate small groups items containing different numbers objects understanding increasing quantity adding objects decreasing quantity removing power music depends observing ordinal relations among numbers bisanz et al skill related addition develops earlier subtraction children gradually develop greater accuracy provide exact solutions arithmetic problems usually achieved four five years old also begin develop rules concepts inform constrain growing ability manipulate numbers bisanz et al krajewski schneider developed three phase model process basic numeric skills quantity number concepts number relationships third level visualspatial skills play vital role nonverbal representations magnitudes essential problemsolving rasmussen bisanz model supports strong relationship spatial skills cheng mix visualspatial components working memory development mathematical abilities alternatively spelke proposes broader model outlines three main systems support young childrens mathematical learning system representing small exact numbers objects three system representing large approximate numerical magnitudesfor example system representing geometric properties relationships system malleable relatively independent young children basic concepts mathematical operations develop children learn connect three systems linking representations numbers representations space helps creating mental number lines central understanding relationships numbers calculations spatial structuring essential many mathematical activities numerical geometrical nature van nes de lange propose ability imagine spatial structure relates specific magnitude mentally manipulate helps understanding quantities process counting also speeds process van nes dorman describe mathematical skills rely spatial structures composing decomposing quantities counting grouping partwhole knowledge addition multiplication division comparing number objects patterning building construction blocks ordering generalising classifying music spatial reasoning mathematical performance sophisticated mathematical operations instance algebra proving predicting mental rotation structures booth siegler examined whether quality numerical magnitude representations firstgrade children mean age years correlated predictive causally related learning arithmetic childrens pretest numerical magnitude representations correlated pretest arithmetic knowledge predictive learning answers unfamiliar arithmetic problems relation learning solve unfamiliar problems remained controlling prior arithmetic knowledge shortterm memory numbers mathematics achievement test scores addition presenting randomly chosen children accurate visual representations magnitudes addends sums improved learning answers problems representations numerical magnitude correlationally causally related arithmetic learning abilities engaged geometry also number sense comparing calculating quantities effectively using strategies solve problems similarly gunderson colleagues using two longitudinal data sets found childrens spatial skills mental transformation ability beginning first second grades predictor improvement linear numberline knowledge course school year spatial skill age five predicted performance approximate symbolic calculation task age eight relationship mediated childrens linear numberline knowledge age six similarly working preadolescent college students high lowability college bound youths casey colleagues found spatial skill measured vandenberg mental rotation test highly related success mathematics female samples mental rotation predicted mathematics aptitude even verbal aptitude scores entered regression first male samples relationship varied function ability sample overall spatial skills widely used many levels mathematical thinking development considered strong predictor achievement mathematics primary school stages education power music relationships music spatial skills mathematics another strand research studied relationships music spatial skills mathematics understanding ratio enables children calculate fractions divisions proportions pattern recognition used spatialtemporal tasks broad variety mathematical tasks schlaug colleagues suggested link skills using rhythmic notation gordon saw link processing structures sound geist colleagues argue music childrens first patterning experience helps engage mathematics even though recognise research provided evidence relationships music spatialtemporal reasoning mathematics instance mcdonel found strong correlations musical aptitude rhythm achievement scores numeracy tests however sample size small findings interpreted cautiously spelke compared performance tasks measuring performance three main systems supporting young childrens mathematical learning representing small exact numbers objects large approximate numerical magnitudes representing geometric properties relationships students aged five seventeen music training sports training training art forms music training considered three levels intensity moderate intense highly intense first experiment children low levels music training show instruction enhanced core mathematical skills second experiment included students mixed levels music training children intense music instruction outperformed others tests related spatial awareness third experiment students extensive music training achieved higher scores tests sensitivity geometry including task assessed childrens ability relate numerical spatial magnitudes involved operations mental number line researching relationships complex musical training may associated aspects mathematics others instance bahnajames found highschool students music music spatial reasoning mathematical performance theory grades correlated grades algebra geometry pre calculus grades advanced mathematics course logic similarly bahr christensen reported performance mathematics test musicianship rating scale correlated areas music mathematics shared structural overlap pattern recognition symbol usage areas mathematics overlap however research supports instance helmbold colleagues failed demonstrate advantage musicians pattern recognition holmes hallam working primaryschool children showed correlations music rather mathematical skills related spatial reasoning changes mathematical skills reliant memory much smaller finding suggests development spatial skills may act moderator rhythmic instruction attainment mathematics correlations spatial reasoning scores music performance high picture test puzzle test score correlations music score two puzzle tests various mathematical performances showed strong correlations mathematical tests strongest correlations two threedimensional shapes lower correlations addition subtraction counting number recognition cranmore tunks adopted qualitative approach asking high school students share direct experiences music mathematics well perceptions two fields related participants divided four groups based school music participation level achievement mathematics students saw mathematics foundation musical ability suggesting different direction previous studies rhythm perceived connections mathematics musical engagement mathematical performance studies concentrated impact learning music might development specific cognitive skills considered useful acquiring mathematical understanding instance notions proportions fractions patterns gardiner colleagues power music showed children participating arts programmewhich included seven months supplementary music lessons lower score mathematics baselineoutperformed controls terms mathematics achievement participating longest period time highest scores overall groups participated music arts possible conclude music element produced effect whitehead examined effect orff schulwerk music instruction mathematical scores middle highschool students subjects randomly placed three groups full treatment group received music instruction minutes five times week limited treatment group received minutes instruction week treatment group received music instruction weeks full treatment group showed higher significant gains mathematics two groups limited treatment group showed limited mathematics improvement treatment group showed lowest gain ribeiro santos aimed verify efficacy non instrumental musical training numerical cognition children low achievement mathematics using cluster analysis examined whether children low scores numerical cognition would grouped cluster pre postmusical training primary school children divided two groups according scores arithmetic test testing battery numerical cognition tests revealed improvements children low achievement mathematics especially number production capacity compared normative data number children low scores numerical cognition decreased intervention neville colleagues examined differences results four groups preschoolers received music training attention training training general teaching delivered small group training general teaching large class music instruction delivered daily included listening music making music moving music singing intervention lasted eight weeks statistically significant change recorded numeracy visual cognition music group attention group children music group performed especially well verbal counting music spatial reasoning mathematical performance estimating magnitudes similarly geoghegan mitchelmore investigated impact weekly earlychildhood music programme mathematics achievement preschool children aged four five group children involved musical activities scored higher mathematics achievement test control group although home musical background may confounding factor children listened frequently adults singing music collection home performed better children cheek smith examined whether type music training related mathematics achievement levels eighthgrade students data collected iowa academic achievement tests basic skills survey participants music background including type musical instrument number years school music lessons number years private lessons demographics significant difference found mathematics scores students receive private music lessons however students two years private lessons significantly higher mean mathematics score students private lessons furthermore students keyboard lessons significantly higher mathematics scores students music lessons instruments innovative study kvet investigated whether significant differences existed sixthgrade reading language mathematics achievement students excused regular classroom activities study instrumental music students studying instrumental music sixthgrade students participated analyses showed significant difference sixth grade reading language mathematics achievement excused regular classroom activities study instrumental music studying instrumental music focusing emotions related mathematics well achievement colleagues studied thirdgrade elementary students preposttest control group design utilised examine changes two groups participating students mathematics achievement dispositions including beliefs success attitude confidence motivation usefulness students music group received musicmathematics integrated lessons students power music control group received traditional lecture textbookbased mathematics instruction analysis results demonstrated despite statistically equivalent pretest scores prior intervention intervention music group students statistically significantly higher positive mathematics disposition scores nonmusicgroup peers suggests advantages teachers utilising musicthemed activities context offering students opportunity learn mathematics challenging yet enjoyable learning environment evidence impact musical activity mathematics performance mixed authors proposed may link use fractions proportions rhythm point processing requires mathematic specific skills shaw schlaug et al jones instance courey colleagues examined effects academic music intervention conceptual understanding music notation fraction symbols fraction size equivalency thirdgraders multicultural mixed socioeconomic publicschool setting sixty seven students assigned class general education mathematics programme academic music instruction minutes twice week six weeks academic music students used conceptual understanding music fraction concepts inform solutions fraction computation problems statistical analysis revealed significant differences experimental comparison students music fraction concepts fraction computation following intervention large effect sizes students began instruction less fraction knowledge responded well intervention produced posttest scores similar higher achieving peers similarly azaryahu colleagues examined effect two integrated intervention programs representing holistic versus acoustic approaches teaching fraction knowledge three classes fourthgrade children attended lessons fractions one class attended musimath holistic programme focusing rhythm within melody second class attended academic music acoustic programme courey et al used rhythm third class children received regular mathematical lessons fractions students music programmes learned write musical notation music spatial reasoning mathematical performance perform rhythmic patterns clapping drumming part fraction lessons worked toward adding musical notes produce number fraction created additionsubtraction problems musical notes music programme used time signature crotchets quavers semiquavers mathematics lessons students learned analogy musical durations half quarter eighth fractions also practised fractions music mathematics skills assessed immediately following three six months intervention analysis indicated musimath group showed greater transfer intervention trained untrained fractions comparison group academic music group showed positive trend trained fractions despite music groups outperformed comparison group three six months intervention trained fractions musimath group demonstrated greater gains untrained fractions similarly hamilton colleagues describe pilot study aimed determine whether understanding mathematics specifically fractions equivalence ordinance division improved music musical rhythm used lessons preliminary data suggested students responded positively novel method teaching terms engagement also test performance focusing piano keyboard skills johnson edelson developed activity teaching children aspects mathematics musical concepts including use musical instruments musical symbols expand concepts serial order fractions sorting classification ratios concluded music potential assist developing mathematical skills also using piano keyboard lessons combined video game graziano colleagues demonstrated preschool children given six months piano keyboard lessons improved dramatically spatial temporal reasoning children appropriate control groups improve researchers also developed spatia maths video game designed teach fractions proportional mathematics extremely successful study involving secondgrade children aged six eight years old children participating piano keyboard training well maths video game scored significantly higher proportional mathematics fractions children power music experienced nonmusical training along maths video game lim colleagues investigated future teachers experiences perceptions using virtual reality game elementary maths education virtual reality game designed developed integrate musical activity beatmaking learning fractions mathematics education students participated perceived concept fractions effectively represented via beatmaking virtual reality game wentworth explored effectiveness integrated approach music mathematics high school four lessons taught intervention control class determine mathematically motivated music instruction affected students understanding operations functions composition functions inverse functions domain range preposttest design used determine effect achievement integrated lessons questionnaire also given identify differences students mathematical perceptions selfefficacy determination intervention group demonstrated significantly greater gains overall three major differences identified groupsthe intervention group used function notation frequently control group control group demonstrated confusion composition functions inverse functions intervention group intervention group showed mathematical work applications portion test control group integrated instruction led comparable cases significantly better mathematics outcomes control group giving students increased willingness work mathematical applications posttest moving forward research shown music positive effect learning mathematics instance costagiomi worked nine tenyearold children lowincome families involved three years weekly individual piano lessons children participated study given instrument could practise home selfesteem musical understanding enhanced music group academic achievement mathematics english different control group quality musical input crucial transfer skills illustrated threeyear study explore whether group music music spatial reasoning mathematical performance instruction could improve test scores economically disadvantaged elementaryschool children including almost kindergarten fifth grade students four elementary schools one school provided minutes keyboard lessons per week another minute lesson every six days remaining two schools acted controls lessons groups pupils participants pretested two subtests measuring verbal abilities two measuring quantitative abilities one measuring spatialtemporal abilities tests repeated months first two years study difficulties implementation music programme end study children received one year highquality tuition gains rauscher similarly yang colleagues examined relationship longterm music training child development based chinese elementaryschool students academic development first language second language mathematics found musician children outperformed nonmusician children musical achievement second language development although music training appeared correlated childrens final academic development first secondlanguage learning mathematics independently contribute development first language mathematical skills authors argued variables might important example parents level education two experiments rickard colleagues also revealed inconclusive results first based already existing music programme ten thirteenyearolds comparing participation drama art music groups improvement music group nonverbal iq test academic achievement second musical intervention provided externally six months included playing music percussion instruments composing improvising playing group singing active listening analysis wide range styles programme introduced private school students middle high economic status three groups participated music drama additional activity students music group achieved better results mathematics result also evidence drama group authors argued age children may factor outcomes research power music cox stephens compared highschool students different numbers music credits relation mean mathematics grade point averages mean cumulative grade point averages students separated two groups based number music credits earned least two music credits per grade level placed group included ninthgraders two music credits tenth graders four music credits eleventh graders six music credits twelfth graders eight music credits remaining students placed group b group students performed better group b students differences statistically significant although slight upward trend grade point average number music credits increased lower grade point averages nonexistent music credits increased overview number reviews impact music cognitive skills including spatial reasoning mathematics relation spatial reasoning hetland reviewed studies found strong reliable relationship concluded music instruction led dramatic improvement performance spatial temporal measures commented consistency effects likened differences one inch height points sat p showed effects likely stronger among younger children three five years aged six twelve years similarly \u010drn\u010dec colleagues reviewed evidence impact music teaching spatiotemporal reasoning skills found consistent effect although improvements associated academic domains arithmetic reliably shown recent research reviewed generally supports positive role music developing spatial temporal reasoning skills consistency findings suggesting near transfer automated effect spatial temporal skills well developed wider appropriate choice strategies efficient less erroneous mathematical operations rhythmbased instruction seems conducive improvement spatial temporal music spatial reasoning mathematical performance reasoning skills followed learning play piano singing leads smaller changes focusing impact engaging music broader range academic skills educational attainment including mathematics hodges oconnell suggest moderate position needs taken one extreme data support contention music improves academic performance extreme basis saying music instruction effect academic achievement hodges oconnell argue human learning complex simplistic explanations must rejected suggest music experiences positive impact academic performance certain circumstances neglected impact individual teacher excellent teachers enthusiastic relate well students may make greater difference educational outcomes particular methods used although overall quality tuition poor negative impact recent systematic review also suggests findings inconclusive contradictory jaschke et al jaschke colleagues attribute differences research design analytical methods used nature musical interventions differences neural activation processing tasks recent meta analyses come similar conclusions challenges faced research concluded overall music impact childrens cognitive skills including mathematics sala gobet conclude evidence suggests active engagement musical activities enhances range spatial processing skills particularly young children skills may support development simple mathematical skills mediated line number knowledge transfer mathematical skills remain many questions type training may effective involving rhythm seems likely candidate long training needs sustained type mathematical activities may influenced musical activity overall quality training offer impact musical engagement memory memory faculty brain data information encoded stored retrieved needed several different types memory broadly fall three groups sensory memory shortterm memory longterm memory sensory memory short typically acting less half second accurately retains material time acting buffer stimuli received five senses iconic memory refers immediate visual memories echoic memory auditory memories haptic memory sense touch olfactory memories relate smell gustatory memories taste shortterm memories slightly longer sensory memories still disappear minutes shortterm memory holds information briefly needed term shortterm memory often used interchangeably term working memory short term memory temporary limited capacity information processed either lost entered longterm memory longterm memory brains system storing managing recalling information complex serves different functions longterm memories include anything event occurred five minutes ago something years ago many different forms longterm memories sometimes conscious requiring us actively think order recall memories unconscious appear without active attempt recollection common forms longterm memory explicit memory intentional recall information declarative memory retention recall important facts dates information episodic memory enabling memory firsthand experiences ones life semantic memory storage vocabulary names general knowledge himonides cc byncnd httpsdoiorg obp power music implicit memory sometimes referred unconscious memory information moment time cannot specifically recalled procedural memory memory things auditory memory helps retain information based sounds individual heard visual spatial memory enables memory spatial objects manipulation working memory latter controversial forms memory cowan reviewing evidence suggests retention small amount information readily accessible form facilitates planning comprehension reasoning problemsolving research impact making music working memory mention often made executive control skills used manage information working memory cognitive processing information overall continues debate actual nature working memory although agreement similar research findings obtained specific test methods adopted chapter reports findings research impact music visual memory verbal memory working memory although seen much research explores several different aspects memory simultaneously visual memory one strand research explored impact musical training visual cognition early work focused memory musical notation instance sloboda demonstrated musically trained adults showed significantly greater capacity maintain musical notation shortterm memory nonmusicians george coch investigated neural behavioural aspects visual memory collegeaged nonprofessional musicians nonmusicians behaviourally musicians outperformed nonmusicians standardised subtests visual memory eventrelated potentials recorded standard visual paradigms participants responded infrequent deviant stimuli embedded lists standard stimuli electrophysiologically musicians demonstrated faster updating working memory visual domain findings demonstrated longterm music training related improvements visual impact musical engagement memory working memory similarly brochard colleagues used neuropsychological task participants detect position target dot relative vertical horizontal reference lines flashed onto screen perception condition reference line remained screen dot displayed imagery condition line disappeared target dot presented requiring participants keep mental image reference line conditions musicians shorter reaction times compared non musicians suggesting musicians enhanced visuospatial abilities authors concluded enhanced performance musicians resulted longterm reading musical notation requires finegrained recognition positions notes stave also efficient attentional processes explanation supported kopiez galley suggested patterns saccadic eye movements used indicator mental processing speed specific demands reading musical notation particularly begun early age may modify way visual information processed nervous system kopiez galley gruhn colleagues compared saccadic eye movements oculomotor tasks adult musicians nonmusicians reported efficient oculomotor strategies musicians argued may associated complex visual processes involved longterm practice reading musical notation alongside efficient attentional processes gruhn colleagues point evidence biscaldi et al currie et al kinsler carpenter sereno et al strong association attention saccadic eye movements control eye movements requires highly complex mental processes involving many cerebral areas tatler wade modalities attention impact oculomotor system kimmig rodrigues colleagues compared performance musicians members symphony orchestra symphonic band nonmusicians tasks involving visual attention used multiplechoice reactiontime test consisted specific motor responses various luminous stimuli test applied twice order assess divided visual attention ability second time used alongside continuously randomly changing visual power music stimuli presented video form participants asked respond verbally change musicians showed higher percentage correct responses test applied alone test applied together changing visual stimuli although musicians showed shorter reaction times verbal responses stimuli changes authors suggested musicians may augmented divided visual attention ability compared nonmusicians ascribed ensemble rehearsal argued professional activities musicians characterised constant demands divided visual attention including dealing several kinds visual stimuli simultaneouslyfor instance musical score conductors gestural instructions body movements musicianswhile also playing instrument patston colleagues compared righthanded musicians nonmusicians line bisection task entailed marking centre horizontal lines varying length cm displayed randomly page neurologically intact righthanders showed slight reliable tendency bisect two percent left centre task hausmann et al phenomenon attributed dominance right hemisphere visuospatial attention oliveri et al contrast patston colleagues demonstrated musicians showed slight rightward bias nonmusicians showed greater deviation left musicians also bisected lines accurately fewer intermanual differences nonmusicians researchers suggested musicians may develop increased ability left hemisphere perform cognitive functions typically right hemisphere dominant resulting balanced spatial attention later study patston colleagues compared reaction times accuracy musicians nonmusicians response stimuli presented left right vertical line groups performed accurately leftsided stimuli musicians significantly accurate nonmusicians rightsided stimuli overall faster reaction times suggested balanced attentional capacity musicians well enhanced visuomotor ability may also advantage line dot tasks type used study brochard colleagues familiar impact musical engagement memory componentsthey similar required reading musical notation although placement lines vertically rather horizontally means tasks truly equivalent patston colleagues b also studied lateralisation visuospatial attention using interhemispheric transfer time musicians non musicians responded stimuli presented left right visual fields submitted electroencephalography nonmusicians showed significantly faster responses right left direction opposite direction shorter latency left right hemisphere contrast musicians exhibited directional difference hemispheres hemispheric difference latency indicating bilateral neural connectivity patston colleagues concluded bimanual training musicians facilitates additional myelination results balanced connections hemispheres normally found without musical training stoesz colleagues investigated visual processing local details musicians nonmusicians utilising disembedding constructional tasks used group embedded figures test series complex figures presented containing one nine targets hidden design task examine test figure outline hidden target soon identified second study two tests used block design subtest requires participant replicate geometric pattern presented card using top surfaces several coloured blocks secondly task involving copying possible impossible drawings objects musicians outperformed nonmusicians embedded figures test block design subtest task copying drawings physically impossible objects findings suggest enhanced visual processing local details correlation block design scores accuracy scores impossible figures possible figures local processing ability correlate drawing ability per se stoesz colleagues concluded relative strength local processing contributed superior performance musicians drawing task suggested enhanced visual processing local details may reflect traininginduced changes frontoparietal system involved controlling exploratory eye movements shifts visual attentionskills important power music reading musical notation requires detailed analysis visual details su\u00e1rez colleagues carried crosssectional study exploring relationship music training visual working memory adult musicians nonmusicians twentyfour musicians nonmusicians matched age gender years formal education verbal intelligence performed several working memory tasks musicians outperformed nonmusicians tasks related visual motor coordination visual scanning ability visual processing speed spatial memory similarly jakobson colleagues studied visual memory pianists nonmusicians using visual design learning test required participants try learn remember sequentially presented set line drawings simple geometric figures containing two elements example circle line participants asked draw figures could remember five learning trials delay test delayed recognition also administered results suggested superior visual memory musicians since outperformed nonmusicians fourth fifth learning trials delayed recall delayed recognition tasks controlling general intelligence group difference delayed recall tasks persisted researchers suggested observed relationship visual memory musical training may related improvement processes supporting attention visual details increased skill musicians holding manipulating visual images working memorywhich confers advantage encoding processor superior use high level strategic memory processes research focused processing speedfor instance bugos mostafa examined effects music instruction information processing speed using neuropsychological tests paced auditory serial addition task trailmaking test examined role music information processing speed musicians nonmusicians musicians performed better tests suggesting musical training capacity enhance processing speed auditory visual content brain imaging studies also suggested efficient visual processes musicians instance platel colleagues showed activation impact musical engagement memory associative visual area musicians pitchdiscrimination task schmithorst holland investigated relationship musical practice cerebral processing relating melody harmony findings showed musicians nonmusicians used different neural networks process elements musicians inferior parietal areas activated melody harmony perception identified involved general visuospatial processing study comparing male symphony orchestra musicians nonmusicians increased density grey matter brocas area musiciansan area important spoken language visuospatial localisation sluming et al recently sluming colleagues showed enhanced performance visuospatial task orchestral musicians compared nonmusicians also associated increased activation brocas area research adults shown enhanced visual memory musicians instance cohen colleagues showed musicians superior auditory recognition memory musical nonmusical stimuli compared nonmusicians case visual domain groups memory auditory stimuli inferior memory visual objects although considerable musical training associated better musical nonmusical auditory memory increase ability remember sounds levels found visual stimuli suggests fundamental capacity difference auditory visual recognition memory persistent advantage visual domain using different task brandler rammsayer asked adult musicians nonmusicians indicate memory location buildings city map previously studied statistically significant differences performance musicians nonmusicians task chan colleagues also found benefit musical training relation visual task participants female college students chinese university hong konghad draw memory ten simple figures asked memorise thirty participants least six years training western musical instrument age received musical training participants power music matched terms age grade point average years education statistically significant differences musicians nonmusicians proportion drawings able create research children another strand research focused visual memory children instance deg\u00e9 colleagues b tested effect two year extended music curriculum secondary school childrens visual auditory memory curriculum consisted learning play musical instrument participating orchestra auditory perception music theory training tenyearold children started programme children without training tested visual aural memory start programme two years later prior training differences groups children participating musical training improved significantly time one time two visual auditory memory children receiving training effects apparent even range confounding variables taken account including intelligence socioeconomic status extracurricular schooling motivation avoid work musical aptitude seems musical training generally positive impact aural memory children necessarily case visual memory ho colleagues working group chinese children showed music training demonstrate better visual memory nonmusician counterparts performance children followed year changes visual memory significantly different groups similarly roden colleagues examined effects schoolbased instrumental training programme development visual memory skills primaryschool children participants either took part music programme weekly minutef instrumental lessons small groups school received extended natural science training third group children receive additional training child completed visual memory tests three times period months differences groups found impact musical engagement memory visual memory tests similarly rickard colleagues explored effect increasing frequency intensity classroombased instrumental training programme visual memory across twoyear period data participants aged eight nine analysed eightytwo children allocated intensive stringmusic training programme acted control group participated usual music classes intensive music training effect visual memory although improvement visual perceptual ability observed first year conclude number reasons evidence relating visual memory inconsistent first reason music essentially requires enhanced aural skills impact visual skills musicians required read musical notation likely would impact visual skills musicians play ear always case second research visual memory assessed using different methods including reaction times recall accuracy third participants studies chan et al ho et al chinese chinese language written symbols rather letters may led experimental control groups already skilled processing complex visual signs fourth participants research different ages fifth levels musical experience classified musicians varied sixth nature musical training different particularly extent involved learning read musical notation verbal memory research compared performance musicians non musicians variety verbal tasks instance parberyclark colleagues investigated effect musical training identifying speech noise complex task requiring integration working memory stream segregation well detection timevarying perceptual cues sixteen musicians nonmusicians aged normal hearing participated musicians outperformed nonmusicians hearing speech challenging listening environments second study parberyclark power music colleagues b compared subcortical neurophysiological responses speech quiet conditions noisy conditions group highly trained musicians nonmusician controls musicians found robust subcortical representation acoustic stimulus presence noise demonstrated faster neural timing enhanced representation speech harmonics less degraded response morphology noise neural measures associated better behavioural performance hearingin noise test musicians outperformed nonmusician controls findings suggest musical experience limits negative effects competing background noise thereby providing biological evidence musicians perceptual advantage speech noise studies found similar results instance strait kraus b assessed impact selective auditory attention cortical auditory evoked response variability musicians non musicians outcomes indicated strengthened brain networks selective auditory attention musicians strait colleagues administered standardised battery perceptual cognitive tests adult musicians nonmusicians tasks included either less susceptible cognitive controlfor instance backward versus simultaneous maskingand less dependent auditory visual processing instance auditory versus visual attention findings indicated lower perceptual thresholds musicians specifically auditory tasks related cognitive abilities backward masking auditory attention results suggested longterm musical practice strengthens cognitive functions functions benefit auditory skills intensity enhancement verbal memory auditory attention related start musical training long lasted kraus chandrasekaran cohen colleagues compared professional musicians music students nonmusicians verbal visual memory musicians significantly better nonmusicians remembering familiar music unfamiliar music speech environmental sound clips difference two groups performance tests visual memory also working music students kilgour colleagues studied whether impact musical engagement memory music training acted mediator recall spoken sung lyrics whether presentation rate materials important rather inclusion melody first experiment undergraduates half music training half without heard spoken sung lyrics recall sung lyrics superior spoken lyrics groups second third experiments presentation rate manipulated durations spoken sung materials equal presentation rate equated advantage sung spoken lyrics experiments participants music training outperformed without training overall results suggested music training leads enhanced memory verbal material similarly working highly trained pianists non musicians jakobson colleagues studied nonmusical perceptual cognitive abilities musicians showed superior immediate delayed recall word lists greater use semantic clustering strategy initial listlearning nonmusicians group differences delayed free recall words persisted even iq controlled brandler rammsayer tested psychometric performance adult musicians nonmusicians different aspects primary mental abilities verbal comprehension word fluency space closure perceptual speed reasoning number memory statistically significant differences found relation verbal memory reasoning performance verbal memory reliably higher musicians nonmusicians nonmusicians performed significantly better subscales culturefree intelligence test supports notion longterm musical training exerts beneficial effects verbal memory probably leads changes cortical organisation research exploring attention puschmann colleagues required participants varying amounts musical training attend one two speech streams detecting rare target words findings showed duration musical training associated reduced distracting effect competing speech target detection accuracy musical training related robust neural tracking speech stream attended speech stream ignored late cortical processing stages findings power music suggested musically trained persons able use additional information distracting verbal stream limit interference competing speech one strand research compared musicians performance opposed nonmusicians performance detecting pitch change spoken sentences native french sch\u00f6n et al unfamiliar portuguesemarques et al languages similarly deguchi colleagues studied effects familiarity intonational contour presence meaningful context using behavioural electrophysiological data italian musicians nonmusicians performance compared pitch incongruity detection task using sentences native italian foreign french languages jabberwocky meaningless sentences formed pseudowords examine whether differences depended enhanced auditory sensitivity pitch frequency discrimination threshold tones obtained using psychophysical procedure musicians accurate nonmusicians detecting small pitch changes languages showing smaller response bias overall findings confirmed musicians advantage detection subtle pitch changes tones also speech sentences native unfamiliar languages effects seemed emerge efficient pitch analysis acquired musical training enhancements shortterm memory related music may also support linguistic functions ludke colleagues randomly assigned adult participants one three listenand repeat learning conditions speaking rhythmic speaking singing participants singing condition showed superior overall performance collection hungarian language tests minute learning period compared participants speaking rhythmicspeaking conditions differences explained age gender mood phonological working memory ability musical ability training researchers suggested listen sing learning method could facilitate verbatim memory phrases spoken foreign language relationship musical expertise language processing well documented less evidence languagetomusic effects bidelman colleagues used crosssectional design compare performance musicians tonal language impact musical engagement memory cantonese speakers tasks auditory pitch acuity music perception general cognitive ability including fluid intelligence working memory musicians demonstrated superior performance auditory measures comparable perceptual enhancements observed cantonese participants relative englishspeaking non musicians results suggest tone language background associated higher auditory perceptual performance listening music musicians cantonese speakers also showed superior working memory capacity relative nonmusician controls suggesting addition basic perceptual enhancements background tonal languages music training might also associated enhanced general cognitive abilities findings support notion tonal language speakers musically trained individuals higher performance englishspeaking listeners perceptual cognitive processing necessary basic auditoryas well complex musicperception results illustrate bidirectional influences domains music language research children early work exploring relationship musical training verbal memory carried asian participants instance chan colleagues showed learning play musical instrument age enhanced ability remember words participants musical training could remember percent verbal information without musical training music training childhood may therefore longterm positive effects verbal memory ho colleagues supported findings later study boys aged six fifteen musical training significantly better verbal learning retention abilities duration music training learning play instrument verbal learning performance correlated positively even controlling age education level musical training learned approximately percent words word list retention also better minute delays followup study compared children cohort begun continued music training one year given playing children power music beginner advanced training groups significantly increased verbal learning retention performance case discontinued training although verbal memory performance remained stable least nine months ceasing play instrument ho colleagues concluded music training seemed longterm enhancing effects verbal memory studies demonstrate relationship musical training verbal memory demonstrate causality intervention studies required work chinese participants focused children aged four five years old nan colleagues studied mandarinspeaking children pseudorandomly assigned piano training reading training nocontact control group six months piano training improved behavioural auditory word discrimination general well word discrimination based vowels compared controls reading group yielded similar trends however piano group demonstrated unique advantages reading control groups consonant based word discrimination three groups improved general cognitive measures including tests iq working memory attention typical intervention study working kindergarten children hallberg colleagues investigated effects instrumental music instruction opposed tuition children received five hours instrumental instruction five weeks using suzuki method tested working memory efficiency visuospatial processing controlled attention statistically significant difference two groups related attentional control enhanced instrumental music instruction rickard colleagues researched children nine primary schools aged eight nine participated enhanced schoolbased music programme remainder children acted controls received standard class music lessons children tested three times within first two years study third year subset control sample tested verbal learning immediate recall scores significantly increased one year enhanced schoolbased music training increase found control group however advantages disappeared second year although second year study impact musical engagement memory significantly enhanced visual perception music training group similarly roden colleagues examined effects school based instrumental training programme development verbal memory skills primaryschool children aged seven eight years old participants either took part music programme weekly minute sessions instrumental lessons small groups school received extended natural science training third group children receive additional training child completed verbal memory tests three times period months children music group showed greater improvements children control groups controlling socioeconomic background age iq overall evidence suggested children musical training develop efficient memory strategies verbal materials likely playing music requires continued monitoring meaningful chunks information individual notes combined meaningful melodic phrases quasi syllabic structure based temporal frameworks metric structures parallel stresses syllables language patel daniele supported evidence auditory cortex structurally functionally shaped individuals experiences sound fritz et al fujioka colleagues recorded auditory evoked responses violin tone noiseburst stimulus four sixyearold children four occasions oneyear period using magnetoencephalography half children participated music lessons throughout year half music lessons clear musical training effect expressed larger earlier peak left hemisphere response violin sound musically trained children compared untrained children transition could related establishing neural network associated sound categorisation andor involuntary attention altered musical learning experiences also working primaryaged children piro ortiz adopted quasiexperimental approach examining effects scaffolded music instruction programme vocabulary verbal sequencing skills two cohorts secondgrade students one group children studied piano formally period three consecutive years part comprehensive instructional intervention programme power music second group children exposure music lessons either school private study findings showed experimental group significantly better vocabulary verbal sequencing scores following intervention control group interesting study brodsky sulkin focused childrens hand clapping reported positive effects classroom hand clapping intervention verbal memory examined whether children spontaneously engaged hand clapping song activity demonstrated improved motor cognitive abilities study also investigated outcome twogroup eightweek classroom intervention study found children skilful performing hand clapping songs efficient first grade second grade spontaneously engaged hand clapping songs advantaged bimanual coupling patterns verbal memory handwriting classroom hand clapping song training efficient music appreciation classes developing nonmusical skills among participating children adopting experimental design martens colleagues focused effect musical experience verbal memory individuals williams syndrome aged participants engaged formal music lessons scored significantly better verbal longterm memory task stimuli sung spoken comparison formal lessons showed benefit either sung spoken conditions working memory working memory time capacitylimited storage task relevant information generally requires mental manipulation flexible use inhibition distractors different shortterm memory requires mental manipulation encoded information inhibition goalirrelevant stimuli neuroscientific perspective working memory also requires integrity medialtemporal lobe regions whereas shortterm memory addition strong evidence linking behavioural measures working memory localised distributed patterns neural oscillations yurgil et al working memory typically studied using behavioural tasks require implementation impact musical engagement memory combination stored information manipulation information interference including nback ding et al backward digitspan clayton et al george coch zuk et al reading span dsouza et al franklin et al operation span tasks dsouza et al franklin et al nback task presents participants sequence visual auditory stimuli participant maintains information deciding whether subsequent stimulus item matches stimulus came specific number letters previously owen et al backward digit span task participants presented series digits asked report sequence digits reverse order hester et al central executive component working memory argued play important role performance span tasks particularly backward span forward backward span tasks recruit central executive resources necessary successful task performance hester et al reading span task number sentences presented one sentence time number sentences increases memory load required perform task two sentences presented sequentially sentence participant writes sentence verbatim last word sentence order daneman carpenter finally operation span task requires participants memorise sequence unrelated words simultaneously performing series mathematical operations operation word strings presented participant writes words displayed order presentation turner engle reading span operation span require participants hold information working secondary task cause interference tasks fulfils criteria maintenance manipulation information may occur differing levels interference aben et al research adults oechslin colleagues used functional magnetic resonance imaging nonmusicians amateur expert musicians listened comprehensive set specifically composed string quartets hierarchically manipulated endings two irregularities musical power music closure implemented differing salience within tonality piece behavioural sensitivity scores transgressions perfectly separated participants according level musical expertise functional brain imaging data showed compelling evidence stepwise modulation brain responses expertise level frontotemporal network hosting universal functions working memory attention additional independent testing evidenced advantage visual working memory professionals predicted musical training intensity similarly george coch using eventrelated potentials standardised test working memory investigated neural behavioural aspects working memory collegeaged nonprofessional musicians nonmusicians behaviourally musicians outperformed nonmusicians standardised subtests phonological executive memory eventrelated potentials recorded standard auditory oddball paradigms participants responded infrequent deviant stimuli embedded lists standard stimuli electrophysiologically musicians demonstrated faster updating working memory auditory domain allocated neural resources auditory stimuli showing increased sensitivity auditory standard deviant difference less effortful updating auditory working memory halpern bower pilot study musicians nonmusicians briefly presented visually similar melodies rated good bad followed second retention interval recall musicians remembered good melodies better bad ones nonmusicians distinguish one study six musicians six nonmusicians briefly presented good bad random melodies followed immediate recall advantage musicians nonmusicians decreased melody type progressed good bad random second study seven students professional musicians divided stimulus melodies groups melody consistency grouping correlated memory performance found first two experiments findings showed musicians used musical groupings simple visual strategy used nonmusicians talamini colleagues requested musicians non musicians perform digitspan task presented aurally impact musical engagement memory visually audiovisually task performed without concurrent task order explore role rehearsal strategies also manipulate task complexity musical abilities participants also assessed musicians larger digitspans nonmusicians regardless sensory modality concurrent task addition auditory audiovisual spans visual alone correlated one subscale music test findings suggested general advantage musicians nonmusicians verbal working memory tasks possible role sensory modality task complexity similarly hansen colleagues administered digitspan test spatial span test musical ear test nonmusicians amateur musicians expert musicians expert musicians significantly outperformed nonmusicians digitspan test scores also correlated musical scores rhythm subtest crossgroup differences found spatial span test fennell colleagues complex experimental study nonmusicians musicians presented participants memory element three nouns melody dot matrix followed sentence comprehension question trial participants answered comprehension question judge whether second memory element first one musicians performed accurately working memory tasks particularly related verbal musical working memory dsouza colleagues compared musicians bilinguals individuals expertise skills neither one hundred fiftythree young adults categorised one four groups monolingual musician bilingual musician bilingual nonmusician monolingual nonmusician multiple tasks relating cognitive ability used examine coherence training effects findings revealed musically trained individuals bilinguals enhanced working memory neither musical language skill led enhanced inhibitory control okhrei colleagues explored performance working memory musicians nonmusicians tests letters digits geometrical shapes participants students ten fifteen years engaged regular musical practice classed power music musicians peers previous musical experience classed nonmusicians computerised working memory test letters digits shapes successive presentation stimuli applied musicians nonmusicians differ overall number mistakes latency responses subtests letters digits shapes left hand made significantly mistakes right groups regularity typical nonmusicians righthand responded faster left carrying subtests groups motor asymmetry evident nonmusicians main musicians demonstrate increase latency responses task complexity nonmusicians overall efficiency working memory test performance differ among musicians nonmusicians musicians tighter interhemispheric cooperation memory test indicated less motor asymmetry musicians almost equal latency responses regardless task complexity non musicians required time responding stimuli growing task complexity investigating specific aspects working memory differed adult musicians nonmusicians su\u00e1rez colleagues compared performance musicians nonmusicians matched age gender years formal education verbal intelligence several working memory tasks musicians outperformed non musicians tasks related visual motor coordination visual scanning ability visual processing speed spatial memory although significant differences found phonological visual memory capacity findings support view musical training associated specific general working memory skills ding colleagues investigated degree number duration notes sequence influenced tonal working memory participants without professional musical training forward tonal discrimination task tested maintenance tonal information backward nback tonal task probed running memory span tonal information findings showed number notes duration notes tone sequence significantly affected tonal working memory performance musicians nonmusicians addition within minimum musical context musicians outperformed impact musical engagement memory nonmusicians nback tonal task forward tone sequence discrimination task findings indicate capacity tonal working memory determined number notes duration notes sequence memorised suggesting different mechanism underlying tonal working memory verbal working memory musicians held items memory tonal atonal auditory stimuli retained items longer nonmusicians tonal stimuli focusing role attention pallesen colleagues measured activation responses dependent blood oxygenation level musicians nonmusicians working memory performance relating musical sounds determine relationship performance musical competence generally enhanced cognition participants easily distinguished stimuli musicians performed better reflected reaction times error rates also larger activation responses dependent blood oxygenation level non musicians neuronal networks sustain attention cognitive control including regions lateral prefrontal cortex lateral parietal cortex insula putamen right hemisphere bilaterally posterior dorsal prefrontal cortex anterior cingulate gyrus relationship task performance magnitude response positive musicians nonmusicians particularly difficult working memory task results confirm previous findings neural activity increases enhanced working memory performance results also suggest superior working memory task performance musicians relies enhanced ability exert sustained cognitive control cognitive benefit musicians may consequence focused musical training similarly strait colleagues b assessed impact selective auditory attention cortical auditory evoked response variability musicians nonmusicians outcomes indicated strengthened brain networks selective auditory attention musicians nonmusicians demonstrated decreased pre frontal response variability auditory attention musicians neural proficiency selectively engaging sustaining auditory attention language indicates potential benefit music auditory training power music research children young people research professional expert musicians one strand research focused children behavioural investigations children shown music training musical aptitude associated enhanced auditory working memory example longitudinal study six eightyearold children half sample randomly assigned biweekly keyboard training six weeks half received training following intervention training group demonstrated significant improvement working memory capacity measured backward digitspan task guo et al christiner reiterer tested preschool childrens abilities imitate unknown languages remember strings digits sing discriminate musical statements intrinsic spontaneous singing behaviour also assessed findings showed working memory capacity phonetic aptitude linked high musical perception production ability early age five suggesting music foreign language learning capacity may linked childhood early developed abilities may responsible individual differences linguistic musical performances working kindergarten children hallberg colleagues studied impact instrumental music instruction cognitive processes children taught violin using suzuki method five weeks total hours instruction group compared control group assessments made using stanfordbinet five working memory visuospatial subscales kiddie connors continuous performance test attention subscales statistically significant differences means pre postchange scores groups stanfordbinet five subscales effect combined kiddie connors continuous performance test measures one effect specific subtest hit response time findings demonstrate attentional control psychological process necessary academic learning may enhanced instrumental music instruction engaged within early childhood longitudinal study bergman colleagues analysed association musical practice performance reasoning impact musical engagement memory processing speed working memory three hundred fifty two children young people ages six twenty five years old participated neuropsychological assessments neuroimaging investigations two three occasions two years apart multiple regression analysis revealed playing instrument overall positive association working memory capacity visuospatial working memory verbal working memory processing speed logical reasoning across three time points correcting effect parental education afterschool activities playing instrument also larger greymatter volume temporo occipital insular cortex areas previously reported related musical notation reading change working memory time points proportional weekly hours spent music practice working memory tests reasoning ability effects remained controlling parental education afterschool activities similarly lee colleagues examined effects music training children aged young adults forward digitspan backward digitspan simple spatial span complex spatial span tasks young adults performed better control group respect digitspan nonword span tests children performed better control group span tests similar study roden colleagues investigated influence group instrumental training working memory children learning instruments german sistema inspired programme quasiexperimental design used children receiving musical training compared receiving natural science training training music group received weekly lessons minutes musical instruments choice maximum group size five children could undertake practice home children tested three points course months battery tests including seven subtests addressed central executive phonological loop visuospatial sketchpad components baddeleys working memory model music group showed greater increase every measure verbal memory verbal learning delayed recall recognition science control groups large effect sizes differences remained statistical modelling took account age measured intelligence power music working schoolaged children strait colleagues assessed auditory working memory attention musical aptitude reading ability neural sensitivity acoustic regularities neural sensitivity acoustic regularities assessed recording brainstem responses speech sound presented predictable variable speech streams research revealed musical aptitude literacy related extent subcortical adaptation regularities ongoing speech well auditory working memory attention relationships music speech processing specifically driven performance musical rhythm task highlighting importance rhythmic regularity language music data suggest common brain mechanisms underlying reading music abilities relate nervous system responds regularities auditory input longitudinal study saarikivi colleagues investigated development working memory musically trained untrained children adolescents aged nine twenty working memory assessed participants using digitspan forwards backwards tests two trailmaking tests tests administered three timesin findings showed younger musically trained participants particular outperformed untrained peers trailmaking tests digitspan forwards tests require active maintenance rule memory immediate recall contrast group differences backwards test requires manipulation updating information working memory results suggest musical training strongly associated heightened working memory capacity maintenance enhanced working memory updating especially late childhood early adolescence ireland colleagues developed ageequivalent scores two measures musical ability rhythm synchronisation task melody discrimination task could reliably used schoolchildren aged seven thirteen without musical training tasks administered children attending music science camps childrens paced tapping nonpaced tapping phonemic discrimination measured baseline motor auditory abilities musically trained children outperformed without music impact musical engagement memory lessons although scores decreased difficulty increased older children performed best years lessons significantly predicted performance music tasks effect age deg\u00e9 schwarzer aimed investigate whether enhanced articulatory rehearsal mechanism might explain higher verbal memory scores musically trained children compared untrained children tested ten twelveyearold children musically trained untrained verbal memory assessed twoword lists children memorised one word list normal conditions word list repeat irrelevant word articulatory suppression gender socioeconomic status intelligence motivation musical aptitude personality controlled significant difference musically trained untrained children favour musically trained children verbal memory normal condition however articulatory suppression condition advantage musically trained children disappeared authors concluded enhanced verbal rehearsal mechanism might responsible better verbal memory musically trained children james colleagues undertook cluster randomised controlled trial focused musical instrumental practice comparison traditional sensitisation music last two years primary school children aged received group music instruction professional musicians twice week part regular school curriculum intervention group learned play stringed instruments whereas control group sensitised music via listening theory practice broad benefits manifested intervention group compared control group working memory attention processing speed cognitive flexibility matrix reasoning sensorimotor hand function bimanual coordination learning play complex instrument dynamic group setting impacted development strongly classical sensitisation music results highlighted added value intensive musical instrumental training group setting within school curriculum escobar colleagues investigated perception speech noise young musicians nonmusicians assigned subgroups high low assessed working memory based power music performance backward digitspan task effects music training working memory speechin noise performance assessed clinical tests speech perception background noise listening effort assessed dual task paradigm selfreport statistically significant difference musicians nonmusicians significant interaction music training working memory outcome measures however significant effect working memory speechin noise ability found suggests music training provide advantage adverse listening situations either terms improved speech understanding reduced listening effort musicians shown heightened basic auditory abilities effect speech noise listening effort may subtle regardless prior music training listeners high working memory capacity able perform significantly better speechin noise tasks research shown effect music training working memory instance banai ahissar researched whether pattern correlations auditory readingrelated skills differed children different amounts musical experience children third grade various degrees musical experience tested battery auditory readingrelated tasks poor auditory thresholds poor memory skills abundant among children musical education children indices auditory processing significantly correlated accounted percent variance readingrelated skills among children one year musical training auditory processing indices better readingrelated skills correlated poor auditory memory skills rare among children even short period musical training suggesting musical training could impact lack correlation musically trained population suggests short period musical training enhance readingrelated skills individuals normal auditory processing skills overall outlined previous section crosssectional studies shown higher working memory capacity associated better scores rhythmic subtests musical aptitude children young five children randomly assigned music impact musical engagement memory training control conditions causal effect training working memory capacity evidence close relationship musical practice working memory suggests training rather predisposition produces changes working memory capacity although associations working memory capacity measures musical aptitude suggest trainingrelated advantages independent existing abilities musical training musical aptitude may affect memory performance among children older adults experiences individuals throughout lifetime influence quality cognitive ageing older individuals former current musical practices associated enhanced verbal skills visual memory processing speed planning functions participating making music age limit thaut hodges adults take musical activities resume continue activities pursued earlier life older years several benefits supporting learning assisting slowing cognitive decline supporting rehabilitation instance taking piano lessons six months shown enhance levels concentration attention planning yearold adults compared control group piano lessons individualised consisted motor dexterity exercises learning music theory participants tested cognitive working memory measures three points time pretraining posttraining following delay three months experimental group obtained significantly higher scores posttraining trailmaking test digit symbols untrained controls indicating improvement visual scanning perceptual speed working memory bugos et al similarly bugos examined effects active pianoplaying instruction compared music listening instruction executive function healthy older adults aged seventy adults matched age education estimated intelligence two week training groups group piano instruction musiclistening instruction participants completed battery cognitive assessment tests pre postinstruction assess processing speed verbal fluency planning cognitive control power music fortysix participants completed study statistically significant differences groups measures executive function groups demonstrated increase scores although learning play piano significantly enhanced processing speed verbal fluency cognitive control later study bugos focused motor skills participants randomly allocated piano percussion musiclistening groups undertook weeks training three hours practice per week groups matched age education intelligence musical aptitude piano percussion groups improvements processing speed visual scanning working memory recorded three music conditions led improved rhythmic accuracy hand synchronisation similar results reported older adults sung choir engaged group musicmaking played percussion instruments hallam et al hallam creech fauvel compared performance musicians non musicians middle late adulthood longterm memory auditory verbal shortterm memory processing speed nonverbal reasoning verbal fluency musicians performed significantly better nonmusicians measures processing speed verbal shortterm memory groups displayed agerelated differences relation verbal fluency musicians scored higher controls displayed different age effects second study showed musical training started childhood adulthood associated phonemic semantic fluency performance musicians started play adulthood perform better phonemic fluency nonmusicians current frequency training account musicians scores either measures overall findings yielded little evidence reduced agerelated changes owing musical training phonemic fluency variable exemplified positive effect ageing influence music memory applies listening music well participating musical activities varvarigou et al hallam creech instance deg\u00e9 kerkovius investigated effect music training programme working memory verbal visual part central executive processing older adults experimental group trained drumming impact musical engagement memory singing one control group participated literature training programme second group untrained twentyfour female participants aged years old average randomly assigned either music literature untrained group training lasted weeks start programme three groups differ significantly age socioeconomic status music education musical aptitude cognitive abilities depressive symptoms following programme differences groups central executive function potential effect music training verbal memory impact music training visual memory musically trained participants remembered words word list symbol sequences correctly control groups musical improvisation used diaz abraham colleagues study impact verbal memory older adults two types verbal memory evaluated prior intervention one neutral emotional participants exposed musical improvisation experimental condition two control groups carried rhythmic reproduction experienced rest condition memory performance evaluated immediate deferred free recall recognition tests memory performance five years training defined musicians nonmusicians compared significant improvement neutral verbal memory among participants involved musical improvisation remembered words control conditions differences also found according musical experience sample musicians outperforming nonmusicians parberyclark colleagues compared older musicians nonmusicians auditory visual working memory ability perceive speech noise found musicians significantly better perceiving speech noise performed better auditory visuospatial working memory capacity tasks research also revealed linear relationship auditory working memory speechin noise performance suggesting two functions related similarly grassi colleagues reported older adult musicians outperformed older adult nonmusicians auditory visuospatial working memory tasks well auditory discrimination although groups differ tests shortterm power music memory amer colleagues also reported older adult musicians outperformed older adult nonmusicians several tests executive function including visuospatial working memory one strand research explored impact different levels longterm engagement music cognition instance hannapladdy mackay evaluated association musical instrumental participation cognitive ageing seventy older healthy adults aged participated varied musical activities completed comprehensive neuropsychological battery three groups nonmusicians low musical activityone nine years lifespan high musical activity ten years compared participants matched age education history physical exercise least ten years musical experience better performance nonverbal memory naming executive processes advanced age relative nonmusicians years musical activity age commencement activity type musical training predicted cognitive performance later study hannapladdy gajewski researched older adults aged musicians nonmusicians assessed neuropsychological tests general lifestyle activities musicians scored higher tests visuospatial judgment another strand research tested potential music intervention programmes reduce deleterious effects ageing cognition instance hars colleagues investigated whether six months musicbased multitask training beneficial effects cognitive functioning mood older adults aged increased risk falling intervention group consisted older people attended onceweekly hourly supervised group classes multitask exercises executed rhythm piano music control group individuals delayed intervention maintained usual lifestyle habits six months short neuropsychological test battery administered start intervention six months included mini mental state examination clockdrawing test frontal assessment battery anxiety depression scales participating musical activities improvement sensitivity interference subtest frontal assessment battery reduction anxiety level impact musical engagement memory increase mini mental state assessment score reduction number participants impaired global cognitive performance overall six months onceweekly musicbased multitask training associated improved cognitive function decreased anxiety communitydwelling older adults engagement music also found reduce risk dementia instance verghese colleagues examined relationship leisure activities risk dementia cohort participants aged years age resided community dementia beginning research examined frequency participation leisure activities enrolment measured cognitive activity physical activity terms number days week activity took place range possible confounding factors controlled including age sex educational level presence absence chronic medical illnesses baseline cognitive status followup period five years dementia developed participants alzheimers disease vascular dementia mixed dementia types dementia among leisure activities reading playing board games playing musical instruments dancing associated reduced risk dementia onepoint increment cognitive activity score significantly associated reduced risk dementia onepoint increment physical activity score association cognitive activity score persisted exclusion participants possible preclinical dementia start research findings similar alzheimers disease vascular dementia increased participation cognitive activities start research associated reduced rates decline memory overall participation leisure activities associated reduced risk dementia co twin study balbag colleagues showed twins played instrument percent less likely develop dementia co twins research examined association selfreported playing musical instrument whether twins developed dementia cognitive impairment controlling sex education physical activity playing musical instrument significantly associated less likelihood dementia cognitive impairment review schneider colleagues power music concluded playing musical instrument potential protective mechanism cognitive decline among older adults studies shown improvements cognition working memory patients dementia active singing interventions maguire et al singing groups engaged three vocal music sessions week including familiar nostalgic nonfamiliar novel vocal music selections four minute singing sessions programme progressively exercised individual vocal ranges vowel placements respiratory patterns recruited cognitive engagement melodic structures musical architecture story development participants predominantly caucasian aged years old two groups one living assisted accommodation secureward dementia accommodation group divided singers listeners participation singing groups voluntary levels participation assessed throughout programme attention dozing brief periods attention singing category participation included singing time singing time singing enthusiasm music varied month focused four separate musical genres valentines day patriotic musical theatre folk patriotic music selected arranged incorporate relaxing rhythmical elements rich harmonies increased vocal range exercise along vocal lines word articulation deep breaths appropriate posture vocal resonance consistently coached promoted throughout sessions two weekly vocal music sessions live music sessions vocal music leader sang played piano accompaniment session consisted minute taped dvd recordings norovirus outbreak assisted living group led quarantine period one month middle study resulting access participants time analysis data showed independent residents significantly higher scores dementia singers dementia significantly higher scores listeners end study significant difference clockdrawing ability singers listeners dementia initially singers scored significantly higher engaging singing overall findings living independently dementia groups showed impact musical engagement memory singers significantly higher satisfaction life scores listening music norovirus outbreak may affected scores independentliving participants lower scores mental state examination clock design test score findings showed active singing programme using innovative approach led significant improvement cognitive ability individuals dementia similarly pongan colleagues aimed determine efficacy choral singing versus painting sessions chronic pain mood quality life cognition patients alzheimers disease fiftynine patients mild alzheimers disease randomised week singing painting group chronic pain anxiety depression quality life assessed immediately one month sessions singing painting interventions led significant pain reduction reduced anxiety improved quality life improved digitspan inhibitory processes however depression reduced painting group verbal memory performance remained stable time singing group decreased painting group overall findings suggest singing painting interventions may reduce pain improve mood quality life cognition patients mild alzheimers disease differential effects painting depression singing memory performance also focusing singing camic colleagues worked ten people dementia family carers singingtogether group ten weeks measures mood quality life dementia behavioural psychological problems activities daily living cognitive status measured pre post tenweek followup engagement levels monitored sessions care partners asked rate session additional qualitative information obtained interviews pre postintervention followup results showed dementia sufferers deteriorating slowly course study measures carers quality life remained relatively stable engagement levels programme high attendance excellent interviews provided strong support intervention promoted wellbeing participants randomised controlled study s\u00e4rk\u00e4m\u00f6 colleagues compared effects three different interventions working power music memory group patients dementia participant assigned one three week groupbased interventions singing listening music usual care findings showed participants singing group showed temporary improvement working memory measured backward digitspan also using randomised controlled study narme colleagues studied patients alzheimers disease mixed dementia compared effects music versus cooking interventions emotions cognition behaviour well professional caregivers intervention lasted one hour twice week four weeks findings showed music cooking interventions led positive changes emotional state decreased severity behavioural disorders well reducing stress levels caregivers benefit participants cognitive status mansky colleagues carried posthoc observational analysis zurich disability prevention trial past present musical instrument playing correlated mini mental state assessment visual analogue scale using linear regression baseline mixed model linear regression one year two hundred community dwelling adults included percent participants played musical instrument percent played past percent continued play start programme currently playing instrument higher adjusted mini mental state assessment score never played month period continued play showed significantly improvement baseline mini mental state assessment never played association remained significant even restricting analysis participants undertaken higher education time differences observed visual analogue scale although past players largest decline healthrelated quality life months overall present past musicalinstrument playing able assist preserving cognitive function communitydwelling older adults ongoing study undertaken james colleagues hannover geneva month period elderly people receiving either piano instruction musical listening awareness testing carried four time points prior research impact musical engagement memory months following training cognitive perceptual motor aptitudes well wideranging functional structural neuroimaging blood sampling researchers hope show musical activities diminish cognitive perceptual motor decline overall research date suggests music training may protect agerelated decline working memory improve performance among older adults show decline working memory importantly music training may useful prevention treatment dementia although benefits may related general wellbeing rather cognitive enhancement research shows engaging music help stave dementia kuusi colleagues examined causes death finnish professional classical musicians performing artists church musicians showed overall appeared protective effect music health although increased mortality alcoholrelated disease among female performing artists neurodegenerative diseases among male performing artists reviews metaanalyses reviews role active musicmaking visual verbal working memory mixed findings basis review franklin colleagues concluded benefits music training working memory limited auditory domain could lead enhanced verbal working memory strait kraus suggested auditory expertise gained years consistent music practice finetuned human auditory system strengthening neurobiological cognitive underpinnings music speech processing subsequently bolstering neural mechanisms underpin language related skills reading hearing speech background noise later review kraus colleagues examined biological underpinnings musicians auditory advantages mediating role auditory working memory reported associations working memory performance music training aptitude neural encoding speech moreno bidelman argued programmes aimed impact nonauditory functions necessary higher order aspects power music cognition including working memory instance visual arts may yield widespread enhancement suggested musical expertise uniquely taps refines hierarchy brain networks subserve variety auditory well domaingeneral cognitive mechanisms inferred transfer specific music experience broad cognitive benefit might mediated degree listeners musical training finetuned lower higher order executive functions coordination processes dumont colleagues review five studies reported mixed results one experimental study showed improved performance participated formal music lessons remaining four studies although reporting positive partially positive results limited rigour methodology overall seem potential benefits active engagement music methodological limitations allow clear conclusions drawn basis review benz colleagues argued music training could positive effects frequently restricted auditory domain metaanalysis examining effects music training range cognitive skills sala gobet b using random effects models showed small overall effect size slightly greater effect sizes regard memoryrelated outcomes although overall inverse relationship size effects methodological quality design studies later metaanalysis sala gobet reanalysed data previous studies including total children found music training appeared ineffective enhancing cognitive academic skills regardless type skillverbal nonverbal speedrelated participants age duration music training studies highquality designs showed effect music education cognitive performance three metaanalyses carried talamini colleagues focused short longterm working memory studies involved young adult musicians nonmusicians using tonal verbal visuospatial stimuli studies analyses included memory tasks results showed musicians performed better nonmusicians tasks involving longterm memory shortterm memory working memory analysis included moderator type stimulus presented tonal verbal visuospatial impact musical engagement memory found influence effect size shortterm working memory longterm memory musicians advantage terms shortterm working memory large tonal stimuli moderate verbal stimuli small null visuospatial stimuli three metaanalyses revealed small effect size longterm memory medium effect size shortterm working memory suggesting musicians perform better nonmusicians memory tasks although advantage moderated type stimuli baird samson reviewed literature music cognition dementia pointing different types memory impaired ways dementia argued little rigorous scientific investigation undertaken largescale randomised control studies questioned specificity effect music found beneficial pleasant activities however acknowledged music unique power elicit memories emotions could provide important link individuals past means nonverbal communication carers walsh colleagues metaanalyse focused cognitive impairment dementia outcome included studies learning play musical instrument main intervention found percent reduction risk developing dementia playing musical instrument however advised caution interpreting findings evidence base limited size methodological issues overview evidence presented chapter suggests active engagement making music positive effects aspects memory effects strongest relate aural skills active engagement music acknowledged enhance memory music stimuli presented verbally evidence impact visual skills less strong likely depend extent musicians skills include reading musical notation musicians tend greater working memory capacity nonmusicians measures musical expertise suggest trainingrelated advantages independent existing abilities musical training musical aptitude may affect memory performance among children executive functioning selfregulation executive functions enable individuals optimise performance range tasks improve concentration facilitate planning help prioritisation information promote flexibility changing strategies switching tasks adapting change diamond models executive functions postulate three related separable components inhibition inhibitory control shifting cognitive flexibility switching updating working memory updating diamond gould lehto et al logue et al miyake et al inhibition inhibitory control requires control thoughts behaviour override response priority possible responses cognitive flexibility requires individual change perspective switch task demands updating requires individuals maintain add delete manipulate items within memory executive functions develop childhood adolescence improved practice diamond diamond et al miyake et al overall executive functions include activities working memory involve control actions thoughts emotions general abilities including planning solving problems able adjust novel changing task demands diamond lezak zelazo plasticity brain continue develop lifespan although friedman colleagues argue influenced highly heritable common factor additional genetic influences unique particular executive functions supporting presented data multivariate twin study examining participants varied three elements executive functioning abilities correlated separable research himonides cc byncnd httpsdoiorg obp power music shown development executive function complex neural changes affected synaptic proliferation pruning myelination neurofilament neurotransmitter levels developmental trajectory time neural networks settle stable states performance three complex executive functioning tasks shown improve least age although pace improvement slowed increasing age varied across tasks best et al understanding executive functions important impact quality life performance school workplace shown improve practice diamond diamond et al means possibility trained executive functions measured several different ways inhibition control assessed range tests including stroop test stopsignal task stroop test requires participants read colour wordsfor example red blue greenpresented screen say colour font aloud congruent trials colour font word incongruent trials colour font match word neutral trials string asterisks appears stroop effect difference average correct responses incongruent neutral trials stopsignal task participants required fixate cross centre screen replaced either square circle instructed push left quickly possible see square push right quickly possible see circle quarter trials participants presented shape hear stop signal beep computer instructed withhold response hear signal trial stop signal onset stop signal adjusted participants correctly inhibit half responses performance measured stopsignal reaction timean estimate long takes inhibit already initiated response cognitive flexibility setshifting assesses ability shift one task another participants shown set five cards different figure figures switch around element example one problem figures cards might three green stars one red circle two yellow blocks four yellow crosses two red executive functioning selfregulation crosses participant sees four cards lined row one told match card one four told rule matching participant know whether match shape colour number feedback given whether participant right wrong match made trial error participant needs work rule score many correct sorts made updating working memory element executive function tends assessed using various digitspan tests instance forward test participant repeats series numbers order given reverse digitspan numbers repeated backwards spatial spans assessor touches series blocks particular order participants copy order reverse tower hanoi test also used assess working memory requires participant rearrange disks match model following specific rules instance putting large disk top smaller one goal complete task moves possible various tests used research adults childrenboth young older people great interest whether making music might enhance executive functions musicians engage making music read decipher musical notation recall music memory may improvise new material produce musical sounds also planning ahead keeping notation rhythms mind performed must monitor performance also attend auditory streams produced performers flexibly coordinate adjust sounds producing match group okada slevel managing complexity may enable individuals become effective managing equally complex tasks situations cabanac et al musical activities formal informal promote analytical thinking planning prioritising attention problemsolving executive functions serpell esposito three components executive functioning linked musical activity instance overriding expectations unexpected resolutions musical ambiguity may draw general inhibitory control mechanisms slevc okada shifting implicated ensembleplaying power music musicians must coordinate playing others group jentzsch et al palmer playing others requires able flexibly shift auditory streams loehr et al also adjust dynamically members ensemble loehr palmer moore chen updating crucial reading musical notation particularly sightreading musicians need look ahead score prepare play next expert sightreaders typically look least four notes ahead playing drake palmer furneaux land goolsby requires constant updating contents working memory holding memory played still played indeed evidence able sightread well related nonmusical measures working memory capacity meinz hambrick music used enhance executive functions multifaceted activity learning play instrument usually although always requires learner read music translate printed notation planned motor sequences develop fine motor coordination hold great deal information memory peretz zatorre formal music practice involves controlled attention long periods time keeping musical passages working memory encoding longterm memory decoding musical scores translating motor programmes activities draw complex cognitive functions illustrated brain imaging research stewart et al schon colleagues investigated brain areas involved reading musical notation using functional magnetic resonance imaging compared reading musical notation reading verbal numerical notation professional musicians required play musical notation read verbal information read numbers displayed fivekey keyboard three tasks revealed similar pattern activated brain areas playing instrument also related increased rate cortical thickness maturation dorsolateral prefrontal cortex orbitofrontal cortex areas often involved executive functions hudziak et al musically trained children also show greater blood oxygenationleveldependent responses taskswitching paradigm bilateral ventrolateral prefrontal cortex supplementary motor area zuk et al regions linked executive functioning nachev et al nee et al executive functioning selfregulation listening tapping complex polyrhythmsfor instance tapping four threerequires inhibitory control associated activation broadmann area area brain implicated processing syntax oral sign languages musical syntax semantic aspects language also associated activity anterior cingulate cortex implicated empathy impulse control emotion decisionmaking vuust et al stewart colleagues scanned musically na\u00efve subjects using functional magnetic resonance imaging taught read music play keyboard participants played melodies musical notation training activation seen cluster voxels within right superior parietal cortex consistent view musicreading involves spatial sensorimotor mapping research adults much research adults based correlations examining relationship levels musical expertise performance various tests executive function research used continuous measures musical expertise research compared performance musicians nonmusicians seen chapter range studies demonstrated musicians may advantages performance working memory compared nonmusicians demonstrated measures auditory visual working memory franklin et al fujioka et al george coch lee et al pallensen et al parberyclark et al research explored elements executive functioning instance hansen colleagues administered digit spatial span tests musical ear test nonmusicians amateur expert musicians expert musicians significantly outperformed nonmusicians digitspan test digitspan forward scores also found correlated musical ear test scores scores rhythm subtest however differences groups spatialspan task similarly strait colleagues administered standardised battery perceptual cognitive tests adult musicians nonmusicians including tasks power music less susceptible cognitive control less dependent auditory visual processing outcomes indicated lower perceptual thresholds musicians specifically auditory tasks including auditory attention group differences simultaneous masking visual attention tasks overall longterm musical practice strengthened cognitive functions benefited auditory skills also focusing auditory skills clayton colleagues investigated whether musicians would outperform nonmusicians recognising speech target multitalker cocktailpartylike environment executive function assessment included measures cognitive flexibility inhibition control auditory working memory musicians performed significantly better nonmusicians spatial hearing measures auditory working memory multiple regression analysis revealed musicianship performance multipleobject tracking task significantly predicted performance spatial hearing task confirming relationship musicianship domaingeneral selective attention working memory solving cocktail party problem research focused role music might play enhancing attention instance medina barraza explored relationship longterm musical training efficiency attentional system compared performance alerting orienting executive attentional networks professional pianists compared matched group nonmusician adults executive attentional network efficient musicians nonmusicians although differences efficiency alerting orienting networks groups findings showed efficiency executive system improved years musical training even controlling age three attentional networks nonmusicians functionally independent musicians efficiency alerting orienting systems associated similarly pallensen colleagues examined working memory musical sounds found comparisons musicians nonmusicians musicians heightened activity neuronal networks sustained attention cognitive control including prefrontal regions supplementary motor area relationship task performance activation executive functioning selfregulation patterns strongest musicians periods load working memory heaviest also focusing attention rom\u00e1ncaballero colleagues investigated attentional vigilance abilities expert musicians measure allowed assessment functioning three networks concerned alerting orienting executive controlalong two different components vigilance executive arousal vigilance fortynine adult musicians years old matched extensive set confounding variables control group nonmusicians musicians showed advantages processing speed two components vigilance specific aspects musicianship years practice years lessons correlating measures another strand research considered relationship executive functions music training bilingualism instance moradzadeh colleagues investigated whether musical training bilingualism associated enhancements specific components executive function namely taskswitching dual task performance one hundred fiftythree participants belonged one four groups monolingual musician bilingual musician bilingual nonmusician monolingual nonmusician findings demonstrated reduced global local switch costs musicians compared nonmusicians suggesting musical training contribute increased efficiency ability shift flexibly mental sets musicians also outperformed nonmusicians dual task performance cognitive advantage bilinguals relative monolinguals interaction music language findings demonstrated longterm musical training language training associated improvements taskswitching dual task performance similarly moreno colleagues explored executive functions musicians bilinguals controls participants completed visual gono go task involved withholding key presses rare targets participants group achieved similar accuracy rates response times analysis cortical responses revealed significant differences success withholding prepotent response associated enhanced stimuluslocked neural activity particularly case power music musicians compared bilinguals findings showed bilingualism music training different effects brain networks supporting executive control behaviour small amount research examined differences executive functioning different types musicians instance percussionists found outperform vocalists nonmusician controls integrated visual auditoryplus continuous performancetest inhibition slater et al much research revealed inconsistency terms impact musical activity different elements executive functioning instance zuk colleagues carried experiment adults without musical training using standardised battery executive function tests compared nonmusicians musicians showed enhanced performance measures executive function cognitive flexibility working memory verbal fluency inhibition shifting similarly helmbold colleagues studied psychometric performance musicians nonmusicians different aspects primary mental abilities verbal comprehension word fluency space flexibility closure perceptual speed reasoning number memory significant differences found musicians non musicians except flexibility closure perceptual speed musicians performed reliably better nonmusicians research older adults amer colleagues also found inconsistency investigated whether longterm music training practice associated enhancement general cognitive abilities late middleaged older adults professional musicians non musicians matched age education vocabulary general health compared neartransfer task involving auditory processing fartransfer tasks measured spatial span aspects cognitive control musicians outperformed nonmusicians neartransfer task fartransfer tasks composite measure cognitive control results suggested sustained music training involvement associated improved aspects elements cognitive functioning middleaged older adults using continuous assessment musical expertise slevc colleagues investigated relationship musical ability executive functioning selfregulation executive functions evaluating musical experience ability large group participants exploring whether predicted individual differences inhibition updating switching auditory visual modalities musical ability predicted better performance auditory visual updating tasks even controlling variety potential confounds musical ability clearly related inhibitory control unrelated switching performance similarly okada slevc used large test battery tasks related working memory inhibitory control cognitive flexibility well assessment musical training one hundred fifty participants completed tests overall data showed positive relationship individual differences musical training working memory updating ability relationship inhibition shifting authors suggested inclusion intelligence covariate may eliminated positive association musical training tasks assessing inhibition similarly brooke colleagues administered executive function battery tests containing multiple tasks assessing inhibition shifting working memory updating well comprehensive continuous measure musical training sophistication undergraduates overall data showed positive relationship individual differences musical training working memory updating ability relationship inhibition shifting differences tasks used assess shiftingor use comparisons musicians nonmusicians rather use continuous musical measures may account inconsistencies findings relation inhibition measures intelligence may acted mediators working chinese participants chen colleagues examined relationship musical training inhibitory control gono go response inhibition stroop tasks using eventrelated potentials gono go task participants press keyboard button response white shapes inhibit responding purple shapes stroop task participants presented chinese colour words printed different colours behavioural results showed music group enhanced performance compared control group stroop task groups performed similarly gono go task results power music showed individuals received music training stronger conflictmonitoring motorinhibition abilities completing interference control task musical training appeared enhance inhibitory control suggested might support psychiatric disorders addictions attention deficit hyperactivity disorder obsessivecompulsive disorder shown involve deficits inhibitory control research highlighted differences performance depending nature tasks instance fischer colleagues tested healthy adults performed magnitude pitch comparisons numbers sung variable pitch stimuli response alternatives identical relevant stimulus attribute pitch number differed tasks concomitant tasks required retention either colour location findings showed spatial association pitch powerful magnitude appeared automaticity spatial mappings either stimulus dimension travis colleagues expanded area investigation beyond executive functioning develop unified theory performance compared professional amateur classical musicians matched age gender education reaction times stroop colourword test brain waves auditory eventrelated potential task paired reactiontime tasks responses sociomoral reflection questionnaire selfreported frequencies peak experiences professional musicians characterised lower colourword interference effects faster categorisation rare expected stimuli trend faster processing rare unexpected stimuli higher scores sociomoral reflection questionnaire frequent peak experiences rest tasks sleep authors suggested findings could interpreted effectiveness influenced level mindbrain development emotional cognitive moral ego cortical development higher mindbrain development supporting greater effectiveness domain working health context siponkoskhifors colleagues explored use musical activity traumatic brain injuries particularly impairments executive functioning forty patients moderate severe traumatic brain injuries randomly allocated receive threemonth neurological executive functioning selfregulation music therapy intervention either first second half sixmonth followup period neuropsychological testing motor testing magnetic resonance imaging performed baseline three six months findings showed general executive functioning setshifting improved first group second first threemonth period effect general executive functioning maintained sixmonth followup voxelbased morphometry analysis structural magnetic resonance imaging data indicated greymatter volume right inferior frontal gyrus increased significantly groups intervention versus control periods also correlated cognitive improvement setshifting findings suggest neurological music therapy enhance executive functioning induce fine grained neuroanatomical changes prefrontal areas traumatic brain injuries furthermore kuriansky nemeth developed musical intervention work children experienced environmental trauma lead deficits executive functioning research children research indicated participation formal early music education classes linked better selfregulation skills winsler colleagues compared group three fouryearold children receiving weekly music movement classes kindermusik group experienced structured early childhood music classes enrolled music classes showed better selfregulation enrolled measured battery tests required children wait slow initiate suppress response kindermusik children also likely use range positive selfregulatory strategies including private speech attention task singing humming waiting task parentchild music therapy efficacy studies also indicated joint active music participation supports improved child parent interactions enhances impulse control selfregulation skills malloch et al pasiali galarce colleagues reported enhanced self regulation terms speaking inappropriately others brown power music sax found artsenriched programme including music helped emotional regulation skills lowincome children compared nonarts programmes several studies explored relationships active engagement music executive functions preschool children instance bugos demarie studied effects shortterm music programme including creative activities bimanual gross motor training vocal development preschool childrens inhibition thirtysix preschool children randomly assigned musical activities lego training results pre postprogramme matching familiarfigures testrequiring inhibition visual discriminationindicated fewer errors posttraining music group compared controls overall findings showed music interventions involving vocal activity improvisation pitched nonpitched instruments enhanced inhibition matching familiar figures test daynight stroop test sixweeklong intervention minutes weekly musical training compared children undertook lego training similarly development inhibition observed study finnish children undertaking musical activities home showed greater attention tasks brains responded less strongly auditory distractors compared peers putkinen et al working schoolaged children putkinen colleagues conducted longitudinal study showed children received formal musical training showed superior performance tests executive functions putkinen colleagues found musically trained preschool schoolaged children attending musical playschool showed rapid maturation neural sound discrimination comparison group china shen colleagues examined whether musical training enhanced executive function preschool children undergone previous systematic music learning participants preschool children universityaffiliated kindergarten north china experimental group underwent weeks integrated musical training including music theory singing dancing roleplay control group performed typical daily classroom activities three components executive function inhibitory control working memory cognitive executive functioning selfregulation flexibilitywere assessed executive functions tested musical training results showed childrens executive functions could promoted music training tests undertaken weeks later effects sustained highly controlled study moreno colleagues assigned four sixyearold children either computerised music training programme computerised visual arts training programme two programmes learning goals graphics design duration number breaks number teaching staff music curriculum based combination motor perceptual cognitive tasks relying primarily listening tasks included training rhythm pitch melody voice basic musical concepts visual art curriculum focused development visuospatial skills children engaged training programme two daily sessions one hour five days per week four weeks daily training children received music training showed greater gains inhibitory control children received visual arts training well greater index brain plasticity go trials gono go task children music group also showed greater improvements ability identify geometric figures basis colour ignoring irrelevant variation shape changes positively correlated changes functional brain plasticity executive function task however difference reaction times music visual arts groups similar longitudinal study netherlands jaschke colleagues examined cognitive skills primaryschool children aged six seven randomly allocated music visual art passive control groups music group significantly outperformed groups planning inhibition verbal intelligence neuropsychological tests assessed verbal intelligence executive functions findings showed children visual arts group performed better visuospatial memory tasks compared three conditions however test scores inhibition planning verbal intelligence increased significantly two music groups time compared groups quasiexperimental study children able self select take music lessons roden colleagues worked power music children aged seven eight years old month period selfselected take music lessons instrument choosing outperformed children received science lessons two tasks assessing updating ability countingspan test complexspan test working older children aged nine twelve different lengths time spent music lessons deg\u00e9 colleagues assessed five different executive functions set shifting selective attention planning inhibition fluency significant associations emerged months music lessons measures executive function adopting approach musical notation used guo colleagues investigated effect sixweek instrumental practice programme playing keyboard harmonica forty children aged six eight years old randomly assigned either experimental group untrained control group cognitive measurements included verbal ability processing speed working memory inhibitory control sixweek training experimental group showed significant improvement digitspan test especially digitspan backward test measures working memory significant influences found cognitive tests saarikivi colleagues investigated whether individual differences executive functions predicted trainingrelated changes neural sound discrimination measured eventrelated potentials induced sound changes coupled tests executive functions musically trained nontrained children two age groups high performance setshifting task indicating cognitive flexibility linked enhanced maturation neural sound discrimination musically trained nontrained children musically trained children good performance showed large neural responses sound age ranges indicating accurate sound discrimination contrast musically trained lowperforming children showed increase sound responses age suggesting behind highperforming peers development sound discrimination nontrained group highperforming children showed evidence agerelated increase neural responses lowperforming children showed small increase executive functioning selfregulation agerelated change findings suggest advantage neural development highperforming nontrained individuals agerelated increase response children performed well setshifting task irrespective music training indicating enhanced attentionrelated processes children research provided evidence children cognitive flexibility may influence agerelated trainingrelated plasticity neural sound discrimination also studying primaryaged children james colleagues performed research children aged ten twelve children received group music instruction professional musicians twice week part regular school curriculum learned play stringed instruments contrast control group sensitised music listening theory practice benefits intervention group compared control group working memory attention processing speed cognitive flexibility matrix reasoning sensorimotor hand function bimanual coordination findings highlighted added value intensive musical instrument training group setting within school curriculum working musically trained untrained children aged nine twelve zuk colleagues found musically trained children better shifting inhibition updating showed enhanced performance measures verbal fluency processing speed significantly greater neural activation rule representation taskswitching regions brain known involved executive functions compared musically untrained children focusing older children aged without musical training kausal colleagues assessed attention working memory brain activity measured functional magnetic resonance imaging participants presented pair bimodal stimuli auditory visual asked pay attention auditory visual time groups higher accuracy items instructed attend musicians overall better performance memory tasks across attention conditions musicians showed higher activation controls cognitive control regions frontoparietal control network encoding phases addition facilitated encoding power music auditory stimuli musicians positively correlated years training higher activity left inferior frontal gyrus left supramarginal gyrus structures support phonological loop working adolescents gonzalez colleagues examined whether relationship time spent musical training executive function adolescents ages completed three tests executive function tower hanoi test assess working memory wisconsin card sort test assess cognitive flexibility stroop task assess inhibition also completed musical experience questionnaire included lifetime musical practice hours adolescent musicians found improved inhibitory control relative nonmusicians inhibition scores correlated music practice time elements executive function found associated musical training findings suggest impact musical training may executive functions may unique associations certain types training inhibitory control studies worked mixed age groups instance holochwost colleagues examined whether music education associated improved performance measures executive functions participants schoolaged children first eighth grade selected lottery participate ofschool programme offering individual large ensemble training orchestral instruments executive functions assessed students performance computerised battery common executive function tasks findings showed relative controls students music education programme exhibited superior performance multiple tasks inhibitory control shortterm performance largest differences performance observed students control group participated music programme two three years although conditional effects also observed three executive function tasks students programme one year similarly hudziak colleagues assessed extent playing musical instrument associated cortical thickness development among healthy youths aged six eighteen twoyear period association cortical thickness years playing executive functioning selfregulation musical instrument followup analysis revealed music training associated increased rate cortical thickness maturation within areas implicated motor planning coordination emotion impulse regulation another mixedage study nutley colleagues focused children young people aged longitudinal study testing two years apart demonstrated musical practice positive association working memory capacity visuospatial verbal processing speed reasoning skills time points taking account parental education participation school activities participating musical activities larger greymatter volume temporo occipital insular cortexareas known associated reading musical notation changes working memory proportional number hours spent weekly practice apply measures verbal reasoning may reading notation important development least executive functions requires visuospatial working memory rapid information processing visuospatial decoding constant updating musical notation research comparisons made music training interventions similar effects found instance using secondlanguage learning control janus colleagues compared effects shortterm music training tuition french executive control pseudorandomly assigned four sixyearold children matched age maternal education cognitive scores day training programme offering instruction either music conversational french children tested verbal nonverbal tasks requiring executive control children improved tasks following training children groups better scores challenging condition judgement task correct grammar sentence necessary ignore conflict introduced misleading semantic content children training groups also showed better accuracy easier condition nonverbal visual search task posttest children french training group showed significant improvement challenging condition task research showed music may able enhance executive power music functioning alone able similarly habibi colleagues compared children receiving music training receiving sports training enrolled systematic afterschool training children music training showed stronger neural activation regions involved response inhibition cognitive inhibition task compared noactivity control group despite differences performance behavioural measures executive function however differences found music sports groups also using sport comparison group sachs colleagues investigated effects music training executive function functional magnetic resonance imaging several behavioural tasks including colourword stroop task children involved ongoing music training aged eight nine years old compared two groups children comparable general cognitive abilities socioeconomic status one involved sporting activities involved music sports stroop task children music training showed significantly greater bilateral activation trials required cognitive control compared control group despite differences performance behavioural measures executive function significant differences brain activation task performance found music sports groups results suggest systematic extracurricular training associated changes cognitive control network brain even absence changes behavioural performance whether intervention music sportsbased taken together studies indicate music may able support development executive functions children alone able research found positive relationships musical training executive functions selfregulation instance schellenberg found link music lessons measures executive function assessed trained untrained musicians aged nine twelve years old musically trained children higher digitspan scores remained range socioeconomic factors taken account differences measures overall association musical training executive function negligible similarly executive functioning selfregulation mehr colleagues conducted two randomly controlled trials preschool children investigating cognitive effects brief series music classes compared similar visual arts class notreatment control parents attended classes children participating variety developmentally appropriate arts activities six weeks childrens skills assessed four cognitive areas spatial navigational reasoning visual form analysis numerical discrimination receptive vocabulary initially children music class showed greater spatial navigational ability children visual arts class children visual arts class showed greater visual form analysis ability children music class however partial replication attempt comparing music training notreatment control failed confirm findings combined results two studies negative overall children provided music classes performed better visual arts classes assessment similarly grinspun colleagues conducted empirical study sample secondgrade school students two elementary schools one ghent belgium santiago chilewere administered musical aptitude test attention inhibitory control test statistically significant effect musical experience sustained attention cognitive flexibility audiation study explored impact different musical activities norgaard colleagues studied seventh eighth grade middleschool band students divided groups based type musical training received key area interest researchers whether students learned improvise groups received two months instruction jazz phrasing scales vocabulary experimental group taught improvise instruction part warmup routine regular band classes students tested instruction cognitive flexibility inhibitory control findings showed improvisation training different effects executive function depending students grade levels seventh grade results showed improvisation training enhanced students abilities inhibit irrelevant information although change marginally significant effect inhibition power music eighthgrade students significant change cognitive flexibility may advanced technique allowed engaged directly tonal jazz improvisation compared seventhgraders realtime evaluation musical output according tonal convention may resulted making quick adjustments performance may contributed enhanced cognitive flexibility study similar complexity bowmer colleagues investigated effect weekly musicianship training executive function abilities three fouryearold children london preschool using two phase experimental design phase one children took part eight weekly musicianship classes provided specialist music teacher children engaged nursery freeplay children receiving musicianship training improved measures relating planning inhibition skills phase two musicianship group continued music classes second group began music classes first time third group took part art intervention significant differences performance improvement three groups phase two although performance differences groups nearing statistical significance pegtapping task research older people research supported beneficial effects music training executive functions older musicians instance hannapladdy mackay studied older healthy adultsaged varying musical ability completed comprehensive neuropsychological battery groups nonmusicians low highactivity musicians matched age education history physical exercise musicians matched age starting play instrument formal years musical training musicians classified lowlevel musical group one nine years experience highlevel musical group ten years musical activity based years musical experience throughout lifespan findings showed participants least ten years musical experience performed better nonverbal memory executive functioning selfregulation naming executive processes advanced age relative non musicians several regression analyses evaluated years musical activity age commencing musical training type training variables predicted cognitive performance similarly hannapladdy gajewski researched age educationmatched older musicians nonmusicians aged assessed neuropsychological tests general lifestyle activities musicians scored higher tests phonemic fluency verbal working memory verbal immediate recall visuospatial judgement motor dexterity although differ level general leisure activities nonmusicians level education best predicted visuospatial functions musicians followed recent musical engagement offset low levels education early age engaging musical activity less nine years old predicted enhanced verbal working memory musicians analyses measures predictive recent past musical activity predicted variability across verbal visuospatial domains ageing implying early age musical engagement sustained maintained advanced age may enhance cognitive functions act buffer age education influences similarly strong mast examined similarities differences cognitive profiles olderadult instrumental musicians nonmusicians compared neuropsychological test scores among older adult nonmusicians lowactivity musicians less ten years lessons highactivity musicians ten years lessons controlling selfreported physical social activity years education overall health significant differences among groups found tasks visuospatial ability naming executive functioning significant differences found tests attention processing speed episodic memory findings support latelife cognitive benefits early musical training cognitive domains including language executive functioning visuospatial ability research adopted selfreport methods study impact making music older age instance gembris carried questionnaire study members senior amateur orchestras average age years old found music seen helping cope deal difficult situations participants singing power music activities clift et al wide range musical activities creech et al reported making music stimulates cognitive capacity including improving attention concentration memory learning executive functions attention inhibition planning monitoring meeting new challenges also selfreported improved relation musical activity hallam creech varvarigou et al intervention study older adults aged bugos et al randomly assigned six months individual piano lessons nonlesson control group found music group outperformed control group test assessed processing speed matching symbols digits significant improvements attention concentration planning cognitive flexibility working memory benefits maintained regular practice tuition needed decline followed activities ceased another study supported benefit group piano lessons executive functions verbal flexibility inhibition control older adults bugos improvement executive function significantly greater receiving music tuition compared music appreciation group consisting older adults learned musical elements listening music however groups demonstrated significantly improved executive performance similar study bugos kochar found older adults short term piano lessons improved categoryswitching verbal fluency task research aimed evaluate efficacy shortterm music programme executive functions healthy older adults thirtyfour adult participants little formal music training recruited completed battery standardised cognitive measures three time points training completion control time period training piano training programme included hours focused music theory finger dexterity exercises bimanual coordination exercises technical exercises performance duets standard piano repertoire findings showed significantly enhanced verbal fluency processing speed following training although difference found verbal memory performance study bugos examined effects bimanual coordination music interventions cognitive performance healthy older adults aged one executive functioning selfregulation hundred thirtyfive participants completed motor measures battery standardised cognitive measures week music training programme threehour practice requirement participants matched age education estimate intelligence allocated one three training programmes piano training fine motor percussion instruction gross motor music listening instruction findings revealed significant enhancements bimanual synchronisation visual scanning working memory abilities fine gross motor training groups compared listening group pairwise comparisons revealed piano training significantly improved motor synchronisation skills compared percussion instruction music listening findings suggest active music performance may benefit working memory extent benefits may depend upon coordination demands another study using piano lessons fourmonth weekly group piano lesson designed implemented professional music teacher pianist resulted improved performance stroop test older adults cognitive improvement observed older adults control group seinfeld also focusing type activity biasutti mangiacotti investigated whether cognitive training based rhythmic musical activities music improvisation exercises could positive effects executive functions older participants thirtyfive residents residential home mild moderate cognitive impairment healthy ageing randomly assigned experimental group participated cognitive music training composed biweekly minute sessions control group attended biweekly minute sessions gymnastic activities neuropsychological test battery administered baseline end programme significant improvement experimental group mental state examination verbal fluency test clockdrawing test control group show significant improvements improvement found performance attentional matrices test music group although participating gymnastics activities showed significant reduction performance evidence neuroscience shown differences frontal cortex musicians nonmusicians area power music brain implicated regulation attention gaser schlaug sluming et al musical engagement increases greymatter density frontal brain areas involved controlling musical tasks hyde et al musicians continue engage musicmaking beyond years old show less degeneration greymatter density frontal cortex practising musical instrument seems help prevent deterioration executive functions involving monitoring planning sluming et al alain colleagues using electroencephalogram investigated effects musicmaking inhibition control interference healthy older nonmusicians received three months musical visual art training musicbased intervention included use body percussion voice nonpitched musical instruments well learning basic music theory melody harmony concepts singing simple songs training provided professional music teacher transient differential neural activities observed frontocentral sites intervention groups improvement task performance using electroencephalography moussard colleagues used visual gono go task demonstrated group older musicians exhibited neural response indicating conflictdetect signal inhibition prepotent response central midline sites go go conditions compared group older nonmusicians reviews literature reviews literature drawn different conclusions relating role music enhancing executive functions moreno bidelman concluded research demonstrated robust longlasting biological benefits music training auditory function behavioural advantages conferred musical experience extend beyond enhancements perceptual abilities impact nonauditory functions necessary higherorder aspects cognition instance working memory suggest findings indicate alternative forms arts engagementfor instance visual arts training may yield enhancements suggesting musical expertise uniquely executive functioning selfregulation refines hierarchy brain networks subserving auditory well domaingeneral cognitive mechanisms argue transfer specific music experience broad cognitive benefit might mediated degree listeners musical training enhances lower higherorder executive functions coordination argued understanding impact music brain provide holistic picture auditory processing plasticity may also help inform tailor remediation training programmes designed improve perceptual cognitive benefits whether structural changes lead higher intelligence better memory stronger cognitive processing childhood continues debated later review moreno farzan concluded music training leads robust longlasting benefits behaviour extend inhibitory control neural correlates forms art engagement brain training appear yield enhancements suggest music uniquely taps brain networks concerned inhibitory control miendlarewska trost go suggest rhythmic entrainment essential mechanism supporting learning development executive functions turn may underlie enhancements reading verbal memory review loui guetta point music intrinsically creative art form requires bottomup top perceptual processing attention integration executive functions attention subset executive functioning underpins goaldirected processes including conflictmonitoring taskswitching working memory considerable research addressed effects musical training executive functions loui guetta argue findings research mixed inconclusive similarly okada slevc b argue relationships musical ability executive functions mostly demonstrated correlational studies relationships could range different explanations musical experience could draw aspects existing executive functions musical training could improve executive functions broadly observed relationships could merely reflect selection bias individuals preexisting skills useful musiclearning power music likely pursue persist continued music lessons alternatively explanations might relevant music lessons may exaggerate preexisting differences issues continue debated agreement musical experience draws particular cognitive abilities relationships musical experience cognitive abilities reflect specific abilities critical musical experience however difficult know exactly executive functions reliably related musical experience focusing issues relating ageing sutcliffe colleagues note lack intervention studies random assignment participants conditions lack wellmatched control conditions factors make difficult draw firm conclusions argue music training might valuable tool supporting healthy neuropsychological ageing mental wellbeing wellcontrolled intervention studies necessary provide clear evidence similarly review focusing older adults koshimori thaut suggest crosssectional correlational studies undertaken musicians shed light potential benefit formal musical training executive functioning brain changes prefrontal area taskbased studies consistently demonstrated individuals formal musical training differential brain activity executive function tasks relative without musical training however studies allow direct causal effects music training executive functioning brain changes demonstrated furthermore specific effects different types musical training executive function brain structure function prefrontal area still unclear examining evidence related playing piano concluded activity may beneficial effects executive functions healthy older nonmusicians complex process requiring coordination multiple sensory modalities motor control monitoring working memory inhibition attentional shifting however sample sizes studies frequently small often additional methodological limitations meant findings interpreted caution executive functioning selfregulation overview drawing firm conclusions impact musical activity executive functioning challenging range reasons studies investigate one cognitive process different assessment tasks used measure executive function makes comparisons difficult correlation studies useful identifying areas research tend use different ways categorising individuals groups musicians nonmusicians assessing different levels musical expertise research undertaken infants elderly sometimes mixedage groups leading possibility wide range confounding factors evidence also shows musical interventions different effects three elements executive functioning different research projects shown benefits working memory inhibition cognitive flexibility although clear elements executive functioning enhanced musical training might beneficial effects musical experience would pronounced populations relatively lower executive functions young children elderly adults patients neuropsychological issues overall evidence studies children adults older adults relating impact actively making music executive functions inconclusive definite conclusions drawn attention needs given type programme adopted nature musical content quality delivery participants ideally music lessons incorporate skills build one another gradual increases complexity enhance executive functions activities might usefully include reading musical notation sightreading playing ensemble practice complex polyrhythms also start children young continue many years ideally throughout lifespan generally jury still possible impact music training executive functions future research needs attempt establish clearly executive functions may implicated transfer whether relate skills become automated related requiring conscious cognitive processing combination chapter consider relationship power music executive functions measured intelligence music advantage many possible interventions enhancing executive functioning generally intrinsically motivating activity frequently offering opportunities enjoyable social interactions many aspects music trainingreading music practising playing ensemblesare likely engage executive functions many people enjoy music lessons intrinsic value music training may provide relatively easy implement naturalistic executive training programme intellectual development term intelligence used everyday life identify differences individuals way able learn carry particular tasks beyond general everyday usage clear agreement amongst scientific community regarding nature intelligence first test intelligence developed france binet simon differentiate childrens ability learn order subsequently help teachers tailor instruction meet childrens needs test included ability name objects define words draw pictures complete sentences compare items construct sentences statistical analysis data use test revealed responses highly correlated leading spearman suggest single underlying general intelligence factor became known g factor generally accepted relate abstract thinking including ability acquire knowledge adapt novel situations benefit instruction experience terman developed american version binets test stanfordbinet intelligence test similarly made tests vocabulary memory pictures naming familiar objects repeating sentences following commands also evidence specific intelligences one distinction fluid intelligencewhich refers capacity learn new ways solving problems learning crystallised intelligence refers accumulated knowledge crystallised intelligence increases age fluid intelligence tends decrease age since initial conceptualisations many types intelligence proposed instance thurstone proposed seven clusters primary mental abilities word fluency verbal comprehension spatial ability perceptual speed numerical ability inductive reasoning memory recently sternberg proposed triarchic theory intelligence includes analytical himonides cc byncnd httpsdoiorg obp power music creative practical intelligence contrast gardner proposed eight intelligences linguistic logicomathematical spatial musical kinaesthetic related movement intrapersonal personal insights interpersonal interacting others naturalistic relating plants nature research exploring impact musical activities intelligence tended focus general intelligence although exceptions one commonly used tests research wechsler adult intelligence scale wais consists different tasks including working memory arithmetic ability spatial ability general knowledge world waisiv yields scores four domains verbal perceptual working memory processing speed tests nonverbal reasoning rely literacy skills also developed ravens progressive matrices one commonly used element requires testee identify missing element complete pattern recently concept emotional intelligence emerged traced back work thorndike referred concept social intelligence described ability understand manage people gardner within framework multiple intelligences elaborated concept include intrapersonal interpersonal intelligence former relating capacity understand oneself use information regulate ones life latter capacity understand intentions motivation desires others currently two constructs emotional intelligence ability emotional intelligence focuses ability process emotional information use navigate social environment mayer et al although evolved include abilities accurately perceive emotions access generate emotions assist thought understand emotions emotional knowledge reflectively regulate emotions promote emotional intellectual growth mayer et al contrast trait emotional intelligence trait emotional selfefficacy concerns emotionrelated selfperceptions trait emotional intelligence proposed petrides furnham conceptualised aspect personality measured selfreport daniel golemans book popularised concept emotional intelligence intellectual development model proposed seen combining ability trait emotional intelligence empathy typically associated emotional intelligence relates individual able connect personal experiences others role music development empathy discussed chapter nature nurture ongoing contentious debate intelligence whether determined genetic environmental factors clearly intelligence determined genetic factors alone musical interventions impact nowadays increasingly recognised measured intelligence iq determined genetic predisposition environmental factors although whether operate additively interact continues fiercely debated considerable research undertaken attempt identify gene genes responsible intelligence research shown intelligence within normal range polygenic traitin words influenced one gene case intelligence least genes traditional additive genetic models shown intelligence extremely high heritability levels research shown extremely malleable sauce matzel suggest intelligence unusual properties create large number hidden gene environment networks allow contribution high genetic environmental influences individual differences iq argue current research methods underestimate gene environment interplay inflate estimates genetic effects turn deflate estimates impact environment provide evidence shows cognitive gains children adoption immigration changes heritability across life span also present evidence gains population iq time relating societal development slowdown agerelated cognitive decline gains intelligence early education acknowledge high heritability intelligence could emerged independent genetic effects high malleability could arisen independent environmental effects suggest cannot account individual differences conclude gene environment power music interplay key understanding intelligence given present state evidence brain imaging provided basis research neurobiology intelligence highlighting important functional structural anatomical regions implicated greymatter volume thickness whitematter integrity function temporal frontal parietal cortices goriounova mansvelder genomewide association studies made possible show percent associated genetic variants coded functional protein likely regulatory function different stages neural development genes produce functional proteins implicated range neuronal functions including synaptic function plasticity cell interactions metabolism energy recent research cellular neuroscience shown positive correlations dendritic size action potential speed iq much still understood underpins individual differences intelligence considering relationship music language intelligence jung haier developed model parietofrontal integration theory highlights structural links common areas specifically shared neural structures prefrontal cortex anterior cingandulate region within temporal lobes research along indicating malleability intelligence suggests music interventions may able enhance intelligence also exploring genetic environmental influences music iq mosing colleagues undertook co twin study based twins phenotypic associations moderate although relationship disappeared controlling genetic shared environmental influence twin highly trained music higher iq untrained twin findings strongly suggested associations musical training iq causal correlational comparative research adults correlational studies shown engagement music enhance skills contribute scores intelligence tests evidence suggests longer training greater intellectual development impact corrigall et al deg\u00e9 et al schellenberg relationships musical training intelligence remain range confounding variables related family background taken account corrigall et al deg\u00e9 et al schellenberg b schellenberg mankarious example schellenberg b studied undergraduates ranging age years old either least eight years extracurricular private music lessons lessons musically trained participants higher scores untrained counterparts iq composite score verbal nonverbal subtests advantages evident even gender parents education family income first language held constant similarly corrigal schellenberg studied relationships cognition personality participation music lessons length participation one hundred eighteen adults children aged ten twelve completed personality cognitive ability tests cognitive ability associated duration musical involvement even demographic variables controlled swaminathan colleagues examined whether link intelligence musical expertise better explained formal music lessons musical aptitude musically trained untrained adults completed tests nonverbal intelligence ravens advanced progressive matrices musical aptitude also provided information music lessons socioeconomic status duration music training associated positively socioeconomic status nonverbal intelligence melodic rhythmic aptitude intelligence music aptitude also positively associated association musical training intelligence remained controlling socioeconomic status disappeared controlling musical aptitude although musical aptitude strong correlation intelligence even accounting music training socioeconomic status association music training intelligence may arise highfunctioning individuals likely individuals strong aptitude music therefore take music lessons research focused particular aspects intelligence instance anaya colleagues assessed visuospatial power music sequence learning memory abilities longterm musicians recruited highly trained musicians nonmusicians completed visuospatial sequence learning task receptive vocabulary nonverbal reasoning shortterm memory tasks findings showed musicians enhanced visuospatial sequence learning abilities relative nonmusicians also performed better vocabulary nonverbal reasoning measures large difference observed visuospatial sequencing task remained even controlling vocabulary nonverbal reasoning short term memory abilities criscuolo colleagues explored relationships general intelligence executive functions musical expertise one hundred one finnish healthy adults grouped musicians amateur musicians nonmusicians administered wechsler adult intelligence scale iii weschler memory scale iii stroop test matched range variables musicians exhibited higher cognitive performance nonmusicians tests linear regression showed significant positive relationships executive functions working memory attention duration musical engagement controlling possible confounding variables focusing fluid intelligence meyer colleagues administered test battery including measures episodic memory working memory attention executive function processing speed undergraduate students range musical expertise three groups students identified expert group begun musical training age ten younger engaged music ten years longer selfrated three five two likert scales relating sightreading skills improvisation skill musical amateurs included one year musical training nonmusicians less one year musical training typically training findings showed musicians extensive experience scored significantly higher fluid cognition attention working memory tests executive functions processing speed intellectual development nonmusicians less welltrained musicians statistically significant difference amateur nonmusicians subtests one exception executive function test amateur musicians performed better nonmusicians regression analysis using age onset training length music training relation fluid intelligence showed two factors accounted almost percent variance age onset predicted fluid intelligence relationship length music education significant subscores two factors accounted almost percent variance subscore speed processing age starting musical training predicted speed processing relationship length music education significant regression analyses subscores yielded nonsignificant results silvia colleagues adopted bifactor modelling approach study data sample young adults varied substantially musical expertise participants completed range tasks measured several lowerorder abilities fluid intelligence crystallised intelligence verbal fluency auditory discrimination ability simple correlations showed music training correlated four lower order abilities bifactor model however found music training general strong association general intelligence g specific moderate association auditory ability relationships research adults focused relationship musical reading skills instance swaminathan colleagues sought clarify whether positive association music lessons reading ability found adults explained better shared resources processing pitch temporal information general cognitive abilities participants varying levels musical training native nonnative speakers english research assessed reading ability music perception skills general cognitive ability including nonverbal intelligence shortterm working memory socioeconomic status association reading music training significant socioeconomic status native language music perception skills controlled general cognitive abilities held constant longer association reading music training suggested power music association reading ability music training consequence general cognitive abilities research shown positive relationships musical training intelligence instance schellenberg moreno recruited undergraduates basis musical background half extensive training music least eight years lessons played regularly three years less participating remaining participants little musical training participants responded tests pitch processing completed ravens progressive matrices assess nonverbal reasoning musicians exhibited superior performance musical tests measure general intelligence similarly helmbold colleagues compared adult musicians nonmusicians psychometric performance verbal comprehension word fluency space flexibility closure perceptual speed reasoning number memory significant differences found either mean fullscale scores specific aspects mental abilities except flexibility closure perceptual speed subtests musicians performed reliably better nonmusicians also comparing musicians nonmusicians brandler rammsayer studied differences range cognitive tasks including verbal comprehension word fluency space closure perceptual speed reasoning number memory significant differences found either mean full scale scores specific aspects intelligence except verbal memory reasoning performance verbal memory reliably higher musicians nonmusicians nonmusicians performed significantly better four subscales cattells culture free intelligence test correlation comparative research children long interest relationship musical training intellectual development many early studies focused general intelligence might underpin musical ability beckham fracker howard hollingworth later studies explored nature relationships antrim bienstock ross address issues causality intellectual development led arguing reason relationships intelligent children drawn participate musical activities farnsworth ross since early studies evidence children take musical instrument frequently higherlevel academic skills prior participating musical activities feldman matjasko fitzpatrick gibson et al hille et al kinney ruthsatz et al schellenberg schellenberg mankarious however always case habibi et al learning play musical instrument often related socioeconomic status families family makeup support opportunities musical engagement bugaj brenner costagiomi elpus abril kinney schellenberg weiss intervention studies establish direction causality overall number correlational comparative studies children adopting crosssectional approach schlaug colleagues compared nine elevenyearold instrumentalists average four years training control group findings showed instrumental group performed significantly better control group musical audiation lefthand index finger tapping rate vocabulary subtest wisciii intelligence test however nonsignificant trends phonemic awareness test ravens progressive matrices mathematics test similarly loui colleagues showed children played musical instrument half hour week higher scores verbal ability intellectual ability well higher axial diffusivity left superior longitudinal fasciculus play correlation number hours practice week axial diffusivity left superior longitudinal fasciculus suggested relationship musical practice intellectual ability related maturation whitematter pathways auditory motor system research focused multiple intelligences instance singh colleagues studied performance multiple intelligences indian children comparing iq scores recruited school children ages government private schools towns cities villages across power music india children administered multipleintelligences questionnaire consisting truefalse questions assess intelligences seven domains including linguistic skills logical mathematical abilities musical skills spatial intelligence bodily kinaesthetic skills intrapersonal intelligence interpersonal intelligence iq scores assessed ravens standard progressive matrices findings showed different students possessed different forms intelligences students one form intelligence seven forms intelligence threelogicomathematical musical spatialwere positively correlated iq scores swaminathan schellenberg focused links musical expertise language ability sample six nineyearold children language ability measured tests speech perception grammar musical expertise assessed range tests musical ability musical training associated positively performance grammar test musical ability iq openness age overall findings showed musical ability predicted language ability independent iq confounding variables links music language seemed arise primarily pre existing factors formal training music schellenberg colleagues undertook series studies exploring relationships musical engagement intelligence children instance schellenberg administered standardised tests intelligence approximately children adults varied widely extent musical experiences outside school findings showed among children cognitive performance positively associated months music lessons even holding constant parents education family income duration involvement associations strongest aggregate measure intelligence association musical activity particular subtests general intelligence held constant later study schellenberg compared musically trained untrained nine twelveyearolds measure iq five measures executive function musically trained children outperformed untrained children across four subtests three iq scores test used findings replicated reported earlier schellenberg b however association musical training intellectual development executive function negligible corrigal schellenberg collected data ten twelveyearold children including demographic information measured cognitive ability duration music lessons associated positively age socioeconomic status duration nonmusical extracurricular activities iq school performance concluded observed associations musical involvement cognition highly unlikely solely consequence music training comparative study hille colleagues explored impact different types musical activities intelligence tested boys aged eight nine years old half learned play musical instrument nonverbal measures intelligence higher boys playing instrument moderate effect size difference nonverbal measures intelligence found boys sang choir overall active participation choir lessons called first experiences music show benefits associated learning play instrument deg\u00e9 colleagues investigated whether association music lessons intelligence mediated executive functions intelligence five different executive functions set shifting selective attention planning inhibition fluencywere assessed nine twelveyearold children varying amounts music lessons significant associations emerged music lessons measures executive function executive functions mediated association music lessons intelligence measures selective attention inhibition strongest contributors effect results suggested least part association music lessons intelligence explained positive influence music lessons executive functions turn improved performance intelligence tests also focusing executive functions schellenberg compared musically trained untrained nine twelveyearolds measure iq five measures executive function findings showed iq executive function correlated musically trained group higher iqs untrained counterparts advantage extended across iq subtests however association music training executive function negligible results power music support hypothesis association music training iq mediated executive function jaschke colleagues adopted different approach assessing exposure musically enriched environment including listening music home play attending concerts questionnaire administered sample primaryschool children also completed verbal intelligence section wechsler intelligence scale wisc iii performed executive sub function tasks planning working memory inhibition short term memory task linear multiple regression analyses showed significant relationship exposure musically enriched environment executive subfunctions planning inhibition working memory shortterm memory experiencing musically enriched environment serve predictor higher performance executive sub functions although influence verbal intelligence intervention studies research adopted retrospective approach studying relationship active engagement music intelligence showing enhanced performance musicians range intellectual skillsis able address issue causality take playing musical instruments may higher iq scores first place although evidence regarding mixed intervention studies address issue also served demonstrate complexity issues involved establishing relationship musical engagement intelligence early study hurwitz colleagues assigned firstgrade children two groups one receiving kodaly music lessons five days week seven months one control group receive musical tuition end study experimental group scored significantly higher control group three five sequencing tasks four five spatial tasks statistically significant differences found verbal measures although children experimental group higher reading achievement scores control group maintained two academic years following early study gromko poorman compared preschool children group engaging weekly musical activities intellectual development control group found threeyearolds participating study intellectually stimulating environment resulted gain ability perform spatialtemporal task element intelligence test similarly bilhartz colleagues studied relationship participation structured music curriculum cognitive development four sixyearolds half children participated week minute weekly music curriculum parent involvement following children tested six subtests stanfordbinet intelligence test young child music skills assessment test significant gains music group music test stanfordbinet bead memory subtest series studies costagiomi colleagues costa giomi ryan completed longitudinal study effects piano instruction childrens cognitive abilities children randomly assigned experimental control group child received free instruction two groups children comparable start study terms musical ability cognitive abilities academic achievement mathematics language motor skills two years instruction children experimental group obtained significantly higher scores cognitive ability tests spatial scores however differences found three years additionally differences quantitative verbal cognitive abilities two groups found two years study followup study conducted seven years completion lessons showed differences groups similarly analysis tenyear followup costagiomi ryan showed differences iq memory initial gains became negligible time improvements small temporary seem depended level childrens commitment effort three years percent variance cognitive improvement explained childrens attendance lessons time spent practising committed gained costagiomi carefully controlled study schellenberg randomly assigned large sample children four different groupstwo received music lessons standard keyboard kodaly voice lessons year control groups received instruction non musical artistic activity drama lessons four groups exhibited increases iq would expected time period music power music groups reliably larger increases fullscale iq effect size children control groups average increases points music groups increases points two subtests music group larger increases control groups notably music groups larger increases four indexes measured specific abilities verbal ability spatial ability processing speed attention catterall rauscher review literature reanalysis schellenbergs data argue gains seen general iq likely result specific gains visuospatial intelligence although may also effects related enhanced development language literacy skills recent study moreno colleagues b devised two interactive computerised training programmes focus music art days training children music group exhibited enhanced performance measure verbal intelligence changes positively correlated changes functional brain plasticity executive function task authors suggested indicated impact musical engagement intelligence could related executive functions similarly jaschke colleagues b studied primaryschool children aged six seven years old followed years participants randomised four groups two music intervention groups one active visual arts group noarts control group neuropsychological tests assessed verbal intelligence executive functions additionally national data academic performance available children visual arts group performed better visuospatial memory tasks compared three conditions however test scores inhibition planning verbal intelligence increased significantly two music groups time compared visual art noarts controls mediation analysis executive functions verbal iq mediators academic performance showed possible fartransfer effect executive subfunction academic performance scores tehran iran kaviani colleagues worked preschool children kindergarten sixty children aged five six years old randomly assigned two groups one receiving twelve minute music lessons othermatched sex age mothers educational levelnot receiving music classes intellectual development children tested start music lessons end four subtests intelligence scale findings showed statistically significant increase iq participants receiving music lessons specifically verbal reasoning shortterm memory subtests although differences numerical visual abstract reasoning abilities israel research children aged six twelve also found causal effect music training intelligence children assigned twoyear music training programme larger increases general intelligence compared control group intervention portowitz klein portowitz et al working spain carioti colleagues tested students middle school beginning first class beginning second class seventytwo students able access music curriculum previous music experience without accessed standard curriculum prior music experience without longitudinal comparison four groups students revealed students experiencing music curriculum better performance tests general cognitive abilities visuospatial skills memory tests studying children low socioeconomic backgrounds barbaroux et al evaluated impact classical music training programme particular reference general intelligence auditory visual attention working shortterm memory findings showed music training improved total iq symbolsearch scores well concentration abilities rose colleagues investigated effects musical instrument learning development cognitive skills seven nineyearold children pre posttest measures intelligence memory compared children received either extracurricular musical training statutory school music lessons results showed significant association musical aptitude intelligence overall children receiving extracurricular lessons showed significant increase iq pointsin comparison points receiving standard school music lessons significant differences found memory comparison two different music interventions james colleagues undertook cluster randomised controlled trial showed musical instrumental practice comparison traditional power music sensitisation music led multiple transfer effects cognition sixtynine children aged ten twelve received group music instruction professional musicians twice week part regular school curriculum intervention group learned play string instruments whereas control group sensitised music listening theory practice broad benefits manifested intervention group compared control group working memory attention processing speed cognitive flexibility matrix reasoning research shown increases iq relating active participation musical activities instance mehr colleagues conducted two randomised controlled trials american preschool children average aged four years old compared participation music classes participation visual arts classes parents attended classes children classes ran six weeks total hours relatively unstructured musical activity involved singing work percussion instruments movement children tested spatial navigational reasoning visual form analysis numerical discrimination receptive vocabulary first experiment children music group showed greater spatial navigational ability children visual arts class showed greater visual form analysis however partial replication another group children confirm findings working secondary primaryaged students two studies rickard colleagues reported impact increase schoolbased music training range cognitive psychosocial measures ten thirteenyearolds first study benefits increased frequency classroombased music classes compared drama art lessons second study compared effects introducing new classroombased music programme new drama programme primaryschool students assessments obtained baseline approximately six months implementation programme benefits school music classes apparent although trends interest observed nonverbal intelligence verbal memory intellectual development music emotional intelligence evidence group musicmaking support development emotional intelligence instance petrides colleagues investigated trait emotional intelligence study music students found positive relationship trait emotional intelligence scores length musical training research supported conceptualisation trait emotional intelligence construct general emotionality contrast research assessing ability emotional intelligence resnicow colleagues worked undergraduate students found relationship ability recognise emotions performances classical piano music measures emotional intelligence required individuals identify understand reason manage emotions using hypothetical scenarios emotional intelligence emotion recognition music task significantly correlated suggests identification emotion music performance draws sensibilities make everyday emotional intelligence also evidence music training enhances sensitivity emotions speech thompson colleagues revealed music lessons promoted sensitivity emotions conveyed speech prosody musically trained adults outperformed untrained adults identifying sadness fear neutral emotion sixyear olds randomly assigned one year keyboard lessons performed equivalently drama group better nolessons group identifying anger fear adopting different approach theorell colleagues explored whether musical activities contributed prevention alexithymia inability describe ones emotions eight thousand swedish twins aged studied completed toronto alexithymia scalea musical achievement scaleand estimated number hours musical practice different periods life findings showed alexithymia negatively associated musical creative achievement played musical instrument total hours musical training ensembleplaying associations musical training alexithymia remained significant controlling education depression intelligence power music musical achievement musical practice associated lower levels alexithymia concluded musical engagement associated higher emotional competence although effect sizes small research exploring relationships music making emotional intelligence found positive relationships seems depend whether emotional intelligence measured trait behavioural disposition abilitya skill processing emotional information using everyday life music training seems related emotional intelligence trait petrides et al rather ability trimmer cuddy working undergraduates found emotional intelligence music training music perception abilities successfully predicted identification intended emotion speech melodic analogues ability recognise cues emotion accurately efficiently across domains may reflect operation crossmodal processor rely gains perceptual sensitivity related music training similarly schellenberg b studied undergraduates ranging age years old least eight years extracurricular private music lessons lessons musically trained participants scored higher untrained counterparts test emotional intelligence despite research children found positive relationships understanding emotions music training instance schellenberg mankarious found seven eightyearolds least eight months formal musical training mainly private individual lessons showed positive association music training emotional ability although seemed mediated higher levels general intelligence also evidence music enhance emotional competence among children supports engagement learning adushkina korea two studiesshin lee examined effect music therapy lowincome elementaryschool childrens emotional intelligence music programme consisted singing listening music songwriting findings showed intellectual development statistically significant increases emotional intelligence compared control group also korea kim kim adopted quasiexperimental design children received weekly group musical instrument performance class regular music class control group children received regular music class part elementaryschool curriculum emotional intelligence anxiety aggression assessed beginning end week intervention musical instrument performance programme improved ability perceive emotions reduced physical verbal aggression statistically significant effect level total emotional intelligence anxiety aggression studies older adults research focused general cognitive functions older adults saw chapters evidence impact music cognition older people instance executive functions including various aspects memory attention processing speed planning amer et al bugos et al bugos bugos deg\u00e9 kerkovius diaz abrahan et al grassi et al hannapladdy gajewski hannapladdy mackay hars et al strong mast also improvements cognition working memory patients dementia evidence musical activity prevent cognitive decline camic et al maguire et al mansky et al pongan et al s\u00e4rk\u00e4m\u00f6 et al pilot study socioeconomically diverse older adults macaulay colleagues presented interim data effect music training thirtyfive socioeconomically diverse older adults mean age completed programme participants took part weekly onehour recorder lessons underwent comprehensive pre postintervention neuropsychological assessments results indicated improved executive function global cognition verbal fluency visual memory performance following intervention research suggested music training cognitively stimulating activity reallife applications older people retrospective study fancourt colleagues examined whether lifetime musical training associated power music neuropsychological performance memoryclinic population older patients total patients average age almost years old included crosssectional analysis participating patients referred memory clinic due cognitive impairments participants assessed using neuropsychological assessment battery also provided information whether played musical instrument least five years lives outcomes neuropsychological test results differed based extent musical training overall differences domains cognitive functioning patients musical training performed worse wordlist memory tasks however relationship varied based extent cognitive impairment patients cognitively unimpaired musical training showed better wordlist learning whereas patients cognitive impairments musical training performed worse wordlist learning word list recall overall little evidence associations specific neuropsychological test results musical training cognitively unimpaired patients evidence musical training beneficial associations patients cognitive impairment suggestions negative associations verbal memory largescale study mansens colleagues used data participants aged older longitudinal aging study amsterdam multivariable linear regression analyses performed test association time spent making music cognitive functioning making music significantly positively associated letter fluency learning attention shortterm memory although time spent making music yielded significant results participants played instrument compared participants made music performed better learning working memory processing speed processing speed instrumentonly group also higher score participants sang making music least every two weeksand especially playing musical instrumentwas associated better attention episodic memory executive functions overall research date suggests music training may protect agerelated decline working memory may improve performance among older adults show decline working intellectual development memory music training may also useful prevention treatment dementia reviews metaanalyses reviews metaanalyses relating role music general cognition inconsistent findings \u010drn\u010dec colleagues concluded music instruction conferred consistent benefits spatialtemporal reasoning skills however improvements associated academic domains arithmetic reliably shown similarly jaschke colleagues review research children aged four thirteen suggested results research exploring effects active engagement music cognitive development either inconclusive contradictory differences methods adopted different types music education studied dumont colleagues focused role music child development based detailed examination studies argued research impact music interventions indicated positive effects variety skills may support educational processes childrens development although possible draw definitive conclusions seven studies sufficient evidence results random controlled trial showed effects two experimental studies yielded mixed results three quasiexperimental longitudinal studies longitudinal development study suggested partial positive impact music evidence five experimental longitudinal studies suggested benefits memory although methodological limitations six quasiexperimental studies exploring impact attention executive functions two reported positive outcomes five studies focusing working memory seemed suggest positive influence music protzko colleagues reviewed five metaanalyses randomised controlled trials raising iq children found supplementing deficient child multivitamins raised iq providing iodine supplements learning play musical instrument also enhanced iq although role iron supplements executive function training unreliable papageorgi also concluded active engagement musicmaking particularly power music playing musical instrument benefits cognitive development kraus chandrasekaran argued although convincing evidence overall benefits engagement music many questions remain unanswered evidence suggests music training facilitates cognitive development clear whether improvements effect music training cognitive load involved process learning playing musical instrument facilitates development range cognitive skills sala gobet carried two metaanalyses establish whether available data supported association music cognitive skills first analysis examined studies results random effect models showed small overall effect size slightly greater effect sizes regard intelligence memoryrelated outcomes also inverse relationship size effects methodological quality study design results suggested music training reliably enhance children young adolescents cognitive academic skills later metaanalyses sala gobet reanalysed data previous studies conducted included total children analysis revealed music training appeared ineffective enhancing cognitive academic skills regardless type skill verbal nonverbal speedrelated participants age duration music training authors found studies highquality design used group active controlslike children learned different skill dance sportsshowed effect music education cognitive academic performance small effects found studies include controls participants randomly assigned intervention control groups similarly cooper conducted random effect metaanalysis measure overall mean effects music training cognitive measures schoolchildren results showed small medium overall effects compared active control groups music training yielded improvement range cognitive measurements studies result large effect sizes significant moderators related methodological quality rendered overall findings non significant additional moderator analysis showed clear advantage intellectual development cognitive function findings differ relation type music intervention overall suggested music training may positive impact cognition schoolchildren may advantages compared interventions overview overall taking findings together would appear active engagement making music impact intelligence cognitive development although frequently however research highlights great many issues firstly nature intelligence problematic research point view includes many different subskills likely benefit musical interventions others demonstrated previous chapters nature relative importance relationship executive functions measured intelligence also problematic area type musical interventions duration intensity quality continue possible confounding factors also issue relation role active control groupsfor instance sport drama dance visual art difference outcomes musical training activities indeed taking dietary supplements seems assumption impact musical activities fact may activities make contribution cognitive development music greater impact cognition sport necessarily mean music impact indeed preference individual activities contribute motivation subsequent propensity maintain activity long period time high levels intensity great commitment factors important determining impact cognition might expected active engagement music would support development emotional intelligence question music profound impact moods emotions arousal levels understanding music develops may support development understanding emotions generally research date entirely support although evidence impact musical training trait emotional intelligence power music stronger ability intelligence trait emotional intelligence conceptualised aware ones emotions musicians relates performance musica key element convey emotionis clear musicians creativity understanding researching creativity presents many challenges several different approaches adopted one strand research focused characteristics creative people second considered process creativity various stages research concerned outcomes creativity words products another strand considered environment emphasising social cultural influences development expression creativity hennessey amabile describe creativity process original suit particular purpose others viewed creativity process normal cognitive processes lead moment insight order discover produce something new perkins torrance argues key component creativity ability generate something novel unique guilford proposed heart creativity divergent thinkingthe ability generate new information solutions given information goal divergent thinking generate many associations solutions possible without relying guidelines constraints gibson et al many approaches assessing creativity example cs\u00edkszentmih\u00e1lyi studied characteristics individuals judged made significant creative contributions society simonton differentiated big c creativity said occur person solves problem creates object major impact society little c creativity seen daily basis someone adapts change comes new ways understanding problem measure little c divergent thinking guilfords alternative uses task participants list several possible creative uses common household items newspaper brick paperclip correct himonides cc byncnd httpsdoiorg obp power music answers participants produce many unique creative uses domainspecific theories creativity emphasise non transferability expertise one creative domain another baer theories supported findings creative individuals rarely creative domainsfor instance individual known creativity physics rarely also renowned creativity musician kaufman baer baer also low correlations individuals creative output different domains baer domainspecific theories consistent evidence big c creativityideas represent huge leap forward fieldrequire specific knowledge skills domain turn requires extensive practice learning contrast domaingeneral theories emphasise generalisability creative thinking across different domains hong milgram domaingeneral view supported personality studies suggest creative personality type martindale daily feist batey furnham evidence people express different creative domains outputs bear recognisable style gabora et al attempting address issue rootbernstein focused scientists musicians ways used musical knowledge inform scientific work rootbernstein argued music science two ways using common set tools thinking unify disciplines explored notion creative individuals usually polymaths think ways cross disciplines increasingly scholars taking less dichotomous view creativity incorporates domainspecific domaingeneral elements kaufman baer b gabora mechanisms crossdomain creativity suggested tested empirical studies instance palmiero colleagues even creative individuals tend express one domain necessarily mean prior phases creative process domainspecific instance rootbernstein demonstrated artistic ideas stimulate creativity scientists scotney colleagues demonstrated influences creativity come diverse sources conducted musicians creativity two studiesone creative experts recruited internet undergraduate students diverse academic backgrounds participants listed creative outputs things influenced sources inspiration associated outputs categorised groups within subject domain outside subject domain studies cross domain influences creativity found widespread indeed frequent within domain sources inspiration results demonstrate even individuals primarily express creativity single domain often employing crossdomain thinking engaged creative activities neurological studies creativity one strand research explored neurological basis creativity instance limb braun studied neural substrates spontaneous musical performance jazz improvisation using functional mri found improvisation compared production overlearned musical sequences consistently characterised dissociated pattern activity prefrontal cortex extensive deactivation dorsolateral prefrontal lateral orbital regions focal activation medial prefrontal cortex may reflect combination psychological processes required spontaneous improvisation internally motivated stimulusindependent behaviours unfold absence central processes typically mediate selfmonitoring conscious volitional control ongoing performance changes prefrontal activity improvisation accompanied widespread activation neocortical sensorimotor areas mediate organisation execution musical performance well deactivation limbic structures regulate motivation emotional tone distributed neural pattern may provide cognitive context enables emergence spontaneous creative activity similarly liu colleagues used functional mri study neural correlates creativity using freestyle rap multidimensional form creativity interface music language participants scanned performed two tasks used identical power music eightbar musical background track spontaneous improvised freestyle rap conventional performance overlearned wellrehearsed set lyrics task contrast analyses indicated improvised performance characterised dissociated activity medial dorsolateral prefrontal cortices providing context stimulusindependent behaviours may unfold absence conscious monitoring volitional control connectivity analyses revealed widespread improvisationrelated correlations medial prefrontal cingulate motor perisylvian cortices amygdala suggesting emergence network linking motivation language affect movement lyrical improvisation appeared characterised altered relationships regions coupling intention action conventional executive control may bypassed motor control directed cingulate motor mechanisms functional reorganisations may facilitate initial improvisatory phase creative behaviour freestyle rap compared conventional rehearsed performance using functional magnetic resonance imaging results showed activation medial deactivation dorsolateral cortices may provide context selfgenerated action freed conventional constraints supervisory attention executive control facilitating generation novel ideas altered relationships within prefrontal cortex appeared widespread functional consequences affecting motivation emotion language well motor control may generalise forms spontaneous creative behaviour gibson colleagues compared classical music students similar students behavioural tasks using near infrared spectroscopy uses near infrared region electromagnetic spectrum nm nm findings showed musicians increased convergent divergent thinking compared nonmusicians infrared spectroscopy revealed greater bilateral frontal activity may nonmusicians rely left hemisphere undertaking divergent thinking musicians using fmri de aquino colleagues found different role supplementary motor area insula musicians nonmusicians controlled musical creativity task rhythmic improvisation task musicians musicians creativity showed greater activation motor supplementary area anterior cingulate cortex dorsolateral prefrontal cortex insula along greater deactivation default mode network comparison nonmusicians also positive correlation time improvising activation supplementary motor area musicians nonmusicians improvisation time correlated activation insula appears musicians supplementary motor area plays role representation execution musical behaviour nonmusicians insula plays role processing novel musical information findings also showed correlations general creativity score brain activity performance magnetic resonance task absence correlations suggests musical creativity cerebral behavioural point view specific musical field related creativity capacities general domains correlational comparative research musicians one strand research compared performance musicians nonmusicians tests creativity instance research higher education musicians engineers charyton snelbecker found musicians scored higher general artistic creativity significant differences scientific creativity musicians statistically higher levels measured general creativity creative attributes creative temperament cognitive risk tolerance similarly gibson colleagues compared classical music students similar students musicians scored higher creativity tasks including version guilfords alternative uses task nonmusicians infrared spectroscopy revealed greater bilateral frontal activity musicians palmiero colleagues studied relationship musical expertise involve improvisation training divergent thinking expert selftaught musicians tested musical verbal visual divergent thinking compared group nonmusicians verbal visual divergent thinking musical task required participants generate different pieces music using happy birthday starting point verbal task power music required participants list unusual uses cardboard box visual task asked complete drawings adding details basic stimuli fluency flexibility originality scores measured task overall expert musicians showed higher creative scores musical verbal domains selftaught musicians verbal creative tests performed better nonmusicians group difference found relation visual creative task musical expertise enhanced musical divergent thinking also verbal divergent thinking effect seemed specifically supported formal musical training similarly sovansky colleagues investigated level musical expertise engagement creation music related divergent thinking musically trained adults sixty participants varying musical expertise tested divergent thinking using modified version alternative uses task participants listed creative uses two music items two nonmusic items findings showed musicians created music listed creative uses music items nonmusicians musicians create music nonmusic items differences divergent thinking kleinmintz colleagues adopted different approach comparing performance divergent thinking tasks three groups musicians trained improvisation trained improvisation group nonmusicians participants shown list five common objectsshoe button stapler drinking glass cardboard boxand asked list many alternative uses possible object within period ten minutes trying think original uses participants also instructed evaluate deviance rating item fivepoint rating scale ranging deviant highly deviant improvisation group scored higher fluency originality compared two groups authors concluded deliberate practice improvisation enhanced creativity non improvisation group participants reported playing classical music well styles improvisation group much diverse styles played quarter reporting playing jazz findings study suggested musicians trained improvisation creative musicians without improvisation training nonmusicians musicians creativity high school university music students shown score higher tests creativity nonmusic majors particularly marked ten years music education hamann et al hamann colleagues assessed creativity among highschool students determine whether significant differences existed creativity scores taking account gender grade point average varying degrees participation arts significant differences found among creativity scores participants gender jazz experience visual art experience combined arts experience almost variation could attributed influence grade point average significant creative mean score differences however found relation participants musical experience theatre experience influence grade point average covariate considered differences music students working areas arts however greater musical expertise assessed number units music classes taken greater creativity students ten years music education higher creativity scores fewer ten years experience hamann et al working highschool music students nonmusic students simpson found music students scored higher several elements guildford tests creativity working younger children grades two four six kiehn compared music improvisation eightynine randomly selected participants given two measures creativity vaughan test musical creativity torrance test creative thinking two independent judges scored responses vaughan test determine music improvisational creativity significant gradelevel difference emerged music creativity scores grade two students scoring significantly lower grade four six students suggests may musical creativity growth stage grades two four followed levelling significant changes test scores grade four six weak statistically significant correlation found music creativity figural creativity power music personality musicians creativity domaingeneral theories creativity emphasise generalisability creative thinking across different domains suggesting creativity transfer across domains hong milgram personality research supports suggesting may creative personality type batey furnham feist martindale daily additionally individuals express different creative domains outputs often recognisable style gabora et al hughes colleagues studied relationship personality selfrated creativity participants completed multidimensional measure selfestimated creativity selfrated personal characteristics questionnaire big five personality measure trait openness predicted measures selfestimated creativity similarly dollinger colleagues studied relationship personality measures creativity college students completed test creative thinking inventory past creative accomplishments big five personality test creative personality adjective check list related creativity measures big five openness experience measure findings latter particularly compelling together studies suggest general personality characteristic related creativity research shown musicians tend personalities high levels openness experience means potential creative supporting corrigall colleagues study adults ten twelveyear old children collected demographic information measured aspects cognitive ability administered big five personality test findings showed personality characteristic openness associated duration musical involvement exploring issue different types musicians benedek colleagues researched college students studying jazz classical folk music collected data musical practice attainment personalities jazz musicians showed higher levels divergent thinking engaged creative musical activities higher levels achievement activities classical musicians spent great deal time practising competitions musicians creativity folk musicians extroverted jazz musicians showed higher ideational creativity measured divergent thinking tasks tended open new experiences classical musicians overall jazz musicians showed particularly high creativity respect domainspecific musical accomplishments also terms domaingeneral indicators divergent thinking ability may related differences formal informal ways practising learning adopted different musical groups jazz musicians attaching importance informal practice placing lower value technical perfection competitions may individual differences creative potential may relevant realisation domainspecific creative activities achievements case musical improvisation well researching personality differences subgroups musicians according types employment instrument group vaag colleagues investigated differences personality traits professional musicians general workforce members norwegian musicians union answered questionnaire regarding type employment instrument group shortened version big five personality inventory responses compared sample general norwegian workforce answered personality questionnaire norwegian generation gender survey findings showed musicians displayed higher degrees openness experience general workforce especially evident among freelance musicians combined freelance work employment within instrument groups vocalists scored highest openness experience similarly gjermunds colleagues investigated big five personality traits musicians nonmusicians found musicians significantly higher scores openness nonmusicians typical personality trait musicians focusing rock popular musicians gillespie myors examined personality characteristics rock popular musicians aged years old completed selfreport versions personality inventory questionnaires musical background group whole scored significantly norm openness background factorssuch instrument played power music type music performed time spent playing level musicianship commercial successmoderated findings yondem colleagues compared music art students found differences groups openness sandgren found musicians score highly measures openness nonmusicians intervention studies major national reports arts emphasised importance developing range transferable skills including related creativity critical thinking naccce evidence demonstrating relationship musical skills creativity address issue causality requires intervention research controls compared participating musical activities intervention intervention studies focusing impact active musicmaking general measured creativity early study wolff studied effects minutes daily music instruction entire year firstgraders participating exhibited significant increases creativity perceptual motor skills compared controls similarly kalmar studied effects singing musicalgroup play twice weekly three years preschool children three four years age found children scored higher controls creativity higher levels abstraction showed greater creativity improvised puppet play passanisia colleagues conducted study determine whether participation group musical activity would enhance interpersonal relationships creativity nineyearold students significantly greater degree participation musical activities performances williams creative thinking test wctt test interpersonal relationships two class groupsa musical group nonmusical group compared measuring changes pre posttest data results indicated experimental group compared control group made significant gains scores imagination interpersonal relationships particularly peers focusing improvisation lewis lovatt musicians creativity carried two experiments showed minutes verbal musical improvisation significantly improved scores divergent thinking assessed alternative uses task also showed novel generation music increased scores playing learned melodies development creative skills seems particularly dependent type musical engagement supported koutsoupidou hargreaves compared two matched groups sixyearolds period six months music lessons experimental group enriched variety improvisatory activities control group include improvisation didactic teachercentred children experimental group offered opportunities experience improvisation voices bodies musical instruments websters measure creative thinking music administered sixmonth teaching programme assess childrens creative thinking terms four musical parameters extensiveness flexibility originality syntax analysis revealed improvisation significantly improved development creative thinking particular promoted musical flexibility originality syntax childrens musicmaking similarly sowden colleagues focused potential simple artsbased improvisation activities enhance divergent thinking skills creativity primary schoolaged children undertook two experiments first compared effect children taking part improvised versus non improvised dance class subsequent performance instances task creative toy design task second experiment children took part verbal acting improvisation games matched control games completing figural activity experiments children took part improvisation interventions showed better divergent thinking creativity fritz colleagues attempted see making music physical exercise combined would beneficial divergent thinking investigated relationship physical exertion control music divergent thinking wondering whether interaction effect seventyseven young german participants tested measurements divergent thinking collected either physical exercise music listening making music without power music physical effort undertaking physical exercise musical feedback music feedback exercise condition exercise machine modified movement sensor continually transmitted position computer modified musical material create musical feedback fritz et al b based current position sensor effectively transformed machine analogue musical instrument music produced included harmonically rhythmically complex components described experimental electronic music participants completed three questionnaires assessing demographic information alternative uses task perceived musical control mood feelings touch music perceived creativity experiment demonstrated music feedback exercise condition significantly increased participants scores alternative uses task effects divergent thinking observed physical exercise music listening music controlonly conditions investigating whether background music would impact creative performance ritter ferguson tested whether listening specific pieces music four classical music excerpts systematically varying valence arousal compared silence control condition would facilitate divergent convergent creativity creativity higher participants listened classical music high arousal positive mood performing divergent creativity task participants performed task silence effect music found convergent creativity creativity later life much research considering impact creative musical activity wellbeing later life despite relatively little research considering whether engaging musical activities specifically enhances creativity generally exception research studied songwriting activities studies reported range positive findings relating wellbeing creech et al baker ballantyne found group songwriting among older adult retirees promoted happiness meaningfulness engagement perceived enhance creativity broadly musicians creativity although musical creativity continue throughout lifespan also develop first time later life instance varvarigou colleagues reported yearold previous musical training participating community music project wrote song support musical expert subsequently performed publicly reviews metaanalyses compared areas research relatively reviews relating role music enhancing creativity running drew firm conclusions concluding research needed loui guetta argued music performance requires perceptual processing bottomup topdown attention integration executive functions creativity entails unconstrained thought processes yield novel output argued considering seemingly disparate aspects cognitive function tandem might promote cohesive conceptualisation music within cognitive science generally overview evidence shows musicians whole tend score higher nonmusicians tests creativity personality characteristic openness related creativity whose musical activities creative instance improvisation composition tend respond positively however mean actively engaging music enhances creativity may tend towards openness drawn musical activities require creativity little evidence intervention research suggesting making music improves creativity unless musical activities creative nature implications music education general attainment considerable research exploring relationship actively making music academic attainment correlational nature although intervention studies researching impact musical activity academic attainment extremely challenging range reasons instance may areas academic achievement affected equally various ways music may impact learning children young people interactive models needed begin unravel complexity one bronfenbrenners bioecological model bronfenbrenner morris takes account interactions process person context time case music means considering length time engaged music learning demands musical training characteristics individual immediate learning environment broader social environment individual inhabits research must also take account different types attainment outcomes general attainment attainment particular subject domains nature musical activities engaged quality implies need complex statistical analysis take account interactions earlier chapters explored impact literacy numeracy visual auditory competence chapter mainly focuses attainment across several subjects correlation comparative studies kinney examined sixth eighthgrade urban middleschool students achievement test scores fourth grade sixth eighthgrade enrolment performing group ensemble participation band choir none well socioeconomic status home himonides cc byncnd httpsdoiorg obp power music environment included fourth sixthgrade achievement tests consisted reading mathematics citizenship science eighth grade tests included reading mathematics social studies science language arts reading writing listening speaking viewing visual representation analyses indicated significant differences socioeconomic status ensemble participation higher socioeconomic status students scored significantly higher subtests except fourth sixth eighthgrade reading sixthgrade band students scored significantly higher choir students nonparticipants every subtest sixth fourthgrade achievement tests eighthgrade band students scored significantly higher nonparticipants fourth grade reading mathematics every subtest eighthgrade achievement test except social studies similar results cohorts suggested playing band may attract higher achieving students outset test score differences remained stable time rather enhanced musical activities india swaminathan gopinath examined english secondlanguage abilities musically trained untrained primary school children participants tested verbal subscales intelligence test designed indian children english word reading test musically trained participants performed significantly better tests comprehension vocabulary persisted comparisons made untrained group taking account academic subjects hong kong tai colleagues investigated relationship extent outcome hong kong students musical training perceptions value subjects studied academic achievement total students primary grades four five six single school reported extent outcome musical training including number instruments studied number years spent training highest grade level achieved findings showed music training positively predicted academic achievement chinese english mathematics similarly yang colleagues examined relationship longterm music training child development based chinese elementary school students academic development first second language mathematics findings showed musician children outperformed nonmusician children musical general attainment achievement secondlanguage development although music training correlated childrens final academic development first second language mathematics independently contribute development first language mathematical skills focusing attainment across school subjects wetter colleagues retrospective study compared school performance children engaged active musicmaking controls engaged musicmaking overall average marks well average marks school subjects except sport significantly higher children actively engaged making music multiple regression analysis musical training parents income educational level correlated significantly overall average marks slight decrease overall average marks four years grades three six found control group musical training appeared help maintain school performance high level time schellenberg studied relationship music lessons intelligence academic performance two studies first examined relationship music lessons intelligence academic achievement social adjustment six elevenyearolds second examined association childhood music lessons academic achievement undergraduates findings showed music lessons associated academic achievement studies greater exposure music lessons childhood associated higher scores measure academic achievement higher elementary school high school grade point average associations held even taking account parental education family income study participants involvement nonmusical ofschool activities england hallam rogers drew nationally available data attainment age relating students played musical instrument explore impact music training academic progress ages findings showed young people playing instrument showed greater progress better academic outcomes impact greater longer young person engaged playing instrument instrumentalists performed nearly one standard power music deviation better almost measures play instrument age despite negligible differences age learning four five years best results multiple regression analyses undertaken length time playing instrument better predictor attainment english age total points score calculated across examination subjects total number points scored performance best eight examinations age playing instrument made statistically significant contribution performance age across measures musicians showed greater progress two examinations nonmusicians learning longest period time made greatest progress also considering influence music progression time dos santos colleagues analysed academic performance music non music students seventh ninth grade controlling socioeconomic status intelligence motivation prior academic achievement data collected adolescents two time points students eleven fourteen years old seventh grade three years later findings showed music students performed better academically non music students seventh grade ninth grade difference particularly evident scores portuguese language natural science difference weaker history geography least pronounced mathematics english longitudinal analysis revealed better academic performance music students controlling prior academic achievement indicating greater progress two assessment points change remained intelligence socioeconomic status motivation controlled research clear cut results instance schneider klotz compared impact enrolment music performance classes band choir athletic extracurricular activities activities academic achievement students grades five nine participating schools adopted cross section different types music programmes results showed although mean scores musicians higher non musicians non athletes participation music conclusive factor predicting statistically higher academic scores general attainment groups although musicians score higher athletes time gap widened findings indicated factors enrolment performing music class affected outcomes findings also indicated overall drop standardized test scores ninth grade students seen student musicians largescale research considerable amount research based large statewide national datasets evidence correlation studies usa shown students participate music education better peers many measures academic achievement instance using statewide data abeles reported groups second grade children participated weekly violin programme three lessons every two weeks outperformed non violin group controls performance mathematics language arts tests morrison using data national centre educational statistics representing students showed high school students participated music reported higher grades english mathematics history science participate similar outcomes reported cardarelli fitzpatrick trent number doctoral theses also supported findings cobb gregory miranda schneider underwood zanutto china yang investigated whether music participation related academic achievement within context representative population level data adjusted array socio demographic factors well early academic achievement impact music practice educational outcomes analysed using multivariate regression individual fixed effects findings suggested childhood musical activity either playing instrument singing related positively educational achievements adolescence magnitude significance estimated music coefficients different music indicators robust increasing amount individual family control variables size music estimates decreased effect parental education leisure activities previous educational achievements held constant power music usa fitzpatrick studied students attending columbus public schools ohio compared performance statewide test academic attainment instrumental music students non instrumental classmates students fourth sixth ninth grades students like socioeconomic status compared performance tests citizenship mathematics science reading findings showed instrumental students outperformed noninstrumental students every subject every grade level instrumental students levels socioeconomic status higher scores noninstrumental classmates fourth grade suggesting instrumental music programmes attracted higher scorers outset instruction however findings also showed pattern increased achievement lower socioeconomic status instrumental students surpassed higher socioeconomic status noninstrumental classmates ninth grade subjects similarly thorton conducted statewide comparison test scores students involved voluntary music classes ensembles students involved activities scores almost students three grades tested state grades five eight eleven included significantly higher scores found students involved music compared students involved would seem additional time spent music activities disadvantage students academically also using statewide data research focused students participate statewide ensembles instance henry braucht found successful young musicians usa participated statewide ensembles also higher sat scores state averages southgate roscigno using two national data sets eclsk us kindergarten students nels adolescents three measures music participationin school outside school parental involvement form concert attendancefound music involvement varied systematically class gender involvement implications mathematics reading achievement young children adolescents associations music achievement persisted even prior achievement taken account evidence social class variation within school music involvement adolescents early general attainment childhood effects class parental music involvement strong consistent samples mediator educational outcomes music involvement significant mathematics reading achievement generally increased achievement levels although gains distributed equally among students white student advantage existed may relate type musical activity engaged opportunities afforded students performance may contribute enhanced selfesteem increased motivation working young children families australia williams colleagues investigated parentchild home music activities sample children participating programme growing australia longitudinal study australian children frequency shared home music activities reported parents children two three years old outcomes measured parent teacher report direct testing two years later children four five years old series regression analyses controlling sociodemographic variables found frequency shared home music activities small significant partial association measures childrens vocabulary numeracy bookreading shared home music activities frequency shared home music activities maintained small partial associations measures attention numeracy evidence largescale studies shown positive outcomes music tuition instance elpus examined college entrance examination scores music nonmusic students united states drawing data education longitudinal study nationally representative education study analyses highschool transcript data showed million students graduated high school earned least one course credit music fixed effects regression procedures used compare standardised test scores music students nonmusic peers controlling demography prior academic achievement time use attitudes toward school findings indicated music students outperform nonmusic students standard assessment tests systematic differences controlled statistically pattern results remained consistent robust internal replications another standardised mathematics test disaggregating power music music students type music studied similarly miksza using data national education longitudinal study sample created composite item assessed student participation music entire duration study eighth twelfth grade measured academic achievement mathematics reading comprehension science social studies significant differences subtests initial testing favour participated band choir orchestra rates change mathematics science social studies greater music participants reading achievement music participants increased slowly nonparticipants later study miszka using data educational longitudinal study multilevel modelling able take account wide range individual factors including socioeconomic status minority status peer influence music participation school level factors including number music teachers outcome variables standardised mathematics scores composite community ethics score included strong friendships helping people community working correct social economic inequalities composite school commitment variable including late arrival skipping class absence school music participation related outcome variables controlling individual schoollevel factors students highschool music ensembles likely higher standardised mathematics achievement scores concerned community ethics committed school study germany hille schupp used german socioeconomic panel study longitudinal data establish impact musical training attainment database included detailed assessment intensity duration music activities representative youth cohorts school results allowed consideration wide range parental characteristics findings attainment age taking account wide range individual family characteristics showed children playing instrument age eight seventeen taken lessons outside school scored one sixth standard deviation higher children playing instrument similarly canada gouzouasis colleagues found positive relationship music achievement grade general attainment academic achievement grade courses among representative dataset comprising secondary school students british columbia taking account prior attainment thus able focus progress guhn colleagues carried multilevel mixed model analysis british columbia canada students grades seven twelve compared mean examination grades students took school music courses took none across courses english science mathematics students took school music courses significantly higher raw mean examination grades students took music courses mean differences ranged english science results multilevel model adjusting previous academic achievement socio demographic covariates cultural background neighbourhood showed exam grade means across academic subjects significantly higher took music relative students took music adjusted mean differences grades ranged english science comparisons made type music engagement instrumental vocal academic achievement throughout secondary school grades ten twelve results indicated differences examination means students took school music took school music significantly differed type school music significant interaction music participation type music observed outcomes english grades science grade mathematics grade students took instrumental music courses significantly higher examination mean scores students took vocal music courses across academic subjects instrumental versus vocal music differences mean examination grades particularly pronounced mathematics science grade compared english grades additionally compared students took music classes students took vocal music well students took instrumental music average significantly higher examination means vocal music students examination means higher students took music students took instrumental music examination means grade power music english grade mathematics higher students took music grades vocal instrumental school music classes predicted academic achievement regression results indicating significant positive linear associations grades vocal instrumental school music classes academic grades adjusting covariates results indicated associations music grades academic achievement examination scores significantly varied type school music solely vocal solely instrumental interaction music grades type music significant subjects english grades science grade mathematics grade vocal music oneunit increase overall mean music vocal grade associated predicted increases examination means subjects ranging english grade mathematics grade associations music grades academic examination scores significantly higher overall mean instrumental music grades coefficients ranging english grade mathematics grade higher levels music engagement assessed number courses taken related higher examination scores subjects pattern pronounced high engagement instrumental music medium effect sizes compared vocal music small effect sizes effect sizes group differences greater effect sizes corresponding average annual gains students academic achievement high school words highly engaged instrumental music students average academically one year ahead peers positive relationships music engagement academic achievement independent students previous grade achievement sex cultural background neighbourhood socioeconomic status considerable magnitude findings suggest multiyear engagement music especially instrumental music may benefit high school academic achievement although quality music teaching clearly important whether music impact academic attainment relatively little research taken account exception work johnson memmott studied elementary middleschool students four states usa showed strong relationship general attainment third fourthgrade students academic achievement participation music programmes analysis elementary school data indicated students exemplary music education programmes scored higher english mathematics standardised tests counterparts highquality instruction although effect sizes small analysis middleschool data indicated english mathematics students exceptional music programmes deficient instrumental programmes scored better music classes poorquality choral programmes effect sizes moderate overall higher quality programme higher academic attainment usa exploring issues related college entrance kaufman gabler assessed cultural capital extracurricular activities girls boys college attainment process using data national education longitudinal survey aimed assess specific causal role activities played college attainment process research examined extracurricular activities relation two different levels college attainment enrolment fouryear college university enrolment one nations elite selective universities found general college level handson training arts appeared improve students chances going college enhancing human capital cultural capital contrast direct exposure arts appear improve students chances going elite college although parents interested arts research disadvantaged populations evidence el sistema sistema inspired projects indicated positive impact participating musical activities attainment uk programme based schools deprived areas smithhurst reported one year participation programme children years one four one school achieving better scores mathematics reading writing compared peers involved ninety percent children reaching target grades maths compared percent involved programme similar trends evident reading power music percent programme children reaching target grades compared percent programme writing percent compared percent burns bewick reported two years participating programme children engaged music hours per week percent children progressed four levels maths percent reading percent writing compared national average three levels despite fact participants included high proportion children special educational needs however rate improvement slowed participation continued programme chile ega\u00f1a de sol showed positive effect academic attainment verbal mathematics skills attributed part participants holding higher expectations academic achievements although evaluations programmes chile mixed results programmes positive results others impact evaluaci\u00f3n de impacto programa prequestas juveniles e infantiles programmes usa indicated increased academic attainment outcome participation children achieving roll honour status particularly children participated extended period time creech et al creech colleagues review el sistema sistema inspired programmes concluded exceptions studies demonstrate significant steady improvement academic attainment achieving targets cases outperforming comparison groups maths reading writing evidence effects may cumulative related prolonged engagement programmes page intervention research research exploring links participation musical activities attainment based correlation analysis precludes demonstration causality particularly many possible confounding factors also possibility music programmes may attract students already amongst highest attaining arnettgary costagiomi harrison hodges oconnell klinedinst schellenberg general attainment shobo yoon overall evidence correlation studies shown students participate music education tend better peers many measures academic achievement although exceptions demonstrate causality requires intervention studies small number experimental studies effects participation music general attainment findings mixed several smallscale doctoral theses focused issue including hoffman legette found effect music instruction hines studying students learning difficulties kindergarten ninth grade found neither reading mathematics achievement affected type music instruction motoric non motoric another smallscale study cabanac colleagues compared performance students participated music programme single school canada found music students consistently higher attainment subjects merh colleagues conducted two random controlled trials preschool children investigating cognitive effects brief series music classes compared similar nonmusical form arts instruction visual arts classes notreatment control consistent typical preschool arts enrichment programmes parents attended classes children participating variety developmentally appropriate arts activities six weeks classes childrens skills four distinct cognitive areas assessed older arts trained students reported excel spatial navigational reasoning visual form analysis numerical discrimination receptive vocabulary findings showed initially children music class showed greater spatial navigational ability children visual arts class children visual arts class showed greater visual form analysis ability children music class however partial replication attempt comparing music training notreatment control failed confirm findings combined results two comparisons negative overall children provided music classes performed better visual arts classes assessment holochwost colleagues examined whether music education associated improved performance measures power music academic achievement executive functions school aged children grades fiftyeight percent female percent africanamerican selected lottery participate outofschool programme offering individual large ensemble training orchestral instruments measures academic achievement standardised test scores grades english language arts mathematics taken participants academic records executive functions assessed students performance computerised battery common executive function tasks findings indicated relative controls students music education programme scored higher standardised tests earned better grades english language arts mathematics exhibited superior performance selected executive function tasks shortterm memory analyses revealed although largest differences performance observed students control group received music programme two three years conditional effects also observed three executive function tasks students programme one year wallick examined effects pullout string programme student achievement writing reading mathematics citizenship sections ohio proficiency test one hundred fortyeight fourthgrade string students fourthgrade non string students southwestern ohio city school district abilitymatched according performance verbal section cognitive abilities test scores ohio proficiency test recorded compared results revealed significant difference favour string students achievement reading citizenship although significant differences two matched groups writing mathematics also usa barr colleagues described programme improvement listening skills order increase academic performance sample consisted elementary students middleclass community problem ineffective listening skills documented data revealing number students whose lowered academic performance thought deficiency listening skills staff reported students weaknesses effective listening skills negatively impacted academic performance three major categories intervention general attainment adopted direct teaching effective listening skills student ownership selfmonitoring effects using music classroom week period interventions students showed notable improvement academic achievement adopting drama comparison group haywood colleagues evaluated act sing play programme offered music drama tuition year two pupils aim programme evaluate whether music workshops greater impact drama workshops terms pupils mathematics literacy attainment programme ran one academic year pupils participated schools england participating year two class pupils randomly allocated one three groups violin cello workshops singing lessons drama workshops workshops held week weeks findings provided evidence music workshops greater impact maths literacy attainment drama workshops also applied children disadvantaged families unusual study undertaken schiltz researched highly gifted children adolescents suffering school failure beginning adolescence treated integrated form music psychotherapy verbal psychotherapy five separate groups treatment combined active musical improvisation writing stories production drawings induced music followed verbal elaboration cognitive psychodynamic psychotherapeutic tradition metaanalysis confirmatory results five subgroups showed significant increase concentration school marks reviews metaanalyses years several reviews impact engagement music academic attainment arnettgary costagiomi hodges oconnell schellenberg shobo yoon undertaken recently benz et al dumont et al sala gobet discussed challenges limitations research offered explanations variability empirical findings complexity power music musical activities potential affect childrens social emotional cognitive experiences together made challenging formulate theoretical frameworks account wide range empirical findings miendlarzewska trost synthesised large body studies demonstrating benefits musical training extended beyond skills music aims train last adulthood argued children undergo musical training better verbal memory second language pronunciation accuracy reading ability executive functions learning play instrument child may even predict academic performance iq young adulthood addition degree observed structural functional adaptation brain correlates intensity duration practice effects cognitive development depend timing musical initiation well moderating variables suggest motivation reward social context musical education important yet neglected factors affect longterm benefits musical training propose notion rhythmic entrainment mechanism may support learning development executive functions temporal processingorienting attention time may underlie enhancements observed reading verbal memory overall conclude musical training uniquely engenders near fartransfer effects preparing foundation range skills thus fostering cognitive development winner cooper quantified results existing research conducting five metaanalyses studies assessing effects arts education academic achievement studies examined effects arts general rather specific art forms instance music dance researchers found evidence positive relationship arts education academic achievement found increase verbal mathematics achievement sala gobet undertook two metaanalyses assessing effect chess music instruction childrens cognitive academic skills third metaanalysis evaluated effects working memory training findings showed effect sizes studies inversely related quality experimental design pattern results cast serious doubts effectiveness chess general attainment music working memory training later review sala gobet presented metaanalysis music intervention studies children found small overall effect size active controls implemented effect practically null even later review revealed similar findings sala gobet analysis data children showed quality study design controlled overall effect music training programmes null highly consistent across studies small statistically significant overall effects obtained studies implementing random allocation participants employing nonactive controls concluded music training ineffective regardless type outcome measure verbal nonverbal speedrelated participants age duration training concluded researchers optimism benefits music training empirically unjustified stemmed misinterpretation empirical data possibly confirmation bias also adopting metaanalytic approach gordon colleagues considered impact music engagement reading studies included music training control groups pre postcomparison measures indication reading instruction constant across groups thirteen studies identified including children two classes outcome measures emerged sufficient overlap support metaanalysis phonological awareness reading fluency hours training age type control intervention examined potential moderators results supported hypothesis music training led gains phonological awareness skills analyses revealed transfer effects rhyming skills tended grow stronger increased hours training contrast significant aggregate transfer effect emerged reading fluency measures although studies reported large training effects explanations research findings many different explanations mixed research findings proposed suggested changes music participation brain responsible range cognitive academic benefits explanations relate enhanced executive functions length types programme quality power music personality characteristics motivation participating children young people neurological studies kinds skills gained learning play instrument including auditory audiation reading executive skills different instruments example keyboard string percussion wind instruments shown impact auditory motor regions brain hyde et al discussed earlier chapters music processing playing instruments related activity many different areas brain gaser schlaug koelsch et al koelsch siebel musicians compared nonmusicians tend enlarged structures parts brain instance left planum temporale cerebellum gaser schlaug hutchinson et al schlaug et al b changes suggested implications cognitive functions chan et al ho et al number studies shown structural differences grey matter white matter children engage music particularly early childhood compared fernandez groussard et al habibi et al huotilainen tervaniemi pantev herholz benner colleagues found heschls gyrus multiplications occurred much frequently musicians general population constituted functional unit heschls gyrus schneider colleagues observed increases greymatter volume heschls gyrus hg musicians compared nonmusicians linked greater musical aptitude audiation gordon gouzouasis audiation involves complex internal musical processing memory anticipation cognitive processes overlap executive functions research reported neural changes alongside significant differences associated reading skills sound processing skills speech chobert et al moreno et al trainor et al structural changes observed brain may impact enhanced cognitive processes lead enhanced academic attainment evidence supports research findings mixed dumont et al gordon et al jaschke et al sala gobet general attainment adding complexity understanding findings research impact music attainment schlaug tervaniemi point research musicians treated unified group demands musical activities equal terms perceptual cognitive motor functions clearly case differentiated terms instrument play musical genre engage well approach practice saw chapter neuroscientific evidence shown differences musicians parts brain develop response musical activities diversity generally taken account research general attainment length engagement music several studies shown longer engagement music greater impact attainmentfor instance catterall corrigal colleagues hallam rogers schellenberg despite authors described changes observed participants one month several studies effects largest two three years holochwost et al observed two years learning music holmes hallam schneider klotz overall evidence suggests longer programme greater impact corrigall et al deg\u00e9 et al hetland time intensity programmes also pointed important habibi et al learning play orchestral band instrument high level expertise involves cumulative learning students typically beginning learn early age putting many hours practice become professional musician takes years dedicated work process perceptual cognitive motor skills refined enable musicians undertake complex tasks required solo ensemble work intervention studies cannot mirror level engagement subsequent impact musicrelated skills possible transfer areas comparisons expert musicians nonmusicians revealed power music type nature quality musical training type musical training quality important determining impact academic attainment significant variation quality training instruction studies dumont et al foster jenkins sala gobet musical activities take many forms composition improvisation theory vocal instrumental music require different forms learning practice instance learning play musical instrument usually entails reading musical notation handeye spatial coordination physically playing instrument skills distinct involved vocal training particularly choral singing differences impact neurological change may impact executive functions factors motivation typically research taken account differences however exceptionsfor instance kinney considered multiple forms music education elementary school found positive associations instrumental music participation academic achievement tests association choral students habibi colleagues suggested playing others associated greater development auditory skills executive functioning need overcome organise auditory information well improve attention concentration guhn colleagues took account many variables well level commitment interactions found higher levels musical achievement may indicate higher levels commitment may lead greater exposure various cognitive social emotional motivationrelated experiences turn may support academic achievement quality music interventions also raised example johnson memmott examined relationship academic achievement participation music activities across nearly participants concluded higher quality programme stronger relationship similarly rauscher experienced difficulties implementation first two years music programme end study children received one year highquality tuition gains students general attainment role executive functions attainment one possible explanation impact actively engaging music making enhanced academic attainment mediating role executive functions deg\u00e9 et al jaschkeet al slevc et al core competencies executive functioning include self regulation informationmonitoring working memory flexibility changing tasks diamond required musicmaking particularly ensembles musicians shown outperform nonmusicians various executive functions moradzadeh et al zuk et al benefits memory particularly aural verbal memory also demonstrated bergman et al oechslin et al roden et al frontal lobe hypothesised particularly salient executive functions miyake et al stuss alexander music training childhood early adolescence found related lasting changes corpus callosum superior temporal gyrus middle temporal gyrus schlaug et al steele et al executive functions saw chapter shown linked academic performance best et al cort\u00e9s pascual et al slevc et al visupetra et al cognitive flexibility working memory processing speed planning zuk et al may support academic attainment audiation may represent underlying mechanism differences executive function abilities well various facets instrumental music learning connected music learning may enhance executive functions audiation turn may benefit learning capacity broadly previous research suggests even though musicrelated cognitive gains may extent domainspecificfor instance verbal visual memory ho et al commonly relate range cognitive domains forgeard et al schellenberg personality factors music students may also conscientious nonmusic students may explain successful school would indicated iq scores one personality factor particular power music interest relation attainment conscientiousness may mediating factor explaining differences young musicians nonmusicians certainly evidence undergraduate music students exhibit conscientiouslike traits kemp marchant haycox wilson although composers rock musicians less conscientious general population gillespie myors kemp corrigall colleagues pointed participation music might influence changes personality way interact better achievement school found individual differences conscientiousness helped explain school grades may selfdisciplined likely persevere learning musical instrument costagiomi observed children three years began continued discontinued lessons completed three years lessons responsible disciplined able concentrate however traits characterised students started learn instrument change result music instruction another explanation comes research butkovic colleagues found musicspecific flow proneness best predictor time spent practising openness experience motivation intelligence taken account motivation motivation clearly key factor development highlevel musical expertise also enhancing academic attainment motivation discussed depth chapter however process music trainingwhich frequently includes hours practice typically solitude lengthy time commitmentmight develop habit selfdiscipline desire achieve likely support enhanced academic attainment students learn hard work lead mastery complex skills desired learning outcomes may develop sense selfefficacy selfbelief impact areas study musicbased intervention programmes shown improvements selfesteem confidence discipline motivation among young people hallam et al students involved music appear show high levels intrinsic motivation general attainment diaz higher levels musical engagement relate stronger academic selfconcept deg\u00e9 et al students engaging musical activities part group may experience sense team bonding accomplishment adderley et al contribute positive learning climate various elements may interact time context learning also important music academic work supportive enhance attainment rewarded success musically academically also promotes motivation motivational socioemotional pathways may underlie associations music learning learning subjects complex interplay internal external factors likely influence learners motivation participate continue longterm engagement school musicmaking eccles wigfield shape adolescents conception musical ability value place music sichivitsa largescale study mcpherson oneill found learning play instrument sing seemed contribute higher motivation subjects language mathematics science participating musical activities also affect aspirations enhance motivation subsequently attainment particularly case children deprived areas devroop instance engaging el sistema sistema inspired programmes creech et al participating musical activities may enhance attainment providing opportunities explore develop different ways learning including focused perception making connections imagining new possibilities burton et al overview overall evidence regarding impact engaging music academic attainment mixed evidence intervention studies limited correlational comparative studies identify clear links criticised demonstrating causality research adopted retrospective longitudinal approach able demonstrate actively engaged making music make greater progress academically time compared actively engaged making music underpins power music greater improvement attainment time less clear relationship may mediated neurological changes relating aural phonemic spatial memory skills executive functions length type quality training personality motivational factors research able take account factors able develop credible explanatory models music studying great deal research impact music cognitive activities related studying many different factors contribute outcomes including type music nature task undertaken individual differences relationship individual particular music involved considered chapter many studies address several issues simultaneously study considered relation main focus theories attempting explain various findings also outlined confusion reporting research studies music presented prior task undertaken become known mozart effect research music played background task undertaken different approaches frequently considered equivalent considered separately listening music prior completing task positive effect listening music prior undertaking cognitive task first associated music mozart group college students performed spatialtemporal task listened mozarts sonata two pianos major kv performance compared groups either listened relaxation recording sat silence completing task group listening mozart performed significantly better groups rauscher et al second study using mozart composition repetitive music short story replicated findings rauscher et al since research many studies attempting replication findings mixed examples set himonides cc byncnd httpsdoiorg obp power music rideout taylor studied undergraduates completed two equivalent spatial reasoning tests one following control procedure one following presentation mozarts sonata two pianos major performance showed small significant improvement immediately following presentation music similarly wilson brown studied spatial reasoning college undergraduates exposed ten minutes mozart piano concerto repetitive relaxation music silence prior undertaking pencil paper maze task mazes varied complexity size limited support mozart effect obtained number maze recursions overall quality maze solutions adopting neurological perspective jau\u0161ovec colleagues two experiments investigated influence mozarts sonata k brain activity process learning first experiment individuals trained solve spatial rotation tasks required solve similar tasks fiftysix students divided four groups control group prior training relaxed three experimental groupsone group prior training listened mozart one prior training listened mozart subsequently relaxed fourth group prior training relaxed afterwards listened mozart second experiment respondents divided three groups control group second group listened mozart prior training third group prior training listened brahms hungarian dance experiments eeg data collected problemsolving first experiment respondents various music groups showed better task performance control group although experiencing music task displayed less complex eeg patterns alphaband synchronisation respondents three groups second experiment individuals listened mozart showed better task performance respondents groups also displayed less complex eeg patterns lower alphaband synchronisation respondents brahms music group authors argued mozarts music activating taskrelevant brain areas enhanced learning spatialtemporal rotation tasks results supported rauscher colleagues priming explanation mozart effect music studying working children hallam schellenberg hallam replicated rauschers study children final year primary school children randomly allocated within school one three groups group listening mozart piano sonata rauscher study one pop music performed pop groups blur oasis third talk experiments sessions lasted ten minutes following children completed two spatial reasoning tasks paper folding task rotational task initial analysis hallam showed statistically significant difference groups either task second analysis schellenberg hallam showed slight statistical advantage children listening popular music interpreted terms raised arousal levels higher motivation children liked popular music schellenberg argued shortterm effects resulted impact music changes arousal level mood following schellenberg colleagues undertook two experiments first canadian undergraduates performed better symbolsearch test listening tempo piece music composed mozart comparison slow piece albinoni however effect evident two pieces music induced reliable differences arousal mood performance intellectual tasks affected second experiment japanese fiveyearolds drew longer periods time singing hearing familiar childrens songs hearing mozart albinoni hearing childrens songs drawings judged adults creative energetic technically proficient findings illustrate prior exposure different types music enhance performance variety tasks effects mediated changes emotional state generalise across cultures age groups exploring whether arousal mood responsible rauschers original findings thompson colleagues studied college students aged years old completed test spatial abilities either listening pleasant energetic sonata mozart sitting silence listening albinonis adagio slow reflective piece enjoyment arousal mood also assessed performance spatial task better following exposure power music composition mozart two pieces music induced differential responding measures enjoyment arousal mood controlled mozart effect disappeared focusing role mood smith colleagues carried two studies first explored effects prior exposure office noise working memory second replication rauscher colleagues study first study showed mental arithmetic tasks initially impaired office noise effects noise disappeared following ten minutes exposure office noise tasks second experiment successfully replicated rauscher colleagues study showing enhanced spatial reasoning following listening mozart young adults although assessment mood participants demonstrated effect caused mood change also focusing impact mood arousal spatial reasoning hussain colleagues examined effects tempo mode mozart sonata performed skilled pianist recorded edited produce four versions varied tempo fast slow mode major minor participants listened single version completed measures spatial ability arousal mood performance spatial task superior listening music fast rather slow tempo music presented major rather minor mode tempo manipulations affected arousal mood whereas mode manipulations affected mood arousal nantais schellenberg found performance spatialtemporal task better participants listened piece composed mozart schubert sat silence second study advantage music condition disappeared control condition consisted narrated story instead silence participants performance function preference either music story better performance following preferred condition similarly perham withey found preferred music increased spatial rotation performance regardless tempo music participants listened liked disliked music either fast slow tempo prior completing series spatial rotation tasks tempos liked music associated significantly better spatial rotation performance disliked music research focused music acting primer memory tasks participants varied ages instance hirokawa music studying examined effects preferred music relaxation instructions older adults arousal working memory fifteen female older adults participated ten minutes three experimental conditions participants preferred music relaxation instructions silence four subcategories arousal level energy tiredness tension calmness measured experimental treatment using adjective checklist experimental condition participants completed working memory test findings showed music increased participants energy levels relaxation silence significantly decreased relaxation silence interventions also increased tiredness calmness experimental conditions decreased tension levels although working memory performance significantly different groups also focusing working memory steele colleagues studied undergraduate students completed backwards digitspan task followed exposure ten minutes music composed mozart recording rain silence repetition task significant differences among treatment conditions found although significant effect practice later study steele colleagues followed detailed procedural guidance offered rauscher colleagues needed produce mozart effect despite steele colleagues unable produce either statistically significant mozart effect effect size suggesting practical significance concluded little evidence support existence mozart effect also offering limited support mozart effect twomey esgate compared performance musicians non musicians spatialtemporal reasoning tasks following exposure mozarts sonata k based research trion model neural functioning highly structured time spatial connections predicts increased synchrony musical spatial temporal centres right cerebral hemisphere since increased left hemispheric involvement music processing occurs result musical training possibility increased synchrony left hemispheric areas musicians tested results improved performance language well spatialtemporal tasks addition spatialtemporal tasks synonym generation rhymingword generation tasks employed mozart effect demonstrated spatialtemporal task although greater power music nonmusicians effect musical priming either group verbal tasks although musicians scored higher rhymingword generation systematic link found performance task number years spent musical training failure induce mozart effect musicians verbal tasks well limited impact performance spatial temporal tasks may associated ceiling effect due longterm effects music training working younger older adults mean ages respectively giannouli colleagues provided participants novel excerpts mozart vivaldi glass silenceafter completed forward digitspan test wordfluency test assess verbal working memory phonologically cued semantic retrieval individual preference condition also assessed brief exposure music beneficial effect verbal working memory transient impairment listening vivaldi although vivaldi excerpt induce marked enhancement word fluency young adults contrast listening mozarts music followed decreased wordfluency test scores age groups findings suggest depending specific musical features listening music selectively facilitate inhibit ongoing verbal functions similarly borella colleagues examined whether short longterm working memory training older adults could enhanced listening music mozarts sonata k albinonis adagio g minor played participants aged years old started workingmemory training activities one group participants listened mozart another albinoni one white noise eighteen participants served controls engaged activities specific training gains task similar one used training transfer effects visuospatial abilities executive functioning reasoning assessed irrespective specific listening condition trained groups generally outperformed control group white noise group differ performance two music groups although group listening albinoni composition showed larger specific training gains criterion task shortterm transfer effects reasoning task short longterm compared group listening composition mozart music studying also working older adults case mild cognitive impairment lake goldstein exposed participants music silence condition following performed digitspan coding tasks require attention maximal performance listening music enhance performance either group researching wider age range carr rickard tested whether listening emotionally arousing music enhanced memory participants aged listened two highly enjoyed music tracks two selfrated neutral tracks participants selections fiveminute radio interview listening episode participants memorised unique array images subjective physiological emotional arousal monitored throughout experiment free recall images within five image arrays tested end compared music non music controls selfselected enjoyed music elicited greater subjective physiological changes consistent changes emotion details images presented recalled enjoyed music listening radio interview physiological changes consistent emotional arousal response enjoyed music reliably predicted memory performance study exploring impact music different cultures giroux colleagues examined whether listening pleasant stimulating familiar music prior completing task improved working memory performance one hundred nineteen rwandan participants randomly assigned control group read short story prior completing task one four different musical conditions varying two dimensions arousing relaxing music western rwandan music working memory measured using nback paradigm participants presented sequence stimuli one one need decide current stimulus one presented previously gap current previous stimuli varied greater distance harder task findings showed positive effects familiar pleasant stimulating music working memory performance nback task tended improve listening music across conditions improvement less participants listened familiar rwandan music compared listened unfamiliar western music short story power music contrast silva colleagues investigated impact music episodic memory two potential enhancers music effects stopping music task performance eliminate musicrelated distraction using preferred music maximise rewardwere adopted main study included sample healthy younger adults pilot study conducted older adults divided classified low versus highfunctioning according cognitive performance screening test strong evidence music advantage relation episodic memory silence environmental sounds younger adults preferred music advantage either among older adults low highfunctioning participants item memory improved music particularly nonpreferred music compared silence findings suggest healthy adults music played prior task may less effective background music episodic memory enhancement despite decreased distraction possibly reward becomes irrelevant music stopped task begins lowfunctioning older participants may relate priortotask auditory stimulation deviant ways comes episodic memory enhancement overall episodic memory arousal mood reward effects usually afforded music played background blood zatorre ferreri verga salimpoor et al schellenberg may lost attenuated music stopped task begins given preference also null effects preference strongly linked reward possible reward may key factor musicrelated reward may longer favour episodic memory music stopped task begins gilleta colleagues studied gender differences working females males completed paper folding cutting task mental rotation task following listening condition mozart piano sonata played participants sat silence statistically significant threeway interaction among gender listening condition task indicated effect present female participants mental rotations task exploring differential effects breaks filled diverse activities common everyday life kuschpel colleagues exposed young adults breaks involving eyesopen resting listening music playing video game angry birds performing music studying nback working memory task playing angry birds video game short learning break led decline task performance course task compared eyesopen resting listening music although overall task performance impaired effect associated high levels daily mindwandering low self reported ability concentrate working children learning difficulties gregoire focused impact prior listening music concentration subsequent performance matchingnumbers classroom task six elevenyearold children intervention condition consisted brief taped story illustrated felt board rest period relaxing music five minutes individual numbermatching control condition identical without music significant differences overall although older participants exhibited significantly fewer behavioural issues music period rest phase overall evidence priming benefits music cognitive tasks inconclusive evidence musical neurological priming directly enhance performance spatial reasoning tasks proposed rauscher colleagues although evidence consistent music also priming effects relating arousal mood may affect performance variety tasks range different ways begin understand mixed findings needs greater focus underlying neural priming processes background music substantial body research examined impact background music performance range cognitive tasks individuals across lifespan music also used stimulus creative writing practice needs distinguished music played background studying donlan radio became commonplace concerns raised feared listening radio completing homework would negatively affect childrens learning early studies addressing issues always well controlled many specify type music played nature task power music undertaken made interpreting findings extremely difficult remainder chapter divided sections outline research providing detailed evidence relating nature music played including preferred music familiarity liking preference music ones culture nature task completed including memory attention reading comprehension secondlanguage learning english second language individual differences including musical expertise gender personality metacognition childrens behaviour task performance including primaryschool children older students children emotional behavioural difficulties adhd developmental difficulties older adults cognitive impairment reviews metaanalyses explaining impact background music cognitive performance including explanatory framework research categorised relation main focus although single research project may outcomes related one outcome nature music research ignored characteristics music played assuming music would similar impact instance cockerton colleagues simply compared music music repeated measures design undergraduates completed two cognitive tests one silence background music students completed questions answered questions correctly music playing although difference heart rate participating condition attempts made address issues relating nature music music studying differentiating music basis genre perceived potential stimulate relax whether vocal instrumental cognitive complexity despite categorisations always capture complexity music listened particularly applies western classical music frequent changes mood tempo timbre volume examine issues research investigated exposing participants different types music affected performance various cognitive tasks control groups listened music genres spoken text rather sitting silence early detailed study usa henderson colleagues explored effect music reading efficiency firstyear female undergraduates participants divided three equally matched groups basis psychological examination reading test scores one group listened popular music completing reading tasks another classical music third worked silence participants completed questionnaire determined whether accustomed studying radio whether thought radio reduced study efficiency amount studying done radio type programme usually listened studying popular music used two oclock jump harry james thats think krupa sunday monday always frank sinatra mr five five harry james prince charming harry james tuxedo junction glenn miller idaho benny goodman crosstown glenn miller close frank sinatra classical music symphony minor cesar franck tests administered three successive afternoons participants asked assume rooms studying radio differences averages pretest scores final test scores group calculated significance averages analysed findings showed popular music acted distract students paragraph comprehension vocabulary test classical music negative impact either test authors explained results terms simpler rhythms melodies popular music easily understood therefore listened participants diverting attention task hand argued classical music likely perceived vague listened power music providing background assigned task accomplished without interference popular music may greater impact comprehension task task complex required sustained effort vocabulary materials intermittent unrelated overall authors concluded whether music real distraction depends complexity music complexity test materials significant differences depending whether students accustomed studying radio playing also using reading comprehension outcome measure thompson colleagues manipulated changes tempo intensity create four conditions slow low intensity slow highintensity fast lowintensity fast highintensity condition participants given four minutes read passage followed three minutes answer six multiplechoice questions baseline performance established control participants complete reading task silence significant tempo byintensity interaction observed comprehension fast highintensity condition falling significantly baseline findings demonstrated listening background instrumental music likely disrupt reading comprehension music fast loud similarly chou colleagues working taiwanese college students studied whether light classical music less distracting hiphop music silence comprehension task findings showed music higher intensity distracting greater effect task performance concentration yang colleagues conducted two experiments first tested differences perception distractibility tonal atonal music second tested tonal music atonal music affected visual working memory comparing musicians nonmusicians placed contexts background tonal music atonal music silence participants instructed complete delayed matching memory task results showed musicians nonmusicians different evaluations distractibility tonal atonal music possibly indicating longterm training may lead higher auditoryperception threshold among musicians working memory task musicians reacted faster nonmusicians music studying background music cases although musicians took time respond tonal background music condition conditions results suggest visual memory task background tonal music may occupy cognitive resources atonal music silence musicians leaving resources left memory task despite musicians outperformed nonmusicians similarly tze chou explored whether different types background music affected performance reading comprehension task taiwanese college students study explored whether listening music affected learners concentration reading task also whether light classical music less distracting hiphop music silence findings showed music higher intensity distracting greater effect task performance concentration using two contrasting tasks angel colleagues assessed effects fast tempo music cognitive performance among male female university students linguistic processing task spatial processing task selected assess verbal nonverbal performance ten excerpts mozarts compositions matched tempo selected played background music increased speed spatial processing accuracy linguistic processing focusing performance arithmetic tasks dolegui used different genres music played different volumes thirtytwo undergraduate students ranging age years old participated voluntary basis five different arithmetic tests used consisting different operations similar difficulty five multiplication five division five addition five subtraction problems loud music defined heavy rock metal music represented song ready die demon hunters soft music defined classical piano music morning light beeson participants exposed five conditions first test conducted soft music low intensity second loud music low intensity third complete silence fourth fifth tests conducted soft loud music tests graded accuracy performance scores significantly higher silence four music conditions intensity levels types music combined although overall performance significantly worse presence power music loud music high intensity similarly cassidy macdonald investigated effects music high arousal potential negative affect music low arousal potential positive affect everyday noise cognitive task performance introverts extroverts forty participants completed five cognitive tasks immediate recall free recall numerical delayed recall stroop test ten participants completed tasks one four sound conditions high arousal negative affect low arousal positive affect everyday noise silence participants also assessed levels introversion extroversion reported preferences music versus noise studying performance lessened across cognitive tasks presence background sound music noise compared silence two music conditions produced differential distraction effects performance tasks poorer presence higharousal negativeaffect music compared low arousal positiveaffect music silence performance moderated internal arousal introverts performing better overall task except stroop test appearing detrimentally affected presence high arousal negative affect music noise research focused differential impact vocal instrumental music instance j\u00e4ncke colleagues studied participants randomly assigned one five groups completed verbal learning task one group served control group working silence four groups exposed vocal instrumental music learning different subjective intensity valence four music listening conditions vocal instrumental music high low intensity high low intensity groups differ terms rated intensity main experiment groups put together reduced sample three groups control group one listening vocal music one listening instrumental music recall number learned words assessed immediately minutes days later verbal learning improved across recall sessions without strong differences control experimental groups exposure vocal instrumental background music encoding influence verbal learning adopting neuroscientific approach nemati colleagues investigated neural correlates pleasure induced music studying listening highly pleasant neutral musical excerpts using electroencephalography analysis data showed distinct gradual change power lowfrequency oscillations response highly pleasant neutral musical excerpts correlation analysis behavioural electrophysiological data revealed theta power correlated subjective assessment pleasantness study link attention positive valence volunteers performed delayed matchtosample memory task listening musical excerpts performance significantly lower highly pleasant conditions compared neutral conditions listening pleasant music required high degrees attention leading observed decline memory performance gradual development lowfrequency oscillations frontal posterior areas may least partly due gradual recruitment higher levels attention time response pleasurable music exploring impact music simple perceptual motor task nittono colleagues compared performance undergraduates selfpaced linetracing task fast slow classical music metronome tones background findings showed fast music accelerated performance compared slow music whereas tempo metronome tones affect performance similarly bottiroli colleagues measured different types music affected performance processingspeed task using music white noise music positive emotion high arousal levels mozart music negative mood lower arousal mahler performance processingspeed task improved listening mozart however participants faced freerecall phonemicfluency tasks mahlers music provided beneficial conditions types music advantageous white noise silence types task reallife simulation kallinen studied effects tempo background music reading business news crowded cafeteria environment three conditions music fast slow music findings suggested type music silence significantly affected reading performance emotional evaluation news content men evaluated news positively slowmusic condition whereas women evaluated news positively nomusic power music condition reading rate efficiency significantly lower slowmusic group fastmusic group also simulating reallife situation mayfield moss undertook two studies evaluate effect music tempo task performance first study undergraduate business students asked workers stockmarket project collecting closing stock prices calculating percentage change price week week participants randomly divided groups either listened fast slowpaced music worked music quantity quality work assessed using musiclistening habits covariate statistically significant differences performance two groups second study students completed task conditions study women performed significantly better men performance significantly higher rockmusic condition heartbeat condition although participants rockmusic condition perceived higher level distraction preferred music familiarity liking one strand research explored whether participants familiarity preference liking background music impact task outcomes instance hilliard tolin studied effect familiarity background music performance undergraduates simple difficult reading comprehension tasks unsurprisingly scores easier sections higher difficult sections overall scores higher familiar music playing series studies perham colleagues explored issues relating preferred different types music perham vizard tested serial recall quiet liked disliked music conditions well steadystate changingstate speech findings showed performance poorer music conditions changingstate speech compared quiet steadystate speech conditions findings suggested musical preference affect serial recall performance similarly perham sykora asked participants serially recall eight item lists either quiet liked disliked music conditions performance poorer music music studying played compared quiet liked opposed disliked music condition addition participants inaccurate perceiving performance roughly equivalent music conditions liked music exhibited task impairment disliked music changing task reading comprehension perham currie studied undergraduate students ranging age background music adopted included disliked lyrical music thrash metal liked lyrical music non lyrical music quiet thrash metal music selected deaths angels seemingly endless time ultra violence students reported liking genre omitted study liked music selected students included music one direction frank ocean katy perry study participants told attend music listened headphones short questionnaire administered participants upon completion comprised likertscale questions asked participants rate likeable familiar distracting sound condition well well thought performed condition students read four passages text answered six multiplechoice questions reading comprehension performance greatest quiet non lyrical music conditions poorest two lyrical music conditions participants perceived performed best liked lyrical quiet non lyrical conditions well feeling familiar experiences felt liked disliked lyrical conditions distracting performance quiet much less distracting seems case reading comprehension category recall conflict processing participants attempt process taskrelated information background sound simultaneously chew colleagues recruited undergraduate students mean age almost years old completed arithmetic reading comprehension wordmemory tasks exposed familiar unfamiliar foreign firstlanguage music music significant impact wordmemory task familiarity music relation whether foreign first language overall depending task familiarity language music affected learning task performance compared power music nomusic condition similarly sutton lowis studied effect musical mode verbal spatial task performance forty eight participants completed written verbal spatial reasoning tests piece music major key handel played piece digitally manipulated create version minor mode findings showed music major mode rated emotionally positive sexes minor mode females scored higher males performance verbal tasks significantly enhanced majormode music males scored higher females spatial reasoning music major mode smith morris studied effects sedative stimulative music memory performance anxiety concentration sixty undergraduate students exposed one five types music classical jazz blues country bluegrass easy listening rock music participants indicated preferred genre requested repeat set numbers backwards listening either stimulative sedative music asked concerns test emotionality physiological affective arousal ability concentrate expectations performance whether liked disliked music compared sedative music stimulative music increased worry scores interfered concentration resulted lower performance expectancies participants performed best nomusic condition worst listening preferred music performance sedative music extremes authors argued preferred music may serve distract trying complete demanding task perhaps fewer cognitive resources available attention drawn lyrics emotions memories music evoke complex interactive effects task performance reported suggesting effects music need understood terms cognitive processes rather primarily basis physiological affective responses musical stimuli another explanation advantage preferred music rewarding blood zatorre ferreri verga reward may one additional mechanism underpinning positive effects music cognition ferreri verga music studying preference music ones culture preference music predominantly determined individuals cultural background instance preference indian classical music western classical music seen indians average socioeconomic background schafer et al individuals way responding music influenced liking preference music instance mohan thomas explored effect background music performance indian adolescents aged comprehension words sentences english participants average verbal ability preference indian music comprised final sample two types music used indian classical music raga shanmukhapriyawhich said induce sense calm increase concentrationand mozarts symphony findings revealed playing music background resulted significant increase adolescents performance reading comprehension task effect greater indian classical music played highlighting importance culture similarly kasiri studied impact non lyrical iranian traditional music reading comprehension performance iranians learning speak english sixty englishasaforeignlanguage learners completed two itemed reading comprehension tests nomusic well backgroundmusic condition results revealed negative influence music reading comprehension nature task completed addition research focusing different types music variety different tasks usedfor instance related various different kinds memory tasks requiring high levels attention reading comprehension learning second language background music memory research relating memorisation findings differed music played concurrently material remembered aurally furman task involves paired associate recall power music myers phonological shortterm memory salame baddeley recall written sentences presented visually hallam et al background music vocal nature may greater negative impact reading comprehension literacy tasks martin et al research focused visual memory might expected would less interference music instance chraif colleagues studied influence relaxing music abstract visual shortterm memory retrieval task sixtyeight undergraduate students aged years old participated findings showed listening relaxing music significant positive effect increasing number correct abstract forms recognised nguyen grahn examined effect background music different types memory one hypothesis impact background music memory modulates mood arousal creating optimal levels enhance memory performance another hypothesis background music establishes context reinstated cues memory performance researchers presented music study time test also assessed mood arousal context affected performance recall recognition associative memory tasks participants recalled words listened lowarousal music higharousal music regardless mood whether context consistent study test recognition memory participants also recognised words listened lowarousal music higharousal music music negative associative memory significant effects mood arousal context found recognition previously studied word pairs across elements research background music compared silence significantly improve verbal memory performance mood arousal affected recall recognition memory overall background music enhance memory j\u00e4ncke sandmann used musical excerpts specifically composed research ensure unknown participants designed vary tempo fast versus slow consonance tune versus tune noise used control stimulus seventyfive participants randomly assigned music studying one five groups learned verbal material nonwords without semantic connotation without background music group exposed one five different background stimuli intune fast music intune slow outoftune fast outoftune slow noise substantial consistent influence background music verbal learning however differences eeg measurements word presentation group exposed intune fast music learned verbal material group exposed outoftune fast music word presentation although different cortical activations response music relate behavioural outcomes unusual study liu colleagues studied recognition processes chinese characters background music real chinese characters upright rotated used target stimuli pseudowords used background stimuli participants required detect real characters listening mozarts sonata k silence findings showed music mainly served distracter recognition processes real chinese characters impact greater real rotated characters research focused episodic memory verbal materials generally effects music positive ferreri et al tend consistent across younger older adults ferreri et al music facilitates encoding printed verbal materials music compared silent context also compared nonmusical auditory contexts environmental sounds noise music specific effect rather general advantage related sound research extended range tasks explored instance fassbender explored use background music game technology effect learning virtual history lesson presented participants different background stimulimusic musicto test effect music memory test role immersion memory possible relationship music two different display systems threemonitor display system immersive reality centre used overall participants remembered significantly higher number facts using threemonitor display system particularly background music played similarly power music richards colleagues studied benefits immersive virtual worlds learning environment role music plays within environments investigated whether background music genre typically found computerbased roleplaying games effect learning computeranimated history lesson macquarie lighthouse within immersive virtual world first experiment musical stimuli created four different computer game soundtracks seventytwo undergraduate students watched presentation completed survey including biographical details questions historical material presented questions relating perceived level immersion tempo pitch music unrelated learning music conditions resulted higher number accurately remembered facts nomusic condition one soundtrack particular showed statistically significant improvement memorisation facts music conditions also interaction levels perceived immersion ability accurately remember facts second experiment involved undergraduate students soundtrack successful experiment one oblivion used silent condition experiment participants completed tasks conditions one version tempo pitch manipulations used slow tempo low pitch effect different display systems feelings immersion tested half participants watched computeranimated history lesson cone display system half allocated threemonitor display system computer desk statistically significant differences music nomusic conditions however threemonitor display system led enhanced memory performance similarly linek colleagues investigated influence background music within educational adventure game motivational cognitive variables results suggested music high motivational potential neither positive negative effects learning detected background music may considered motivating design element educational games using piped music langan sachs explored impact piping music information literacy classroom student engagement retention information literacy concepts findings music studying study indicated positive relationships background music student comfort confidence retention similarly musliu colleagues researched whether music could help memorisation different materials instance nonsense syllables numbers poems rhyme seventyfour students aged years participated experiment included four different tests first included nonsense syllables following students separated three groups similar outcomes performance first test first group took subsequent tests silence second listening music lyrics third listening relaxing music students given five minutes memorise different nonsense syllables lines poems different orders numbers wrote could remember music memorising writing phases significant differences memorising students without music favour learning silence adopting neuroscientific approach ferreri colleagues addressed debate link music memory wordsin particular whether music specifically benefits encoding element verbal memory tasks providing richer context encoding therefore less demand dorsolateral prefrontal cortex twentytwo healthy young adults subjected functional near infrared spectroscopy imaging bilateral dorsolateral prefrontal cortex encoding words presence either musical silent background behavioural data confirmed facilitating effect background music encoding subsequent item recognition functional near infrared spectroscopy imaging results revealed significantly greater activation left hemisphere encoding sustained bilateral decrease activity dorsolateral prefrontal cortex music condition compared silence findings suggest music modulates role played dorsolateral prefrontal cortex dorsolateral prefrontal cortex verbal encoding opens possibility applications clinical populations prefrontal impairments elderly adults alzheimers patients later study ferreri colleagues investigated whether verbal episodic memory could improved background instrumental music twenty young adults asked power music memorise different lists words presented background music environmental sounds silence episodic memory performance tested terms item sourcememory scores findings revealed better memory performance music condition environmental sounds silence retrieval findings indicate music specifically act facilitating encoding context verbal episodic memory may implications music rehabilitation tool episodic memory deficits ferreri colleagues based functional near infrared spectroscopy imaging studies music episodic encoding dorsolateral prefrontal cortexmonitored entire lateral prefrontal cortex encoding retrieval verbal material nineteen participants asked encode lists words presented either background music silence subsequently tested freerecall task meanwhile prefrontal cortex monitored using channel functional near infrared spectroscopy system behavioural results showed greater chunking words music condition suggesting employment associative strategies items encoded music functional near infrared spectroscopy results showed music provided less demanding way modulating episodic encoding retrieval general prefrontal decreased activity music versus silence condition suggests musicrelated memory processes rely specific neural mechanisms music positively influence episodic encoding retrieval verbal information background music attention considerable research impact music attention instance jiang colleagues investigated influence mood attentional networks normal population participants performed attentionnetwork test provided functional measures alerting orienting executive attention positive negative mood induced listening music positive negative valence neutral mood induced reading collection basic facts china results revealed negative mood led significantly higher alerting efficiency relative music studying moods significant mood effects orienting executive attention efficiency specifically increase alerting function negative mood states may due modulation effect negative mood noradrenergic system andor survival benefit resulting increase automatic vigilance towards negative information another strand work concerned impact music attentional controlan executive function allows individual focus attention specific stimulus inhibiting distractors environment instance fernandez colleagues reported improved perceptual judgment young adults flanker task individuals respond one letter group ignore others joyful arousing sad tender music playing sat silence overall effect background music attentional control performance per se similarly burkhard colleagues studied influence background music executive functions particularly inhibitory functions participants completed standardised gono go task three conditions background music relaxing exciting background music eeg recorded along reaction times omissions commissions event related potentials revealed differences three conditions reaction times omissions commissions findings suggested background music detrimental effects performance gono go task neural underpinnings using visuospatial flanker task cloutier colleagues studied older younger adults three auditory conditions stimulating music relaxing music silence participants indicate fast accurately possible direction central arrow flanked congruent incongruent arrows expected reaction times slower incongruent compared congruent trials difference significantly greater relaxingmusic condition compared auditory conditions age groups focusing impact mood attention shih colleagues studied participants aged concentration attention music without lyrics findings revealed background music lyrics significant negative effects concentration attention later study shih colleagues studied adults power music ranging age completed attention test emotion questionnaire findings showed background music lyrics adversely impacted attention performance without lyrics listeners also selfreported feeling loved music playing adopting neuroscientific approach using vivaldis four seasons leigh explored consequence music exposure cognitive eventrelated potentials seventeen participants performed three stimulus visual oddball task set stimuli presented one different stimulus various points oddball eventrelated potentials recorded participants required differentiate rare target stimulus rare novel stimulus frequent nontarget stimulus task performance participants listened four vivaldi concertosspring summer autumn winterand experienced silent control condition research also examined impact different tempi data revealed spring particularly first movement enhanced mental alertness brain measures attention memory similarly du colleagues used eventrelated potentials examine effects background music neural responses reading comprehension modulation musical arousal thirtynine postgraduates judged correctness sentences world knowledge without high low arousal background music results showed effect elicited world knowledge violations versus correct controls significantly smaller silence high low arousalmusic backgrounds significant difference two musical backgrounds reading comprehension reading plays important role lives many people considerable research used reading comprehension task studies impact background music instance demers compared two classes reading prior onset study establish equity performance experimental group also practised prior study mozarts concerto c major k playing background several weeks prior study music studying familiarise working music groups also practiced undertaking test prior experiment findings showed group background music performed significantly better reading comprehension test similarly cooper colleagues gave participants three different reading comprehension tests three different conditions music classical music lyrical music results showed slightly better performance reading comprehension test nomusic condition difference statistically significant similar study liapis colleagues tested impact lyrical non lyrical music reading comprehension participants non lyrical condition performed better group although difference statistically significant drowns focused effect classical background music silent reading comprehension found improvement music background harmon colleagues showed significant difference among three groups either listened rock music mozart worked silence reading comprehension test martin colleagues carried series studies first demonstrated speech music interfered reading comprehension music greater interfering effect speech music identification task two experiments showed detrimental effect speech background reading due semantic rather phonological properties adopting different approach zhang colleagues examined listening music affected eye movements college students read comprehension two studies found effects music depended word frequency musical dynamics first showed lexical linguistic features text remained highly robust predictors looking times even listening music however exposed music readers spent time rereading gaze duration words low frequency less predicted word length suggesting disrupted sublexical processing second study showed effects exacerbated short time soon new song played results showed word recognition generally unaffected despite music exposure extensive rereading could extent compensate disruption power music secondlanguage learning area interest secondlanguage learning kang williamson examined effect background music participants taking beginners course cd either mandarin chinese arabic groups matched age gender verbal intelligence musical training working memory ability randomly assigned cd contained accompanying music music individuals chose learn chinese performed better outcome tests compared learned arabic within chinese learners received music cds performed significantly better tests recall translation compared received music cds music effects observed arabic learners pronunciation ability chinese k\u00fcssner hillen investigated individual differences effects background music foreignvocabulary learning predicted individuals high level cortical arousal perform worse learning background music compared silence whereas individuals low level cortical arousal would unaffected background music may even benefit participants tested paired associate learning paradigm consisting three immediate word recall tasks well delayed recall task one week later baseline cortical arousal assessed spontaneous eeg measurement silence prior learning sessions used analysis findings revealed interaction cortical arousal learning condition background music versus silence however main effect cortical arousal beta band recall indicating individuals high beta power learned vocabulary low beta power substantiate finding study replicated combined analysis data experiments suggested beta power predicted performance word recall task effect background music foreign vocabulary learning de groot smedinga studied participants learning foreign language vocabulary means paired associates method silence vocal music lyrics familiar language playing background vocal music lyrics unfamiliar language music studying playing background vocabulary learned varied concreteness phonological typicality foreign words tested immediately training learning outcomes poorer familiar language music condition unfamiliar language music silence conditions effect shortlived shown delayed test one week training learning outcomes better concrete words abstract words better typical foreign forms atypical ones studying impact background music writing rather learning second language cho also took account writerssecond language proficiency twentyeight students wrote argumentative essay music nonmusic conditions respectively findings analysed terms fluency writing quality showed significant differences pause frequency music music conditions comparison high low proficiency groups showed significant group condition interaction indicating marginally different effects music depending writers proficiency level background music english second language iran khaghaninejad colleagues evaluated effect classical music mozart sonata reading comprehension performance iranian students four months tuition private college teaching english participants required learn reading passages take two tests reading comprehension either music mozart condition nomusic quiet condition music group outperformed background music also iran rashidi faham studied effect classical music students reading comprehension standardised text used students answered multiplechoice items two groups students total period three months taught reading comprehension music background music group taught music background outperformed taught music similarly sahebdel khodadust studied effect background music reading comprehension iranian english foreignlanguage learners participants iranian learners power music ages two thirdgrade highschool classes preintermediate proficiency level research experimental control groups took reading comprehension researchers played mozart sonatas background music experimental group asked read passage silently answer reading comprehension questions procedure control group music ten sessions students groups asked take parallel form reading comprehension test findings showed experimental group outperformed control group reading comprehension listening background music reading silently significantly positive effect reading comprehension iranian learners english foreign language individual differences research taking account individual differences taken account personality musical expertise gender metacognition musical expertise research considered whether musical expertise makes difference possible enhancing detrimental effects music instance darrow colleagues explored whether music compromised selective attention differently majoring music nonmusic majors eightyseven undergraduate graduate students participated required bring study music typically listened driving studying engaged activities music brought represented musical periods styles participants completed test attention alternating music music conditions significant effects nonmusic majors however music majors heard music first completed significantly fewer total items following nonmusic condition music majors listened instrumental music completed significantly total items listened music vocals overall findings showed participants processed significantly items music condition music music studying majors processed significantly items nonmusic majors significant differences based music music relation number errors made number items processed minus errors concentration performance however differences three measures based musical training music majors made significantly fewer errors nonmusic majors processed significantly items correctly concentration performance scores significantly higher nonmusic majors scores similarly yang colleagues investigated background music different instruments affected trained musicians performance cognitive tasks participants completed three sets cognitively demanding intelligence tests design group listened different piece music involving musical instruments results showed musicians performance cognitive tasks impaired listening music featuring instruments listening instruments patston tippett administered language comprehension task visuospatial search task expert musicians matched nonmusicians conditions silence piano music played correctly incorrectly musicians performed poorly language comprehension task presence background music compared silence effect background music musicians performance visuospatial task contrast performance nonmusicians affected music either task additionally musicians outperformed nonmusicians tasks reflecting either general cognitive advantage musicians enhancement specific cognitive abilities processing speed executive functioning similarly haning studied whether background music impaired language comprehension scores musicians nonmusicians thirtyfive participants musical training without musical training completed item reading comprehension test participants completed test instrument silence presence background music findings indicated significant main effect either music training presence background music significant interaction two conditions gold colleagues studied dopamine release ventral striatum plays major role rewarding aspect music power music listening striatal dopamine also influences reinforcement learning people greater dopamine efficacy better learn approach rewards lesser dopamine efficacy better learn avoid punishments research explored practical implications musical pleasure ability facilitate reinforcement learning via non pharmacological dopamine elicitation participants wide variety musical backgrounds chose pleasurable neutral piece music experimentercompiled database listened one pieces according pseudorandom group assignment performed reinforcement learning task dependent dopamine transmission participants musical backgrounds well typical listening patterns assessed behaviour training test phases learning task assessed separately participants musical experience trained better neutral music tested better pleasurable music less musical experience exhibited opposite effect assessment results regarding listening behaviours subjective music ratings indicated effects arose different listening styles namely affective listening nonmusicians analytical listening musicians conclusion musical pleasure able influence task performance shape effect depended group individual factors gender palmiero colleagues studied gender differences visuospatial navigational working memory background music designed induce positive negative moods playing findings showed positive music group scored significantly higher groups male participants outperformed females one task negative background music playing personality personality factors implicated creating optimal arousal levels completing cognitive tasks introverts higher resting levels arousal extroverts susceptible overarousal impacts task performance certain types background music studying music cassidy macdonald furnham colleagues examined effects vocal instrumental music upon performance introverts extroverts three cognitive tasks one hundred fortyfour sixthform pupils introverts extroverts completed reading comprehension task logic problem coding task interaction predicted instrumental music would impair enhance test performance introverts extroverts respectively effects would magnified vocal music condition significant interactions found although trend introverts impaired introduction music environment extroverts enhanced particularly reading coding tasks main effect extroversion found reading comprehension task condition effect logic task participants best presence instrumental music similarly macdonald examined relationship music preference extroversion complex task performance sample college students students separated two groups high low extroversion participant experienced three different music conditions preferred preset silence performing complex reading comprehension task results revealed significant interaction effect level extroversion music condition individuals higher levels extroversion performed significantly better listening preferred music complex task compared silence preset music selection statistically significant outcomes avila colleagues investigated effect familiar musical distractors cognitive performance introverts extroverts participants completed verbal numerical logic test three music conditions vocal music instrumental music silence findings showed verbal test overall performance participants significantly better silence suggesting lyrics interfere processing verbal information however significant music personality interactions found dobbs colleagues studied cognitive test performance introverts extroverts presence silence uk garage music background noise one hundred eighteen female secondary school students carried three cognitive tests predicted introverts would perform badly tasks extroverts power music presence music noise silence performance would significant interaction found three tasks also predicted would main effect background sound performance would worse presence music noise silence findings confirmed prediction one exception furnham strbac extended previous work examining whether background noise would distracting music presence silence background garage music office noise introverts extroverts carried reading comprehension task proserecall task mental arithmetic task predicted would interaction personality background sound three tasks introverts would badly tasks extroverts presence music noise silence performance would significant interaction found reading comprehension task although trend effect clearly present two tasks also predicted would main effect background sound performance would worse presence music noise silence results confirmed prediction findings support hypothesis difference optimum cortical arousal introverts extroverts adopting different approach doyle furnham explored distracting effects music reading comprehension creative noncreative individuals presence musical distraction silence individuals participated significant interactions found although trends indicated creative individuals performed better noncreative individuals music distraction condition creative individuals tended listen music studying reported lower distraction levels background music metacognition extent learners used working music playing background may important extent disrupts enhances task performance instance etaugh michal gave male female college students tests reading comprehension completed quiet surroundings listening preferred music frequently students reported music studying studying music less music impaired performance similarly su wang studied relationship cognitive memory background music according whether testees used listening background music author divided two groups participants exposed three different music scenes impact different background music testees cognitive memory differed results showed pure pop music disturbed groups pure soft music improved performance used background music hindered statistically significant differences groups music conditions also taking account familiarity working background music crawford strapp used three timed visuospatial verbal tests undertaken vocal instrumental music playing vocal music disrupted performance significantly instrumental music mazetracing speed logical reasoning tests vocal music instrumental music disturbed performance music objectnumber test assessed associative learning longterm memory moderated studying preference test typically study music showed deterioration across conditions music instrumental music vocal music typically studied music performed better nomusic condition either music condition although extroversion significant covariate performance typically studied music extroverted reported greater skills focusing attention distracting situations reported less sensitivity noise general test noise sensitivity students may able control responses music better others instance christopher shelton explored whether existing differences working memory might impact outcomes research looking effect music working memory performance undergraduate students worked reading comprehension mathematics tasks music silence conditions completing battery workingmemory capacity assessments although music led significant decline performance overall workingmemory capacity moderated effect reading comprehension tasks suggests individuals better able power music control attention indicated workingmemory capacity may protected musicrelated distraction completing certain kinds academically relevant tasks addition performance may influenced metacognition extent participants aware music interfering task performance consciously adopt strategies prevent kotsopoulou hallam administered ratingscale questionnaires students three age groups japan uk greece usa questionnaires explored extent playing music studying kinds tasks undertaken music played perceived effects music studying characteristics types music played factors influenced decision play music statistical analysis revealed commonality differences playing music studying related age culture tasks frequently accompanied music others students reported able make decisions impact background music performance various tasks taking action arrange music support learning competence managing use music interfere task performance increased age impact background music childrens behaviour task performance historically research background music educational contexts explored impact children different ages special educational needs undertaking range different tasks instance young children evidence arousing music increases activity instance rieber studied activity five sixyearold children specially designed playroom conditions silence two types music fast slow activity rates higher intervals music played fast music marked effect music affect variability activity showed steady decline time spent room also evidence type play may change instance gunsberg found increase interactive play arousing music playing ziv goshen explored music studying effect sad happy background music interpretation story five sixyearold children children heard story background happy sad melody findings showed background music affected childrens interpretation story happy background music led positive interpretations whereas sad background music led negative interpretations effect happy music stronger sad music koolidge holmes explored effects background music puzzleassembly task performance young children participants primarily europeanamerican children aged four five years old enrolled early childhood classes children given one minute complete piece puzzle task one three background music conditions music lyrics music without lyrics music music selection youre welcome disney movie moana findings revealed children heard music without lyrics completed puzzle pieces children either musicwithlyrics nomusic condition background music without distracting lyrics may beneficial superior background music lyrics young childrens cognitive performance even engaged independently nonverbal task focusing drawing gur investigated effect classical music cognitive content childrens drawings sample consisted six yearold children private kindergartens higher socioeconomic status areas ankara turkey sample divided three groups first engaged free drawing listening classical music second engaged free drawing music third group acted control results showed positive effect classical music cognitive content drawings background music primaryschool children mitchell interested effect radio programmes silent reading achievement sixthgrade students time study radio become integral part american culture seemed pertinent therefore determine whether radio broadcasts effect ability pupils concentrate sufficiently studies order acquire knowledge information ninetyone power music students carried silent reading tests either music variety radio programme playing background worked silence overall variety programme disrupted performance strongly boys girls performance listening music programme unaffected fact boys performed slightly better music playing working taiwan su colleagues tested whether mozart sonata two pianos k playing background impacted learning anxiety reading rates reading comprehension students reading ebooks sixtytwo elementary students participated findings showed compared reading without music music positive effect reducing learning anxiety improved students reading rates reading comprehension direct process performance however music negative effect students attention interpret read explained terms music taking attentional resources required task working school setting ivanov geake found evidence impact related playing mozart background upperprimaryschoolaged children scores paperfolding task class listened mozart testing significantly higher scores control class similar result obtained another class listened bach testing musical educational experience children significantly contribute variance scores koppelman scott explored impact different kinds music childrens writing content nineteen students second grade class participated ten minute writing sessions accompanied session one type background music classical jazz popular country silence writing analysed tone consistency number words findings showed students wrote words classical music condition fewer inconsistencies writing listening jazz popular music top significant negative effect writing perhaps students familiar hallam godwin explored impact music creative writing primaryschool children children aged ten eleven asked write exciting story listening arousing calming music completed questionnaire music studying establish awareness music effects music appeared little effect basic literacy skills children stories rated exciting calming music playing children little conception detrimental effects exciting music writing mowsesian heyer studied whether music would distract performance testing situation four groups participants randomly assigned one four music conditions control group experienced optimal testing conditions defined accepted standards results arithmetic spelling selfconcept measures indicated differences mean test scores across groups regardless test condition authors suggested since variety noises normal part environment music distractor issue hallam colleagues working primaryschool children aged ten twelve undertook two studies exploring effects music perceived calming relaxing performance arithmetic memory task found calming music led improvement childrens performance memory mathematics tasks compared nomusic condition music perceived arousing aggressive unpleasant disrupted performance memory task led lower level reported altruistic behaviour children suggests effects music task performance mediated arousal mood rather directly affecting cognition also uk bloor administered four tests three classes different primary schools two music two silence see music impact behaviour attainment children testing results crossreferenced childrens self evaluation musicality ascertain children experienced disruption attainment behaviour musicians findings suggested music may supported performance reading tests conversely disrupted mathematics tests batur formed experimental control groups students fifth sixth grades basis scores turkish language exams overall students participated grade half participating intervention half acting controls students given minutes write subject wished intervention groups worked background music playing power music others worked silence findings showed wrote music background used words essays control group wrote fluently focusing task behaviour davidson colleagues determined effect background music pupils fifth grade science class children observed class sessions period four months observational data recorded every three minutes time series analyses performed determine effects significant increase task performance male students total class music playing although ceiling effect females background music older students considerable research highschool students age music often played homework completed kiger studied effects music information load reading comprehension task twentyseven male female highschool students read passage literature presence silence low highinformationload music comprehension best low informationload music condition worst highinformation load music playing similarly fogelson explored whether music acted distracter reading playing popular instrumental music test proved distracting lowered reading test performance eighthgrade students less able students adversely affected higher levels competence hall studied effect background music reading comprehension eighth ninthgrade students studyhall conditions almost percent students tested exclusive control group showed increase score test administered background music difference means showed substantial gain background music first lesson morning first second afternoon lessons percent students periods showed increase score music background also studying reading comprehension anderson fuller investigated effect lyrical music music studying performance adolescents reading comprehension test administered seventh eighthgrade students nonmusic environment accompanying music comprising top hit singles following music portion test students completed survey assess preference listening music studying findings showed performance declined significantly background music playing students exhibiting strong preference listening music studying pronounced detrimental effect comprehension college level taylor rowe focused assessment mathematics specifically trigonometry six major tests trigonometry students played music mozart results compared performance students took tests background music results indicated students performed significantly better mozart played background music assessment research children emotional behavioural difficulties adhd developmental difficulties calming music positive impact behaviour children emotional behavioural difficulties reducing stress anxiety variety settings although children learning difficultiesfor instance attention deficit disorder add attention deficit hyperactivity disorder adhdstimulating music effective improving behaviour replacing childrens need activity self stimulation differences response mean music interventions aimed changing behaviour need tailored requirements specific groups children children attention deficit hyperactivity disorder attention deficit disorder music used help reduce hyperactivity children attention deficit disorder add attention deficit hyperactivity power music disorder adhd scott cripe proposed rock music could used adjunctive therapy conventional treatments rock music advantage administered without need training staff hypothesised rock music would decrease activity level children add increase attention span eight males add aged six eight years old introduced rock music playroom activity level number activities attention span length time attending one task assessed results indicated statistically significant reduction number motor activities music periods within test sessions although significant differences regarding attention span pelham colleagues examined effects music video classroom behaviour performance boys without adhd well effects drug methylphenidate fortyone boys adhd controls worked presence distraction music video video produced significant distraction particularly boys adhd music improved performance individual differences response music boys adversely affected others benefited relative distractor second study music methylphenidate assessed additional boys adhd examine music results presence absence music methylphenidate improved performance relative placebo similar individual differences found first experiment similarly abikoff colleagues evaluated impact extra task stimulation academic performance children adhd twenty boys adhd boys without adhd worked arithmetic task high stimulation music low stimulation speech stimulation silence music distractors individualised child arithmetic problems set childs ability level non adhd young people performed similarly three auditory conditions children adhd significantly better music condition speech silence conditions however arithmetic performance enhanced children adhd exposed music first condition maloy peterson undertook metaanalysis effectiveness music studying music interventions children adolescents adhd analysis revealed music interventions minimally effective intervention increasing task performance emotional behavioural difficulties savan observed children behavioural difficulties science lessons suggested behaviour pupils special educational needs part resulting frustration due lack physical coordination consequent inability perform manual tasks effectively efficiently investigated possibility specific properties certain mozart orchestral compositions might combination improve coordination skills pupils emotional behavioural difficulties audio tapes mozart orchestral compositions provided sound stimulus ten boys aged twelve identified special educational needs emotional behavioural difficulties tapes edited attempt establish musical qualities produced effects measurements blood pressure body temperature pulse rate taken establish sound stimulus effect physiology metabolism participants case improvement coordination observed accompanied corresponding drop physiological measures observed improvement behaviour improvements also observed cooperation aggression reduced lessons immediately following science lessons hallam price studied effects providing background music classroom behaviour performance mathematical tasks ten children aged nine ten attending school children emotional behavioural difficulties exhibited high frequency disruptive behaviour music consisted songs childrens films music popular well known childrenthe music previously identified children school calming relaxing significant improvement behaviour mathematics performance children effects particularly marked whose problems related constant stimulusseeking overactivity reardon bell tested three predictions effects musical stimulation activity level six seventeenyearold power music institutionalised boys severe developmental delay participants activity scores sedative stimulating music compared levels silent baseline nonmusical spoken recording conditions fourteen behavioural categories rated trained observers eight hours observations four conditions activity level varied significantly day experimental work suggesting novelty recordings significant factor differences activity due conditions tended confirm prediction lower activity levels stimulating music older adults cognitive impairment increasing interest ways actively making music listening may help older people particularly dementia section focuses issues related background music learning instance foster valentine studied elderly individuals mild moderate highability moderate low ability dementia answered autobiographical memory questions drawn three life eras remote mediumremote recent backgrounds familiar music novel music cafeteria noise quiet recall significantly better highability lowability group sound quiet music noise recall significantly related life era declining remote recent memory superiority recall music compared noise apparent recall remote mediumremote recent eras findings may interpreted terms enhanced arousal attention deployment possible subsidiary role associative facilitation particular music thompson colleagues investigated effect listening excerpt vivaldis four seasons category fluency healthy olderadult controls alzheimers disease patients participants completed two oneminute categoryfluency tasks whilst listening excerpt vivaldi two oneminute categoryfluency tasks without music findings showed positive effect music category fluency performance music condition exceeding performance without music healthy olderadult control music studying participants alzheimers disease patients findings suggested music enhanced attentional processes healthy adults alzheimers disease irish colleagues studied enhancing effect music autobiographical memory recall ten individuals mild alzheimers disease ten healthy elderly matched individuals participant assessed two occasions music condition listening spring vivaldis four seasons silence considerable improvement found alzheimer individuals recall autobiographical memory music condition differences terms overall arousal using galvanic skin response recordings attentional errors sustained attention response task significant reduction state anxiety found music condition suggesting anxiety reduction may potential mechanism underlying enhancing effect music autobiographical memory recall also using vivaldis four seasons mammarella colleagues examined whether listening music positive effect older adults cognitive performance two workingmemory tasks participants presented forward version digitspan task phonemicfluency tests accompanied classical music white noise music classical music significantly increased working memory performance compared nomusic condition effect occur white noise particularly important study effect background music older adults since attentional control impaired normal cognitive ageing older adults tend sensitive distractions environment darowski et al although also tend accurate cognitive tasks younger counterparts slower hsieh lin reaves colleagues investigated impact background music concurrent pairedassociate learning task healthy young older adults young older adults listened music sat silence simultaneously studying facename pairs participants memory pairs tested listening either different music participants also made subjective ratings distracting found song despite fact participants rated music distracting silence older adults associative memory performance impaired power music music findings consistent theories older adults may fail inhibit processing distracting taskirrelevant information alain woods andr\u00e9s colleagues demonstrated adding irrelevant sounds visual discrimination task impaired reaction times older adults young adults well amplitude eventrelated potential linked processing distraction fernandez colleagues demonstrated compared silence sad tender music joyful highly arousing background music enhanced perceptual judgements flanker task older young adults although background music effect found older adults attentional control performance however study used modified version flanker task measured several components attention included cues trials challenging task measuring attentional control specifically might produced different results music also found impact arousal older people instance hirokawa examined effects participants preferred music relaxation instructions older adults arousal working memory fifteen female older adults participated ten minutes three experimental conditions participant preferred music relaxation instructions silence four subcategories arousal levelenergy tiredness tension calmnesswere measured experimental treatment condition participants completed workingmemory test findings indicated music increased participants energy levels relaxation silence significantly decreased energy levels increased tiredness calmness experimental conditions decreased tension scores workingmemory test significantly different among conditions clear relationships four arousal levels workingmemory scores overall findings indicated preferred music potential increase older adults energetic arousal reduce tension literature episodic memory suggests background music may positive effects younger healthy older adults bottiroli et al ferreri et al although may particularly beneficial among older adults cognitive impairment contributing arousal mood reward systems music may also recruit brain music studying areas spared degeneration elicit compensatory mechanisms ferreri verga activated healthy participants music stimulation alternatively music may reduce taskrelated anxiety expected higher cognitively impaired participants instance ferreri colleagues investigated whether music could improve episodic memory older adults decreasing prefrontal cortex activity sixteen healthy older adults aged encoded lists words presented without musical background dorsolateral prefrontal cortex activity monitored using eightchannel continuous wave near infrared spectroscopy system behavioural results indicated better source memory performance words encoded music compared words encoded silence bilateral decrease oxyhaemoglobin values musicencoding condition compared silence condition suggesting music modulated activity dorsolateral prefrontal cortex encoding less demanding direction overall results indicated music help older adults memory performance decreasing prefrontal cortex activity reviews metaanalyses number reviews metaanalyses impact background music cognitive tasks relatively limited compared areas research review studies adopting priming condition performance cognitive task pietschnig colleagues observed mozart effect first researched rauscher colleagues difficult replicate leading abundance conflicting results conducted metaanalysis nearly studies involving participants found small overall estimated effect samples exposed mozart sonata k samples exposed nonmusical stimulus stimulus preceding spatialtask performance calculation effect sizes samples exposed musical stimuli samples exposed nonmusical stimuli stimuli yielded effects similar strength also evidence confounding publication bias requiring downward correction effects overall pietschnig colleagues concluded noticeably higher overall effects power music studies performed rauscher colleagues studies performed researchers overall found little evidence specific performanceenhancing mozart effect metaanalysis undertaken k\u00e4mpfe colleagues overall effect listening background music established null examination led authors conclusion finding likely caused averagingout specific effects improved arousal positively influencing achievement sports detrimental effects reading memory reviews come quite negative conclusions part focus different instance schwartz colleagues undertook systematic literature review identified studies focusing role contingent noncontingent background music facilitate task engagement enhance performance alter behaviour concluded although research addressing background music mixed results evidence suggesting could effective strategy increasing task engagement performance decreasing stimulatory behaviour individuals developmental disabilities providing musical stimuli relatively inexpensive may less intrusive comparison strategies argued use merited additional study explore extent music could affect behaviour similarly peck colleagues reviewed existing anecdotal empirical evidence related enhancing effects music exposure cognitive function provided discussion potential underlying mechanisms might explain musics effects specifically outlined potential role dopaminergic system autonomic nervous system default network explaining music may enhance memory functions persons alzheimers disease de la mora velasco hirumi synthesised findings studies examined effects background music learning frequencies percentages used describe background musics effects learning across studies methods used background music characteristics manipulated concluded results inconclusive findings research inconsistent drawing similar conclusions ferreri verga reviewed evidence role background music music studying verbal learning memory argued existing research provided conflicting findings although several studies shown positive effect music encoding retrieval verbal stimuli music also suggested hinder mnemonic performance dividing attention argued extent music boosted cognitive functions relied relative complexity musical verbal stimuli employed overall background music found beneficial detrimental effect variety behavioural psychological outcome measures reasons might case discussed explaining impact background music cognitive performance several theories attempted explain listening music prior undertaking cognitive task may enhance performance first neural priming effect associated specifically spatial temporal reasoning second arousal mood hypothesis thompson et al suggests music enhances arousal promotes positive mood consequently affecting benefiting attentional processes husain et al theory postulates introducing preferred auditory background prior task makes task increasingly interesting thereby enhancing learners levels arousal level heightened increased arousal leads increase attention thus enhancing performance explanations effects background music terms arousal mood also apply music played background research demonstrated effect music presented simultaneously variety executive tasks cognitive flexibility working memory attentional control fernandez et al jiang et al shih et al thompson et al however available research findings fit well within theoretical relationship music cognitive performance example research suggests highly pleasant music requires attentional resources thus may impair cognitive performance context attentional tasks nemati et al instance music positively affect working memory revelle loftus results material power music processed learner consecutively enhancing performance mood improvement enhances cognitive performance increased dopamine levels brain ashby et al explanations relating arousal also need take account anxiety studies shown high anxiety associated lower task efficiency tanaka et al byrne eysenck also found task efficiency participants high anxiety lower low anxiety participants individuals select background music may rewarding effect terms enjoyment may bring arnett music may also interfere cognitive processes concentrated listening music requires cognitive effort processing analysis extracting meaning berlyne listening complex arousal evoking music may therefore reduce attentional space available task performance individuals play music carrying cognitive task attend music task simultaneously attention switches two madsen depending interest focus may greater task music another explanation impact music comes ability provide rewards salimpoor colleagues point listening music amongst rewarding experiences humans music functional resemblance rewarding stimuli demonstrated biological value yet individuals continue listening music pleasure suggested pleasurable aspects music listening related changes emotional arousal although link directly investigated salimpoor colleagues using methods high temporal sensitivity investigated whether systematic relationship dynamic increases pleasure states physiological indicators emotional arousal including changes heart rate respiration electrodermal activity body temperature blood volume pulse twentysix participants listened selfselected intensely pleasurable music neutral music individually selected based low pleasure ratings provided based participants music chills phenomenon used index intensely pleasurable responses music music listening continuous realtime recordings subjective pleasure states music studying simultaneous recordings sympathetic nervous system activity objective measure emotional arousal obtained findings revealed strong positive correlation ratings pleasure emotional arousal importantly dissociation revealed individuals experience pleasure also showed significant increases emotional arousal broader implications findings strongly felt emotions rewarding absence physically tangible reward specific functional goal neuroscientific studies established relationship music emotion changed brain activity instance blood colleagues used positron emission tomography examine cerebral bloodflow changes related affective responses music ten volunteers scanned listening six versions novel musical passage varying systematically degree dissonance reciprocal cerebral bloodflow covariations observed several distinct paralimbic neocortical regions function dissonance perceived pleasantness versus unpleasantness findings suggested music may recruit neural mechanisms similar previously associated pleasant unpleasant emotional states different underlying components music perception emotions fear later study blood zatorre showed intensely pleasurable responses music correlated activity brain regions implicated reward emotion positron emission tomography used study neural mechanisms underlying intensely pleasant emotional responses music ten university students aged least eight years music training participant selected one piece music consistently elicited intensely pleasant emotional responses including chills music classical genre included pieces rachmaninovs piano concerto minor opus intermezzo adagio barbers adagio strings instrumental works lyrics participants reported emotional responses intrinsic music producing minimal personal associations memories cerebral bloodflow changes measured response participantselected music elicited highly pleasurable experience shivers spine chills subjective reports chills accompanied power music changes heart rate electromyogram measures respiration intensity chills increased cerebral blood flow increases decreases observed brain regions thought involved reward motivation emotion arousal including ventral striatum midbrain amygdala orbitofrontal cortex ventral medial prefrontal cortex brain structures known active response euphoriainducing stimuli food sex recreational drugs finding links music biologically relevant survivalrelated stimuli via common recruitment brain circuitry involved pleasure reward activity regions relation reward processes known involve dopamine opioid systems well neurotransmitters dopaminergic activity appears common mechanism underlying reward response naturally rewarding stimuli support involvement opioid systems specifically response music comes preliminary study demonstrated blocking opioid receptors naloxone decreased inhibited chills response participants possibility direct functional interaction hippocampus amygdala midbrain supported exactly opposite correlation dorsomedial midbrain left hippocampus amygdala chills intensity thus activation reward system music may maximise pleasure activating reward system also simultaneously decreasing activity brain structures associated negative emotions amygdala hippocampus receive inhibitory presynaptic input cholinergic neurons suggesting possible mechanism decreased activity regions consequence activity increases ventral striatum brain structures correlating intensely pleasant emotion differed considerably observed unpleasant pleasant responses musical dissonance consonance earlier study blood particular right parahippocampal activitypreviously observed correlate unpleasant responses dissonancedid correlate chills intensity supporting notion parahippocampal activity may specifically related negative emotion addition regions associated reward motivation circuitry ventral striatum dorsomedial midbrain amygdala hippocampus found correlate chills intensity mildly music studying pleasant emotion associated consonance discrepancies provide evidence different emotions associated activity different groups brain structures nemati colleagues also investigated neural correlates pleasure induced listening highly pleasant neutral musical excerpts using electroencephalography powerspectrum analysis data showed distinct gradual change power lowfrequency oscillations response highly pleasant neutral musical excerpts specifically listening highly pleasant music associated relatively higher oscillatory activity theta band frontocentral area alpha band parieto occipital area gradual increase oscillatory power time correlation analysis behavioural electrophysiological data revealed theta power frontocentral electrodes correlated subjective assessment pleasantness listening music study link attention positive valence volunteers performed delayed matchtosample memory task listening musical excerpts performances significantly lower highly pleasant conditions compared neutral conditions listening pleasant music requires higher degrees attention leading observed decline memory performance gradual development lowfrequency oscillations frontal posterior areas may least partly due gradual recruitment higher levels attention time response pleasurable music demonstrated earlier sections chapter single research project generally limited focus cannot take account complexity underlying impact background music task performance also methodological issues relating types task considered included reading comprehension completion mathematical tasks range memory tasks relating attention also issue relating impact performance tasks assessedfor instance physiologically neurologically task performance observation rating scales particularly important relationships different measures frequently inconsistent challenges systematically categorising nature music used terms potential arouse generate different moods power music extent liked disliked music vary genre tempo timbre intensity type instrumental vocal use consonance versus dissonance relationships complex salimpoor et al although generally music influences physiological arousal expected direction exciting music leads increased arousal calming music reverse abeles chung responses based prewired connections related primitive elements musicfor example loudness timbre pitch tempo peretz favourite music whether stimulating relaxing tends lower experience tension although necessarily similar impact physiological responses iwanaga moroki may also act distraction completion task finally subjective aspects music perception individuals respond music different ways depending musical preferences individual characteristics structural features music tempo modality instrumentation genre cultural factors aspects environment including tonality way musical associations culturally shaped learned associative factors example personal subjective meanings placed particular piece music depending musical experiences play part responses music associative factors come play structural cultural aspects music superseded personal associative aspects see figure preference may therefore render different types music functionally equivalent example music young people may choose play studying may differ widely lead similar physiological effects music may linked particular experiences individuals life evoking pleasant distressing memories robazza et al also related identity macdonald et al quite different music thus change mood direction field et al formal music training perhaps impact identity affects responses clear patterns relating gender age social class abeles chung complex interacting nature factors influence responses mean difficult predict exact effects particular piece music individual music studying figure course interactions various factors relation undertaking cognitive tasks key one relationship difficulty task optimal level arousal needed undertake yerkesdodson law provides one explanation stating arousal levels increase performance optimal level beyond overarousal leads deterioration arousal known act according inverted u shape extremely low extremely high arousal damages performance moderate levels benefit occurs quickly task performed complex underlearned completing simple task requires higher level arousal concentration maintained complex tasks require lower arousal levels evidence way loud fast music disrupts reading comprehension complex task supports explanation thompson et al personality factors also implicated optimal arousal levels introverts higher resting levels arousal extroverts susceptible overarousal impacts task performance background music cassidy macdonald dobbs et al related attention drainage effect describes attention reservoir mental energy resources drawn meet situational attentional demands task processing kahneman chou music may circumstances draw attention away task possible pay attention one thing time madsen instance music lyrics likely interfere reading comprehension task instrumental music music played concurrently task completion may apply music used prime activity music lyrics may interfere task completion task nonverbal power music general shared attentional resources involved processing stimuli different modalities including music lead impairment processing one modalities recently particular interest impact music elderly shown different factors may come play age group particularly experiencing cognitive impairment music played concurrently may distract task completion music played prior task may act enhance motivation arousal thus enhancing task performance addressing issues gonzalez aiello considered interactions musicbased taskbased performerbased characteristics hypothesised music along complexity volume would facilitate simple task performance impair complex task performance individuals preference external stimulation dimension boredom proneness would moderate effects test participants completed cognitive tasks either silence music varying complexity volume findings showed music generally impaired complex task performance complex music facilitated simple task performance preference external stimulation moderated effects explanatory framework hallam macdonald discussed subjective aspects music perception individuals benefited music considered varied could even fluctuate within listener individuals respond differently music depending features music individuals cultural context additional experiencedriven associative aspects individual preferences ways responding music determine whether music influences mood level arousal capacity perform better physiological effects overall impact background music performance particular task depends many interacting factors figure sets model possible contributory factors including nature music genre whether stimulating relaxing complexity whether familiar liked vocal instrumental selected individual listening music studying imposed others model suggests effects music mediated characteristics individual age ability personality metacognitive skills musical expertise familiarity music played frequency normally listen music studying current emotional arousal mood state individual may also influenced individual characteristics recent life events individual characteristics also direct effect learning outcomes indirect effect metacognitive activity environment within activity taking place may also importantfor instance whether individual alone familiar place whether distractions characteristics task instance nature processing required difficulty whether perceived interesting boring also play part currently little research takes account factors individuals need aware impact music task performance adjust behaviour accordingly general rule background music creates high levels arousal disrupt work complex tasks although may prevent boredom task repetitive boring working silence relaxing music may enhance performance difficult task preferred music likely advantages disliked music music lyrics may disruptive particularly task verbal nature see figure overview clear understanding music affect task performance complex requires many factors taken account individual needs assess situation task facing given time make decision whether music assist disrupt performance act accordingly classroom unless calming music used simply lessen general exuberant behaviour working silence likely beneficial majority students unless particular behavioural difficulties problems attention instance adhd add power music figure model effects background music behaviour learning derived hallam macdonald reengagement motivation active engagement music shown support positive development young people areas high deprivation may risk disaffection fully engaged education exhibiting poor behaviour involved criminal justice system music also found help rehabilitation prisoners successful reintegration society chapter begins setting various influences individuals motivation followed exploration evidence active engagement music may contribute bringing change motivation lack motivation problem formal education across much developed world concern high levels student boredom disaffection high dropout rates poor attendance poor behaviour leading exclusions school particularly urban areas students report viewing school boring game try well little effort possible disaffection increases students progress school particularly final years compulsory education issues particularly acute boys ethnic minorities special educational needs young people lower socioeconomic groups underrepresented higher education take opportunities participate formal education mature adults tend already relatively successful substantial group individuals whose motivation insufficient sustain engagement formal learning short medium longterm himonides cc byncnd httpsdoiorg obp power music complex interactions occur environment individual influence selfdevelopment motivation ultimately behaviour set figure individuals identity selfconcept represents way thinks relationships others mead rogers sullivan identity developed response feedback received environment desire social approval particularly admire respect leads us behave particular ways time values beliefs leading behaviour associated praise internalised positive feedback others raises selfesteem enhances confidence identity develops result processes family crucial role play process early years childs social contacts broaden others including teachers peers become important individuals set goals determine behaviour goals influenced identity ideal possible selves well environmental factors behaviour end link chain time enactment influenced changed environmental factors interaction environment individual every level long short term individuals also act upon environment change seek new environments conducive needs behaviour influenced individuals interpretation situations events expectations goals mediate regulate behaviour mischel individual needs desires tempered consideration consequences actions prior attempts satisfy cognition plays role ways attempt enhance selfesteem leading us attribute success failure causes allow us maintain consistent view learner completed learning task successfully impact selfesteem motivation carried forward subsequent learning tasks conversely learning outcomes negative motivation usually always impaired complex interactions learning motivation successful enjoyable learning domain likely motivated continue engaging time interested motivated domain reengagement motivation likely persist fail face difficulties particularly believe ultimately successful early engagement learning particular domain enjoyable positively rewarded self efficacy beliefs supported learning continues brings rewards positive possible self develops domainenhancing motivation increasing persistence future motivation learn related identity goals individuals set short medium longterm value attached learning tasks related extent support developing identity goals derived throughout life individual engage learning across several domains inevitable successful interested domains others closely linked personal goals time time personal goals may conflict individuals may make choices based relative importance difficulty years compulsory schooling occasion individuals may required undertake training circumstances individuals freedom choose learn removed little relationship personal goals determined educational system teachers working within motivation likely poor learners likely become disaffected closely goals learners teachers educational systems matched likely effective learning occur motivation crucial well children perform school closely linked selfperceptions ability selfefficacy aspirations hallam actively engaging music help enhance motivation change behaviour changing self beliefs aspirations transferable skills develop study norwegian research council science humanities supported finding connection musical competence high motivation led greater likelihood success school lillemyr high correlations positive selfperception cognitive competence selfesteem interest involvement school music power music motivation developed engagement music process learning play instrument sing frequently requires hours practice typically solitude commitment music even competing curricular extracurricular activities may foster motivationrelated characteristics evans evans liu students learn repeated music practice lead mastery complex skills achievement desired outcomes positive examination outcomes successful performances develop masteryfocused learning approach deg\u00e9 schwarzer may lead internalisation sense selfefficacy may applied learning nonmusical domains bandura suggests efficacy beliefs multifaceted although may covary across distinct domains functioning selfefficacy developed one area learning may generalise areas instance selfefficacy developed learning music may generalise areas learning particularly similar subskills involved similarly selfregulation acquired music may generalise areas transfer selfefficacy motivationrelated characteristics plausible given parallels music education traditional academic subjects instruction feedback required tangible outcomes relation examinations performance selfefficacy associated achievement caprara et al masterylearning selfefficacy develop iterative mutually reinforcing manner mcpherson renwich research demonstrated recognition achievement music leading high levels self efficacy enhance selfefficacy selfesteem transfers motivation schoolwork instance mcpherson oneill found students engaged learning music reported higher competence beliefs values lower task difficulty across school subjects comparison engaged making music overall experience learning play instrument sing enhanced motivation school subjects burnard explored attempts three secondaryschool music teachers reengage disaffected young people music reengagement motivation lessons reported democratised musiclearning emphasised creative projects used digital resources similarly musical futures project designed devise new ways engaging young people aged music activities initially entailed young people working small groups learning copy recordings popular music ear largescale evaluation project showed music teachers perceived students motivated better behaved demonstrating higher levels participation greater focus enhanced musical skills confidence improved smallgroup independentlearning skills enhanced leadership skills benefited lower middleability students hallam et al pupils reported improved listening skills impact schoolwork including less reliance teacher enhanced concentration using music help subjects instance making songs help remembering facts team working skills also transferred lessons hallam et al non music staff participating schools also reported musical futures approach positive impact student motivation wellbeing selfesteem concentration organisation attitudes towards learning progression teamworking hallam et al similarly students randomly assigned weekly piano lessons course three years demonstrated gains selfesteem particularly academic dimension whereas control group showed gains costagiomi quasiexperimental study revealed students received higher number music lessons several years reported gains academic selfconcept unmatched comparison group rickard et al positive relationships also reported number music lessons taken academic selfconcept deg\u00e9 et al higher levels musical engagement deg\u00e9 et al deg\u00e9 schwarzer experiences students musical groups may also contribute general sense accomplishment collaboration may support enhanced interactions school leading positive school climate greater academic achievement decreased disaffection rumberger lim power music figure model motivation reengagement motivation children young people facing challenging life circumstances children born areas high deprivation face considerable life challenges typically acquire lowlevel skills qualifications adulthood less likely employed likely lower earnings affluent areas blanden et al longterm consequences include relating health mental physical involvement criminal activity feinstein sabates parental involvement childs education lack cultural social capital negative experiences school low aspirations exposure multiple risk factors implicated relationship deprivation poor educational outcomes relation music evidence children deprived areas less likely played musical instrument scharff likely negative experiences instrumental teachers interpreting failure feeling less comfortable confident learning classical music bull group musicmaking offers opportunity engage wider cultural experiences explore new ideas places perspectives support social cohesion broadening experience israel benefits participants also increases parents attendance cultural events exposure culture generally creech et al range musical projects focused role music play enhancing lives vulnerable children providing range transferable skills programmes discussed others addressed detail chapter addresses issues social inclusion instance inclusion refugee children chapter considers programmes supporting psychological wellbeing children war zones music vehicle reengaging young people education supporting risk making changes lives context within projects operate important success musical genres adopted quality musical facilitators deane colleagues found whilst musicmaking acted hook terms initial project engagement frequently power music building trusting non judgemental relationship young person mentor supported change el sistema sistema inspired programmes internationally largest group programmes supporting children living deprived areas risk disaffection el sistema programmes inspired el sistema el sistema founded social action music jean antonio abreu premised utopian dream orchestra represented ideal society idea child nurtured environment would better society el sistema survived many different administrations large network youth childrens orchestras addition many programmes around world inspired el sistema share values goal el sistema use music protection childhood training rehabilitation prevention criminal behaviour evaluations el sistema sistema inspired programmes show offer safe structured environment ensures children occupied reduced risk participating less desirable activities creech et al evaluations individual programmes report childrens sense individual group identity enhanced children take pride accomplishments show increased determination persistence become better able cope anger express emotions effectively creech et al raised aspirations motivation learning england lewis colleagues showed participants sistemainspired programme harmony exhibited positive attitudes improved behaviour parents teachers indicated pupils greater sense purpose selfconfidence aspirations raised part attributed contact role models form harmony teachers visiting artists lewis et al prominent theme reported evaluation big noise scotland gcph raised aspirations participants reengagement motivation researchers reported qualitative evidence demonstrating enhanced motivation determination willingness challenged ability imagine achieve goals particularly amongst secondary school participants particular aspirations year olds raised gcph qualitative interviews parents children involved big noise scotland gen provided strong evidence considered programme enriched childrens lives twentynine parents took part quantitative survey revealed positive impact attributed big noise regard confidence friendships hope future happiness concentration behaviour research sistema inspired projects positive instance rimmer explored childrens reflections value participation english programme harmony interviews undertaken primaryschool children aged six eleven three programmes newcastle telford norwich parents siblings school environment important way participating children viewed programme value engaging music family particularly important influencing children challenges handling holding instrumentsand perceptions sounds created somehow lacking desirable qualitiesemerged absence within programme valued visual representational kinetic aspects popular music emerged many accounts compulsory nature harmony participation contrasted valued dimensions popular music related activities associated freedom choice self directedness play raised aspirations noted uy chicago n\u00facleo chacao students enrolled high school university conservatoires percent studying music others pursued careers engineering medicine subjects comparison underprivileged communities uy described astounding programmes reported similar raised aspirations selfbeliefs including boston conservatory lab charter school el sistema colorado harmony stockton kalamazoo kids tune kidznotes orchkids san diego community opus project yola peoples music school youth orchestras el sistema chicago numerous power music usa programmes included measures evaluations demonstrate successes achieved realising motivational goals case duckworth harmony stockton orchestrating diversity silk et al smith review see creech et al programmes report similar findings instance devroop explored effects music tuition career plans disadvantaged southafrican youth found positive outcomes galarce colleagues reported academic aspirations improved result engagement programme students less likely procrastinate schoolwork similarly cuesta found percent participants achieved better outcomes school compared percent nonparticipants wald researched two sistema inspired programmes argentina found evidence enhanced motivation commitment programmes scotland ireland also showed enhanced aspirations engagement learning improved behaviour kenny moore review overall creech colleagues concluded raised aspirations one frequently cited positive outcomes el sistema sistema inspired programmes programmes instance harmony liverpool changes aspirations restricted children participating programme extended across community burns showed progress academic attainment age enhanced musical attainment enhanced perceptions childrens social emotional wellbeing parents carers noted changes musical ability communication confidence focus concentration behaviour families engaged musical activities children took home new skills shared family members direct impact family life individual aspiration community pride changed creating virtuous cycle change perceived severely deprived area residents saw hope also working liverpool robinson found parents participating research actively supporting children felt lives transformed children developed new skills greater opportunities experiences places greater appreciation music reengagement motivation evaluation english sistema inspired programmes lord colleagues collected evidence pupil surveys including matchedcomparison sample drawn schools participating harmony well case study interviews findings showed improvements pupils attitudes learning self confidence selfesteem wellbeing aspirations improve borne national inspection agency schools ofsted whose reports highlighted pupils social emotional spiritual wellbeing attributed least part participation harmony positive wellbeing outcomes thought influenced group work ethic involved discipline focus teamwork comparison wellestablished harmony programmes england liverpool lambeth recently established programmes revealed statistically significant differences regard childrens application self learning view future prospects children established harmony schools participated programme longer positive scores suggesting programme positive impact regards dispositions towards learning future aspirations established harmony schools compared matched comparison schools accessing harmony statistically significant differences also found relation application self learning childrens views future prospects well selfassurance security happiness seemed time programme impacted childrens wellbeing leading become young confident learners clear future aspirations evaluation summer residential orchestral programme also demonstrated impact personal wellbeing amongst participants npc hay thirtyfive young people aged nine eighteen including special educational needs completed survey wellbeing course caution must exercised interpreting dataas sample size smallthere indications enhancement selfesteem emotional wellbeing resilience life satisfaction large effect size reported measures although girls seemed benefit boys compared national baseline scores measures boys post course scores selfesteem resilience top quartile might expected national sample power music uy carried crosscultural comparison el sistema venezuela usa reported consistency regard positive outcomes relating personal development overall parents students contexts reported improvements focus discipline time management relaxation coping communication ability work others academic performance aspirations creative thinking selfesteem south america considering impact batuta colombia programmes offer strategies social educational cultural development support national system youth orchestras colombia cu\u00e9llar drew key findings crece report matijasevic et al qualitative data provided examples personal development similar reported elsewhere students reported positive changes respect tolerance honesty solidarity teamwork sense responsibility emotional regulation helped control aggressiveness intolerance impatience selfesteem enhanced particularly selfefficacy feeling competent students also reported greater selfcare resilience happiness enhanced aspirations social networks greater enhanced family interactions many usa programmes identified elevated aspirations goals key bringing change included evaluations measures assess demonstrated success case conservatory lab charter school duckworth harmony stockton orchestrating diversity renaissance arts academy b silk et al smith peoples music school youth orchestras el sistema chicago instance renaissance arts academy los angeles demonstrated elevated academic professional aspirations students result participating academically musically rigorous intense programme high graduation rate percent coupled percentage students continued education university percent exemplified huge transformations occurred terms students believed could accomplish also goals expectations set result realisation accomplishments music arts transferred beliefs academic capabilities elevated goals achievements areas showed shifts take place reengagement motivation possibilities result many programmes measured reported raised aspirations greater selfesteem amongst students caribbean oasis sistema inspired orchestral programme established youth riskshowed sixmonth period participation students significantly less likely provoked anger display aggressive behaviours including teasing shoving hitting kicking fighting involved delinquent peers also higher educational aspirations months findings showed positive overall outcomes galarce et al terms academic aspirations percent oasis group compared percent control group expressed hopes able obtain doctoral degree increases selfregulation also seen seven percent oasis group compared percent non oasis students reported speaking inappropriately others also less likely report pleasurable activities prevented achieving work goals less likely procrastinate schoolwork involved fights use alcohol marijuana sixmonth stage results haitian programme similar jamaica oasis students significantly less likely angered easily less likely involved aggressive behaviours delinquent peer relationships within months results haitian oasis students mirrored jamaica terms academic aspirations percent opposed percent hoping attain doctoral degree also less likely disagreements parents caregivers likely involved sports selfbeliefs positive selfbeliefs regarding achieved selfefficacy possible possible selves crucial motivation el sistema sistema inspired programmes prioritised personal social development participants many evaluations point positive impact programme selfbeliefs esquaea torres galarce et al israel uy participation two argentinean sistema inspired orchestras explored wald b found students parents coordinators directors perceived participation orchestras related selfesteem power music selfworth selfconfidence pride achievements motivation commitment frequent opportunities performance helped raise aspirations billaux created safe opportunities risktaking uy allowed children experience success many occasions enhancing selfefficacy selfesteem school attendance positive attitudes towards school creech colleagues review el sistema sistema inspired programmes showed major area focus many american programmes impact students rates attendance punctuality school several programmes documented positive evidence regarding school attendance including austin soundwaves harmony stockton kalamazoo kids tune kidznotes orchkids potter renaissance arts academy b san diego community opus project smith programme evaluation findings america showed sistema participants generally increased attendance school b sharp programme schurgin reported decrease absenteeism average days days per child many sistema participants attended schools majority students qualified free reducedprice school meals attendance rates schools attended sistema students higher state local average evaluation results usa showed sistema students generally improved attendance higher rate average schools england primary school harmony liverpool based saw drop absence almost eight percent six percent burns bewick compared sector average five percent although absenteeism rose analysis attendance rates showed overall significant improvement school average rate absence percent burns bewick contrast scotland evidence showing involvement big noise improved attendance gen although qualitative data suggest programme making difference regard recently report reengagement motivation suggested programme associated improved school attendance raploch school attendance percent among big noise participants four percent higher eligible population govanhill school data showed attendance among big noise participants almost percentnearly two percent higher eligible population glasgow centre population health canada morin found improvements school attendance although new zealand wilson colleagues reporting sistema aorearoaindicated reasonable improvement overall attainment engagement social skills school insufficient data comment attendance overall although data relating attendance mixed evidence enhanced achievement emotional behavioural difficulties alem\u00e1n colleagues assessed effects sistema inspired music programme childrens developmental functioning context high rates exposure violence trial conducted music centres total children aged six fourteen participated approximately half receiving offer admission programme september half september children treatment group participated one semester controlgroup children one year evidence improved selfcontrol reduced behavioural difficulties effects larger among boys children less educated mothers especially exposed violence following participation programme group exhibited lower levels aggressive behaviour programme improved selfcontrol reduced behavioural difficulties effects concentrated among subgroups vulnerable children columbia castanedacastaneda explored impact intensive guitar workshops offered part rehabilitation programme young people youth detention centre findings showed improvements musical citizenship skills power music transferable skills parents teachers children participating el sistema sistema inspired programmes referred way programme developed transferable skills including concentration hallam burns one parent commented impact kids enormous concentration ive got nephews schools difference huge kids sit massive big place listening classical music without coughing fidgeting sit well behaved length time theres many primary kids weve got special education kids well another parent emphasised impact learning generally children dedicated areas learning come leaps bounds without doubt music parents recognised impact confidence confidence gone sky high says shes really nervous seems calm another parent commented music brought daughter shell confident young lady older students able selfreflect wider benefits participation learn things dont learn school learn lots skills life make links people like able talk new people like able work things like team work listening others even dont want music career five years time youll skills youll able say learnt orchestra paid young people also able develop leadership skills mentoring engaged recognised staff parents music interventions unrelated el sistema several music interventions addition el sistema sistema inspired programmes designed support disadvantaged children instance pasiali clark worked children aged five eleven years old programme reengagement motivation consisted eight minute music sessions teaching social skills song lyrics improvisation central social competence antisocial behaviour academic competence assessed outcomes showed number lowperformance highrisk skills decreased significantly teacher assessment indicated significant improvement communication decrease hyperactivity autistic behavioural tendencies overall problem behaviours internalisation parent ratings generally mirrored teachers similarly millar colleagues reported positive outcomes cool project month intervention involved sessions participatory musicmaking hardtoreach young people aged programme aimed increase confidence selfesteem improve social skills music resonated young peoples lived experience one study examined impact singing programme sing children young people hampshire matthijsse findings indicated participants selfconfidence aspirations enhanced developed new friendships better connections parents however hampshire matthijsse cautioned children young people privileged backgrounds benefited disadvantaged backgrounds latter risked rejection existing friends due programme perceived cheesy gay emphasises importance musical intervention seen relevant participants school music lessons therapeutic instance case study general music class spanish public secondary school undertaken disaffected learners received total reprimands throughout school year poor behaviour systematically rejecting school rules rusinek established enjoyed music lessons may music teacher generated enthusiasm inclusive pedagogy principle music adopted arrangements percussion instruments four twelve parts pop classical film music played class goal performance shared children teacher widely accepted important part school culture similarly australian study showed group boys identified behavioural issues engaged power music proactive musicmaking activity showed notable improvements classroom cooperation selfesteem drumming exercises programme among popular connected closely participants sense maleness activities fun provided opportunities students enhance positive values group cohesion selfesteem along behavioural social competence smith drumming seems particularly effective form musical intervention children disaffected support anger management teambuilding substanceabuse recovery leading increase selfesteem development leadership skills mikenas group drumming foster sense cohesion teaches coordination teamwork participants assume different roles work together drake faulkner colleagues developed drumming programme way engaging risk youth simultaneously incorporating themes discussions relating healthy relationships others evaluation programme sample participants western australias wheatbelt region used quantitative qualitative methods including informal discussions staff participants observation participant teacher questionnaires school attendance behavioural incident records findings showed increase scores range social indicators demonstrated increased connection school community also australia obrien donelan reported effectiveness creative arts diversionary intervention young people risk threeyear government funded study ten arts programmes conducted across urban rural areas findings demonstrated arts programmes could significant positive impact marginalised young people offering opportunities skill development social inclusion canada wright argued music education schools could lead social transformation research impact musicmaking children living care lookedafter children uk shown engagement high quality musicmaking projects support development resilience dealing challenges salmon rickaby researched developing musical play could facilitate skills development improve reengagement motivation mental health strengthen resilience young people care participants able develop new skills confidence resilience felt socially connected review dillon showed musicmaking could contribute improved negotiation skills cooperative working learning trust peers developing capacity selfexpression stronger sense selfawareness increased selfdiscipline responsibility sense achievement feelings belonging shared identity opportunity make friends develop positive relationships adults musicmaking provided respite problems opportunities fun addition evidence increased confidence acquisition wide range skills norway waaktaar colleagues study young people experienced serious multiple life stresses leading behaviour difficulties found music programme able enhance resilience positive peer relationships selfefficacy also improved young men demonstrated coherence creativity produced music video public viewing zanders also showed music therapy could support young people foster care helping create stability find resources meaning lives promote healing addressing displacements abuse grief loss many experienced england evaluation youth music mentoring programme included total mentees showed participants aware musical opportunities available increased agency assessed feeling respected capable control mentees indicated enhanced ability work others express respect peoples views punctual lonie similarly brown nicklin explored impact global youthwork project aimed engage young people social issues medium hip hop participantswho range british ethnic backgroundswere education employment training otherwise identified marginalised due criminal record excluded mainstream education project aimed challenge exclusion implied labels marginalised value participants experiences aiming engage global social issues sessions ran three years considered financial independence political identity mental health overarching power music focus money power respect activities creative including lyricwriting art interviews developing tracks build self esteem outcomes showed project built selfesteem positive attitudes learning participant perceptions suggested programme provided positive experiences learning skills development thus enhancing selfesteem reducing risk factors antisocial behaviour hip hop used connect young people social issues engage learning developing transferable skills building confidence well increasing employability prosocial behaviour engagement social issues sessions interactive facilitating dialogue providing peer mentoring studio facilities recording equipment available data included project reports interviews field notes session plans feedback findings suggested opening informal spaces opportunities creative experiential learning hip hop positive outcomes young people facilitated engagement prosocial behaviours review projects funded youth music qa research showed range positive outcomes associated engaging education employment training risk music making activity outcomes included increased motivation engage education employment voluntary activity including gaining qualifications heightened aspirations positive attitude towards learning participants also developed range transferable skills including basic academic skills listening reasoning decision making concentration focus teamworking timekeeping goalsetting meeting deadlines also evidence enhanced wellbeing including increased selfesteem self respect pride empowerment sense achievement confidence expansion friendships trust improved relationships adults aggression hyperactivity impulsivity decreased participants learned control emotions projects also broadened horizons including increased awareness different cultures traditions evaluation european social fund project engaging disaffected young people lancashire learning skills council found music sport activities could encourage participants back learning changing negative attitudes perceptions towards education following completion project percent reengagement motivation project participants working towards qualification alvaro colleagues evaluated pilot phase european unions emotion project designed utilise youthfriendly music software order engage yearolds dropped school risk dropping three experimental pilot programmes delivered groups containing students single schools three different countries italy romania uk teachers completed scorecard student beginning end programme overall improvements range basic academic skills personal skills including listening speaking alcohol avoidance interviews also indicated reduction offending antisocial behaviour substance abuse participants enhanced interest schoolwork improved school attendance attention selfconfidence selfbelief motivation cultural awareness communication skills school attendance attitudes towards school taetle investigated relationship daily school attendance enrolment fine arts electives three secondary schools participated students divided three groups according elective participation fine arts courses nonfine arts courses combination fine arts nonfine arts courses students stratified according grade point average low risk medium high attendance rates computed percentage days absent findings showed students lower absence rates higher grade point average students enrolled fine arts electives significantly higher absence rates students least one fine arts elective students low grade point average risk enrolled fine arts electives significantly higher absence rates students enrolled least one fine arts elective similarly oreck colleagues reported participants artsbased programme stated involvement enabled make friends establish support networks feel accepted valued davalos colleagues examined extracurricular activity perception school ethnic identification association school retention rates among mexican american power music white nonhispanics participants engaging extracurricular activities considerably likely enrolled school participating similarly lashua lashua fox studied recreation project taught young people aged mainly aboriginal backgrounds make music using computers studio production software showed participants literacy problems able create complex spontaneous rhymes medium rap participants reported programme meaningful made school enjoyable helping stay trouble activities rap battles provided acceptable outlet aggression enabled participants demonstrate skills gain respect learn humility integration young people special educational needs mainstream education increasingly europe young people social emotional behavioural difficulties taught mainstream schools presents particular challenges teachers many children difficulties learning may may related behaviour result prominent area work music therapy become integration children special educational needs particularly case germany italy government strategies focused integration children special educational needs mainstream schools germany hippel laabs kartz kochtemming kok mahns neels colleagues palmowski explored music therapy could help children special educational needs integrate mainstream classrooms similarly italy pecoraro reviewed music therapy could help young children special educational needs learn mainstream classes dulisse colleagues also considered music therapy could applied schools uk student music therapists focused role music therapy supporting children special educational needs mainstream schools carson crookes hitch historically improvisation individuals principal method adopted music therapy darnleysmith patey reengagement motivation increasingly music therapists work range different contexts including child adolescent mental health services social services educational settings working schools developing area carr undertook review relevant papers included outcomes although successive governments uk concerned wellbeing children schools music therapy played limited role review carr wigram found ten papers specifically addressed work within mainstream schools main recipients children mild emotional behavioural social problems different therapeutic approaches adopted instance jenkins advocated flexible approach strange adopted clientcentred music therapy emotionally disturbed teenagers moderate language disabilities butterton used music pastoral care emotionally disturbed children aged using psychotherapy music improvisation drawing n\u00f6ckerribaupierre w\u00f6lfl described preventative approach introducing music therapy two secondary boarding schools germany aim helping students express emotional state release aggressive tension project proved particularly successful classes migrant students diverse cultures able communicate effectively shared improvisation pethybridge robertson suggested music lessons schools consist improvisation believed potential guide student areas learning result experiences acquired musical interaction students language communication unit attached mainstream school participated study involved childled creative music making structured activities enhance social skills findings showed working small groups led greater ability address educational objectives musical nonmusical pethybridge evaluated ways music therapists might support teachers offer interactive group musicmaking children additional support needs working nursery teacher pethybridge planned delivered week intervention three children autistic spectrum findings showed experiential music therapy groups offered level transferable learning power music teaching support staff potential developing indirect approaches derrington series papers derrington neale also argued need offer music therapy mainstream schools pupil referral units disaffected young people emphasis creative activities including songwriting mcferran reviewed research literature education mental health community music suggesting grouping knowledge way offered new perspectives types programmes offered way evaluated schoolbased music therapy interventions children emotional behavioural difficulties examples use music therapy young children instance brackley describes increasingly common need music therapy work behavioural support programmes pupil referral units children aged five nine excluded mainstream education referred music therapys potential recreate conditions early mother infant relationship allowing music therapist revisit problematic stages pupils early development aid ego development similarly de silva also illustrated music therapy could bring radical transformation behaviour emotional interaction younger children thomas undertook qualitative case study two primaryschool children social emotional behavioural difficulties one exhibited withdrawn behaviour poor behaviour music lesson interventions period one year benefited children terms personal competence selfregulation self confidence selfesteem task competence enjoyment engagement motivation social competence collaboration social connectedness montello coon also studied impact active passive group music therapy preadolescents emotional learning behavioural disorders teachers asked rate confirm changes students attention motivation period four months significant changes aggression brought facilitation selfexpression provided channel frustration anger aggression similarly horton showed reengagement motivation group music therapy female adolescents educational treatment centreinvolving stepping series body percussive movements footstamping hand clapping chanting singingsignificantly increased group cohesion participating adolescents identified risk dropping school engaged violent risky sexual behaviours stepping procedure promoted positive social behaviour gold colleagues assessed benefits music therapy emotional behavioural difficulties showed childrens needs relationships opportunities emotional expression met therapy review gold colleagues analysed music therapy studies comprising total children adolescents found benefits greater behavioural problems similarly mcintyre showed nine weeks music therapy adolescent boys behavioural emotional disorders helped develop new skills enjoy music experience group cohesion increase selfesteem hirst robertshaw investigated impact otherwise creative project intervention involved wide range arts activities including music production songwriting targeting young people pupil referral units range emotional behavioural difficulties following engagement project participants demonstrated growth confidence selfesteem enhanced ability communicate staff resist negative peer pressure chong kim examined afterschool educationoriented music therapy programme impacted students intervention lasted weeks used musical activities promote academic social emotional skills rating system completed teachers assessed change showed social skills problem behaviour improved significantly although improvements academic competency using drumming promote selfexpression ho colleagues compared effects weeks schoolcounsellorled drumming social emotional behaviour two fifthgrade intervention classes two standard control classes children intervention classes improved significantly compared controls multiple areas social emotional behaviour assessed power music teachers thompson tawell studied effects arts based intervention young people deemed risk school exclusion social emotional behavioural difficulties eleven young people aged studied using observations interviews interventions offered young people provided alternatives personal cultural historical ways experiencing world experimenting different arts media trying ideas enabled develop new identity findings suggested imagination invoked intervention helped disengaged young people change perceptions future sausser waller showed proper planning musical activities students could benefit music therapy programme structured success individual reviewed music therapy used students emotional behavioural difficulties proposed model music therapy students psychoeducational setting model designed combine music therapy process nineweek grading period school setting suggested ways music therapy therapeutic modalities work collaboratively students emotional behavioural difficulties kr\u00fcger set work contemporary secondary school norway part new strategy helping secondaryaged students emotional behavioural problems students labelled bad guys living name gaining attention challenging behaviour able maintain role within school kr\u00fcger found computer source new meaning learned play instrument technology led broad possibilities exploring mastering arranging creating improvising music participants quickly became confident using control kr\u00fcger showed one child threatened pupils low respect authority difficult talk able engage therapy shared use information technology process developing trusting communicative relationship enabled kr\u00fcger reported encouraged boy master recording techniques also allowed child express anger shout show would always helped create bond opportunity reengagement motivation talk wrong childs life ultimately process using information technology led product child became involved musicmaking burning cds creating covers cd cases selling work even publishing music school radio research focused interventions children exhibiting highly aggressive behaviour instance choi colleagues investigated children allocated either music intervention control group music intervention group engaged minutes musical activities twice weekly consecutive weeks weeks music intervention group showed significant reduction aggression improvement selfesteem compared control group findings suggested music could reduce aggressive behaviour improve selfesteem children highly aggressive behaviours similarly hashemian colleagues studied whether minute music therapy sessions could reduce aggression visually impaired iranian adolescents compared control group matched relation age socioeconomic status education level parents two behaviour questionnaires showed significant decline aggression intervention group ye colleagues carried metaanalysis research exploring whether music therapy could reduce aggressive behaviour children adolescents ten studies included research showed significant decrease aggressive behaviour significant increase selfcontrol compared control groups whereas differences music medicine group control group music interventions durations less weeks sessions per week efficient reducing aggressive behaviour work undertaken refugee students instance baker jones studied effects music therapy programme stabilising behaviours newly arrived refugee students research examined effects shortterm music therapy programme changes behaviour refugee youths attending englishlanguage reception centre brisbane two five week intervention periods employed group music therapy sessions conducted twice week findings indicated music therapy led significant decrease externalising behaviours particular reference hyperactivity aggression power music one main aims music therapy children emotional behavioural difficulties address behaviour within classroom particularly prevalent research usa instance eidson studied effect behavioural music therapy generalisation interpersonal skills therapy sessions classroom middleschool students emotional difficulties also usa haines studied effects music therapy selfesteem emotionally disturbed adolescents showed music therapy enhanced group cohesion cooperation krout mason using computers electronic music resources worked behaviourally disordered students aged either self contained integrated classroom students option enrolling music elective class met three times week receiving individual music therapy services focused learning musical instrument programmes emphasised targeted social behaviours skills learning music kivland noted effect individual music therapy sessions selfesteem adolescent boy diagnosis conduct disorder selfesteem measured frequency positive negative selfstatements ability accept positive comments appropriately twelfth week therapy able list independently done well session able accept positive comments others appropriately addition ability list done well needed improve transferred disciplines canada buchanan working mainstream services studied effects music therapy interventions adolescents aged designated risk intervention gave opportunity selfexpression group setting similarly cheongclinch studied use music tool engage young people english second language high school residential care facility particular newly arrived immigrant refugee students carr wigram identified existing research clinical activity utilising music therapy mainstream children well potential need music therapy group children undertook systematic review relating work children mainstream schools sixty papers identified outcome studies evidence music therapy used reengagement motivation children mainstream schools uk abroad showed literature time review suggested music therapy effective addressing needs mainstream schoolchildren several therapists documented benefits music therapy way increase students selfesteem address challenging behaviour motivate learning help develop interpersonal relationships procter although evidence needed derrington studied whether music therapy could improve emotional wellbeing adolescents risk exclusion underachievement research took place mainstream secondary school federated special school students emotional behavioural difficulties months intervention group received weekly individual music sessions waitinglist comparison group received treatment later quantitative data collected four times research students teaching staff school records students also interviewed pupils dropped majority teachers reported improvement students social development overall attitude role rap hip hop therapy school contexts cultural significance music youth populations long recognised terms performance production music stylised identities surrounding consumption perhaps surprising therefore musicbased interventions particularly effective positively impacting mental health wellbeing young people kind music adolescents prefer related experience emotional behavioural difficulties took weiss including expressions anger epstein et al armstrong ricard suggest rap hip hop rhythm blues provide cultural lens many urban adolescents forge identity express music therefore potential combat emotional interpersonal distress creative techniques incorporate genres music used help adolescents understand regulate coping responses difficult emotionally sensitive situations schwartz fouts power music studying adolescents preferred light heavy qualities music eclectic preferences found three music preference groups inclined demonstrate unique profile personality dimensions developmental issues preferring heavy light music qualities indicated least moderate difficulty negotiating aspects personality andor developmental issues eclectic music preferences indicate similar difficulties despite gardstrom examined offenders perceptions relationship exposure music criminal behaviour four percent perceived connection musical preferences deviant behaviour although percent believe music influenced way felt least time believed music mirrored lives rather causative factor behaviour music perceived cathartic harmful applied preexisting states negative arousal elligan introduced rap therapy psychotherapeutic intervention working atrisk youths primarily african american males whose identities highly influenced rap music rap able engage population youth often enter counselling apprehensively elligan allen gonzalez grant hayes reviewed rap culture relationship inner city youth benefits elligans rap therapy atrisk youth kobin tyson also used rap lyrics impetus therapeutic dialogue facilitation empathic connections clients therapists aided breaking ice encouraging participants engage projective narration helped therapist establish relevant clientcentred treatment goals australia de roeper savelsberg showed taking part communitybased hip hop culture project helped atrisk young people develop confidence skills ambition stronger sense identity although urged caution interpreting findings data limited cobbett illustrated integrative approach working therapeutically individual children experiencing emotional behavioural difficulties combined music therapy creative therapies particularly play therapy drama therapy cobbett developed approach suggesting interventions would effective available schools utilised reengagement motivation materials relevant young people concerned eg rap music electronic music cobbett compared young people receiving arts therapyincluding music drama visual artsand control sample young people waiting list yearlong period two schools children emotional behavioural difficulties two outcome measures used staffrated goodmans strengths difficulties questionnaire selfrated scoring system strengths difficulties questionnaire outcomes showed significant difference improvement therapy group compared control group measures related emotional conduct difficulties effect sizes large three four selfrated categories also showed significant differences improvement groups interviews six young participants suggested young people felt arts brought benefits augmented verbal interventions examples interviews set box paper b cobbett outlined systemic approach would support young people box teenagers comments music therapy derived cobbett helped find music like music lot play instruments made discover lot stuff things able music therapy easy know use fruity loops music software programme make stick beats sometimes music helped get stuff head sometimes calm helped cool get away rest world bit good session wouldnt get speak problems day could also put music made realize wanted focus future blatant therapy would put like need speak things dont want talk maybe youre music something feel expression jamming away could speak whats kind bothering whatever kind leads power music parker colleagues undertook smallscale qualitative interview study secondary school ten weeks marginalised atrisk children programme delivered team young people aged majority previous experience criminal justice system facilitated single twohour music session week approximately pupils sessions took place course normal school day consisted series activities involved lyricwriting usually rap composing beats mostly using logic pro software mac computers although pupils could play musical instruments also music composed recorded performed students aged selected participate general behaviour disruptive demonstrated defiant angry aggressive behaviour towards pupils teachers remain programme maintain positive interactions students teachers considered risk previous involvement criminal justice system involvement gangs students revealed interviews musicmaking increased confidence improved attitudes towards teachers peers induced feelings calm improved communication skills parker colleagues concluded musicmaking activities could provide significant psychosocial benefits young people particularly combined mentoring support series papers uhlig b considered voice could used primary therapeutic instrument initially uhlig worked children special educational needs publicschool setting new york showed atrisk children demonstrated honesty expressing personal desires fears vocal music therapy cursing shouting singing rapping chanting songwriting helped survive personal familiar environments increased learning potential together therapeutic relationship based sharing rap behavioural changes occurred later research uhlig colleagues carried systematic review reported many studies demonstrated effects music emotion emotionally evoked processes uhlig colleagues investigated performance rapmusic therapy nonclinical schoolbased programme support reengagement motivation development selfregulative abilities promote wellbeing reduce risk low academic performance attributable troubled mental health adolescents grade public school invited participate randomly assigned either rapmusic therapy regular classes rapmusic classes took place week period four months measures change taken four monthly intervals primary outcome data included measures psychological wellbeing emotion regulation selfesteem selfdescription language development executive functioning secondary outcome data consisted subjective experiences participants collected followup interviews members experimental group uhlig colleagues carried survey netherlands use rap singing qualified music therapists results indicated rapping singing applications music therapy could enhance selfregulative skills process emotional expression rapping occurred considerably less frequently singing considered decrease aggressive behaviour singing applied daily associated support deeper emotional involvement however findings suggested need consistent descriptions therapeutic interventions using rap styles music therapy practice development specialised protocols research studying effects uhlig colleagues investigated rap sing music therapy schoolbased programme designed support self regulative abilities onehundred ninety adolescents grade public school netherlands randomly assigned participate act control group intervention took place week period four months significant differences groups found teacher strength difficulties questionnaire indicating stabilisation rap sing music group opposed increased problems control group porter also planned trial determine improvised music therapy could lead clinically significant improvement communication interaction skills young people experiencing social emotional behavioural problems porter colleagues studied children aged eight sixteen social emotional behavioural developmental difficulties six child adolescent mental health service communitycare facilities power music northern ireland children randomly allocated weekly sessions music therapy addition usual care acted control group followup occurred weeks participants aged intervention group communication significantly improved although case carers overall selfesteem significantly improved depression scores significantly lower week although significant difference family social functioning time point findings provided evidence benefits integration music therapy clinical practice differences subgroups secondary outcomes indicated research needed olsonmcbride page described implementation specialised poetry therapy intervention incorporated hiphop rap music highrisk youths programme supported young peoples use selfdisclosure intervention involved creative writing use popular music primarily rap rhythm blues genres receptive prescriptive component session sessions facilitator chose music others group members group members created collaborative poem structured individual poem unstructured individual poem symbolic ceremonial component session involved group members reading poems created session aloud group soliciting appropriate feedback poetrytherapy group intervention ten sessions length lasting minutes three interventions conducted participants selected two facilitiesan alternative school transitional living program designed meet needs individuals ages deemed risk due problems family poverty family instability academic problems behaviour problems majority group participants histories serious externalising behaviour problems participants state custody result involvement juvenile justice system data collected group session via video camera overall intervention fostered group environment guarded difficulttoengage atrisk adolescents felt comfortable connected enough engage surprisingly honest bold selfdisclosure initial step addressing problems reengagement motivation zarobe bungay undertook rapid review exploring role arts activities promoting mental wellbeing resilience children young people aged studies related activities took place within community settings related extracurricular activities based within schools included eight papers covering wide range interventions included found participating arts activities could positive effect selfconfidence selfesteem relationships sense belonging qualities associated resilience music programmes young offenders adolescents secure residential accommodation frequently angry detached frustrated conflict peers may experienced trauma abuse drug alcohol use peer pressure gangrelated activities often lack structured home environment may also learning difficulties mental health problems presents challenges attempting rehabilitate music suggested one possible means engaging mckay argued music could benefit young people juvenile institutions helping teamwork providing means letting steam south africa lotter developed music programme adolescents referred courts means social rehabilitation programme based circle courage includes four components belonging mastery independence generosity research explored circle courage might integrated music therapy thompson studied role rap music composition experience incarceration african american youth nelson focused highrisk adolescent males selfefficacy relation choral performance systematic review research impact active musicmaking young people risk within criminal justice system uk australia usa canada south africaundertaken daykin colleagues showed music offered potential improvement self efficacy selfesteem selfconcept overall review concluded music projects could help positive identity construction providing safe means young offenders express difficult emotions anger power music although short projects participants unable meet goals could lead frustration de roeper savelsberg fouch\u00e9 torrance south africa successfully worked rival gang members young people brought venue police escort volunteered join project met week participants shared stories improvised music together within gangs music perceived cool activity rap hiphop culture made musicians heroes supported process rapppaglicci colleagues evaluated prodigy cultural arts programme early prevention programme atrisk young people aged five eighteen programme used visual performing arts help young people develop life skills including communication leadership problemsolving anger management career aspirations goalsetting class conducted professional artist served teacher mentor art young people built confidence learned showcase skills developed lifelong habits future success percent enrolled contact law enforcement committed minor offences percent reoffend prodigy students showed improvement ability control behaviour affective responsiveness academic selfefficacy significant decrease anger depression anxiety suicidal thoughts somatic problems risk behaviours mental health symptoms improved behavioural regulation addition increases academic performance yun investigated music therapy programme experienced violent juvenile offenders six adolescents participated consecutive weeks group music therapy sessions interviewed individually based openended questions addressed autonomy competence relatedness analysis also investigated change brought music therapy transferred everyday life autonomy promoted making choices songs instruments deciding play expressing opinions music competence associated developing skills musical instruments creating music concentrating project demonstrating abilities relatedness concerned collaborating exchanging opinions reengagement motivation playing part musical projects addition participants behaviour changed became selfaware greater mutual exchange group support changes evident school life uk de viggiani colleagues reported threeyear music project young people youth justice programmes music programme ten participants ran six halfdays lasting oneandahalf three hours approach active participatory including singing word association lyrics artwork instrumental work music composition production cd giving live performance participants identified music familiar safe brought credibility celebrity success peers also expression criminal identity genres associated drugs guns gangs misogyny great many challenges tutors implementing programme including highly varied demographics participants transience dropouts lack opportunities followup dependence gatekeepers difficult group dynamics lack decisionmaking skills participants passivity resistance selfpreservation strategy despite programme showed potential support young people coping difficult circumstances delivering lifechanging benefits also uk anderson overy examined whether music art classes could engage young offenders ongoing education fourteen young offenders scotland voluntarily participated tenweek study participants divided three groups music art control education group completed pre postinterviews measures examined emotions selfesteem selfcontrol literacy skills behavioural reports enrolment education courses reviewed three months project findings indicated increased engagement education project individuals music art groups overall findings mixed increases selfesteem music intervention control groups art group participants felt less control behaviour following project although emotion scores showed improvement music art groups control group music art group indicated found sessions engaging power music meaningful decrease behaviourrelated incidents instance breaking prison rules music groupas well increased engagement education project music art groups largest increase music group south africa mathiti woodward colleagues evaluated programme provided instruction african marimba djembe ensemble performance behaviour young juvenile offenders programme integrated musicteaching mentoring intercultural exchanges aimed acquisition musical skills offered opportunities diversion crime successful reintegration society participants matched mentors reported enjoying sessions stating musicmaking helped stay away crime providing sense purpose alternative ways spend time someone listen confide also important programme allowed participants take new identities result sharing skills others respond positively researchers observed musicmaking therapeutic effect participants triggering positive emotions giving chance selfexpression turn learning new skill gave mentees sense achievement increased selfesteem interviews parents revealed family relationships improved students cooperative helpful demonstrating respect acting responsibly also positive outcomes terms attitudes towards school reoffending rate pilot group six months postprogramme nine percent second six months dropped zero repeat offences committed programme successful aiding young people connect families communities culture usa kennedy assessed effects music activities selfesteem selfefficacy participants two homes atrisk youth juvenile detention centre musical performance supported instrumental coaching compared interventions including cognitive behaviour strategies vicarious experience form observation videotaped performance others selfefficacy scores involved musical performance alone combined cognitive behaviour reengagement motivation interventions significantly higher receiving cognitive behaviour interventions alone vicarious experience alone selfesteem scores involved musical performance also improved significantly following intervention although results differ significantly compared alternative interventions involved either vicarious experience cognitive intervention alone scored lower control group intervention suggesting two intervention groups better without treatment participants showed improvements mood reduced anger increased motivation improved behaviour similarly baker homan studied implementation music programme including piano guitar rapping computerbased music sequencing composition group predominantly black youths within detention centre offering highly practical direct means allowing youth offenders express particular form creativity connection existing music cultural interests treatment centre programme based dealt primarily angermanagement substanceabuse problems young people remained facility average days good behaviour allowed participate musical activities lessons conducted individuals small groups many benefits programme also considerable challenges including time pressure access lessons depended accumulation privileges lack opportunities practice lack opportunities continuation release process writing music help young people redefine especially projects promote positive expression seek challenge lyrics glorify criminal lifestyles contain profane sexist discriminatory language findings showed censorship often met resistance young people felt served diminish truth feelings experiences lyricwriting allowed custody explore express thoughts emotions may otherwise repressedfor instance forgiveness healing overcoming regret also usa tyson studied effects hiphop therapy selfconcept peer relations residential setting atrisk youth programme comprised hip hop bibliotherapy music power music therapy involved discussion rap lyrics emphasising positive themes including positive racial identity group identity peace unity participants spoke highly project although statistically significant changes quantitative measures outcomes similar findings reported gann assessed effects rap therapy selfconcept peer support small sample atrisk pupils two urban schools results mixed anticipated improvements selfconcept social support confirmed statistical analysis bittman colleagues evaluated effectiveness novel creative musical expression protocol young people juvenile justice system participants randomly assigned participate adolescent health rhythms drumming protocol normal structured routines included therapeutic educational programmes focusing current events independent living housing social skills grief loss health drug alcohol use employment sexual abuse sexuality anger management conflict resolution instruments included hand drums variety auxiliary percussion instruments bells maracas clavinova computerised electronic keyboard first session began brief welcome discussion expectations overview followed immediately five tenminute nonstructured jam session total africanamerican asian caucasian puertorican participants ranging age participated statistically significant differences intervention versus control groups emerged improvements schoolwork role performance depression negative selfevaluations anger addition extended impact characterised statistically significant improvements six weeks completion protocol reported benefits included improved social skills attention span stress management anger management emotional expression anxiety depression coping skills selfesteem young people adults reduction rates reoffending skills development employment supported employing people marginalised groups exoffenders deliver arts activities groups clennon examined music workshops mainly consisting group composition process learning play rock reengagement motivation band bass keys guitar vocals drums electronic composition using software logic transformative effect participating community music sessions young peoples attitudes towards offending behaviour assessed results suggested small measurable improvement attitudes towards offending young people participated music workshops especially relating perceptions life problems problems could contribute potential offending behaviour similarly hickey undertook longterm qualitative study assess impact music composition programme urban youth detention centre period five years youths participated programme created primarily rapmusic compositions comments feedback well interviews showed enjoyed programme gave positive feelings sense competence creativity emerged key element enhancing competence autonomy chong yun introduced music therapy project young offenders community collaboration project carried collaboration educational institution district prosecutors office corporate sponsor forming tripartite networking system project implementation evaluated adolescents involved juvenile justice system music therapy programme developed sessions musicmaking songwriting three scales selfconcept resilience stress coping skills used improvement following music intervention basis interviews intervention reported helpful gaining new perspectives providing courage challenge persevere selfknowledge ezell levy evaluated impact programme integrated arts therapy young female delinquents experienced emotional behavioural problems correctional institution intervention introduced part curriculum involving art therapy drama therapy music therapy dance movement therapy sessions facilitated twice week fiveweek period participants aged either participated intervention acted controls selfreport questionnaires administered prior intervention screen conduct emotional peer power music problems hyperactivity prosocial behaviourand investigate frequencies aggressive withdrawn prosocial behaviour statistically significant reductions three five emotional behavioural problems measured strengths difficulties questionnaire including conduct emotional problems increase prosocial behaviour significant differences frequency aggressive behaviour rio tenney developed programme juvenile offenders residential treatment setting many clients difficulty establishing positive relationships severely dysfunctional relationships throughout lives music therapy process designed improve social interaction relatedness increase selfexpression selfesteem decrease hostile disruptive behaviour programme also emphasised development empathy appropriate channels energy release client groups evolved somewhat differently illustrating individual personalities abilities affected group dynamic relationships group members therapists australia barrett baker along australian childrens music foundation implemented number music programmes juvenile detention centres means assist young people develop sense selfworth build skills selfdiscipline communication foster resilience reengage life community qualitative case study participants perceptions learning outcomes soughtmusical extra musicalthat emerged participation learning teaching practices contextual factors supported outcomes findings indicated programme generated significant musical extra musical learning outcomes particular learning identity skaggs reported musiccentred creative arts therapy programme residential treatment programme male juvenile sex offenders seoul korea district attorney provided arts programmes instead social labour hours youths conditional suspension one year reported recidivism rate decreased percent percent ewha music wellness research center reengagement motivation music programmes adult offenders music education prisons existed since midnineteenth century research field sparse lee however recently surge activity positive outcomes music interventions reported adult offenders participants enhanced communication social skills increased confidence became better able reflect situation believed could change attain goals early studies undertaken baron benedict evidence participation projects prisoners sought opportunities education training daykin et al number masters doctoral theses explored issuesfor instance apicella aimed establish music activities used part correctional education prisons similarly hodson carried survey music education programmes state prisons littell sporny explored value music correctional settings hess appraised music programme single institution retrospective study richmiller studied residual effects music education experiences prison choir years participation doctoral thesis cohen studied choral singing prison contexts elliot studied way teaching instrumental music adult offenders cohen duncan explored relationship restorative transformative justice music education prison contexts cohen henley examined musicmaking usa uk prison contexts pointing wide variations practice inmates opportunities selfexpression could restricted however community music approaches within prisons improved selfesteem social support sense accomplishment reduced reoffending complex power dynamics prison contexts emphasised importance welcome hospitality offered community music power music choirs many interventions evaluations prison focused choirs instance usa weber evaluated voice hope womens prison choir cohen australia explored inmate volunteer experiences singing prisonbased choir similarly cohen carried two experiments first choir ten inmates performed within prison second larger choir included inmates volunteers performed externally significant differences wellbeing two groups overall group able perform externally scored higher measures emotional stability sociability happiness joviality later cohen trachsel discussed voice intersection music language context writing component prison choir cohen considered music programmes restorative practices prisons across usa uk cohen wilson examined pedagogical strategies facilitating developing songwriting skills males incarcerated usa mediumsecurity prison investigated participants sense selfworth purpose social adjustment related participation songwriters workshop songwriting sessions spanned two week minute workshops one week minute workshop totalling weeks researchers analysed sets original lyrics written reflections three instructors transcriptions four workshop sessions narrative data participants findings showed collaborative social nature songwriting workshops provided supportive atmosphere participants generated new songs enjoyment expression wrote struggles hardships especially relationship problems data suggested discussions song topics helped cope incarceration cohen showed choral singing prisons could help incarcerated individuals identify returning citizens instead felons maruna argued many legal penal rituals exist convince individuals identify offenders rituals place reconnect formerly incarcerated people identify community members outside prison maruna described reengagement motivation successful reintegration rituals symbolic emotive repetitive communitybased infused challenge achievement choral singing models positive reintegration rituals promote prosocial connections returning citizens societies restored messerschmidt explored effects singing incarcerated choir members effects listening live prison choir perform non incarcerated peoplein particular attitudes towards prisoners fortyone singers four choirs sang prison choirs control group experience prison choirs audience members prison choir concert completed attitudetowards prisoners scale answered openended questions findings showed possible people change attitudes towards prisoners experiences prison choir almost percent volunteering said attitudes towards prisoners positive since joining choir audience members also positive attending concert roma examined mens prison chorus highsecurity ohio prison research aimed understand mens prison choral community impacted inmate selfperception intragroup relationships external connections cd recordings made choir sold sales benefited charities inmates choosing helped prisoners connect larger society outside prison researchers explored musical performance especially inmate composed choral repertoire affected choir community projects using gamelan several programmes used gamelan prison interventions affiliations may alienate anyone generally easy learn requiring previous experience groups learn quickly one twohour session players master composition leader conductor players swap instruments changes dynamics tempo decided group good vibrations programme set aim trying gamelan workshops prisons eastburn evaluated gamelan indonesian percussion programme prison setting data collected power music participants selfesteem basic key skills questionnaires prison contacts workshop leaders one hundred twenty four prisoners participated taster sessions completed indepth workshops project helped prisoners develop basic key skills enhanced selfesteem start programme quarter prisoners low literacy numeracy skills half never engaged musical activity nearly percent never participated kind prison workshop prison education staff rated taster sessions providing good opportunities people deploy basic key skills including teamwork communication listening concentrating numeracy motor skills agreed prisoner selfconfidence grown teamwork skills agreed programme effective short arts projects eightynine percent participants indicated felt better sense achievement pride increased confidence percent adult respondents percent young offenders spontaneously mentioned enjoying learning experience working team two prison education managers reported improved behaviour performance education one reported participants signing prison education activities henley colleagues investigated short medium longterm impact gamelan project found participation good vibrations project acted catalyst positive change research found participants feel able communicate offenders within project found confidence voice continue develop communication coping skills within prison exoffenders community furthermore project contributed development anger management skills provided outlet selfexpression leading feeling normal henley investigated learning processes occurring within javanese gamelan project young offenders institution highlighted parallels musical learning processes development certain attributes linked desistance crime desistance paradigm centres changing criminal identity development social personal attributes resonates recent research transformative effects music musical identity changed positively active successful reengagement motivation musicmaking research carried uk young offenders institution involved young people ages period eight weeks observation revealed personal social development occurred participation mendon\u00e7a also focused good vibrations programme examining approach perspectives prisoners administrators teachers assorted music therapies wilson colleagues argued growing awareness amongst policymakers working criminal justice system contribution could made arts prisonsin particular innovative projects offer participants creative outlet positive impact offenders least encouraging engage learning education tuastad ogrady explored concept music freedom practice outside prisons two studies prisoners exprisoners participating reported music helped feel momentarily free harsh realities prison life world outside findings described music prisoners found free space authoritative suppressing institutionalised environment music activities helped building ties world outside prison connecting personal emotions becoming humanised dehumanising setting chen colleagues investigated effects group music therapy improving anxiety depression selfesteem chinese prisoners twohundred male prisoners randomly assigned music therapy standard care music therapy consisted sessions group therapy compared standard care anxiety depression selfesteem measured standardised scales baseline mid postprogramme anxiety depression music therapy condition decreased significantly mid post test selfesteem improved significantly midtest posttest improvements greater younger participants lower level education overall group music therapy effective improving anxiety depression selfesteem particularly younger lower educated prisoners programmes employed power music people marginalised groups exoffenders deliver activities thus supporting skills development employment reported benefits included improved social skills attention span stress management anger management emotional expression anxiety depression coping skills selfesteem reduction rates reoffending gold colleagues also showed music therapy reduced mental health problems could beneficial rehabilitation prisoners compared group music therapy standard care prisoners randomised controlled trial started establishment music therapy services prison near bergen norway one hundred thirteen prisoners agreed participate anxiety depression social relationships assessed baseline every two weeks intervention group one three six months control group release restrictions placed frequency duration contents music therapy duration stay institution short typically less one month minority participants reached clinical cutoffs anxiety depression baseline music therapy well accepted attractive prisoners reduction anxiety two weeks music therapy positive outcomes music interventions also reported relation selfharm among women prisoners digard et al participants enhanced communication social skills increased confidence better able reflect situation believed could change attain goals hakvoort colleagues studied effect music therapy anger management coping skills dysfunctional behaviour pre posttest design used random assignment fourteen patients either treatment control conditions participants received treatment usual nine received standardised music therapy anger management programme five controls received unplanned aggression management programme findings suggested anger management skills improved participants improvement positive coping skills diminishing avoidance coping skill measured showed greater changes music therapy participants controlling exact number treatment hours outcomes suggested music therapy might accelerate process behavioural change reengagement motivation maruna showed music teaching rehearsing recording performance improvisation composition could aid rehabilitation prisoners exprisoners participants almost uniformly expressed passionate support organisation providing music intervention many insisted music changed lives changing tunes logic model developed sense collective ownership responsibility emotional energy increased confidence therapeutic alliance facilitator led management depression programme also led participants find voice developed creativity group bonding mutual support anger management identity separate offender provided way participants test limits drugfree way escape coping imprisonment increased employability public performance acknowledgement led calmer prison environment praise fostered sense achievement participants reported programme provided form escape cycle punishment shame anger defiance prisoners exprisoners found trapped maruna discovered increased confidence commonly cited longterm benefit participation changing tunes project result many participants felt optimistic futures small number participants reported taking part music sessions improved symptoms depression posttraumatic stress disorder respondents often spoke respectful way treated project leaders humanising effect participation arts programmes appears provide prisoners new ways thinking allowing move away previously entrenched offender identities assigning prosocial labels musician often brought new aspirations ascenso reported outcomes lullaby project royal philharmonic orchestra worked refugees migrant mothers fathers london prison programme paired expectant new mothers professional musicians create lullaby children programme developed wellbeing enabling strong sense accomplishment meaning connectedness along experience positive emotions encouraged proactivity promoting initiative musical power music relational reflection stimulating richer perspective life positive coping mechanisms project motivating offering challenge highly valued goal geared towards connecting human level placing centrality individuality positive agenda maintaining two universals core music parental love similarly rodrigues colleagues studied bbbb project combined education artistic performance process centred music babies parents findings showed strong bonding developed among parents babies families community alaska warfield reported study bed facility multilevel adult female offenders offered unique educational programme orchestra founded volunteer membership grew eight twentytwo female offenders bilby colleagues considered possible relationships process abstaining crime influence taking part form artbased enrichment activity might participants research specifically explored arts interventions contributed towards enabling people form positive identities build new narratives build positive relationships peers staff family also began investigate arts interventions enabled people make significant behavioural changes research team investigated five arts projects four criminal justice settings including practising visual arts highsecurity adult male prison music djing skills young offenders community musicmaking project resettlement open prison creative writing bookbinding closed female prison research team spent least four sessions projects observing activities interviewing participants arts practitioners prison staff evidence included participants written work evaluations examples work produced arts activities findings demonstrated clear link taking part artbased activities movement towards secondary desistance analysis data across five projects showed participation arts activities enabled individuals begin redefine arts projects facilitated high levels engagement led greater participation education workrelated activities could positive impact people managed sentence reengagement motivation particularly ability cooperate others including participants staff related increased selfcontrol better problemsolving skills engagement arts projects facilitated increased compliance criminal justice orders regimes arts projects could responsive participants individual needs overall art provided safe space explore challenging questions create allowed prisoners discover could thus enhancing confidence cox gelsthorpe evaluated eight beats bars projects including participants research showed reduction adjudications rulebreaking project increase confidence participate educational programmes confirmation music projects play role fulfilling seven pathways reducing offending mens experiences project particularly feelings encouragement try things without judgement work together clearly facilitated development individual competencies selfesteem participants learned cooperate relate others negotiate share lead improved outcomes following release prison following cartwright evaluated first phase sounding exprisoner programme tracking participants ninemonth period research showed sounding successful offering programme multidimensional support participants took form financial support making new friends contacts ongoing help access training performing opportunities lift motivation hope selfesteem clear sense achievement positive use time found paid appropriately time commitment acted incentive reoffend support face financial hardship additionally paid engendered sense professionalism pride taking part also contributed rebuilding positive family relationships seen positive light others conceived yearlong intervention programme structured around initial rehearsal period concert followed two highprofile performances within period afterwards participants given support access additional opportunities music training employment sounding participants paid rate power music per day rehearsals performances case shorter time periods sum adjusted hourly rate additionally travel food expenses provided built programme opportunity number participants undertake roles supporting musicians making tracks programme support young people risk coming contact criminal justice system making tracks focused intense musicwriting rehearsal period followed performance additionally offered weekly sessions young people intensive project allowing hone musical skills total seven former prisoners recruited project two prison number years since release involved various projects one board trustees advisor took supporting role excellent musicians proven team members exprisoners successfully made challenging transition prison release remaining five participant members recruited within year release ranged age midtwenties fifties offending histories participants varied however participants licence served custodial sentences minimum three years convicted relatively serious crimes two spent previous years periodically offending returning prison regular frequent intervals time sounding project none group employment undertaking training education five receiving state benefits four members accommodation regulated probation service sounding made significant impact reducing participant reoffending levels music found primary motivation given participants passionate playing performing process creative musicmaking preparing performances fostered participants teamworking negotiation skills selfconfidence achievement sense pride participants reported one striking aspects programme level trust placed outset treated way led participants foster strong sense responsibility organisation staff additionally sense responsibility strong motivation reoffend risk letting others later evaluation massie et al showed similar outcomes reengagement motivation number reviews research music therapy adult offenders instance hughes examined application impact arts practice three key areas criminal justice service provision prevention arts practice young people years old risk offending escalation existing offending custodial community sentencing arts interventions sentencing prison community contexts resettlement arts intervention made assist reintegration society findings showed time review paucity highquality research evaluation field survey findings showed clearly arts capacity potential offer range innovative practical approaches could enhance extend provision educational developmental therapeutic programmes across criminal justice sector review showed arts associated positive outcomes play important part changing individual institutional social circumstances sponsor criminal behaviour grey literature highlighted depth breadth arts provision many examples interesting challenging creative projects range settings analysis variety practice identified series common effective programme practice models features however flexibility responsiveness key indicators success quantity consistency findings key areas suggested strong case made effectiveness arts practice across range areas arts interventions criminal justice contexts successful offer nontraditional noninstitutional social emotional environment non judgemental nonauthoritarian model engagement opportunity participate creative process involves structure freedom time engagement participatory arts requires respect responsibility cooperation collaboration coutinho colleagues b reviewed articles mainly qualitative narrative reports group music therapy educational musicmaking choir interventions individual music therapy sessions power music range musical projects case studies cohen henley examined musicmaking prisons uk usa contrasting different approaches practices imprisonment impact music therapy pointing community music within prisons provided means toward desistance improved self esteem social support sense accomplishment cheliotis jordanoska critically reviewed empirical research literature contributions artsbased programmes make process desistance crime focused evaluations programmes run practitioners inside prisons effects artsbased prison programmes participants released community kougiali colleagues carried qualitative metaanalyses articles published worldwide findings suggested music programmes prison perceived participating prisoners liberating encourages participation allows noncoercive personal development therapeutic potential music programmes located combination benefits emanating effect practice music creation mental spatial temporal zones free expression well derive egalitarian nonauthoritative approach employed facilitators chen colleagues metaanalysis assessed effectiveness music therapy improving mental health offenders correctional settings five studies predominantly male participants included showed music therapy effective promoting offenders selfesteem social functioning effects anxiety depression depended number sessions outcomes studies sessions larger effects significant effects found behaviour management different music therapy approaches overview great deal written role music supporting young people disadvantaged backgrounds helping disengaged back education employment well supporting criminal justice system successfully reintegrate community reoffend across areas much reengagement motivation literature descriptive sets details particular interventions advocates use papers argue generally music therapy important role play set theoretical stance research assessed outcomes interventions frequently based single case studies small group interventions nevertheless possible draw conclusions clear making music positive benefits instance generating positive attitudes towards school improving attendance enhancing motivation academic schoolwork helping improve basic key skills across range environments music offers potential enhanced selfefficacy selfesteem self concept improvements mood reduced anger reduced aggression improved behaviour music programmes reduce rulebreaking levels disruption institutions well improving relationships programmes aimed resettlement success supporting exoffenders training employment helping develop range personal social skills increase employability well facilitating acquisition formally accredited educational skills qualifications participants make career music becoming mentors workshop leaders means participants less likely reoffend programmes changed wider communitys views criminal justice system common elements success whatever nature programme seem creating safe space providing highquality musical experience providing highly interactive enjoyable musical activities using music participants relate engage facilitator acts role model treats participants respect enabling trusting non judgemental relationships develop music facilitators mentors engendering feelings belonging group encouraging learning work others power music supporting development interpersonal bonds shared goals creating opportunities developing new skills enabling musical progression providing opportunities perform maintaining regular frequent contact recognising rewarding excellence facilitating positive affirmation others relating musical activities particularly performance providing opportunities reflect articulate emotions providing opportunities feel sense pride providing opportunities creativity develop selfefficacy express feelings facilitating opportunities participants gain respect musicians providing opportunities learn transferable skills providing opportunities develop communication skills promoting giving receiving criticism supporting development confidence resilience allowing time developing understanding self issues related long interventions need ten mentoring sessions usually weekly fortnightly intervals seem minimum although suggest mentoring relationship needs last year effective personal social physical development chapter focuses way active engagement music listening preferences affect way individuals develop personally socially physically personal development section personal development includes way individuals identity personality selfbeliefs shaped interactions environment including activities related music music identity point time individual may hold multiple identities depending current social context identities constantly evolve challenged reconstructed based feedback received interactions others may complementary contradictory denora identified several properties personal identity including status infers identity raised lowered relation others malleable nature identities means combined form new ones form hybridisation music play important role process individuals use music express explore identities macdonald et al active listening music supports exploration integration identities larson helping individuals decide aspire addition music assists sending message decisions others music used himonides cc byncnd httpsdoiorg obp power music consciously unconsciously demonstrate attitudes values beliefs larson lull north hargreaves also used gain knowledge others macdonald et al expression identity connected young peoples lifestyle language personality development music listen schwartz fouts adolescents musical identity may contextspecific different school outofschool contexts rideout et al defined attending concerts actively making music listening specific musical genres engagement musical activities develops several aspects identity relation family school environment contributes physical cognitive social emotional affective development hargreaves lamont musical preferences used self identifying member specific peer group musical subculture miranda claes north hargreaves creating social identities membership ingroup bakagiannis tarrant hargreaves et al rentfrow et al adolescents also use musical preferences acquire valid reliable information others rentfrow gosling young people spend great deal time listening music keen north hargreaves beneficial tarrant et al help regulate emotions north et al act support face problems help alleviate loneliness increase emotional sensitivity cook music also helps adolescents develop sense connection belonging make friends similar musical tastes lewis et al selfhout et al adolescents belong minority ethnic groups use music means developing ethnic identity resilience buffam lundstr\u00f6m schweigman et al travis bowman found positive ethnic identity associated music music could empowering example rap music inspire young people connect others consider experiences others think critically environment want change communities bring change requires agencythe ability act regardless barriers key achieving positive outcomes dedman argues actively engage hiphop personal social physical development culture responding continuously resisting mainstream images messages feel disconnected way identities change explains findings many studies effects music migrant communities baily collyer lenette et al marsh ilari discusses role ethnic identity perceptions interactions minority groups living among ethnic racial groups mexicans usa southeastern asians eastern europeans uk affects developing selfperceptions ilari argues important aspect ability deal experience immigrant refugee able negotiate multiple identities hybrid identities provide wider family feel welcome one main ways achieved music childrens cultural musical heritage cannot removed result external circumstances ilari cultural diversity impacts development construction social musical identities across lifespan wide range contexts including educational settings musical identity part selfsystem refers self listens creates music macdonald et al support building positive selfidentity effective learning routines hallam et al discussed chapter disaffected young people engaged juvenile adult justice systems develop new identities musicians leading positive changes behaviour creating possible positive musical selves way lead broader changes selfbeliefs ole\u015b aspirations subsequent career plans taylor hallam developing positive possible musical self occur point lifespan creech et al music personality considerable research exploring personalities musicians compared musicians nonmusicians examined differences musicians playing different instruments engaging different genres difficulty interpreting research terms personal development possible determine whether individuals certain personality types drawn playing particular instruments engaging power music particular genres whether playing particular instruments engaging specific genres develops certain personality characteristics may elements apply interactions musicians require great many skills able perform imagination flexibility discipline concentrated attention emotional expression intellectual communication motor skills juslin palmer skills may related personality evidence range studies shows group musicians tend open new experiences overall creative imaginative interested change general population gibson et al kemp research ten twelveyear old children corrigal colleagues showed duration music training associated openness experience also associated conscientiousness seven eight years old children frequently begin take formal music lessons best predictors participating music training parents openness experiences childs agreeableness corrigall schellenberg may indicate tendency young musicians comply parental wishes beyond evidence regarding openness experiences saw chapter differences musicians aspects personality seminal study kemp identified common personality traits among western classical musicians showed bold introverts directed energy inwards appeared outwardly reserved argued nature solitary practice may encourage autonomy independence thought string players tended introverted imaginative radical brass players extroverted lower levels selfdiscipline comparison performing groups percussionists also tended towards extroversion findings suggested extent practice required different instrumentstypically string players brass wind percussion playerseither attracted people personality characteristics suited roles caused characteristics develop response particular demands made chosen roles music profession kemp wills cooper personal social physical development cribb gregory studied folk fiddle players salvation army brass band members completed personality inventory questionnaire concerning opinions personality characteristics orchestral violinists orchestral brass players folk fiddlers salvation army brass band members findings showed greater neuroticism among string players greater extroversion brass players found previous research participants views personality characteristics orchestral brass players orchestral violinists echoed found previous research views salvation army brass players folk fiddlers findings showed personality differences stereotypes musicians probably determined history traditions group perceived belong instruments play since kemps research many studies undertaken instance bell cresswell assessed personality traits sample secondaryschool musical instrumentalists student instrumentalists attending college music samples significant differences found musical sample normative population drawn college sample differences found students whose main instrument study strings woodwind brass authors suggested personality characteristics predisposed individuals pursue instrumental performance studies whilst others reflected habitual performance different types musical instrument also studying music students shuterdyson found scored higher extroversion nonmusicians female music students neurotic tenderminded female non musicians undergraduate music students also exhibit conscientious like traits kemp marchanthaycox wilson although composers rock musicians tend less conscientious general population gillespie myors kemp buttsworth smith comparing personality profiles performing musicians aged years old nonmusicians found musicians less intelligent emotionally stable sensitive conservative male musicians sensitive shrewd female counterparts brass power music players suspicious imaginative apprehensive radical compared singers extroverted less anxious creative compared string players keyboard players warmhearted emotionally stable shrewd instrumental groups maclellan explored personality differences among highschool band string orchestra choir students according ensemble membership participants high school students participated musical group one years personality differences members different ensembles indicating choir students likely extroverted compared orchestral students significant differences among ensembles sensing intuition thinking feeling judgingperceiving scales compared highschool norms students ensemble significantly likely intuitive feeling band students likely perceiving choir students extroverted hille schupp using large data set german socioeconomic panel soep found yearold adolescents music training conscientious open ambitious nonmusicians effects stronger among adolescents families lower socioeconomic status comparing musicians representative sample general workforce vaag colleagues found lower levels conscientiousness higher levels neuroticism openness significant differences extroversion agreeableness gjermunds colleagues compared responses musicians nonmusicians big five personality traits findings confirmed higher levels openness musicians frequently found previous research musicians scored lower conscientiousness significant differences groups extroversion agreeableness emotional stability neuroticism similarly kuckelkorn colleagues gathered data respondents professional amateur nonmusicians playing different instruments findings showed professional musicians scored higher amateurs turn scored higher nonmusicians openness experience singers scored higher extroversion instrumentalists professional personal social physical development musicians scored higher neuroticism lower agreeableness lower conscientiousness amateurs although personality differences playing different instruments consistent patterns emerged suggested differences related instrument choice per se perhaps moderated musical genre social context musicmaking group langend\u00f6rfer examined personality differences among professional orchestral groups six toplevel professional orchestras germany three instrumental groupsstrings woodwind brass playersdisplayed fewer differences personality traits stereotyped view suggested apart finding string players conscientious musicians differences found studies replicated butkovic modrusan examined whether differences personality attributed musicians based actual differences stereotypical views one hundred eightytwo string brass woodwind students singers pianists music pedagogy students evaluated personality traits personality traits groups comparison selfreports ingroup outgroup peer reports showed stereotypes different groups musicians pronounced differences selfreports peer reports relation openness agreeableness similarly sandgren investigated whether differences personality traits vocalists instrumentalists findings participants indicated vocalists significantly higher levels extroversion agreeableness openness control groupbut instrumentalists exploring motivational intensity selfesteem macintyre potter online survey recruiting international sample musicians examined differences guitar piano players composed music planned compose future compose intend compose findings revealed instrumentbased differences pianists guitarists levels motivational intensity desire learn introjected regulation perceived competence willingness play group composed music also significantly higher levels musical selfesteem willingness play motivational intensity desire power music learn perceived competence overall findings suggested pianists guitarists intrinsically motivated different reasons authors concluded underlying motivational needs met instruments culture appear focus competence pianists autonomy relatedness guitarists examining differences genre butkovic rancic dopudj compared musicians playing either classical heavy metal music found significant differences personality traits groups although differed significantly personality population norms higher scores extroversion agreeableness intellect similarly comparisons classical pop rock musicians measures sensationseeking found higher levels pop rock musicians vuust et al benedek colleagues compared students classical jazz folk music respect musical activities creativity personality jazz musicians frequently engaged extracurricular musical activities completed higher number creative musical achievements demonstrated higher ideational creativity tended open new experiences classical musicians overall basis existing evidence possible say certainty systematic personality differences musicians playing different instruments although group appear open new experiences members general population emerging differences may related genre within musicians workfor instance jazz pop rock classical music research sheds light whether observed differences influenced different environments musicians play whether existed prior choice instrument genre kemp studying young classical musicians found motivated almost point obsession high degree perfectionism intrinsic motivation seemed associated classical musician may indicated greater conscientiousness although mixed findings relating stoeber eismann found elevated scores conscientiousness among young musicians whereas y\u00f6ndem colleagues found lower scores metaanalysis studies general population smith colleagues showed relationship personal social physical development perfectionistic concerns conscientiousness although moderated gender age perfectionism subscale used considerable evidence many musicians experience performance anxiety distress across variety musical genres including classical jazz popular music papageorgi et al vaag colleagues also showed symptoms anxiety depression highly prevalent among professional musicians findings related perfectionism adverse healthrelated consequences perfectionistic overinvolvement work however stoeber eismann shown facets perfectionism associated anxiety distress whereas facets associated positive characteristics outcomes motivation achievement investigate different facets perfectionism related motivation effort achievement distress musicians young musicians completed measures perfectionism striving perfection negative reactions imperfection perceived pressure perfect intrinsic extrinsic motivation effort achievement distress findings showed striving perfection associated intrinsic motivation higher effort higher achievement perceived pressure music teachers also associated intrinsic motivation negative reactions imperfection associated extrinsic motivation higher distress findings demonstrated perfectionism musicians positive negative aspects negative reactions imperfection clearly unhealthy striving perfection regarded healthy pursuit excellence similarly working students music academies poland lawendowski colleagues investigated study addiction seven core addiction symptoms related studying assessed along measures personality wellbeing study addiction positively related learning engagement also low extroversion high social anxiety longer learning time lower academic performance indicators decreased wellbeing overall evidence suggests professional musician preparing career professional musician negative impact aspects personality power music selfbeliefs historically term selfconcept used refer individuals perceive evaluate different areas lives way individual hold multiple identities selfsystem made number selfimages including relating selfesteem selfefficacy ideal selves possible selves often context situationspecific develop interaction environment hallam active engagement music support development musical identities also impact selfbeliefs depending feedback received others impact may positive negative much evidence supports positive impact music selfesteem self confidence exceptions typically feedback negative performance receiving feedback crucial process lead positive negative responses maintaining positive self esteem argued help maintain positive emotions motivates individuals act shields anxiety pyszczynski et al positive selfesteem essential individuals agency act rather feeling powerless depressed kuhl bae kyungsuk examined effects creation musical play selfesteem selfexpression social skills children first third grade fourth sixth grade half children acted controls activity involved making script composing song lyrics music performing completed musical play selfesteem socialskill scales administered intervention experimental group exhibited significantly higher scores control group scales except selfexpression social skills results showed group music therapy could facilitate childrens engagement groupwork playing important role group could positively impact self perceptions uk harland showed frequent overall influences pupils derived engagement arts school related personal social development music played instruments referred increase selfesteem sense identity research benefits playing instrument participating extracurricular music groups shown impact personal social physical development participants selfconfidence selfesteem tolfree hallam qualitative study children latter years primary education early years secondary education showed children sense achievement playing instrument prevalent amongst younger boys older girls also expressed pride playing well frequently groups age groups reported frustration achieve mentioned least older boys university music students reflecting previous musical experiences school highlighted contribution making music development strong sense selfesteem satisfaction reported enhanced personal skills encouraging development selfachievement selfconfidence intrinsic motivation study nonmusic students previously participated musical groups established similar benefits particular preoccupation impact group musicmaking self personal development kokotsaki hallam early studies exploring role music education self esteem showed positive relationships participation choir band formal music instruction selfesteem amchin et al nolin vander ark wood wig boyle studied effects keyboard learning approach traditional general music approach sixthgrade general music students music achievement selfconcept regarding music ability keyboard group made significantly greater gains musical attainment musical selfconcept control group duke colleagues administered questionnaires large number children studying piano various regions usa parents piano teachers found children parents piano teachers believed piano instruction improved students lives many ways including enhanced selfesteem similarly austin found relationship music selfesteem degree participation school outofschool music activities among upper elementary students england evaluation national singing programme involving approximately children found participating positive selfconcepts nonparticipating children welch positive linear relationship singing development power music selfconcept similarly welch colleagues using data participants showed higher normalised singing development rating positive childs selfconcept sense socially included irrespective singer age sex ethnicity also england evaluation musical futures approach young people work classroom small groups copying popular song ultimately creating ownshowed non music teachers senior staff participating schools reported approach positive impact students selfesteem confidence motivation independent learning hallam et al study norwegian research council science humanities found high correlations positive selfperception cognitive competence scores selfesteem interest involvement school music lillemyr whitwell argued creative participation music improved selfimage selfawareness created positive self attitudes similar findings found urban black middleschool students marshall dege colleagues showed number music lessons experienced yearolds contributed significantly prediction academic selfconcept also motivational characteristics instance perseverance deg\u00e9 schwarzer investigated influence extended music curriculum school academic self concept compared academic selfconcept children years old started extended music curriculum one year participation compared nonparticipation thirty children assessed relation academic selfconcept amount nonmusical outofschool activities controlled extended music curriculum positive influence academic selfconcept following year engagement rickard colleagues studied impact young children grades kodaly music classes youngest children grade instrumental classes predominantly string based children grade comparison control groups findings showed schoolbased music classes prevented decline global selfesteem measures experienced control group younger older cohorts general academic selfesteem older cohort data suggested personal social physical development increasing frequency quality artsbased activities beneficial selfesteem primaryschoolaged children clements cortes chow also showed music could prevent decline selfesteem music interventions proven protective factor positive social experiences instil confidence active engagement music improve emotional regulation resilience foster identity selfimage facilitating social acceptance sense belonging nurturing community research shown positive outcomes several doctoral dissertations failed find impact engagement music selfesteem linch legette compared effects two types music instruction first thirdgraders selfconcepts found difference two types musical activity impact selfconcept research shown different outcomes boys girls instance lomen found increase one element selfconcept boys wamhoff noticed decrease one element selfconcept girls taking instrumental lessons compared nonparticipants girls dropped lessons selfbeliefs deprivation disaffection chapter range evidence presented showed engagement musical activities enhanced selfbeliefs self esteem positive possible selves young people adults involved range criminal justice systems also set music could enhance selfbeliefs communities suffering deprivation instance evaluations outcomes young people participating el sistema sistema inspired programmes pointed positive impact selfbeliefs el sistema sistema inspired programmes prioritised personal social development participants many evaluations point positive impact selfbeliefs esqueda torres galarce et al israel uy however lewis colleagues found significant changes selfesteem time although comparisons selfesteem children two participating schools differences beginning project disappeared time second survey children power music low selfesteem start programme benefited lopez berrios showed el sistema orchestras perceived providing positive space selfaffirmation identity formation participation perceived show openness new realities values tolerance diversity development personal identity selfaffirmation provenzano colleagues studied effects elsistema inspired universitypartnered afterschool music programme developmental health social educational outcomes participants fifthgrade students racially ethnically diverse lowincome elementary school period four years outcomes assessed surveys interviews music instructors school principal parent participant focus groups significant changes students perceptions musicmaking ability connection students enhanced sense school pride creech colleagues attributed impact el sistema sistema inspired programmes selfesteem recognition participants abilities acknowledged families friends shin investigated participation weekly music workshops affected academic selfconcept selfesteem middleschool students lowincome communities programme lasted seven weeks consisted playing percussion instruments singing improvisation jamming group dancing dynamic rhythmic exploration assessment included selfdescription questionnaire parent survey student interviews findings demonstrated significant differences general school selfconcept mathematics selfconcept pre posttest parents students indicated participation programme positively influenced students selfesteem similarly zapata hargreaves researched impact project undertaken school located deprived neighbourhood bogot\u00e1 capital colombia two groups six eightyearold children participated experimental group followed week programme singing workshops colombian traditional songs musical improvisation whereas control group experience children teachers parents involved assessing outcomes perceived competence scale children administered personal social physical development singing programme analysis revealed musical activities significant impact childrens selfesteem especially cognitive component wood colleagues tenweek intervention included group drumming showed atrisk twelveyearolds schools ten percent increase selfesteem scores improved relationships peers evaluated teachers school data showed decrease reported behaviour incidents percent participants overall evaluation indicated drumbeat programme provided creative medium working atrisk young people helped develop selfesteem social relationship skills research found differences instance costagiomi randomly assigned nineyearolds three years individual piano lessons nolesson control group two groups differ selfesteem point time similarly children received twoyear music intervention differ control groups beginning end study portowitz et al studies children received individual music instruction engaged group musicmaking contrast devroop investigated socialemotional impact group instrumental music instruction disadvantaged southafrican students period two years findings showed generally increased levels self esteem optimism happiness perseverance participation instrumental music programme seems important element enhancing selfesteem musicmaking may participation ensembles children special educational needs disabilities early research children low selfesteem behavioural difficulties showed impact musical engagement selfesteem instance michel researched black disadvantaged students low selfconcept learned play rhythm guitar automated instruction effect selfesteem second study students special educational needs also showed impact similarly michel farrell worked disadvantaged boys power music aged ten twelve range problems allblack elementary school found boyswho taught play perform simple chords ukuleleshowed enhancement selfesteem choi colleagues working children exhibiting aggressive behaviour showed participation music programme children showed enhanced selfesteem compared controls qualitative study two children social behavioural difficulties thomas showed experiencing music lessons period year children demonstrated enhanced selfconfidence selfesteem broh showed students participated musical activities talked parents teachers concluded social activities likely lead higher selfesteem selfefficacy keen worked troubled adolescents often low selfesteem found music therapy successful raising selfesteem various techniques adopted including song discussion listening writing lyrics composing music performing macdonald miell demonstrated educational programmes music composition learning play instrument could increase selfesteem children learning disabilities developmental disorders children face particular challenges struggle intellectual motor issues physically differentiate peers lead shunned around participating public performances highlighted healthy elements may gone unnoticed children assigned label disability engaging music rightful member musical group change disabled people see enhancing selfesteem improving relationships others ensemble participation one strand research focused impact ensemble participation selfesteem usa research explored impact member school band instance brown found percent nonband parents percent non band students percent dropout band parents percent personal social physical development dropout band students agreed participating band built selfesteem selfconfidence sense accomplishment study students participated band festivals gouzouasis henderson found students valued instrumental music participation band festivals positive rich educational experience experienced sense accomplishment good performance evans liu examined impact psychological need satisfaction frustration highschool orchestra programme seven hundred four participants surveyed orchestra programmes three schools midwestern united states influence psychological need satisfaction frustration assessed predictors time spent practising intentions continue participation selfesteem psychological need satisfaction predicted three outcomes although psychological need frustration contrast showed mixed results predicted selfesteem negatively musical preferences selfesteem research focused relationship selfesteem musical preferences rentfrow gosling failed uncover significant relationships selfesteem musical preferences suggesting perceived selfworth effect musical preference vice versa contrast shepherd sigg assessed differences music preferences selfesteem university students found music preference scores clusters music genres found significantly correlate selfesteem review including studies lawendowski bieleninik examined evidence regarding music therapy participation selfesteem argued participation offered opportunities engage identity work defining developing reflecting personal understanding cultivating new expressions self identity suggested selfunderstanding developed led selfacceptance personal growth also drew attention marked variation research depending type music therapy used participants settings outcomes measurement tools qualitative analysis showed expression emotion sense agency valuable participants around power music way providing damaged selves ways heal thus improving selfesteem social development music early social development review creighton argued early experiences emotional communication contribute mother infant attachment impact upon infants neurological social emotional development similar conclusions drawn ilari review examined young childrens musical engagement social perspective integrating research wide range fields theoretical orientations children begin develop social skills caregivers birth music play role development way mothers bond newborn children instance cevasko examined effects mothers singing adjustment bonding newborn infants well use music home environment first two weeks infants birth fiftyfour fullterm infants mothers premature infants alongside mothers randomly assigned experimental control conditions mothers groups recorded singing songs choice use home recordings preterm mothers voice played minutes three five times week time mother able visit infant hospital fullterm preterm mothers experimental control groups completed posttest survey two weeks infants discharged significant difference mothers perceived value music preterm experimental group valuing music also sang infants control group preterm mothers strongly agreed knowing child listening singing helped cope infants stay hospital addition preterm infants listened cd recording mothers singing left hospital average two days earlier control group although difference statistically significant personal social physical development considerable evidence mother infant singing leads increased perceived emotional closeness strengthening mother infant bond fancourt perkins fancourt perkins compared effects singing babies listening music singing babies daily basis associated enhanced wellbeing selfesteem selfreported mother infant bonding persico colleagues compared groups women engaged singing lullabies antenatal classes th week pregnancy followup three months birth postnatal bonding significantly greater singing group three months birth gerry colleagues found sixmonthold infants exposed active music lessons encouraged repeat songs rhymes every day home led superior development prelinguistic communicative gestures social behaviour compared infants assigned passive musical experience similarly pitt hargreaves investigated role rationale parent child three years old group musicmaking activities childrens centres perceptions parents practitioners sought questionnaire completed practitioners parents questionnaire based previous qualitative study revealed seven thematic categories perceived benefits music social emotional learning teaching links home parenting organisational statistical analyses revealed significant differences expressed views parent practitioner groups well parents different broad age groups practitioners expressed positive views perceived benefits music parents expressed parents parents majority age group years expressed significantly positive opinions variety questionnaire items parents younger older age groups researching older children williams colleagues investigated parentchild home music activities sample australian children aged two five years old found shared home music activities small significant partial association measures childrens prosocial skills however hartas found relationship parents reported frequency singing songs power music rhymes playing music three years old teacherrated performance social emotional development five years old kawase colleagues focused age onset group music lessons music school childrens levels sociability preliminary survey association age onset extracurricular musical training activity nonmusic majors implied musical experience early age positively influenced social skills adulthood main study kawase colleagues conducted survey children aged four five six seven years old commenced music lessons ages one two four six findings showed empathy scores children aged six seven began lessons one year old greater began lessons four years old communication scores children aged four five began lessons one year old greater began lessons older one year old empathy extroversion scores high aged six seven began lessons age range lessons young children simultaneous parentchild musical activities also likely lead enhanced attachment overall findings suggested participation group music lessons two four times month effective social training young children foster later sociability research disadvantaged children parents also demonstrated benefits participation musical activities instance nicholson colleagues explored effectiveness tenweek group music therapy programme parents socially disadvantaged young child disability children five years age musical activities used promote positive parentchild relationships childrens behavioural communicative social development significant improvements found therapistobserved parent child behaviours parent reported irritable parenting educational activities home parent mental health child communication social play skills research shown group music lessons children improve accompanying parents mood kawase ogawa personal social physical development role synchronisation synchronisation movement plays important role social development engagement musical rhythms young age supports synchrony altruistic behaviour children adults trainor cirelli parentchild attachment induced synchronisation increases childrens social cognitive skills thompson behrends colleagues basis literature argued coordinated movement fosters empathy prosocial behaviour synchronous imitated movement associated liking prosocial behaviour supporting cirelli colleagues arranged monthold infants held assistant gently bounced music facing experimenter bounced either synchrony way infant bounced infants observed placed situation opportunity help experimenter handing objects accidentally dropped infants likely engage altruistic behaviour help experimenter pick objects bounced music synchrony compared infants bounced asynchronously experiment using antiphase bouncing suggested due contingency synchronous movements opposed movement symmetry findings supported hypothesis interpersonal motor synchrony might key component musical engagement encourages social bonds among group members also motor synchrony music may promote early development altruistic behaviour kirschner tomasello hypothesised children would spontaneously synchronise body movements external beat earlier ages higher accuracy stimulus presented social context total children three age groups years oldwere invited drum along either human partner drumming machine drum sound coming speaker drumming social partner children young years old able adjust drumming tempo beat outside range spontaneous motor tempo children ages synchronised drumming higher accuracy social condition similarly power music kirschner tomasello examined relationship collaborative music activity helping behaviour fouryearold children engaged three minutes musical collaboration suggested children synchronised peers showed spontaneous cooperative helpful behaviour relative carefully matched control condition level social linguistic interaction music ability synchronise children group music lessons also predicts attentional behaviour khalil et al parentchild coordination musical activity shown beneficial good relationships instance wallace harwood assessed parentchild musical engagement childhood adolescence predictor relational quality emerging adulthood findings persisted controlling forms positive parentchild activity since younger children require support parents attachment might increase musical engagement younger classes compared older classes synchronising movements others encourages collective social identity leading increased cooperation within group instance good colleagues investigated whether movement synchrony impacted social categorisation cooperation across intergroup boundaries two threeperson groups brought together movement synchrony conditions designed emphasise different social categorisations individuals moved beat minimal group moved different beat individual moved different beat findings demonstrated movement synchrony influenced social categorisation cooperation across intergroup boundaries valdesolo colleagues showed rocking synchrony enhanced individuals perceptual sensitivity motion others increased success subsequent jointaction task required ability dynamically detect respond appropriately partners movements findings support view addition fostering social cohesion synchrony enhances abilities allow individuals functionally direct cooperative motives similarly valdesolo desteno manipulated rhythmic synchrony showed synchronous others perceived similar participating individual also evoked compassion personal social physical development altruistic behaviour asynchronous others experience findings support view primary function synchrony mark others similar self synchrony induced affiliation modulates emotional responding altruism keller colleagues reviewed psychological processes brain mechanisms enable rhythmic interpersonal coordination including overview research cognitive motor processes enable individuals represent jointaction goals anticipate attend adapt others actions real time concluded music supports social cognitive tendencies including empathy affects coordination affects interpersonal affiliation trust prosocial behaviour musical ensembles teamwork making music others small large groups requires teamwork particularly music performed teamwork relies participating individuals supporting developing trust respect group musicmaking provides ideal vehicle developing prosocial teamworking skills musical ensemble performance constitutes refined form joint action involves nonverbal communication information musical structure expressive intentions co performers sounds body movements psychological perspective ensemble performance necessitates precise yet flexible interpersonal coordination sensorimotor cognitive emotional social processes interpersonal coordination facilitated representations shared performance goals consolidated rehearsal actual performance shared goal representations interact sensorimotor cognitive processes allow co performers anticipate attend adapt others actions real time shared representations involve integration information related ones part others parts jointaction outcome shared musical representations facilitate real time interpersonal coordination dynamically embodying intended action outcomes related self others ensemble whole keller power music small ensembles string quartets argued significant examples selfmanaged teams members contribute equally task larger ensembles orchestras relationship conductor orchestra clearly emerges come know volpe et al within small musical groups social relationships development trust respect crucial functioning davidson good davidson king goodman young colman longterm success rehearsals underpinned strong social frameworks interactions typically characterised conflict compromise related mainly musical content coordination although interactions personal nature instance approval murninghan conlon young colman smaller group important personal friendship seems kawase studied relationship daily social skills styles handling interpersonal conflict nonverbal behaviour leadership requested female music majors complete questionnaires assessing different skills behaviours showed performers daily social skills integrating style handling interpersonal conflict leadership daily communication affected evaluation ensemble performance social behaviours ensemble practice overall daily social skills correlated behaviours ensemble practice performers high evaluation ensemble performance tended employ two types social behaviours integrating style handling interpersonal conflict leadership daily communication correlation observed nonverbal skills daily communication evaluation ensemble performance impact making music others studied children instance pasiali colleagues examined potential benefit music therapy social skills development programme improve social skills schoolaged children limited resources afterschool programme twenty students aged five eleven years old participated programme consisted eight minute sessions results showed music therapy potential promote social competence schoolaged children limited resources particularly areas communication lowperformance high risk behaviours personal social physical development uk peripatetic instrumental teachers working schools reported considerable benefits learning play instrument including development social skills teamwork sense achievement enhanced confidence selfdiscipline physical coordination hallam prince also uk evaluation informal music learning students work small groups copy popular songs ear ultimately create songs showed positive impact listening skills collaborative peer teamworking reported music nonmusic teachers senior staff schools hallam et al involved extracurricular rehearsal performance school show shown facilitate development friendships likeminded individuals make contribution social life widespread awareness show nonparticipants pitts participation increased pupils confidence social networks sense belonging despite time commitment inevitably impinged activities similarly cuadrado colleagues researched musicalizatech collaborative music production project secondary highschool students fortysix participants secondary education high schools seville cordoba grouped preformed bands joined project research used questionnaires focus group online diaries interactions online chatroom results showed impact participants development social emotional skills ability problemsolve work teams development technological skills clear improvements process musical creation research usa shown involvement group music activities high school helped individuals learn support maintain commitment bond together group goals sward benefits band participation reported include maturing relationships instance band directors talked general terms benefits teamwork cooperation sense belonging companionship social development brown adderley colleagues investigated meaning value music ensembles engendered participants social climate music classroom structured interviews conducted students band choir orchestra ensemble participation power music yielded musical academic psychological social benefits social climate emerged important element students noted importance relationships wellbeing growth uk reflecting previous current group musicmaking activities university music students reported benefits terms pride active contributor group outcome developing strong sense belonging gaining popularity making friends likeminded people enhancement social skills kokosaki hallam similarly study members college choral society showed percent believed benefited socially percent emotionally percent spiritually participation meeting new people feeling positive uplifted spiritually referred clift hancox school climate research focused way collaborative non competitive elements ensemble musicmaking enhance school climate social interactions within school contexts bastian gouzouasis henderson finland eerola eerola explored whether music education could create social benefits school environment ten schools extended music curricular class quality school life assessed representative sample pupils aged nine twelve years old results showed extended music education enhanced quality school life particularly areas related general satisfaction school sense achievement opportunities students followup study examined whether increase critical quality schoollife variables related music analysis utilised data classes extended curriculum sports visual arts classes confer similar benefits overall results suggested extended music education positive effect social aspects schooling major study switzerland spychiger colleagues found increasing amount classroom music within curriculum increased social cohesion within class led greater selfreliance better social adjustment positive attitudes particularly low ability disaffected pupils personal social physical development sistema programmes evaluations individual el sistema sistema inspired programmes children experience intensive prolonged engagement orchestral community reported strengthening childrens sense individual group identity children taking pride accomplishments enhancement determination persistence children valued participation social activity way enjoy music others strengthen friendships peers working teams acquiring musical skills many evaluations sistema inspired programmes usa refer enhanced peer relationships demonstrating respect consideration others experiences orchestras ensembles participants understood importance working cooperatively creech et al intensive ensemble activities seen rich opportunity nurturing positive citizenship skills including respect equality sharing cohesion teamwork enhancement listening major constituent understanding cooperation majno slevin slevin suggested programmes offered safe nurturing space children learned meant pursue ideal argued type teamwork goal depended individual effort enabled personal development similarly lewis colleagues revealed improvements social skills development positive group identity elsistema inspired programme pupil surveys administered two years apart indicated statistically significant change relation social skills relationships children reported tried help others take turns interviews parents teachers reinforced findings parents suggested children proud musical achievements programme offered opportunities developing social skills discipline teachers also indicated pupils greater sense purpose selfconfidence smithhurst burns berwick found enhanced confidence social skills outcomes programmes scotland showed enhanced confidence happiness teamworking skills gen b ireland three years sistema inspired programme found foster strong positive group identity asked design new school crest every child produced power music design included musical symbol kenny moore parents others evaluations campe kaufman savoie indicated playing sistema inspired musical groups supported students social development providing important scaffold developing collaborative skills skills transferred school home settings galarce colleagues based findings focus group data found students participating sistema inspired programme caribbean demonstrated improved social skills cooperation teamwork communication protective social network six months participation quantitative data showed students significantly less likely get angry aggressive less involved teasing shoving hitting kicking fighting similarly bergerson motto found students experienced greater empathy others shared interests argentina wald b researching two sistema inspired programmes found evidence enhanced selfesteem selfworth self confidence pride motivation commitment social responsibility socialisation comparing programmes venezuela usa uy reported improvements relaxation coping communication ability work others selfesteem osborne colleagues explored academic psychosocial impact elsistema inspired music programmes two low socioeconomic schools students experienced generational poverty current first generation immigrant refugee status ninetytwo students years completed audiovisual assessments psychosocial wellbeing comparisons school programme participation period months indicated improved psychosocial wellbeing students one school overall many positive social outcomes sistema programmes reported internationally creech et al although exceptions instance villalba found students feel completely integrated others bored suggests nature musical activities programmes plays important role mediating wider nonmusical outcomes personal social physical development prosocial skills empathy one frequently cited benefits group musicmaking impact prosocial behaviour evolutionary perspective hagen bryant argued group musicmaking dancing evolved ways demonstrating internal stability group ability act collectively establishing meaningful relationships groups music dance also act effective tools maintain bonds within social groups increasing cooperation prosocial behaviour huron members musical groups pay attention actions intentions players physical emotional states cross et al promotes states togetherness huron cross understanding emotional state others key developing empathythe ability produce appropriate responses situation others approximate responses experiences well awareness identification emotions lieberman cross colleagues suggest music empathypromoting components lead shared intentionality understanding intentions others adoption common object attention tomasello et al intersubjectivity rabinowitch et al evidence engagement making music enhance childrens prosocial behaviour empathy ritblatt colleagues examined effects school readiness music programme preschool childrens socioemotional readiness transition kindergarten found participating musical activities improved range social skills including social cooperation social interaction social independence research preschool primaryschool children participated special music empathy programmewhich highlighted importance empathy singing composing songs empathy well discussing children empathisealso demonstrated high empathy levels kalliopuska ruokonen kalliopuska tiitinen schellenberg corrigall investigated whether group music training childhood associated prosocial skills children third fourth grade attended ten months music lessons taught groups compared control power music group children matched socioeconomic status children administered tests prosocial skills near beginning end tenmonth period compared control group children music group larger increases sympathy prosocial behaviour effect limited children poor prosocial skills lessons began effect evident even lessons compulsory minimised role selfselection rabinowitch colleagues studied children aged eight eleven years old randomly assigned musical activities games acted control group musical intervention consisted range musical games designed encourage musical interactions working together creatively entrainment games designed encourage rhythmic coordination imitation games highlight imitative gestural encounters shared intentionality intersubjectivity children took battery tests beginning end study included three measures emotional empathy two three empathy measures increased children music group similarly hietolahtiansten kalliopuska surveyed yearold children musically active six years sameage control children musical activity found musically trained children scored significantly higher scores empathy related empathy concept emotional sensitivity music closely linked emotions possible active music making capacity increase emotional sensitivity hunter schellenberg instance resnicow colleagues found relationship ability recognise emotions performances classical piano music measures emotional intelligence required individuals identify understand reason manage emotions using hypothetical scenarios two significantly correlated suggests identification emotion music performance draws skills make everyday emotional intelligence also evidence music training enhances sensitivity emotions speech thompson et al similarly schellenberg mankarious studied relationship understanding emotions music training seven eightyearolds musically trained children least personal social physical development eight months formal musical training school mainly private individual lessons findings showed positive association music training emotional ability comparing effects different musical interventions rose colleagues investigated effects musical instrument learning development seven nineyearold children pre posttest measures socioemotional behaviour compared children received either extracurricular musical training statutory school music lessons statistically significant differences socioemotional behaviour groups retrospective study theorell colleagues assessed whether musical creative achievement musical practice associated emotional competence eight thousand swedish twins aged studied musical achievement musical practice related higher emotional competence although effect sizes small focusing impact listening observation haner colleagues studied effects childrens opera bullying presented five classrooms three schools data available children grades four five knowledge bullying increased significantly participation significant decrease selfreported victimisation interventions children special educational needs disabilities one strand research focused children range special educational needs disabilities instance music therapy studies young autistic children shown enhanced social verbal communication skills emotional development oldfield dezfoolian colleagues studied five children autism previous experience music play therapy social interaction verbal communication repetitive behaviour participants scored orff music therapy participants improved significantly social interactions verbal communication similarly kim colleagues studied improvisational music therapy toyplaying sessions using dvd analysis sessions children autistic spectrum improvisational music therapy power music produced markedly longer events emotional synchronicity initiation engagement behaviours children toy playing sessions response therapists interpersonal demands compliant positive responses observed music therapy toyplaying sessions responses twice frequent toyplaying sessions music therapy findings supported value music therapy promoting social emotional motivational development children autistic spectrum hillier colleagues reported findings pilot music programme adolescents young adults autism spectrum disorder evaluation programme focused selfesteem anxiety attitudes toward relationships peers pre postoutcome measures showed significant increase selfesteem reduced selfreported anxiety positive attitudes toward peers zyga colleagues focused children intellectual disabilities cause child significant deficits social skills emotional regulation abilities investigated feasibility delivering schoolbased musical theatre programme students intellectual disability across range school settings video recordings coded socioemotional ability across participants findings showed significant gains across domains although gains related school individuallevel student factors grade level severity disability baseline socialskill level one project explored impact musical engagement part national orchestra young people special educational needs following summer residential programme statistically significant increases large effect size selfesteem emotional wellbeing resilience life satisfaction participating girls seemed benefit boys hay npc physical development saw chapter research field neuroscience shown intensive instrumental music training affects anatomy brain greater greymatter volume seen motorrelated areas elbert et al hyde et al pascualleone personal social physical development greater whitematter volume motor tracts bengtsson et al differences emerging one year music training hyde et al schlaug et al also specific differences relation instruments played bangert schlaug despite relatively little research exploring impact active engagement making music physical development although children adults frequently respond music movement instance overy studied impact beat childrens natural responses music showed fouryearold children showed spontaneous energetic movement responses highly periodic repetitivesuch jumping swaying twistingoften close synchrony auditory beat pattern although always time concluded human motor system responds powerfully auditory beat pattern large individual differences preferred movements also individuals frequently use music motivator exercising research related discussed fully chapter evidence learning play instrument improves fine motor skills schlaug et al early training may important watanabe colleagues showed musicians trained age seven better performance timed motor sequence task musicians began training later early latetrained musicians matched years musical experience years formal training hours current practice earlytrained musicians performed better latetrained musicians advantage persisted five days practice performance differences greatest measure response synchronisation suggesting early training greatest effect neural systems involved sensorimotor integration timing research focused fine motor abilities instance costagiomi compared fine motor abilities children participated two years piano instruction never received formal music training significant improvement fine motor skills found children received music lessons also significant difference speed response two groups end two years instruction similarly james colleagues carried cluster randomised controlled trial power music provided evidence focused musical instrumental practice comparison traditional sensitisation music provoked multiple transfer effects sensorimotor domain last two years primary school ten twelveyearold children received group music instruction professional musicians twice week part regular school curriculum intervention group learned play string instruments whereas control group peers parallel classes sensitised music listening theory practice benefits intervention group compared control group sensorimotor hand function bimanual coordination learning play complex instrument dynamic group setting appears impact development strongly classical sensitisation music martins colleagues conducted longitudinal training study examine collective orffbased music training enhanced fine motor abilities compared homogeneous training programme basketball specific training training programmes music sport duration weeks homogeneous structure design including tests prior training posttraining followup adopted seventyfour children attending third grade aged eight years old pseudorandomly divided three groupsmusic sport controlthat matched demographic intellectual characteristics fine motor abilities relating hand eye coordination motor speed subsumed manual dexterity bimanual coordination manipulative dexterity tested groups improved manipulative dexterity children engaged music programme showed advantage relation bimanual coordination manual dexterity persisted four months programme ended music locomotor performance coordinated motor skills research explored whether rhythmic accompaniment improve performance physical education programmes early research anshel marisi observed positive results performance accuracy endurance music rhythmically synchronised motor performance painter found similar personal social physical development results beisman showed throwing catching jumping leaping improved children participated programme involving rhythm brown colleagues studied two approaches facilitating perceptual motor development children aged four six years old experimental group children received sessions integrated physical education music instruction based methods developed kodaly dalcroze control group children received sessions movement exploration selftesting instruction experimental group showed significant improvement changes motor auditory language aspects perceptual motor performance well total score derri colleagues investigated effect tenweek music movement programme quality locomotor performance four sixyearold children children assessed running skipping galloping hopping leaping sliding horizontal jumping thirtyfive children participated exercise programme twice week control group participate organised physical activity programme findings showed experimental group improved galloping leaping horizontal jumping skipping later study showed programme compared favourably freeplay activities deli et al similarly zachopoupou colleagues compared effect developmentally appropriate music movement programme developmentally appropriate physical education programme development jumping dynamic balance children aged four six years old ninety children participated fifty followed music movement programme lasted two months remainder served control group followed physical education programme period time results showed experimental group improved significantly jumping dynamic balance rose colleagues investigated effects musical instrument learning development seven nineyearold children pre posttest measures motor ability visual motor integration compared children received either extracurricular musical training statutory school music lessons children receiving extracurricular lessons showed significant increase visual motor integration gross motor ability aiming catching measures seems power music musical activities may support development childs ability judge distance consider velocity focus use proprioceptive interoceptive exteroceptive nervous system overview clear evidence music plays important role development maintenance identity although extent applies may vary among individuals depending hobbies interests musicians group shown open new experiences general population beyond clear personality differences musicians general population playing different instruments however differences emerged clarity relation genre music musicians engaged suggests context music rehearsed performed influences personality development strong evidence across genres professional musicians training become professional musicians experience performance anxiety may experience perfectionistic work tendencies latter positive benefits terms motivation conscientiousness may detrimental musician becomes focused imperfect performances music positive impact selfesteem children young people providing feedback peers teachers families positive particularly evident disadvantaged backgrounds special educational needs disabilities feedback performance even practising home negative rather constructive impact selfesteem detrimental children young people group musicmaking large small groups generally promotes development social skills teamwork empathy although may exceptions instance group member contribute equitably issues arise working small groups professional musicians although need prepare public performance may support development skills help resolve challengesfor instance compromise leadership skillsin order group perform well synchronisation movement plays role supporting group working may evolved order enhance group cohesion personal social physical development learning play musical instrument requires coordinated complex movements enhances fine motor skills young children children able engage movement music impacts positively range athletic skills including jumping skipping throwing catching psychological wellbeing psychological wellbeing typically viewed comprising hedonic feeling good eudaimonic functioning well components emphasis given varies conceptualisations seligman proposed concept authentic happiness consists pleasure engagement meaning recently concepts relationships accomplishment added forgeard et al seligman leading acronym perma stands positive emotion engagement relationships meaning accomplishment others argued positive human experience related hedonic wellbeing positive emotion absence negative emotions evaluative component termed life satisfaction diener et al recently diener colleagues added concept flourishing includes purpose life positive relationships engagement competence selfesteem optimism contribution wellbeing others despite different conceptualisations agreement wellbeing multi dimensional approaching conceptualisation wellbeing different perspective huppert equated high levels wellbeing positive mental health argue wellbeing lies opposite end spectrum common mental disorders depression anxiety examining internationally agreed criteria depression anxiety defining opposite symptom identified features positive wellbeing combined feeling functioning elements emerged competence concentration attention decisionmaking general competence emotional stability feeling calm relaxed eventempered engagement interest pleasure enjoyment himonides cc byncnd httpsdoiorg obp power music meaning purpose worth value life positive relationships social relationships positive affirmation optimism hopeful future positive emotion positive mood happy cheerful contented resilience managing anxiety worry emotional resilience selfesteem feelings selfworth confidence vitality feeling energetic fatigued lethargic life satisfaction positive appraisal life general previous chapters set role music play relation many elements including competence engagement positive relationships selfesteem lesser extent resilience optimism elements met active engagement music others listening music although overlap actively making music offers opportunities supporting competence selfesteem resilience listening music likely support emotional stability positive emotions support engagement meaning optimism positive relationships vitality everincreasing body research benefits engaging music relation psychological wellbeing chapter consider impact listening actively engaging music different phases lifespan positive associations engaging music wellbeing demonstrated early childhood linnavalli et al trainor et al terms childrens educational outcomes guhn et al sense social inclusion welch et al social cohesion elvers et al adolescence mcferran et al adulthood greasley lamont older age laukka lindblad de boise overall development biasutti et al drawing conclusions research without difficulties instance recent review daykin colleagues pointed lack consistency wellbeing assessed range musical interventions implemented overall reported music associated reduced anxiety young adults enhanced psychological wellbeing mood purpose adults mental wellbeing quality life selfawareness coping people diagnosed health conditions music listening singing shown effective enhancing morale reducing risk depression older people studies addressed wellbeing individuals dementia sheppard broughton also reviewed literature showed music dance related key social determinants health social cultural physical mental health perspectives similarly odonnell colleagues systematic review included studies participants focusing wellbeing adults years age showed participatory arts interventions benefited mental health improved connectedness emotional regulation meaningmaking redefining identity personal growth empowerment benefits relating wellbeing found whether individuals volunteer participate referred health social care professionals music recognised beneficial effects physical health fancourt finn hanser jones et al macdonald et al pelletier van den elzen et al research focusing way music used medical contexts discussed chapter remainder chapter set way music enhance wellbeing consider role across lifespan infancy school years adolescence young adulthood adult years older age concluding section music wellbeing covid pandemic impact music psychological wellbeing good health largely although exclusively emotions evokes music elicits emotions changes moods stimulation autonomic nervous system limbic related biological systems including endocrine hormonal responses krout bodily responses linked emotion include changes dopamine serotonin cortisol endorphin oxytocin levels kreutz et al cardiovascular indicators blood pressure pulse lee et al changes response music occur without individuals conscious awareness two multilevel metaanalyses studies participants de witte colleagues showed interventions using music overall significant positive effect power music stress reduction physiologically psychologically although greater effects found heart rate compared blood pressure overall music reduce stress increase relaxation fukui yamashita kreutz et al outcomes depend nature music kimberley et al instance gerra colleagues investigated emotional endocrine changes response listening techno music sixteen young people exposed techno classical music minutes concentrations plasma norepinephrine epinephrine growth hormone prolactin adrenocorticotropic hormone cortisol \u03b2 endorphin assessed listening activity techno music significantly increased heart rate systolic blood pressure led changes assessed neurotransmitters peptides hormones related mental state emotional involvement classical music also enhanced emotional state lead significant changes hormonal concentrations similarly evers suhr working adults investigated shortterm effects listening different musical excerpts serum concentrations prolactin adrenocorticotropic hormone serotonin latter contributing feelings wellbeing excerpts characterised pleasantfor instance brahms symphony opus others perceived unpleasant instance pendereckis threnos part composed quarter tones exaggerate dissonance music listening threnos led reduction concentrations serotonin suggesting negative impact wellbeing comprehensive attempt outline mechanisms may underpin musics impact emotions brecvema framework juslin features eight mechanisms music affects emotions brain stem reflex hardwired attention response simple acoustic features extreme increasing loudness speed juslin et al rhythmic entrainment gradual adjustment internal body rhythmfor instance heart ratetowards external rhythm music harrer harrer psychological wellbeing evaluative conditioning regular pairing piece music positive negative stimuli leading conditioned association blair shimp emotional contagion perception emotionally relevant expressions music copied juslin lundqvist et al visual imagery images emotional qualities evoked music osborne episodic memory conscious recollection particular event listeners past triggered music baumgartner musical expectancy reaction gradual unfolding musical structure expected unexpected continuation meyer aesthetic judgment subjective evaluation aesthetic value music based individual set weighted criteria juslin sloboda specific way emotions invoked depends complex interactions nature music individual context individual preferences play major role individual familiar particular genres pieces music preferred north hargreaves process begins early childhood explains music pleasurable individuals may unpleasant others greatest positive benefits music wellbeing health occur individuals able select music listen krause et al mitchell et al b particularly important music used reduce anxiety pain bernatzky et al mitchell macdonald individuals exposed music like contexts control may remove situation possible music cause extreme distress although individuals react music different ways musical characteristics tend relatively consistent effect arousal levels implicated emotional responses power music quiet slow music tends lead lowering arousal levels fast loud music tends increase arousal north hargreaves music engender intense strong emotional experiences generally occur listening music rather performing gabrielsson gabrielsson lindstr\u00f6m wik experiences overall general characteristics including physical reactions behaviours perceptual cognitive responses changes feelings emotions existential transcendental aspects personal social aspects individuals report sensations joy happiness rapture euphoria calm peace high significance lead longterm benefits lives becoming fulfilling spiritual increasingly harmonious sch\u00e4fer et al positive impact wellbeing lamont memories experiences used sources selftherapy inspiration motivation provide insights alternative ways gabrielsson gabrielsson lindstr\u00f6m occur adolescence early adulthood gabrielsson lindstr\u00f6m wik use music support emotional stability manage moods key human ability capacity regulate emotion modifying positive negative aspects intensity time course barrett gross cole et al physiological processes emotion related behaviour eisenberg eisenberg spinrad gross emotional selfregulation also includes management moods generally differentiated emotions terms longer duration lack specific cause greater focus internal experiences rather overt behaviour gross mood regulation refers processes involved modifying maintaining occurrence duration intensity moods cole et al eisenberg spinrad gross music promote subjective feelings wellbeing provide means working difficult emotions often linked spirituality juslin sloboda frequently used regulatory strategy maintaining changing moods emotions arousal levels psychological wellbeing reminisce denora juslin laukka parker brown rippere sch\u00e4fer et al silk thayer et al induce positive affective states north et al help achieve desired moodswhatever may vastfjall act supporting strategy coping negative moods emotions miranda claes shifriss bodner may one reasons music plays important role lives people sloboda et al certainly mood regulation reported one important reasons people listen music christenson roberts north et al sloboda oneill wells hakanen even adolescents play instrument report best activity mood regulation listening music alone saarikallio music used selfregulation adolescents behne laiho roe adults greasley lamont elderly davidson et al used maintain positive moods revival energising create strong sensations diversion discharge mental work solace psyching saarikallio extent music relates wellbeing demonstrated several reviews instance sch\u00e4fer colleagues identified functions listening music ratings respondents led emergence three underlying dimensions listening music regulate arousal mood achieving selfawareness expression social relatedness similarly krause colleagues identified benefits music based review published articles reduced benefits wellbeing perceived associated musical participation five dimensions identified mood coping selfesteem worth socialisation cognition selfactualisation saarikallio colleagues collected data online participants established pleasure derived music based part sensations relaxation power passion also feelings kinship relating social values mental contemplation reminiscence also frequent function selfchosen music listening particularly prevalent older adults hays minichiello juslin laukka although also found young people tolfree hallam overall music one form attending reappraising emotional power music experiences ruud sloboda oneill van goethem sloboda carried diary studies alongside interviews established music helped individuals use several regulation strategies instance could help distract someone emotion situation help consider either rational way plays major role assisting relaxation promoting happiness cognitive reappraisal seems play important role way music impacts wellbeing listening music making music social engagement coupled tendency regulate emotions thoughts suppressing emotion may negative outcomes suppressing outward expressions emotions decrease negative feelings emotional arousal high levels engagement music listening participating associated greater use cognitive reappraisal may music provides safe platform exploring expressing emotions positive negative huron way process emotion regulation may act mediate relationship musical engagement wellbeing chin rickard thoma colleagues demonstrated clear preference music congruent specific emotional situation individual time randall colleagues suggested listeners adopted particular regulation strategies based initial mood emotional wellbeing health would enable reach desired emotional goal similarly randall rickard b research young adults concluded music listening determined initial mood emotional health aim fulfilling specific emotional needs randall rickard based data research participants demonstrated generally music returned moods neutral state although sometimes music selected congruent current mood music used cope difficult situations forget problems tended associated overall negative affective states poor emotional health wellbeing critical analysis mcferran suggested use music maintain negative moods seriously distressed individuals could lead increasingly negative outcomes research developed time inconsistencies terms conceptualisation terminology emerged baltazar psychological wellbeing saarikallio become clear impact music wellbeing straightforward instance kantormartynuska suggested way individuals respond music depends interaction properties music relatively stable traits listener current emotional state current situation considerable body research focused individuals choose listen sad music huron vuoskoski tahlier et al van den tol edwards instance sachs colleagues suggest listening sad music bring positive change correcting ongoing homeostatic imbalance argue sadness evoked music pleasurable perceived non threatening aesthetically pleasing produces psychological benefits mood regulation empathic feelings caused instance recollection reflection past events garrido colleagues several studies also explored people listen sad music garrido garrido schubert garrido schubert studied participants listened self selected piece sad music found participants depression increased listening similarly garrido schubert b studying university students listened selfselected piece music youtube found listening could significantly increase depressive feelings depressive tendencies online survey participants garrido schubert showed listening sad music could adaptive maladaptive uses explained dissociation theory aesthetic enjoyment participants capacity enter states absorption able deactivate displeasure circuits hence enjoy negative emotions music garrido colleagues explored issues investigating whether listening sad music group settings provided social benefits emotionally vulnerable listeners whether exaggerated depressive tendencies six hundred ninetyseven participants aged years age recruited online depression groups mental health websites usa australia uk south america africa asia europe survey listening habits revealed participants depression likely engage group rumination process continuously thinking thoughts usually sad dark depressive tendencies power music seem struggle regulate emotional responses musical contexts mcferran group interactions focusing sad music exacerbated difficulties miranda et al rose described extensive discussion revisiting problems among friends corumination conversely sharing emotions music listening may provide individuals depressive tendencies social support thus increase sense connection others reflection opposed rumination seems useful tool processing negative emotions trapnell campbell individuals already acquired adaptive coping strategies instance seeking social supportmay use group music listening positively provide support help process negative feelings findings important use music healthcare settings wellbeing everyday life garrido one strand research explored differences individuals ways music impacts wellbeing instance leipold loepthien drawing data participants aged years old adolescents young people aged years old studied differences attentive analytical listening defined reflective complex emotional listening relationships coping stress rumination showed attentive analytical listening music showed positive relationships accommodative coping whereas emotional listening positive relationship rumination age differences found nature listening adulthood younger age group although transition adolescence adulthood important comparison adolescents young adults revealed attentive analytical listening negatively associated age approximately years old relationship became positive adolescents demonstrated age increments emotional listening similarly groarke hogan asked younger people older adults listened music younger adults emphasised affect regulation social connection whereas older adults emphasised eudaimonic wellfunctioning uses music instance transcendence personal growth saarikallio found older people aware music fitted particular psychological wellbeing moods situations women found likely use music regulate emotions moods men sloboda evidence girls likely engage music cope personal problems interpersonal conflicts whereas boys music way increasing energy levels positive moods creating impression cool behne christenson roberts larson larson et al music effective decreasing arousal due stress particularly adolescents females musicians pelletier instance lehmann reported music majors responded strongly emotionally preferred music nonmusic majors although studies reported musicrelated emotional experiences nonmusicians musicians broadly similar schubert use music regulate moods related musical preferences diversity musical preference shown related emotionality listening behne schwartz fouts preference harder forms music found positively related emotional problems including psychological turmoil behavioural problems took weiss expression anger epstein et al feelings loneliness davis kraus moodiness pessimism impulsiveness schwartz fouts ter bogt colleagues addressed potential link liking goth music depressive symptoms fouryear study yearolds showed goth music liked small minority adolescents reported increased levels depressive symptoms grew older contrast preference upbeat conventional pop music found negatively related depression rentfrow gosling scheel westefeld investigated relationship preference heavy metal music vulnerability suicide among tenth twelfthgrade highschool students participants completed questionnaire relating reasons living risk suicide musical preferences heavy metal fans less strong reasons living especially male fans thoughts suicide especially female fans listening types music positive effect mood preference heavy metal music among adolescents may indication increased suicidal vulnerability research suggested source power music problem likely lie personal familial characteristics direct effects music however group music therapy support young people risk mental health problems reduce unhealthy uses music gold et al saarikallio erkkil\u00e4 large study participants average age years old found preferred musical styles boys girls across age groups rock pop heavy metal rap boys preferred heavy metal techno music whereas girls preferred classical music pop gospel preferences classical rock jazz folk gospel music increased age preference pop music gradually decreased eclectic musical preferences related extent use music regulate moods overall saarikallio erkkil\u00e4 demonstrated personal factors linked differences adolescents use music preferring rock heavy metal music made greater use music regulate moods perhaps intensity volume roughness genres reflects intense emotional experiences characteristic adolescence contrast listening pop rap techno music tended create positive feelgood experiences many years possible use range devices listen music anywhere time sk\u00e5nland researching use mp player suggested availability could valuable supporting listeners coping crowded noisy environments promoting wellbeing mental health developments music technology meant people find expression creating playlists support maintenance mood recall memories bull hagen observing students use playlist function concluded playlists based moods feelings memories biographical relational representations helped users experience mastery playlists may also support social cohesion pleasure creating may come owning customising trading mccourt differences extent listeners aware music affects engaged listeners acutely aware music change fit moods greasley lamont squirrel listeners lamont webb better able access psychological wellbeing implement strategies regulate moods choosing music fit given situation physical psychological social needs battrawden denora describe lay therapeutic practice singing one strand research examining relationship wellbeing music focused singing reviews research participation choirs identified many benefits including physical relaxation release physical tension emotional release reduction feelings stress sense happiness positive mood joy elation feeling high sense greater personal emotional physical wellbeing increased sense arousal energy stimulation cognitive capacities attention concentration memory learning increased sense selfconfidence selfesteem sense therapeutic benefit relation longstanding psychological social problems sense exercising systems body physical exertion involved especially lungs sense disciplining skeletalmuscular system adoption good posture engaged valued meaningful worthwhile activity gives sense purpose motivation clift et al clift stacey et al group singing found reduce anxiety depression houston et al lally wise et al zanini leao well providing opportunities developing social networks singing variety positive effects mental physical health fancourt et al irons et al kreutz et al moss odonoghue power music kreutz studied psychobiological effects amateur choral singing mixed group novice experienced singers completed questionnaires psychological wellbeing gave samples saliva measuring levels salivary oxytocin cortisol dehydroepiandrosterone beginning two rehearsal sessions minutes later singing condition included warmup vocal exercises repertoire pieces control condition dyads participants talked recent positive life experiences findings showed patterns change favouring singing chatting significant interactions cortisol dehydroepiandrosterone cortisol dehydroepiandrosterone ratio overall findings suggested singing enhances individual psychological wellbeing well inducing sociobiological bonding response grape colleagues also used range physical markers explore possible beneficial effects singing wellbeing singing lesson eight amateur singers aged years old eight professional singers aged years attending singing lessons least six months participated electrocardiogram measures recorded computerised spectral analysis performed serum concentrations tnf alpha linked autoimmune systems prolactin cortisol oxytocin measured minutes lesson five visual scales sad joyful anxious calm worried elated listless energetic tense relaxedwere scored lesson alongside semistructured interview heart rate variability analyses showed significant changes time two groups power increased singing professionals whereas changes amateurs indicated ability retain heartbrain connection cardiophysiological fitness singing professional singers compared amateur singers serum concentration tnf alpha increased professionals singing lesson whereas concentration amateurs decreased serum concentrations prolactin cortisol increased lesson group men vice versa women oxytocin concentrations increased significantly groups singing lesson amateurs reported increasing joy elatedness whereas professionals however groups felt energetic relaxed interviews showed professionals clearly achievement oriented psychological wellbeing focus singing technique vocal apparatus body lesson contrast amateurs used singing lessons means self actualisation selfexpression way release emotional tensions overall singing lessons seemed promote wellbeing reduce arousal amateurs compared professional singers seemed experience reverse study young people members university choir clift hancox identified six elements associated benefits singing wellbeing relaxation enhanced breathing posture social benefits spiritual benefits emotional benefits benefits heart immune system later study clift hancox surveyed choral singers drawn choirs australia england germany participants completed questionnaire measured physical psychological social environmental wellbeing measure effects choral singing open questions provided indepth understanding high level agreement positive benefits choral singing women significantly likely endorse value wellbeing health compared men small significant relationship psychological wellbeing effects choral singing women men eightyfive participants relatively low psychological wellbeing high scores singing scale four categories significant personal health challenges disclosed members group enduring mental health problems family relationship problems physical health challenges recent bereavement accounts suggested six ways singing might impact wellbeing health positive affect focused attention deep breathing social support cognitive stimulation regular commitment study clift colleagues studied four community singing groups met weekly people mental health issues evaluation took place sixmonth period using two questionnaires twentysix participants completed baseline followup questionnaires findings showed clinical scores reduced wellbeing scores increased significantly comparison gender differences sandgren examined emotional states varied measurements pre post regular choral rehearsal participants eleven choirs women reported significantly positive emotional states men relating power music participation regular choir rehearsals although differences small men women reported similar levels negative emotions varied extent positive change choir rehearsal research focused impact participation choir specific groups people instance bailey davidson studied whether positive life transformations could occur homeless men joined choir using semistructured interviews found group singing positively influenced emotional social cognitive processes concluded active participation singing may alleviate depression increase selfesteem improve social interaction skills induce cognitive stimulation later study baily davidson explored effects group singing performance second choir formed homeless marginalised individuals little music training group singing experience middleclass singers low high levels music training choral singing experience findings showed emotional effects participation group singing similar regardless training socioeconomic status interpersonal cognitive components choral experience different meanings two groups marginalised individuals appeared embrace aspects group singing experience middleclass choir members inhibited social expectations musicianship also working distinctive group southcott nethsinghe explored understandings meanings shared musicmaking held members young hearts russian choir melbourne australia impact quality life elderly participants firstgeneration migrants spoke strongly first language russian individual semistructured interviews undertaken nine choir members focus group discussion included members interviews revealed two broad themes maintaining independence resilience learning rehearsing performing music subthemes included importance participation maintaining face overcoming illness disability becoming family singing together enhanced quality life combatted social isolation fostered resilience sense autonomy allowed participants access inner resources face life challenges considering issues relating range disabilities dingle colleagues explored personal experiences choir members psychological wellbeing percent experienced chronic mental health problems percent physical disabilities per cent intellectual disability semi structured interviews carried twentyone members choir three time points choirs inaugural year inception choir six months twelve months three themes emerged personal impact terms positive emotions emotional regulation spiritual experience selfperception finding voice social impact including connectedness within choir connection audience social functioning functional outcomes including health benefits employment capacity routine overall forming new valued group identity choir member associated emotional health benefits participants fancourt colleagues focused recently bereaved fiftyeight adults bereaved last five years received treatment kind anxiety depression last month recruited half participated choir acted non intervention control group joining choir engaged minute weekly singing social sessions weeks post intervention assessment weeks sang choir stable symptoms depression levels wellbeing well gradual improvements sense selfefficacy selfesteem contrast control group showed gradual increases depressive symptoms reductions levels wellbeing selfesteem improvement selfefficacy singing positive benefits wellbeing review perkins colleagues identified qualitative studies reporting participants subjective views participatory music engagement supported mental wellbeing thematic coding revealed four themes managing expressing emotions facilitating selfdevelopment providing respite facilitating connections outcomes choral singing also compared listening music boyd colleagues examined shortterm effects mood selfesteem novel group singing model relied power music exclusively oral methods teaching songs communityrecruited adults compared effects group listening findings showed participants positive emotions mood improved singing declined listening selfesteem increased throughout sessions regardless activity indicating importance social nature singing activities wellbeing young children much evidence relating wellbeing babies infants children set previous chapters infancy early childhood musical activity largely takes place interactions caregivers ruud suggests first musical memories often include feelings held parents songs frequently important speech bonding nakata trehub shenfield et al cirelli trehub examined relative efficacy parents speech singing familiar unfamiliar songs alleviating distress eight tenmonthold infants parent infant dyads participated three trials stillface procedure featuring twominute play phase stillface phase parents immobile unresponsive one minute infants became visibly distressed twominute reunion phase caregivers attempted reverse infant distress singing highly familiar song unfamiliar song talking expressively reunion phase talking led increased negative affect age groups contrast singing familiar unfamiliar songs increased infant attention parents decreased negative affect favourable consequences greatest familiar songs also generated increased smiling skin conductance recorded subset infants revealed arousal levels highest talking reunion lowest unfamiliar songs intermediate familiar songs arousal effects considered conjunction behavioural effects confirmed songs effective speech mitigating infant distress krueger argued birth music perceived structure offers possibility constructing regulating emotions expressing communicating shaping relationships situations childrens play symbols drawings music psychological wellbeing used thoughtfully activities mainly participatory engaged active bonsdorff karlsen kuuse early age using resources children develop sense agency selfefficacy informal learning music frequent everyday life battrawden denora creates memories patterns meanings opportunities interaction individuals social surroundings learning music used empowers individual act moods emotions wellbeing health agency denora sk\u00e5nland musicality argued intrinsic communication parents infants malloch tervarthen parents use music support activities create calm soothing environment prior sleep times addition participating childcentred musical activities lamont child parent interactions enhanced music therapy impulse control selfregulation skills pasiali social communication skills mackenzie hamlett nicholson et al walworth instance de gratzer showed tenmonth action research project group music making parents toddlers nonverbal communication parent child enhanced williams colleagues examined effectiveness shortterm group music therapy intervention parents children disabilities found significant improvements parental mental health child communication social skills parenting sensitivity parental engagement acceptance child child responsiveness parent child interest participation programme activities saw chapter moving time together promotes social bonding important social development infants promotes positive interactions caregivers young infants seem enjoy listening moving music instance cirelli trehub b studied infant began moving rhythmically music six months age across nine sessions beginning almost months age ending eight weeks later videorecorded mother presentation second excerpts two familiar two unfamiliar songs presented three tempos original tempo faster slower versions child exhibited number repeated dance movements headbobbing armpumping torso power music twists bouncing danced metallicas dead recording father played daily presence often dancing played high pulse clarity conjunction familiarity may increased propensity dance reflected lesser dancing familiar music low pulse clarity unfamiliar music high pulse clarity moved faster faster music unfamiliar music perhaps arousal drove movement familiar music movement music positively correlated smiling highlighting pleasurable nature experience rhythmic movement music may enhanced pleasure although joy listening may promoted movement formal engagement music may begin early years education certainly early years educators positive attitudes towards music value even formal qualifications music barrett et al parents grandparents former child participants early learning music programmes acknowledge programmes enhance musical knowledge skills barrett welch active group musicmaking also enhances prosocial behaviour young children instance kirschner tomasello studied fouryearolds tasks requiring identical skills musical nonmusical conditions joint musicmaking enhanced cooperation helpful behaviour music wellbeing schoolaged participants previous chapters shown active engagement music enhance intellectual functioning spatial reasoning mathematical performance phonological awareness literacy educational attainment personal social physical development extent benefits realised depends wide range factors least nature quality musical education experienced level commitment engagement child musical skills acquired greater sense purpose selfconfidence develop creech et al hallam et al way music education impact wellbeing instance lageg\u00f3mez cremadesandreu presented results collaborative action research study spanish secondary education data collected psychological wellbeing included observations interviews classroom diaries assessments questionnaires video audio recordings findings showed group improvisation influenced active student involvement wellbeing students identification music emergence group flow positive emotions including high level motivation musical experiences students roles musicians similarly informal learning small groups music classroom benefit wellbeing leading enhanced selfesteem positive relationships competence optimism hallam et al overall group musicmaking supports children improving social communication skills cooperation teamwork creech et al one strand research focused children perceived risk el sistema programme projects inspired itwhere children experience intensive prolonged engagement orchestral communityfacilitate prosocial behaviour psychological physical wellbeing students evaluations individual programmes report strengthening childrens sense individual group identity causing children take pride accomplishments enhancing determination persistence making children better able cope anger express emotions effectively children value participation social activity way enjoy music others strengthen friendships peers work teams acquire musical skills creech et al research focused children marginalised risk instance cain colleagues carried review impact participatory music programmes aimed promote positive mental physical health wellbeing outcomes young people culturally linguistically diverse communities majority music participation programmes targeted toward young people characterised risk positive outcomes including reduction anxiety depression emotional alienation truancy aggression participants showed increase attendance power music school enhanced selfesteem cultural empathy confidence personal empowerment healthier nutrition similarly brown colleagues investigated influence arts cortisol levels economically disadvantaged children three hundred ten children aged three five years old attended head start preschool randomly assigned participate different schedules arts homeroom classes different days week cortisol sampled morning baseline arts homeroom classes two different days start middle end year music dance visual arts grouped separately findings showed cortisol lower arts versus homeroom class middle end year start year similar project professional musicians worked schoolaged children ward et al showed interviews teachers musicians parents observations pupils experiencing socioeconomic deprivation enjoyed benefits fellowship groupbased music activities previously shy pupils began contribute class anxious children overcame fear performing stage teachers commented project developed pupils selfconfidence one strand research focused childrens wellbeing terms role music play improving overt behaviour instance fasano colleagues explored whether short orchestral music training could reduce impulsive behaviour one hundred thirteen italian children aged eight ten years age participated fiftyfive attended three months orchestral training included two hour lesson week school final concert children control group orchestral training children assessed relation inhibitory control hyperactivity beginning end threemonth training period children music group showed significant improvement inhibitory control control group showed increase selfreported hyperactivity suggests even intense brief period orchestral training facilitate development inhibitory control modulating levels selfreported hyperactivity largescale communitybased music programmes children exposed violence also found improve selfcontrol reduce behavioural difficulties instance alem\u00e1n colleagues assessed effects el sistema music psychological wellbeing programme childrens developmental functioning context high rates exposure violence programme emphasised social interactions group instruction performance research conducted music centres included children aged six fourteen years old half admitted programme earlier remainder data collected end programme indicated improved selfcontrol reduced behavioural problems particularly case children less educated mothers boys especially exposed violence overall programme improved selfcontrol reduced behavioural difficulties english colleagues explored viability effects sixweek digitally based music outreach programme using garageband children small rural town experiencing difficulties upperprimary lowersecondaryschool years focus groups observations daily notes showed significant positive impact teachers children involved similarly chaofern\u00e1ndez colleagues analysed benefits music therapy six students disruptive behaviours series activities designed based use music video game musichao significant improvements development self motivation selfawareness selfcontrol social skills ye colleagues undertook meta analysis including ten studies effect musicbased interventions aggressive behaviour children adolescents significant decrease aggressive behaviour significant increase selfcontrol musicbased intervention group compared control group research focused children experiencing internalised problems south korea kim investigated effects communitybased group music therapy children aged seven twelve exposed ongoing child maltreatment poverty fourteen children experienced music therapy twelve acted controls music therapy group received twelve consecutive group music therapy sessions week whereas control children opportunities teacher child reports assessed behavioural change showed children music therapy group less depressed anxious withdrawn fewer attention problems acting controls power music new zealand since earthquakes staff learners waitakiri school participated daily singing specifically promote wellbeing facilitation singing involved pressure rather democratic participatory conditions teachers avoiding judging learners progress achievement focus together fun although teachers lacked confidence leading singing focus fun learners still developed key competencies learned musical concepts rickson colleagues england chernaik reported impact wellbeing primaryschool children aged eight ten years old exposed live music provided professional classical musicians period school year project began six classroom workshops school progressed chamber orchestra workshop groups three four schools local venue culminated symphony orchestra concert questionnaires completed following concerts showed range positive emotions experienced children including excitement happiness feeling calm relaxed impressed amazed focusing exclusively extracurricular group percussion activities burnard dragovic analysed data rehearsals semistructured interviews teachers pupils reflective diary entries findings showed potential activities enhance pupil wellbeing empowering enhancing support decisionmaking croom reviewed studies engagement music within perma framework support claim music practice participation could positively contribute living flourishing life positively influencing emotions engagement relationships meaning accomplishment similarly lee colleagues identified case studies described successful music programmes schools australia content case studies aligned five categories perma wellbeing model findings showed relationship element model frequently mentioned collaboration partnership students teachers staff schools local people community including parents local entrepreneurs musicians repeatedly identified highly significant contributing factor success music programmes overall findings indicated tailored psychological wellbeing music relationshipcentred music programmes schools increased skills abilities students also improved psychosocial wellbeing community music wellbeing adolescents young people great deal research carried reference music adolescence saw earlier music plays important role teenagers lives bonnevilleroussy et al bosacki oneill greasley lamont age groups music seems important young people christenson et al christenson roberts gabrielsson lindstr\u00f6m wik roe zillmann gan musicas engaged leisure time contributes individual defines hargreaves et al hense mcferran north hargreaves seen represent personality used impression management well judge characteristics others krause hargreaves digital world achieved controlling music shared others uploaded personal collections voida et al engaging social comparisons adolescents able portray peer groups positively groups network thus able sustain positive self evaluations music facilitates process tarrant et al tarrant colleagues investigated english male adolescents aged years olds perceptions ingroup outgroup participants reported greater liking ingroup associated positively stereotyped music compared outgroup ingroup viewed fun masculine sporty less boring snobbish weird participants lower levels selfesteem showed greater differentiation groups greater derogation outgroup van zalk colleagues examined role similarity music preferences formation discontinuation friendships oneyear period questionnaire data gathered dutch sex mutual best friends almost years age findings showed consistent evidence high similarity specific music dimensions among friends beginning end year moderate similarity found overall patterning preferences power music music genres points time even controlling similarity social background specific music similarity nonmainstream music dimensions overall music similarity beginning related selecting new friend end time period however similarity music preferences related discontinuation existing friendships similarity music preferences seemed related friendship formation discontinuation music plays role developing retaining sense agency saarikallio seeking exploring sense agency music particularly relevant young people also experiencing reduction ability control actions environment due illness challenging personal situations magee et al sense agency important socialemotional health supported musical engagement saarikallio saarikallio baltazar evaluating impact short music intervention adolescents mcferran colleagues observed sense agency key participation young people reported increased awareness could utilise music reduce distress promote development similarly saarikallio colleagues collected selfreports personal music listening impact agency adolescents average age received musical training general increase agency time fluctuations determined specific contextual factors instance change environment changes moods reasons listening music elvers developed framework suggested increases feelings power control related enhanced selfesteem could induced musical experiences promoted positive affect empathy pleasure social cohesion similarly music students wellbeing found improve teachers adopt autonomysupporting strategies bonneville roussy et al emotional use music may differ according type musical activity since adolescents reasons listening playing shown quite similar one another north et al saarikallio erkkil\u00e4 study adolescents divided two age groups tolfree hallam psychological wellbeing established four main themes emerging data music relation emotions moods strongest older girls used music express anger stating provided means acceptable rebelliousness angry parents others family playing instrument used relation managing emotions indeed people age listening preferred activity regulating moods mainly music readily available modern world lincoln explored dynamic relationship young people bedroom space music using concept zoning established music used teenagers spontaneously create particular atmospheres bedrooms depended age mood time day concurrent activities occupants space instance friends siblings music blurred boundaries public private space music played high volume spilled bedroom zone rooms house music also used prequel sequel facilitating getting ready nights setting right tone atmosphere teenagers report listening music pass time alleviate boredom relieve tension distract worries music seen source support feeling troubled lonely acting mood regulator helping maintain sense belonging community schwartz fouts zillman gan music fosters ability cope challenges face including positive relationships peers papinczak et al selfhout et al ter bogt et al managing emotions mcferran saarikallio saarikallio erkkil\u00e4 developing selfdetermination laiho suggested music plays important part developments important adolescents lives laiho miranda schwartz fouts saarikallio argued music adolescents world playground kingdom express discover make choices studying young adults gupta kumar examined effects listening instrumental music day period showed music listening significantly increased resilience selfefficacy optimism meaning life psychosocial flourishing concluded power music music potential generating positive schemas could enhance wellbeing serve buffer increasing negativity modern world even quite young adolescents use music manage moods instance behne carried longitudinal study adolescents aged years old identified nine listening styles including compensating concentrated emotional distancing vegetative sentimental associative stimulative diffused ages pronounced listening style compensating demonstrating even young adolescents know use music mood regulation general different strategies coping emotions acquired age seiffgekrenke mullis chapman series studies saarikallio colleagues saarikallio saarikallio erkkil\u00e4 developed theoretical model consisting seven regulatory strategies relating music entertainment revival strong sensation diversion discharge mental work solace surveyed adolescents boys girls average age strategies used often boys girls age groups entertainment revival strong sensation overall girls used music mood regulation boys use music mood regulation increased age sexes change occurred later boys singing playing instrument hobby valuing music listening positively related using music regulate mood composing songs also led increased regulatory use music family member sang played instrument listening alone chosen half respondents age groups influencer mood ways music used regulate mood involved elements adolescents often conscious daily engagement music saarikallio saarikallio erkkil\u00e4 ongoing cognitive development increased ability abstract comprehension may help older adolescents conscious use music regulate mood saarikallio colleagues studied adolescents average age listened selfselected relaxation music minutes laboratory home provided written descriptions experience three major strategiesprocessing distraction inductionand two mechanisms musical mental psychological wellbeing identified processing supported mechanisms distraction induction supported predominantly music change negative positive mood generally realised musical distraction induction positive emotion supported strategies mechanisms later study baltazar saarikallio studied participants identified six contrasting strategic uses music cognitive work entertainment affective work distraction revival focus situation clear associations strategies mechanisms emerged laying foundations model integrated regulatory strategies mechanisms intrinsic interrelated components behaviour baltazar experimental study baltazar colleagues manipulated benefits music strategy use reducing stress overall music greater impact shortterm outcomes selfregulation comparison strategy use suggesting successful affective regulation depends adequacy chosen strategies music music key short term increasing body research indicated listening music different purposes outcomes instance mcferran colleagues reported investigation examining australian adolescents reported perceived changes mood listening selfselected music reported using music improve mood particularly initial state already positive however feeling sad stressed reported worsening mood young people distressed tended prefer listening heavy metal music report negative effects mood genre concluded interpreting findings complex overly simplistic interpretations needed avoided miranda two reviews proposed music could protective factor risk factor relation coping adolescence mcferran saarikallio explored australians aged years old beliefs held power music support challenging times asked recall times music supported times unhelpful considered young peoples beliefs positive consequences music strong even though mental health power music problems always case miranda gaudreau considered emotional reactions following listening music depending different levels emotional wellbeing also relationships social congruence music tastes friends parents emotional wellbeing three hundred sixteen adolescents mean age years old participated three profiles identified emotionally negative limited positive listeners related emotional wellbeing social congruence musical tastes friends parents also exploring differences individuals gibson colleagues divided highschool students high low loneliness groups relation romantic deprivation rated enjoyment lovelamenting lovecelebrating videos popular romantic music loneliness proved inconsequential enjoyment lovelamenting songs although highly lonely males enjoyed lovecelebrating songs markedly less less lonely males contrast highly lonely females enjoyed lovecelebrating songs less lonely females effects listening music positive adolescents may use music distraction avoid thinking problems saarikallio erkkil\u00e4 negative impact psychological adjustment hutchinson et al listening music explores negative themesfor instance distress suicide deathcan increase depressive symptoms suicidal thoughts martin et al scheel westefeld negative outcomes exacerbated interactions likeminded peers music subcultures instance stewart colleagues studied seven australian young people tendency towards depression exploring listening habits level awareness impact musiclistening mood wellbeing findings showed music positive effect mood also intensify negative moods suggested relationship intentions outcomes mediated differing levels selfawareness insight mood regulation processes occur listening music musical subcultures goth emo focused music dark depressing themes blame suicides laid door music young et al australia music therapy carried eight psychological wellbeing weeks compared selfdirected musiclistening group students selfreported unhealthy music use differences outcomes groups showed small improvements time although younger participants benefited therapy older participants selfdirected listening gold et al specific aspects music listening impact wellbeing smallscale study papinczak colleagues analysed transcripts focus groups participants aged years old four ways listening music linked wellbeing revealed relationshipbuilding modifying emotions modifying cognition emotional immersion followup questionnaire study young people showed musiclistening significantly related directly related wellbeing ter bogt colleagues studied whether adolescents young adults used music agent consolation dealing sorrow stress whether music lyrics experiences closeness artists fans experienced comforting overall respondents aged years old responded items assessing listening hours importance music music preferences positive negative effects elicited music internalised externalised problems consolation music slightly percent respondents reported used music source consolation particularly females higher levels anxiety depression musics consoling effects reported resulting mainly sound texture music attribution personal meaning lyrics lesser extent perceptions closeness artists listeners young people western world spend great deal time listening music less research globally miranda colleagues focusing cultural differences argued music meaningful similar different ways adolescents living diverse sociocultural contexts local global cultures mix hybridise larson et al boer colleagues boer fischer boer et al proposed two overarching dimensions music contemplative affective dimension individual dimension intrapersonal interpersonal social dimension collectivism adolescents collectivist societies used music convey cultural identity individualistic societies research six power music countries germany kenya mexico new zealand philippines turkey revealed ten functions listening music late adolescence background focused listening venting related emotions dancing related friendship family politics values cultural identity boer et al research seven countries revealed seven functions music background memories music music diversion emotional experiences music selfregulation music music reflection self social bonding boer fischer actively making music addition listening music actively making music impact wellbeing young people instance netherlands uhlig colleagues worked adolescents schools showed engaging rap singing music therapy six times week four months led enhanced psychological wellbeing self esteem emotion regulation evaluating similar rap sing music therapy adolescents uhlig colleagues showed range benefits sleep compared control group north east england mogrowilson tredinnick evaluated use visual arts music teenagers programme designed enhance social emotional skillbuilding programme successful meeting aims demonstrated art music could become powerful presence lives young people underlying complexity relationship music wellbeing leung cheung used processoriented approach establish association listening music playing musical instrument musical training adolescents wellbeing one thousand three hundred eighteen chinese adolescents years age secondary schools hong kong completed questionnaires awareness emotions emotions found mediate musical training wellbeing positive negative emotions also mediated listening music wellbeing although playing instrument associated emotional awareness positive negative emotions wellbeing findings reinforce problems making direct links music psychological wellbeing wellbeing similarly clarke basillo investigated role performing arts secondaryschool pupils demonstrated opportunities playfulness developing interpersonal relationships afforded activities predicted students wellbeing importance musical context impacting wellbeing emerged research baker colleagues studied artist led group songwriting programme young people found contextual factors helped shape songwriting environment young people felt safe fun pushed boundaries direct honest feedback high energy rituals emphasis artistic excellence anthony colleagues studying implementation music education programme young people remote aboriginal communities found informal learning frameworks incorporated musicmaking shared educators community members provided constructive ways engaging young people empowering management health wellbeing similarly research nigeria ojukwu suggested active engagement music could promote positive youth development working atrisk students van rooyen dos santos studied experiences teenagers childrens home participated choir south africa sixteen weekly choir sessions held included variety interactive vocal techniques performance marked end process songs selected teenagers performed qualitative data collected semistructured individual interviews end process findings showed participation choir offered teenagers meaningful intra interpersonal experiences intrapersonal level participants discovered musical voices increased self awareness selfesteem selfconfidence able express regulate emotions terms interpersonal experiences teenagers experienced growth relationships improved social skills greater connection broader community also working atrisk young people wilson macdonald reported ten week group music programme young scottish adults learning difficulties participants enjoyed programme participation generally maintained benefits evidenced increased social power music engagement interaction communication saw chapter young people disaffected reengaged education music also enhance wellbeing lookedafter children criminal justice system one strand research focused young people presenting issues academic work instance sharma jagdev studied adolescents low selfesteem high academic stress engaged music therapy period days reduced anxiety enhanced selfesteem similarly schiltz studied highly gifted adolescents suffering school failure engaged integrated form musical verbal psychotherapy musical improvisation storywriting production drawings music followed verbal elaboration participants showed significant increase concentration capacity imaginary symbolic elaboration pictorial literary creativity selfesteem quality coping strategies significant decrease defensive functioning embitterment resignation music therapy clearly beneficial circumstances research focused extracurricular school activities instance participating school production shown promote friendship groups support musical personal social development pitts kinnunen colleagues focused social sustainability music events adolescents lives perceptions words described live music experiences web survey adolescents aged years old demonstrated cultural content per se meaningful social networks events bonding bridging well sense community produced range benefits wellbeing similarly thematic analysis caleon including studies aimed fostering wellbeing adolescents identified musicbased activities acted catalysts relationshipbuilding means selfexpression selfregulation resource selftransformation considering heritage related music project clennon boehm examined creative activities embedded community could serve enhance cohesion wellbeing community work youth groups review zarobe bungay concluded participating arts psychological wellbeing activities could positive effect wellbeing enhancing selfconfidence selfesteem relationshipbuilding sense belonging music wellbeing adults people adulthood characterised relative stability increase independence responsibility although transitions relation choices concerning work family levinson levinson et al ageing retirement bring new challenges including acceptance decline physical psychological abilities loss loved ones attempting maintain control life sustain interest motivation atchley erikson general older people report fewer negative emotional experiences gross et al retain ability regulate emotions alongside desire derive emotional meaning lives carstensen et al relation music sloboda colleagues shown musics functions everyday lives adults related memories moods emotions similarly greasley lamont reported adults use music included stress personal choices using music emotional selfregulation reflection internal experiences memories van goethem showed emotions typically regulated music happiness calmness saarikallio undertook qualitative study participants aged years old revealed various regulatory goals strategies similar throughout adulthood also changes related age particular events retirement transition participants used music generate maintain happy moods pleasure enjoyment moods enhanced listening loud music singing along starting play instrument even dancing addition using music leisure activity used accompany kinds activities relax working day also energise prepare activity individuals actively engaged making music effects greater greasley lamont adult life many competing demands affect participation continuation power music musicmaking personal determination circumstances key understanding pitts robinson largescale study sweden bygren colleagues studied individuals aged years old percent interviewed trained nonmedical interviewers cultural activities eight confounding variablesage sex education level income longterm disease social networks smoking physical exercisewere controlled influenced survival expected direction except social networks men taking account research revealed influence mortality people rarely attended events compared attending frequently another largescale population study cuypers colleagues analysed association cultural activity perceived health anxiety depression life satisfaction based data third nordtr\u00f8ndelag health study included adult participants findings showed participation receptive creative cultural activities significantly associated good health positive satisfaction life low anxiety depression scores especially men attending receptive rather creative cultural activities similarly w\u0119ziakbia\u0142owolska bia\u0142owolski investigated causative impact attendance cultural events self reported physical health polish population four waves biennial longitudinal polish household panel study representative polish population aged used findings confirmed positive association cultural attendance selfreported health although possible establish causal link another largescale study weinberg joseph explored connection habitual music engagement subjective wellbeing data gathered part st survey australian unity wellbeing index provide insight relationship music engagement wellbeing sample participants interviewed telephone findings revealed engaging music dancing attending musical events associated higher wellbeing comparison engage music findings also emphasised importance engaging music company others regard wellbeing thus highlighting interpersonal features musicmaking psychological wellbeing uk tymoszuk colleagues explored trends participatory receptive engagement broad range arts adults percent respondents reported engagement arts activities reading listening music popular activities arts engagement grouped three distinct clusters almost percent constituted low engagers whose main source engagement occasional reading percent constituted receptive consumers read listened music frequently engaged popular receptive arts activities going cinema live music theatre exhibitions museums almost percent constituted cultural omnivores frequently engaged almost arts activities greater engagement arts associated higher levels wellbeing social connectedness lower possibility intense social loneliness although positive association greater arts engagement depression intense emotional loneliness highly engaged omnivores participation musical activities pitts found musical participation potential source confirmation confidence providing opportunities demonstrate existing skills acquire new ones music also give structure life offer opportunities perform others develop friendships engage social interaction get relief family work pressures provide spiritual fulfilment pleasure promote prosocial behaviour leading feelings belonging social adjustment trust cooperation anshel kipper odena people range different backgrounds experience benefits emotional physical wellbeing making music developing increased sense selfworth enhanced social skills wider social networks judd pooley lamont ranaweera compared happiness wellbeing adults involved knitting making music eight hundred thirtyfive amateur knitters amateur musicians completed measure happiness questions past current involvement knitters scored significantly higher happiness musicians although differences found relation subjective wellbeing older participants scored power music highly wellbeing measures effect time participating activity despite differences activities participants experienced broadly similar physical psychological social benefits australia krause colleagues administered questionnaire residents aged years old participating musical activity time importance music individuals lives positively related perceived wellbeing including competency relatedness autonomous motivation social cognitive esteem dimensions wellbeing findings particularly strong female participants overall positive associations musical activity psychosocial wellbeing saw earlier chapters positive outcomes reported music interventions adult offenders eastburn digard et al henley et al studies participants enhanced communication social skills increased confidence better able reflect situation believed could change attain goals overall wellbeing enhanced benefits participating music also stressful pitts studied membership leisuretime music groups online survey participants groups many benefits wellbeing member groups pressures groups struggled maintain survival face dwindling membership lack funding also negative impact wellbeing music career potential career instance college students amateur musicians joint swissuk study assessed relation wellbeing quality life general health philippe et al scores high general measures quality life groups environment social relationships physical health psychological health differences groups musicians emerged terms overall quality life general health well physical health dimension college music students scored lower amateur musicians although college music students scored higher amateurs social relationships music making offer healthprotective effects may case among aspiring become professional musicians similarly macritchie garrido studied professional amateur psychological wellbeing orchestral musicians using questionnaires interviews found intellectual stimulation high groups balance perceived challenge effort reward musical tasks emotional engagement increased age amateur players decreased professionals overall social engagement high players reporting feeling connected group whilst making music research considered flow experiences musical participation relationship wellbeing instance baker macdonald studied flow nonmusicmajor university students retirees sense self achievement identity satisfaction ownership creation personally meaningful songs strong experiences flow songcreation compared sporting activities dancing yoga performing music habe colleagues studied elite musicians top athletes early twenties found flow often experienced group individual performance settings life satisfaction positively related flow particularly challenge versusskill balance attendance music festivals music festivals offer unique opportunities engagement music excitement physical proximity performers social interaction attendees music contribute experience oakes paleo wijnberg pitts engagement music festival context contribute creation sense community provides opportunities engage social activities frith gibson connell also contributes development identity karlsen br\u00e4ndstr\u00f6m matheson although negative outcomes risks relating use alcohol drugs overcrowding mob behaviour public health issues earl et al pitts investigated audience experiences chamber music festival showed social musical enjoyment interacted generate commitment sense involvement event similarly burland pitts studied roles music played lives jazz audiences edinburgh power music festival analysis largescale survey indepth interviews revealed sense community atmosphere within audience members valued opportunity amongst likeminded jazz enthusiasts similarly pitts burland drew evidence nearly jazz listeners surveyed edinburgh jazz blues festival spin jazz club oxford questionnaires diaries interviews used understand experiences listening wide range audience members findings illustrated listening live jazz strongly social element whereby listeners derived pleasure attending others meeting likeminded enthusiasts audience welcomed opportunities conversation relaxation within venues helped facilitate within social context live listening audience members intense sometimes draining experience others offered source relaxation absorption opportunity focus good playing preferred repertoire overall live listening constituted individual social act varied listeners venues occasions packer ballantyne established sense connection participants separation everyday life distinguished festivals musical experiences providing sense disconnection prompted festival attendees reflect lives understanding reported benefits terms enhanced interpersonal relationships greater sense belonging valued deeper understanding self emotions enhanced selfperceptions confidence mastery purpose life greater sense agency better strategies coping stress sense making contribution hopeful benefits reflect reported engaged making music strong experiences music commonly occur live settings gabrielsson lamont experiences enhanced performers appear enjoying experience interact audience brand et al pitts burland pitts spencer radbourne et al physical proximity performers audience support brand et al quality experience influenced interactions audience members performers transform experience passive active dobson sloboda technology psychological wellbeing enabled communities fans upload set lists photos online forums also use twitter helps nonattending fans feel involved bennett music wellbeing older generation across world life expectancy increasing growing numbers older people many live alone vulnerable experiencing depression recent years increase research role music lives older generation overall music becomes important elderly gembris laukka participation wide range musical activities provides source enhanced social inclusion enjoyment personal development empowerment supporting group identity collaborative learning friendship social support sense belonging enhanced wellbeing access new social roles relationships allison coffman coffman adamek langston sixsmith gibson wood clear older people gain cognitive emotional social benefits learning play musical instrument range different learning environments drummond veblen even short periods time bugos et al musicmaking contributes psychological wellbeing alleviate loneliness offer support coping challenges ageing providing opportunities musical progression enjoyment thus adding meaning life forssen lehmberg fung saarikallio provide contentment satisfaction feelings peace reduce anxiety depression reduce decline wellbeing often experienced older generation foster positive moods emotions lally livesey et al sandgren number largescale studies examining relationship wellbeing musical activity older people instance jenkins derived data english longitudinal study ageinga largescale nationally representative survey aged contains several wellbeing measures information three types learning formal courses musicartsevening classes gymexercise classes key finding research music arts evening classes significantly associated power music positive changes wellbeing similar relationship formal courses gym exercise classes wellbeing recently also using english longitudinal study ageing fancourt steptoe analysed data adults aged tenyear period explore whether membership different kinds community groups associated wellbeing membership education arts music classes longitudinally associated lower negative affect life satisfaction slightly different positive outcomes associated membership religious groups tenday diary study people aged years old music hobby koehler neubauer showed need satisfaction positive affect higher participants reported musicmaking satisfaction basic psychological needs seemed act mediating mechanism musical activities wellbeing since considerable body research demonstrated relationship actively making music subjective wellbeing lehmberg fung adults participate active music making report provides valued worthwhile experiences older age provide structure purpose daily living enhancing motivation providing meaning life hallam et al reduce depression promote positive emotions emotional regulation provide spiritual experiences creech et al dingle et al working older generation leading musicmaking recognised older generation homogenous group even consider novice musicians bring musical activities mixture skills preferences cultural backgrounds may reduced capacity areas musical groups rich knowledge base considerable experience motivation dabback smith older people tend independent learners want control learning although extent applies musical activities varies across groups nature activities group dynamics important frequently key sustaining motivation veblen internationally music educators increasingly recognising social aspects musicmaking important older adults krause davidson needs change pedagogy based expertise training pedagogy promoting cultural connectedness sharing psychological wellbeing exploring range issues hays minichiello carried interviews older australians determine role music lives participants involved music much time instance listening music actively making music volunteering including working community radio broadcasters programmers music administration concert development teaching listening performing composing enabled expression individuality ways defining listening specific pieces music led recall events experiences life along emotions associated music provided way maintain positive selfesteem feel competent independent avoid feelings isolation loneliness distracted health problems feel uplifted physically psychologically feel rejuvenated used music accompaniment daily activities reported music helped feel competent motivated faced challenging tasks music provided support distraction reduced anxiety stress levels increased threshold pain endurance indicated music provided inner happiness contentment peace therapeutic made feel positive life well cheerful hopeful contented relaxed peaceful moved tears music listened sheer joy beauty experience music able calm excite thrill entertain ways things able became addictive way escaping reality stimulating imagination sense beauty spiritual effect associated specific religious beliefs others personal feeling one world music provided many benefits contributed wellbeing similarly participants music life project reported engaging wide range musical activities questionnaire responses revealed percent reported listening recorded music percent live music percent playing music background completing tasks percent singing home percent practising home played wide range instruments wide range musical preferences creech et al hallam et al laukka sent questionnaire random sample communityliving older power music adults aged years age sweden assess use music everyday life including frequency listening situations music encountered emotional responses music motives listening different facets psychological wellbeing also assessed findings showed listening music common leisure activity frequent source positive emotions participants reported using variety listening strategies related emotional functions including pleasure moodregulation relaxation well issues identity belonging agency although health status personality important predictors wellbeing listening strategies significantly associated psychological wellbeing one strand research considered role choral singing promoting wellbeing older people instance lamont colleagues reported case study older peoples choir fouryear period using interviews focus groups observations participatory discussion choir members highlighted individual interpersonal benefits part choir particularly emphasised importance developing social relationships within supportive community although musical achievement also central ongoing development choir five main themes emerged data personal investment reward inclusive community always evolving yet fundamentally unchanged environment desire connect leadership organisation considering reference seligmans perma framework positive psychology apparent social relationships meaning accomplishment particularly important reasons older people finding singing community choir beneficial wellbeing tasmania langston barrett explored social capital manifested community choir interviews choir members revealed choir provided shared norms values trust civic community involvement networks knowledge resources contact families friends fellowship identified key component fostering group cohesion social capital development similarly england coulton colleagues evaluated effectiveness communitygroupsinging population older people aged years old either participated singing activities three months significant differences observed relation psychological wellbeing mental health components quality life anxiety depression six months significant differences observed mental health favour groupsinging similarly fung lehmberg found positive impact quality life people retirement community sang together joining group singing activities new musical hobby later life provide mental physical stimulation positive benefits mood increased social interactions davidson colleagues developed evaluated eightweek singing programme participants aged years older little impact health wellbeing although quality programme facilitators important factor programme experienced pearce colleagues followed newlyformed singing nonsinging crafts creative writing adult education classes seven months participants rated closeness group affect given proxy measure endorphin release classes three timepoints one three seven months findings showed although singers nonsingers felt equally connected timepoint three singers experienced much faster bonding form significantly greater increase closeness timepoint one seems singing icebreaker effect promoting fast social cohesion unfamiliar individuals single case study southcott focused small choir happy wanderers formed group older people perform residents care facilities sufferers dementia participation group enhanced lives members audiences costa ockelford specifically considered impact music audiences evaluated programme regular concerts teas older people interview findings showed concerts effective evoking positive emotions including happiness relaxation inspiration awe gratitude whilst negative emotions anxiety worry lessened responses enhanced interaction performers audience high standard performance appropriate repertoire opportunity social contact interaction relieved loneliness contributed participants enjoyment series studies uk creech colleagues hallam colleagues hallam creech varvarigou power music colleagues researched relationship active musicmaking subjective wellbeing older peoples lives research comprised three uk casestudy sites offering wide variety musical activities including singing ensemble participation song composition site sample people aged total recently begun musical activities others experienced recruited complete questionnaires assessed quality life control group completed measures indepth interviews carried representative sample followed observations musical activities focus groups interviews music facilitators comparisons made older people participating wide range musical activities relation questionnaire responses psychological needs well participating musical activities third fourth age groups factors emerged analysis data purpose positive outlook life autonomy control social affirmation positive social relationships competence sense recognised accomplishment participating music activities responded positively engaged activities also deterioration responses music groups third fourth age groups might expected exception purpose life interviews revealed cognitive benefits including challenge acquisition new skills sense achievement improvements concentration memory health benefits included increased vitality improved mental health mobility feelings rejuvenation emotional benefits included protection stress depression support following bereavement sense purpose positive feelings confidence opportunities creativity considerable evidence older adults experience myriad psychosocial benefits learning play musical instrument even starting play novices receiving training relatively shortterm periods jutras roulston et al older adults frequently cite ensemble nature musical activities motivating factor continuing engagement learning play instrument roulston et al social aspects ensembles offer wellbeing benefits development new relationships psychological wellbeing decreasing isolation singing playing seem important elderly enhance emotional selfregulation emotional expression relaxation help reduce loneliness provide experiences togetherness company belonging help strengthen selfconcept selfunderstanding provide enjoyment beauty challenge meaningful content life focusing learning keyboard guitar recorder djembe drumstaught individually small groupsor creative musical activities tenweek period individuals age little prior musical experience perkins williamon concluded engaging activities offered significant wellbeing benefits particularly enhancing behaviours promoted good health interviews subgroup participants revealed engaging musical activities enhanced wellbeing subjective experiences pleasure enhanced social interactions musically nuanced engagement daytoday life fulfilment musical ambition ability make music selfsatisfaction making musical progress learning play musical instrument may also effective improving fine motor skills sensorimotor function generally declines age performance upper limbs visuomotor tasks also subject decrease tasks required musical instrument trainingemploying sensory motor multimodal brain regions shown stimulate brain plasticity see chapter altenmuller schlaug rogenmoser et al pianoplaying particular trains coupled movements across fingers individuated finger movement furuya altenmuller unclear type training useful maintenance improvement context ageing preservation domaingeneral fine motor skills may also benefit healthy older adults supporting maintenance skills required numerous daily tasks involved independent living series studies bugos colleagues bugos kochar demonstrated healthy older adults experienced significant improvements cognitive measures particularly trail making tasks digitspan tests result piano training programmes also showed intense piano training healthy communitydwelling adults aged years old enhanced musical selfefficacy although general selfefficacy cortisol levels power music bugos cooper examined effects music interventions bimanual coordination cognitive performance healthy older adults aged years old one hundred thirtyfive participants completed motor measures battery standardised cognitive measures week music training programme threehour practice requirement participants allocated either piano fine motor training percussion instruction gross motor training music listening significant enhancements bimanual synchronisation visual scanning working memory abilities fine grossmotor training groups compared listening music piano training significantly improved motor synchronisation skills compared percussion instruction musiclistening reflecting existing research bugos developed model suggesting community music programmes musical training could integrated lead successful ageing similarly seinfeld colleagues showed significant improvement cognitive measures group older adults involved piano training programmes compared leisure activities instance exercise painting thirteen participants received piano lessons undertook daily training four months compared agematched participants acted control group participated types leisure activities physical exercise computer lessons painting lessons significant improvement piano training group relation executive functions inhibitory control divided attention also trend indicating enhancement visual scanning motor ability piano lessons also decreased depression induced positive mood states improved psychological physical quality life overall playing piano learning read music useful intervention older adults promote cognitive reserve improve subjective wellbeing ongoing study james colleagues explored outcomes piano instruction musical listening awareness two sites hannover geneva retired healthy adults aged years old participants receive weekly training one hour month period outcomes assessed relate cognitive perceptual motor aptitudes well structural neuroimaging bloodsampling macritchie colleagues examined effects tenweek piano training programme healthy psychological wellbeing older adult novices cognitive motor skills comparison inactive waitinglist control group fifteen participants completed piano training led music facilitator small groups quantitative data battery cognitive motor tests collected training posttest data control group qualitative data included weekly facilitator observations participant practice diaries individual semistructured postexperiment interview findings demonstrated evidence strong positive impact training trailmaking test indicating improved visuomotor skills moderate evidence negative impact training different section trailmaking test also found suggesting benefit cognitive switching qualitative results revealed group learning environment motivated participants play musical ensembles socialise motivation optimal participants happy chosen repertoire participants reported motivated learning play familiar music facilitator observed groups formed cohesive bonds saw chapter brain plasticity possible adulthood elderly following relatively shortterm musical training herdener et al lappe et al training programmes requiring intensive multisensory cognitive motor activities instance piano lessons improve working memory perceptual motor skills delay agerelated decline speech perception parberyclark et al nonverbal memory executive processes hannapladdy mackay dementia verghese et al supporting comparisons professional amateur nonmusicians rogenmoser colleagues using brain imaging calculate brain age participant found musician positive impact brainage scores musicians general exhibited lower brainage scores nonmusicians suggesting general agedecelerating effect musicmaking brain stronger agedecelerating effect amateur musicians perhaps multisensory motor socioaffective experiences musical activity enriched lives addition activities professional musicians brain plasticity may maladaptive extensively rehearsed highly specialised repetitive sensorimotor activities stressful public performances may result less enriched environment lead negative health effects power music focus research creative activities usually song composition instance waddingtonjones colleagues analysed videorecall interviews questionnaires evaluate impact participation collaborative composition workshops subjective psychological wellbeing older adults analysis revealed dimensions perma framework subjective psychological wellbeing met older adults collaborative composition encouraged social interaction others shared interests increased positive affect enhanced selfesteem allowed older people express similarly baker ballantyne investigated whether group songwriting performing affected perceptions quality life feelings connectedness community retirees thematic analysis data transcripts focus groups written questionnaires participants students involved project indicated programme stimulated enjoyment positively affected emotions improved wellbeing participants experienced enhanced connection one another well others broader community sense accomplishment meaning engagement creating performing songs similar project professional musicians worked small group older people compose individual pieces music habron colleagues demonstrated enhanced wellbeing facilitated control musical materials opportunities creativity development identity validation life experiences social engagement participants professional musicians results emphasised importance occupation essential health wellbeing later stages life creech colleagues focused role creativity promoting wellbeing review articles concluded creativity participatory musicmaking underpinned social engagement collaboration inclusivity opportunities creative expression offered range benefits relating quality life including positive emotions engagement relationships sense meaning accomplishment innovative programme rural ontario designed address social isolation among older people matching participants trained volunteers worked together ten sessions home setting create expressive art may involved psychological wellbeing music evaluating programme using interviews macleod colleagues found enhanced wellbeing older adults volunteers particularly terms relationships personal development creating meaning impact intervention extended beyond programmes duration exclusively musical programme used similar methods dassa analysed interviewers essays documenting meetings interviewer elderly person written four years mutual musicking elicited remote memories childhood adolescence adulthood emotionally impacted parties mutual musicking revealed new unfamiliar facets participants findings suggested creating musical autobiography interview process music reminiscence strengthened older persons sense selfidentity illuminated hidden aspects also changed attitudes toward elderly also studying concept reminiscence kruse explored ways older adults reminisced music participation course lives six community musicians participated interviews worked lifereview tool two hundred twentyfive reminiscences reflected healthy ageing satisfaction including selfacceptance valuable life lessons reconciliation life events although participants troubled strained parental relationships bittersweet associations music research focused broadly musicrelated activities instance dancing focusing depression elderly rummy colleagues carried systematic review articles studies used individual therapy others combined music therapy activities singing dancing lyricwriting time spent varied two weeks six months one two sessions weekly duration minutes concluded music therapy effective reducing depression also studying impact music indirectly dance murrock graor found disadvantaged adult participants completed week dance intervention developed sense belonging group identity may maintained group involvement contributed reducing depression social isolation interest way music technology might support wellbeing older generation instance engelbrecht power music shoemark carried mixedmethod feasibility study investigating acceptability efficacy using ipads compared traditional musical instruments older adults living privately community five women aged years age recruited communitybased dayrespite centre brisbane australia participants randomly assigned either traditional musical instrument ipad group engaged five sessions activity based music therapy participants completed journal entries following session detail experiences assessed levels perceived social isolation global selfesteem intervention use ipads acceptable group learning central sessions differences mood outcomes emotional communications playing ipad resulted greater creativity freedom significant differences social isolation selfesteem groups time ipad traditional instrument interventions developed social cohesion group identity positive selfconcept overall findings showed technology acceptable potentially successful tool use music therapy older people living community creech supported findings literature review intersection music technology ageing papers screened retained ten focused using technology support musicking form listening reflecting interpreting five explored utility technology promoting singing playing instruments three focused music movement overall literature suggested older people even complex needs capable interested using music technologies access create personally meaningful music similarly poscia colleagues reviewed effectiveness existing interventions alleviating loneliness social isolation among older people findings quantitative five qualitative studies suggested new technologies communityengaged arts might able tackle social isolation loneliness among older individuals wellbeing older people important also important consider wellbeing caring considering role carers patients ascenso colleagues studied participants series community drumming programmes psychological wellbeing outcomes assessed semistructured interviews focus groups end programme emotional psychological social dimensions wellbeing emerged patients carers music wellbeing covid pandemic number research projects considered role music offering support people covid pandemic one strand research explored use music families lockdowns instance usa cho ilari studied parents young children used recorded music everyday lives pandemic nineteen mothers children aged months five years strategically managed sonic home environment period one week based resources provided researchers response childrens mood state total episodes collected childrens engagement recorded music findings showed mothers utilised music fulfil various emotional needs tended use maintain reinforce childs positive mood rather improve negative mood mothers reported various ways young children engaged music stated strategic approaches using recorded music seemed help children feel less distressed happy thus reducing stresses parenting similarly usa canada steinberg colleagues utilised online questionnaire assess use music homes young children parents relationship parents attachment child musical activity high parents children parents reported using music emotional regulation socially connect children extent parentchild musical engagement associated attachment overall music may effective tool building maintaining parentchild relationships period uncertainty change brazil ribeiro colleagues explored social distancing covid pandemic altered families musicrelated behaviours children aged three six years old well caregivers levels wellbeing stress one hundred eightyeight caregivers participated online survey showed significant changes families dynamics parents power music especially mothers spent time childcare substantial decrease caregivers wellbeing changes caregivers childrens musical activities home social distancing including increase childonly shared caregiverchild musical activities sociodemographic factors childs disability status significantly influenced musical engagement transhistorical comparison musical activities milanese outbreak plague musical activities observed covid lockdowns including balcony singing playlistmaking chiu discussed music fulfils functions mood regulation social cohesion times pandemic social isolation much evidence internet news outlets important role music communicated social media played supporting people covid pandemic number research projects also undertaken typically use online questionnaires instance granot colleagues administered online questionnaire countries argentina brazil china colombia italy mexico netherlands norway spain uk usa received responses participants rated relevance wellbeing goals pandemic effectiveness different activities obtaining goals enjoyment venting negative emotions selfconnection diversion music effective entertainment second best creating sense togetherness socialisation evident across different countries genders minor effects age specific goals clear effect importance music peoples lives cultural effects generally small occurred mainly use music obtain sense togetherness culture moderated use negativelyvalenced nostalgic music higher levels distress carlson colleagues also used online survey likert scale freetext responses establish participants engaging music first wave pandemic findings showed extent musiclistening behaviours either unaffected increased especially true listening selfselected music watching livestreamed concerts relationship participants use music mood regulation psychological wellbeing musical engagement levels anxiety worry small number participants described negative emotional responses music majority also reported severe levels anxiety spain also using online survey disseminated general population groups musicians martinezcastilla colleagues analysed impact personal contextual factors perceived efficacy musical behaviours fulfilling wellbeingrelated goals lockdown responses received people personal factors impact musics efficacy contextual variables related covid youngest respondents musical training reported highest efficacy music enhancing wellbeing overall musics importance main predictor perceived efficacy people emotionally vulnerable lockdown due either strong impact daily lives lower resilience perceived greater benefits engagement music brazil also using online questionnaire ribeiro colleagues explored music used lockdowns whether helped individuals especially severe depression nearly people aged responded four types musiclistening functions identified negative mood management cognitive functioning positive mood management physical involvement severe depression likely use music functionsin particular manage negative moods respondents used musiclistening cope regulate moods using online questionnaire gibbs egermann explored nature musicinduced nostalgia five hundred seventy participants listened selfselected piece music designed induce nostalgia listened three months prior lockdown reported emotions memories induced significant differences affective narrative content nostalgic musiclistening relation emotional regulation strategy used employing nostalgic music listening form approaching difficult emotions shown positive impact wellbeing italy corvo de caro studied spontaneous singing covid pandemic overall italians spent great deal time lockdown mental wellbeing point view power music difficult adapt internment movement controls lack freedom opportunities meet friends relatives serious impact wellbeing almost immediately first lockdown began silence italian cities broken singing carried various ways places quite recent songs strong emotional impact sung others old songs strongly connected italian culture national anthem chosen balconies windows streets cities animated people ages enjoying moments social cohesion emotional exchange videos made instinctively shared social media individuals showing moments strong union sense loneliness extent forgotten singing networks completely spontaneous showed singing used coping strategy improve sense cohesion songs chosen reflected individuals identities helped avoid feelings loneliness enhance mood two three weeks number people singing reduced revived later music clearly provided means demonstrating social solidarity helped communities time crisis similarly calvo bejarano reported music spain crisis first weekend confinement growing number individuals started play music collective applause express gratitude towards health workers doctors involved professional musicians also many amateurs performances posted social media singalongs balcony balcony classical music duos serenading traditional instruments expressed social message transcended quality music performed set database individuals played sung balconies least twice identified performers places strong regional identities galicia basque country also strong traditions band music valencia also undertook telephone interviews asked confinement people played selection repertoire neighbours reacted many cases performers reacted informal formal petitions sing play close relatives nextdoor neighbours even brass bands orchestras professional association music teachers set online challenge invited music teachers simultaneously play different score day music teachers spoke challenges psychological wellbeing persuasive reason keep playing perhaps fear breaking relationships trust respect peers profession despite differences professional background respondents quoted personal reasons playing balconies talked need provide break tedious life confinement musicking provided children activities gave students reason continue practising local media reported music teacher organised balconytobalcony study sessions txistua traditional instrument popular basque country resembles flutewith students happened live nearby dominant theme emerging data need create bonds neighbours also help others professional musicians saw duty artists cases performers simply wanted something people theme presentation music stress reliever way cope anxiety loneliness pain associated able meet loved ones many musicians started playing march th fathers day spain way express love affection musicking helped celebration birthdays interesting process private rituals became vehicle connect neighbours helping others common expression performers wanted cheer people hospitalised nearby mental health centres remind senior neighbours someone cheer children realisation music potential good transformed meant oneoff act daily routine also spain cabedomas colleagues carried survey use music pandemic total spanish citizens responded findings indicated lockdown respondents perceived increase time devoted musical activities listening singing dancing playing instrument also reported using music cope lockdown finding helped relax escape raise mood keep company findings suggested improvement perception value music personal social wellbeing lockdown although significant differences use perceptions music according respondents personal situations age feelings vulnerability may led conservative uses musical practice moderate perceptions positive values music power music cabedomas colleagues also pointed importance playlists isolation social functions countries entered lockdown spotify reported march th increase collaborative playlistmaking allowed people connect shared music virtual jam sessions together media release spotify also noted users sharing content social networks usual friends followers would know one group songs saw spikes streaming figures used balcony performances recordings circulated widely social media according march th report spotify streams two songs sung italian flash mobs abbracciame azzurro increased percent spain streams song resistir\u00e9 increased percent abbracciame embrace andrea sannino first released since earned gold certification federazione industria musicale italiana copies sold time received million views youtube seven million streams spotify undoubtedly balconysinging immense impact musical culture lockdowns remain many one musical practices indelibly associated period lockdowns participants musical activities flash mobs online ensembles well spectators frequently reported alleviation stress feeling connectedness result musical engagement erica marino participant one earliest balcony flash mobs benevento video went viral early march cozzolino asked messages flooding italy video music making widely shared social media marino reported viewers expressed gratitude perceived message hope positivity viewing social networks contained devastating news balconysinging deep roots italy milanese plague grew deadly public processions came end borromeo relocated ritual inside private homes decreeing church bells across city rung seven times day bell rung litanies supplications sung recited direction bishop performed way one group sang windows doors homes psychological wellbeing another group sang responded turn covid seems revived tradition mak colleagues collected data participants participating uk covid social study university college london investigate engaged arts home lockdown engagement differed patterns arts engagement prior covid whether home based arts engagement related peoples ability cope emotions lockdown demographic factors socioeconomic status psychosocial wellbeing health conditions adverse events worries coping styles considered four types homebased arts engagement identified digital arts writing musical activities crafts reading pleasure strongest predictors engagement age educational attainment social support emotionfocused supportive coping styles younger adults aged nonkey workers people greater social support people lost work worried catching virus emotionfocused problemfocused supportive coping style likely increased arts engagement lockdown arts activities used approach avoidance strategies help cope emotions well help improve selfdevelopment overall findings suggested people engaged arts pandemic typically engaged normal circumstances pandemic created new incentives opportunities others engage virtually research also highlighted value arts coping tools stressful situations research explored online musicmaking developed result lack opportunities live musicmaking pandemic instance macdonald colleagues studied glasgow improvisers orchestras virtual synchronous improvisation sessions interviews participants sessions included international genderbalanced crossgenerational group musicians living conditions social distancing sessions recorded using zoom findings showed sessions provided opportunities artistic development enhanced mood reduced feelings isolation sustained developed community improvisation facilitated interaction also allowed technological affordances software hardware become part power music artistic collaboration domestic environment merged technology create authors described theatre home similarly daffern colleagues studied virtual choirs uk online survey choir members facilitators findings showed three virtual choir models employed multitrack whereby individuals recorded solo mixed choral soundtrack livestreamed individuals took part sessions streamed live social media live teleconferencing spoken interaction singing using teleconferencing software responses open questions revealed several issues including practicalities participation continuation choir responsibility maintaining choir choir contributed sense wellbeing social aspects reflecting sense community social identity musical elements also reported particularly value musical experience changed virtual models possibility cocreation singing also sense loss singing together real time sacred harp singers world gather weekly sing collection shapenote songs first published sacred harp morganellis tradition highly ritualised plays important role lives participants lockdowns implemented groups sacred harp singers independently devised variety means could sing together online using zoom zinging jamulus jamzinging facebook live stringing developments undertaken rapidly creatively indicating importance participants attached singing twentytwo interviews conducted participants revealed online singing practices reshaped sacred harp community many singers previously opportunity participate others lost access geographical barriers disintegrated singing organisers find ways maintain local identity online community singers digital realm stable identical community predated pandemic online singing meaningful participants provided continuity personal communal practice allowed participants access celebrate collective memories sacred harp community carry significant rituals continue grow singers single modality replicated complete sacred psychological wellbeing harp singing experience allowed individual participants access many aspects meaningful also focusing communal singing dowson colleagues studied impact pandemic existing dementia singing groups choirs examples online musical activities identified sessions adapted limitations technology rather technological difficulties overcome accessibility digital safety wellbeing participants important considerations overall pandemic prompted innovative approaches delivering activities interventions people dementia carers adapted rapidly changes online music met clear need social connection cognitive stimulation also offered advantages remain even covid restrictions relaxed crosssectional survey adults participated instrumental singing dance groups draper dingle explored impact facetoface versus virtual musicmaking pandemic participants rated extent group identification extent psychological need satisfaction met retrospectively music group facetoface mode adapted online mode along mental health findings showed instrumental groups less commonly adapted virtual mode singing dance groups group identification average psychological need satisfaction scores significantly lower groups virtual mode facetoface mode however group identification psychological need satisfaction remained high suggests virtual music groups may beneficial facetoface musicmaking possible concerts recorded rather live pandemic belfi colleagues investigated differences aesthetic judgments live opposed recorded concerts whether responses varied based congruence musical artist piece thirtytwo individuals made continuous ratings pleasure experienced live concert viewing audiovisual recorded version concert given university band united states army band band played two pieces united states patriotic composition non patriotic one findings showed average participants reported pleasure power music listening pieces congruent band playing patriotic army band non patriotic university band findings change whether performance live recorded seems virtual concerts reasonable way elicit pleasure audiences live performances possible focusing use collaborative playlists pandemic harris cross developed experimental procedure study whether perceived presence partner playlistmaking could elicit observable correlates social processing preliminary findings suggested younger individuals social processes involved joint musicmaking elicited even assumption virtual copresence one strand research focused way undergraduates used music pandemic hurwitz krumhansi discussed concept listeningniche referrals contexts people listen music including music listening media investigated undergraduate students musiclistening niches initial covid lockdown period four weeks immediately campus shut returning hybrid semester participants provided list frequently listened songs identified one seemed associated time period relevant three clusters themes emerged data emotional responses memory associations discovery new music overall pandemic led frequent listening general spotify differences lockdown new normal listening companions shifted family members significant others finally friends roommates overall implementation strategies manage covid increased listening changed context vidas colleagues surveyed firstyear australian university students domestic international examine effectiveness musiclistening covid songs participants asked nominate helping cope pandemic stress tended negative mood listening music among effective coping strategies effective exercise sleep changing location effectiveness related enhanced wellbeing psychological wellbeing specifically level stress caused pandemic international students experienced higher pandemic stress levels similar levels wellbeing domestic students overall listening music remained effective strategy maintaining wellbeing also australia krause colleagues assessed students media use throughout early stages covid pandemic determined whether media use related changes life satisfaction one hundred twentyseven participants asked complete online questionnaires capturing pre duringpandemic experiences findings indicated media use varied substantially throughout study period withinperson level life satisfaction positively associated listening music negatively watching tv videos movies findings highlighted potential benefits listening music periods social isolation impact pandemic music professionals strand research focused ways musicians coped pandemic instance onderdijk colleagues collected responses musicians belgium netherlands findings showed decrease percent live musicmaking social settings lockdown increase percent online joint musicmaking respondents depending musicmaking main source income explored online methods significantly relying income sources respondents largely even completely unaccustomed using specialised platforms online joint musicmaking mainly used video conferencing platforms zoom skype playing together virtually often employed synchronised playing generally reported unable deal latency issues increase percent use alternative remote joint musicmaking methodsfor instance recording parts separately subsequently circulating digital recordings uk spiro colleagues collected data performingarts professionals pandemic led substantial reduction work income leading percent report financial hardship eightyfive percent reported increased anxiety percent power music lonelier crisis percent sought financial support percent asked support health wellbeing perceived financial hardship associated lower wellbeing higher depression loneliness scores positive associations selfrated health wellbeing lower depression scores responses open questions identified several overarching themes characterising effects lockdown loss work income financial concerns uncertainties future constraints lockdown working including challenges working home struggles online work skill maintenance caring responsibilities loss vulnerability including reduced social connections lack support feelings loss grief concern others detrimental effects health wellbeing including anxiety low unstable mood poorer physical health lack motivation professional personal opportunities including coping well living healthily time less pressure new possibilities activities enhanced social connections new skills overall lockdown profound negative effects performingarts professionals also presented opportunities also uk cohen ginsborg studied impact covid professional freelance musicians comparing middle performing careers aged older players aged semistructured interviews carried zoom freelance selfemployed orchestral musicians thematic analysis identified common issues loss muchloved performing career missing musicmaking colleagues anxiety future music profession although differences relation identity musician extent anxiety finance extent emotional distress attitudes toward practising engaging collaborative musicmaking confusion future career psychological wellbeing plans music students seemed less affected pandemic professional musicians showed significant differences satisfaction life studying impact pandemic compared students studying sports habe colleagues focusing music teachers australia de bruin studied covid impacted way taught engaged interacted students across online platforms findings interviews showed adopted teaching approaches fostered connection empathy relationshipbuilding guiding students slower deeper learnercentred approaches using pedagogical practices reinforced promoted interpersonal connectedness musical experience discovery covid pandemic impacted way music therapists across world undertaken work particularly relation use technology agres et al cole colleagues investigated transition neurological music therapy services inperson telehealth online survey distributed neurological music therapy affiliates worldwide sixtynine therapists fully participated survey findings showed change overall number clinical hours retained telehealth association frequent telehealth usage perceived likelihood using telehealth future types therapy transferred telehealth although specific implementation changes overall therapists spent fewer hours working telehealth compared inperson therapy regardless employment setting technological challenges drawbacks major benefits included ability continue providing therapy inperson sessions possible increased accessibility remote clients positive outcomes relating increased caregiver involvement overview evidence set previous chapters shows clearly music benefit hedonic feeling good eudaimonic functioning well components wellbeing throughout lifespan although particular impact adolescence older age overall power music many possible benefits wellbeing physical health engaging music either listening actively making music benefits occur impact music arousal levels moods emotions social aspects group musicmaking role personal development cases directly music therapy benefits listening realised listener needs like music music imposed others individuals taste create tension distress prone depression engaging deeply music sad focuses negative life experiences particularly shared others negative effects social personal benefits making music realised quality interpersonal interactions participants facilitating musical activities crucial quality teaching extent individuals successful whether overall positive experience contribute whether positive outcomes musical experience negative respect possible positive effects marginal nonexistent way music used covid pandemic illustrates clearly important peoples lives extent support wellbeing myriad ways stressful situations ongoing technological advances continue make listening making music accessible greater number people providing opportunities promoting wellbeing music physical mental health increasing evidence suggesting mindbody interactions play important role good physical health psychological factors play causal role onset course speed recovery many illnesses nonmedical interventions sometimes effective medical ones pelletier emotions impact health play role clinical outcomes yael et al may also indirectly influence healthrelated behaviours diefenbach et al trudelfitzgerald colleagues suggest psychological wellbeing associated lower disease mortality risk dir\u017eyt\u0117 perminas studied healthy unhealthy lithuanian adults showed physically healthy significantly higher scores measures wellbeing unequivocally demonstrate causality although overall strong evidence positive emotions associated better health health behaviours role stress ill health increasingly acknowledged evolutionary perspective capacity respond environmental threats important survival mammals responses threats include changes delivery oxygen glucose heart large skeletal muscles providing physiological support fight flight carries risk injury subsequent infection immune system responses may also included adaptive responses help prevent infections taking hold threats rare modern world human physiological system continues respond way threats require physical action instance work pressures still physical consequences including changes immune system segerstrom miller himonides cc byncnd httpsdoiorg obp power music reviewed hundreds studies demonstrated psychological challenges could modify immune responses found acute stressors lasting minutes associated changes immunity brief naturalistic stressors instance taking examination tended suppress cellular immunity preserving humoral immunity chronic stressors associated suppression cellular humoral immunity picard mcewen proposed chronic psychological stress induces metabolic neuroendocrine mediators cause structural functional changes mitochondria leading mitochondrial allostatic load turn affects brain endocrine immune systems play role psychosomatic processes suggesting shared underlying mechanisms many health problems occur result longterm stress including depression cancer anger cardiovascular disease davidson et al steptoe et al mroczek colleagues diary study men aged years old showed decrease positive emotions response daily stressors increased risk mortality role music psychological physical health many years research focused trying understand extent music impact physical health macdonald et al saw chapter impact music psychological wellbeing subsequently good health largely although exclusively emotions evokes juslin sloboda music stimulates cortical subcortical neural networks brain associated activity autonomic nervous system panksepp bernatzky responses related emotion include changes dopamine serotonin cortisol endorphin oxytocin levels van eck et al affect physical health evidence observational experimental animal studies supports kubzansky physiological effects music include changes heart rate respiration blood pressure skin conductivity skin temperature muscle tension various biochemical responses kreutz lotze finn fancourt review found listening music mainly displayed effects stress responses irrespective musical genre selfselection music duration music physical mental health listening also review chanda levitin showed music improved health wellbeing engagement neurochemical systems reward motivation pleasure stress arousal immunity social affiliation neuroscientific clinical studies music recent past substantially increased understanding music supports therapy music able influence complex neurobiological processes brain play important role therapy lin et al altenm\u00fcller schlaug argue power music support mental physical health lies potential support facilitate neurorehabilitation point music provides emotional sensorimotor cognitive experiences involving listening watching feeling moving coordinating remembering expecting musical elements frequently accompanied strong emotions lead physical reactions instance tears eyes shivers spine large number cortical subcortical regions brain involved musical activities altenm\u00fcller mcpherson tramo primary secondary regions cerebral cortex involved sensory perception including music music also impacts multisensory motor integration frontal parietal temporo occipital brain regions frontal lobe involved controlling attention planning motor preparation integrating auditory motor information imitation empathy multisensory integration regions parietal lobe temporo occipital areas integrate sensory inputs auditory visual somatosensory systems combined sensory impression multisensory brain activation different systems typical engage music listening actively making cerebellum important motor coordination tasks require timing activated processing rhythm keeping time rhythmicallyfor instance tapping time external stimulus addition emotional network brain includes cingulate gyrus older parts brain amygdala hippocampus midbrain crucial way music perceived emotionally subsequently leading motivation engage music seen earlier chapters engaging musical activities changes brain power music contributed demonstrating extent neural plasticity bangert altenmuller hyde et al wan schlaug result plasticity music assist restoring damaged sensorimotor brain networks impact neurohormonal status cognitive emotional processes overall wide range sensorimotor coordination emotional problems improved therapy includes music overall music many functions roles psychological physical applications participating making music help overcome issues relating lung function language mobility fine motor coordination music help decrease anxiety enhance immune system alleviate depression sch\u00e4fer colleagues offer support range clinical problems alzheimers disease autism spectrum yap colleagues review studies impact drumming percussion music promoting personal interpersonal wellbeing found benefits physical psychological social health perceived health benefits identified singing choirs include stress reduction therapeutic benefit relation long standing psychological social problems exercising body physical exertion involved especially lungs disciplining skeletalmuscular system adoption good posture clift although healing powers music acknowledged centuries nd world war american services recognised power music capable helping physical psychological injuries represented major shift relationship music medicine led development modern music therapy rorke since music therapists worked wide range people across lifespan developed many different strategies support health wellbeing seen listening making music engages multisensory motor networks brain inducing change fostering links functions alongside ability music tap human emotion reward systems used facilitate enhance therapeutic approaches support rehabilitation restoration neurological functions neurological disorders altenm\u00fcller schlaug music therapy contributes music physical mental health treatment range longterm psychiatric conditions including anxiety schizophrenia sleep disorders depression dementia boss et al wang agius kamioka colleagues summarised evidence studies including focused mental behavioural disorders diseases nervous respiratory endocrine nutritional metabolic circulatory systems well pregnancy childbirth puerperium stige colleagues focused music helped struggling illness disability social cultural disadvantage injustice clinical studies shown music therapy used treat depression autism schizophrenia dementia well problems agitation anxiety sleeplessness substance misuse also delay age related decline speech perception parberyclark et al non verbal memory executive processes hannapladdy mackay detailed examples music therapy research presented later chapter recently developments become known music medicine music used promote good health support patients particularly reducing anxiety pain performing arts medicine similar focus musicians going hospitals entertain engage patients ages musicmaking promote recovery psychological wellbeing following treatment saw chapter considerable interest way music promote wellbeing everyday life listening actively making music boundaries different areas work become blurred continue change time instance work alzheimer sufferers care homes initiated music therapists effectiveness demonstrated practice spread tended delivered community musicians differ way apply music therapy perhaps including musical composition discussion song lyrics participation joint singing musical games consensus specific approaches effective listening one constant among applications suggests music therapeutic music used range medical contexts le roux et al spintge listening music reduce amount sedative drugs required hospital conrad et al support power music recovery surgery particular reducing need pain medication nelson et al vollert et al cases percent spintge spintge droh particularly case patients select music mitchell mcdonald b music support improvement speech impairment following strokes kaser et al support rehabilitation motor movements range conditions improve quality range speed movement benefits stroke patients s\u00e4rk\u00e4m\u00f6 et al neurodegenerative disorders parkinsons disease dementia spaulding et al verghese et al detailed examples research medical contexts presented later chapter music stress immune system stress major worldwide health issue leading exhaustion burnout anxiety weak immune system possibly organ damage creative arts interventions including based musical activities suggested ways prevent stress improve management review studies creativearts interventions martin colleagues concluded relatively effective reducing stress kreutz colleagues developed psychoneuroendocrine approach explore musical activity related psychological physical health using cortisol levels psychophysiological measure stress listening particular types music shown lead significant reductions cortisol including classical choral kreutz et al meditative m\u00f6ckel folk music fukui yamashita however music effect significant increases cortisol noted listeners exposed technomusic along increased heart rate systolic blood pressure emotional state gerra et al increases cortisol also found listening upbeat pop rock music brownley et al singing participatory musical activities bring positive changes cortisol levels beck colleagues observed decreases cortisol percent average members professional choir rehearsal although percent increase performance experimental study bittman music physical mental health colleagues exposed participants onehour stressinduced protocol followed novel recreational musicmaking programme successfully modulated stress music also effect cortisol levels context tango dancing murcia colleagues observed presence music dance led decreases cortisol levels although impact presence absence dance partner keeler explored neurochemistry social flow group singing four participants vocal jazz ensemble sang together two separate performances one pre composed improvised group singing reduced stress arousal induced social flow conditions research focused impact music immune system making listening music positive impact immune system chida et al wilkinson marmot assess immunity samples secretory immunoglobulin saliva measured used indicator local immune system upper respiratory tract first line defence bacterial viral infections reported increases secretory immunoglobulin suggesting enhanced immune system activity singing beck et al kuhn kreutz et al increases found listening choral music kuhn study exploring active drumming singing compared watching live performance also found pronounced effect immune system actively participating making music contrast mccraty colleagues found listening relaxing music created positive emotional state led increases secretory immunoglobulin concentrations rock newage music effect similarly hirokawa ohira examined impact listening less relaxing music immune functions neuroendocrine responses emotional state eighteen japanese college students carried stressful task findings inconclusive relation impact immune system review studies effects music neurotransmitters hormones cytokines lymphocytes vital signs immunoglobulins well psychological assessments fancourt colleagues indicated pivotal role stress pathways linking music immune responses although range methodological difficulties existing research power music active musicmaking promotion general good health relatively little research focusing general physical health benefits participation musical activities early reviews research adult singers concluded could health wellbeing benefits participating choir clift et al stacey et al although subsequent reviews cautious clift perceived benefits include physical relaxation release physical tension emotional release reduction feelings stress sense happiness positive mood joy elation feeling high sense greater personal emotional physical wellbeing increased sense arousal energy stimulation cognitive capacities attention concentration memory learning increased sense selfconfidence selfesteem sense therapeutic benefit relation longstanding psychological social problems sense exercising systems body physical exertion involved especially lungs sense disciplining skeletomuscular system adoption good posture engaged valued meaningful worthwhile activity gives sense purpose motivation uk hillman surveyed participants participated community singing project since reaching statutory retirement age longterm benefit attributed participation music lack deterioration physical health reagon colleagues reviewed papers studying effect group singing health related quality life patients included suffering chronic respiratory disease neurological conditions mental illhealth findings showed evidence improved quality life music physical mental health participants reported directly enhanced confidence mood levels social support also focusing choral singing wi\u0119ch colleagues assessed nutritional status quality life healthy adults aged years old involved singing significantly lower body weight body mass index comparison control group also significantly lower basal metabolic rate metabolic age reported greater life quality drumming focus research instance smith colleagues examined impact djembe drumming comparison middleaged experienced drummers younger novice group participated minute sessions preceded followed measurements blood pressure blood lactate stress anxiety ongoing measures heart rate drumming decreased stress anxiety age groups blood pressure older participants assessment lactate heart rate suggested drumming considered low moderateintensity exercise one strand research investigated impact creative song writing instance baker macdonald studied students retirees engaged songwriting activities participant created song parody original lyrics original song describing positive negative neutral experience positive outcomes included listening personal creations exploring self relationship therapist way fully immersed altered perception time experience balancing ability effort younger participants likely continue use songs therapeutic benefit role attendance cultural events health wellbeing studied instance poland w\u0119ziakbia\u0142owolska bia\u0142owolski used data biennial longitudinal polish household study represented polish population age found positive association cultural attendance selfreported health although causal link established norway cuypers colleagues examined association cultural activity perceived health anxiety depression satisfaction life adult participants data cultural activities receptive creative perceived health anxiety depression satisfaction life collected findings showed participation receptive creative cultural activities significantly power music associated good health life satisfaction low anxiety depression men attending receptive rather creative cultural activities strongly associated healthrelated outcomes similarly uk fancourt steptoe compared data adults aged years olddrawn english longitudinal study aging modelling change tenyear periodin relation membership different community groups controlling potential confounding variables membership two types community groups associated enhanced wellbeing attending education arts music classes church religious group membership music health older generation general health benefits participating making music older people including lower mortality rates johansson et al musicmaking contributes perceived good health quality life mental wellbeing coffman adamek kahn wise et al playing piano exercises heart much brisk walk parr although studies impact lung function mixed outcomes clift usa cohen colleagues carried studies participants average age participated singing workshops ten performances oneyear period choir group reported higher overall rating physical health fewer visits doctor less medication use fewer falls fewer health problems comparison control group carried usual activities participate choir evidence higher morale reduction loneliness increased activity comparison group experienced significant decline activities cohen colleagues argued sense control well social engagement likely mechanisms responsible positive outcomes coulton colleagues studied value community singing mentalhealthrelated quality life older people participants five centres uk group singing compared usual activities aged years significant differences observed mentalhealthrelated quality life anxiety depression favour group singing similarly music physical mental health zanini leao studied therapeutic choir elderly found singing provided means selfexpression fulfilment instilled selfconfidence participants expectations future depression older adults increased recently continue rise number proportion older adults population rises worldwide dunphy colleagues carried review art dance movement drama music could help alleviate depression elderly established common mechanisms change included physical changes muscle strength neurochemical effects endorphin release intrapersonal change enhanced selfconcept sense agency mastery improved processing communication emotions provision opportunities creative expression aesthetic pleasure cognitive stimulation including memory social benefits increased social skills connection considered contribute reduction depression alzheimers patients benefit engagement music encourages reminiscence improves moods behaviour although longterm impact underlying cognitive deterioration creech et al despite activities preserved relatively resistant decline one activity engagement music sacks baird thompson point musical skills preserved people alzheimers dementia including memory familiar music ability produce music singing playing instrument studied yearold woman severe alzheimers disease husbands use music care behaviour verbal communication observed read newspaper article familiar song lyrics sang familiar song lyrics listened original version familiar song time gradual power music deterioration expressive language abilities whereas musical skills comparatively preserved residents care homes care homes support people range difficulties cannot live independently increase older population many care homes cater need support may need additional care following stroke serious illness many residents homes dementia group symptoms typically includes problems memory thinking problemsolving language perception dementia number different causes including alzheimers disease vascular dementia dementia lewy body anyone dementia whatever underpinnings benefit engaging music encourages reminiscence improve moods behaviour much research impact music relation dementia occurred residential care nursing homes elliott gardner active participation making music found broadly positive effects instance biasutti mangiacotti compared outcomes older people mild moderate cognitive impairment either assigned group receiving cognitive music training twiceweekly minute music sessions acted control group attended similar number gymnastic sessions neuropsychological test battery administered beginning end treatment showed significant improvement music group relation general mental state verbal fluency clockdrawing test control group showed significant improvements later study biasutti mangiacotti studied effectiveness musical improvisation depressed mood general cognitive function elderly care residents findings revealed significant improvement cognition reduction depression cognition music group control group showed change relation depression deterioration cognition also focusing depression werner colleagues examined effect interactive group music therapy opposed recreational group singing symptoms elderly nursinghome residents total participants two german nursing music physical mental health homes allocated interactive group music therapy sessions minutes twice week recreational group singing ten occasions minutes weekly levels depressive symptoms assessed baseline followup sixth twelfth weeks level depressive symptoms improved significantly assigned music therapy recreational singing australia brancatisano colleagues reported outcomes music mind movement programme people eighties mild moderate dementia programme involved seven minute weekly group sessions individual minute booster sessions assessments global cognition mood identity fine motor skills conducted start programme immediately following intervention one month close majority participants programme showed improvement overall cognition attention verbal fluency majority control group showed decline h\u00e4m\u00e4l\u00e4inen colleagues focused impact yoik traditional vocal music indigenous sami people fennoscandia elderly dementia residents care home indepth interviews close relatives participants healthcare professionals revealed observed positive effects yoik introduced even persons unfamiliar genre improvements memory orientation depression anxiety mild moderate cases alzheimers disease hallucinations agitation irritability language disorders moderate alzheimers disease found patients six weeks music therapy effect cognitive aspects notable four music therapy sessions gallego garc\u00eda focusing agitation anxiety older people dementia cooke colleagues investigated impact participation minute group musicmaking programme involving facilitated engagement singing songs listening three times week eight weeks fortyseven participants mild moderate dementia two care facilities australia participated subanalysis participants attended less half music sessions found significant increase frequency verbal aggression time participation music programme significantly reduce agitation anxiety although music reading group activities gave power music participants voice increased level verbalisation also focusing agitation anxiety sung colleagues set group music intervention using percussion instruments familiar music reduce anxiety agitation institutionalised older adults dementia experimental group received minute music intervention using percussion instruments familiar music group setting twice weekly six weeks comparison normalcare control group music group significantly lower levels anxiety following intervention although difference groups reduction agitation aiming reduce agitation vink colleagues undertook study residents dementia allocated either music therapy recreational activities twice weekly four months data residents showed decrease agitated behaviours one hour four hours session decrease greater music therapy group disappeared completely adjustment general level deterioration reported benefits castillejos godoyizquierdo explored outcomes music intervention integrated therapeutic activities institutionalised elderly people fifty residents care home studied baseline postintervention two weeks music intervention positive impact physical health cognitive functioning emotional wellbeing pain happiness compared stability controls although benefits decreased progressively discontinuation music programme similarly paolantonio colleagues examined effects group musicmaking health wellbeing nursinghome residents aged years age switzerland professional student musicians delivered ten weekly music sessions four nursing homes focusing singing rhythmbased activities percussion instruments listening short live performances involved musical activities offered engagement novelty providing learning opportunities facilitating interpersonal relationships residents particularly appreciated opportunity listen live performances mcdermott colleagues undertook qualitative study explore carehome residents dementia families day hospital clients dementia carehome staff music therapists music physical mental health perceived role music therapy music viewed accessible people stages dementia perceived close links music personal identity life events music seen useful building relationships effects music viewed going beyond reduction behavioural psychological symptoms part individual preferences music preserved spite dementia helped others value dementia sufferer person support maintain quality life case study giovagnoli colleagues described effects active music therapy cognition behaviour one individual chronic vascular encephalopathy suffered memory attention verbal fluency deficits fourmonth programme sessions implemented based creative interactive music making addition pharmacological therapy baseline patient reported tendency feel tense nervous angry difficulties memory visuospatial performance frequently accompanied loss attention following music therapy improvements attention visuomotor coordination verbal spatial memory increase interpersonal interactions reduction anxiety acute hospital setting cheong et al evaluated impact creative music therapy programme mood engagement older patients delirium dementia twentyfive patients approximately years age observed music therapy included improvisation playing songs patients choice significant positive change patients relation constructive passive engagement pleasure general alertness also focusing hospital stays people dementia daykin colleagues examined effects ten weeks music sessions patients wellbeing environment acute elderly care service uk hospital observational data semistructured interviews focus groups patients visitors musicians staff showed patients generally enjoyed activity reduction prescription antipsychotic drugs enhanced patient staff experiences improvement care feeding difficulties problem dementia progresses resulting malnutrition turn compromise physical cognitive functioning fifteen power music participants care facility malnourished start participated music sessions lasting minutes lunch songs likely known residents unfortunately many confounding variables conclusions drawn mchugh et al research attempted identify effective type music instance lem studied levels engagement music people dementia participated weekly music therapy sessions found engagement increased midway programme intuitive approach adopted challenging musical experiences less structure evaluation intervention based group singing activitiesdeveloped alzheimers society people dementia carersshowed social inclusiveness improvements relationships memory mood particularly important participants enjoyed sessions found helped accepting coping dementia osman colleagues pavlicevic colleagues explored music therapists strategies creating musical communities dementia care settings six experienced music therapists identified ripple effect music persontoperson musicmaking continued beyond session time within care home beyond ongoing qualitative research skinner colleagues examining potential dance improve social inclusion people living dementia care facilities programmes focused training carehome staff deliver music sessions instance tapson colleagues evaluated intervention comprising session interactive weekly music programme five care homes uk included training staff programme focused singing use voice led pairs trained professional musicians minutes week programme provided positive social experiences creative engagement fun sense achievement enhanced working living environment carehome residents staff playing crucial role developing sense identity empowerment residents facilitated musicians care teams working together role delivering programmes cannot overestimated tuckett colleagues evaluating effectiveness music physical mental health group music therapy intervention concluded impact mediated older persons dementia state psychosomatic effect participants nature session therapy evoked memories facilitated reminiscence acted diversion independent effects music therapist could determined research focused active engagement making music concentrated impact listening music instance costa colleagues assessed effect listening preferred music pain depression anxiety older carehome residents one hundred thirteen participants either continued usual routine listened daily minute programme preferred music threeweek period levels pain depression anxiety assessed showed decreases although less pain regarded music important listened whose preferences accommodated benefited similar study costa colleagues b studied effects listening preferred music participants nine care homes addition usual routine participant listened daily minute programme preferred music three weeks findings showed listening preferred music resulted relaxation positive reminiscence reduced depression boredom range physical reactions including chills tears emotional arousal reactions foottapping beneficial disabled participants use preferred favourite music principal factor interventions effectiveness interventions combined active musicmaking listening activities instance s\u00e4rk\u00e4m\u00f6 colleagues determined efficacy novel music intervention based coaching caregivers patients dementia use either singing music listening regularly part everyday care eightynine patient caregiver dyads randomised tenweek singing coaching group tenweek musiclistening coaching group usualcare control group coaching sessions consisted mainly singing listening familiar songs vocal exercises rhythmic movements singing group reminiscence discussions music listening group intervention also included regular musical exercises power music home findings showed compared usual care singing music listening improved mood orientation remote episodic memory lesser extent attention executive function general cognition singing also enhanced shortterm working memory caregiver wellbeing whereas musiclistening positive effect quality life s\u00e4rk\u00e4m\u00f6 colleagues concluded regular musical leisure activities could longterm cognitive emotional social benefits mild moderate dementia although music considered leisure activity enjoyed sake evidence highlights benefits prescribed therapy personalised meet needs skill level individual genoe dupuis menne colleagues also point designing interventions people dementia important ensure enjoy activities live music performances shown positive effect human contact care relationships positive emotions negative emotions people dementia nursing homes van der vleuten et al shibazaki marshall explored effects live music concerts dementia sufferers families nursing staff caregivers interviews researcher attendance concerts care facilities showed concerts beneficial patients staff even attend concerts mild mid stage dementia showed increased levels cooperation interaction conversation advanced forms exhibited decreased levels agitation antisocial behaviour staff members reported increased cooperation opportunities assessment family members noted increase levels wellbeing concerts revealed knowledge music rules well musical preferences remained cognitive skills abilities disappeared de wit also explored impact live musicmaking hospital nurses nursinghome caregivers working vulnerable elderly patients healthcare professionals collaborated musicians connect residents taking time become engaged musical situations enabled new understandings develop supporting delivery personcentred care music physical mental health music dementia care home research relating music dementia undertaken residential nursing hospital settings despite estimates uk two thirds living dementia continue live homes wittenberg et al practice known ageing place wiles et al alzheimers related dementias live home unique advantages terms familiar place people close carers cared risk depression isolation decreased contact peers networks normally help maintain social intellectual physical sensory spiritual needs memory declines person dementia loses life skills sense self caregiver increasingly burdened physically emotionally services developing support ageing place dawson et al instance budi orchestra created musicbased initiative people dementia family carers living community initiative comprised ten weekly sessions facilitated professional musicians supported university students end programme participants showcased achievements public performance range positive outcomes including enjoyment participants sense social inclusion musicians participants alike dementia sufferers increased engagement sense achievement confidence enhanced mood carers reported improved mood feelings relaxation improvements relationships caredfor musicians preconceptions musical learning challenged learnt facilitating sessions addition performance positively impacted audience members perceptions dementia findings challenged assumptions capacity people dementia learn new skills play instruments highlighted power performance challenge negative perceptions dementia budi orchestra similarly lee colleagues explored communitybased group singing intervention impacted wellbeing people early stage dementia family carers participants engaged six week group singing intervention facilitated music therapist community arts centre semistructured interviews revealed enhanced power music social connection happiness rejuvenation reconnection self support relationship carer caredfor overall communitybased music therapy effective supporting carers care rio prattini examined musics effects levels agitation people alzheimers disease dementias research focused living home cared informal caregiver participants either participated active musicmaking listened music active participation impact agitation smith colleagues arranged ten musicmaking sessions communitydwelling people living dementia care partners month period seven months eighteen participants consented take part including seven people living dementia five care partners six former care partners baseline semistructured interviews explored lived experience music expectations upcoming musicmaking caf\u00e9s self report questionnaires captured experiences musicmaking caf\u00e9 followup semistructured interviews explored impact musicmaking participants selfreported wellbeing findings demonstrated participating musicmaking cafe benefited wellbeing participants providing sense camaraderie facilitated connections others creating opportunities level playing field drawing persons strengths abilities providing meaningful musical experiences participating music making promoted wellbeing communitydwelling people living dementia care partners offering opportunities peer support reduction feelings isolation shared love music well providing meaningful musical experiences supportive enabling environment homebased programme participants major minor depressive disorder learned use music reduce stress either received weekly home visit music therapist participated selfadministered programme applied techniques moderate therapist intervention received weekly telephone call part waitlist control group participants music conditions performed significantly better controls standardised tests depression distress selfesteem mood music physical mental health improvements maintained nine months end project hanser thompson communitybased arts programme canada moody phinney found participating older adults experienced enhanced capacity connect community stronger sense community collaboration group worked together project towards final demonstration larger community reviews relationship music therapy dementia little agreement reviews literature pertaining role music therapy older generation effectiveness reviews drawn relatively positive conclusions although sometimes caveats instance abraha colleagues provided overview non pharmacological interventions behavioural psychological symptoms dementia including music therapy concluded overall music therapy behavioural management techniques effective reducing behavioural psychological symptoms dementia zeilig colleagues also reviewed range interventions reported music could generate feelings peace patients dementia range arts projects identified promoting social engagement difficult establish effects related role arts specifically could attained form social engagement although emphasis arts creation play may supported patients dementia may emphasis arts emotion istvandity reviewed intervention studies utilised music reminiscence activities elderly adult populations found positive effects four five studies zhao colleagues metaanalysis articles suggested music therapy plus standard treatment reduced depressive symptoms extent dowlen colleagues review studies identified benefits terms taking part connected affirming identity immersion moment zhang colleagues review studies participantsshowed disease subtype intervention method nature control comparison power music group participant location trial design trial period outcome measure instruments made little difference outcomes overall positive evidence support use music therapy treat disruptive behaviour anxiety positive trends supporting use music therapy treatment cognitive function depression quality life raglio colleagues reviewing clinically controlled trials focusing use music music therapy context dementia found limitations findings consistent showing efficacy music therapy impacting positively behavioural psychological symptoms dementia however ability music therapist directly interact participants appeared crucial success difference found cognitive function dementia sufferers receiving interactive receptive music therapy usual care one review trials involving participants aged years old receiving receptive therapy showed significant decrease agitation behavioural problems although significant difference engaged interactive music therapy usual care relation behavioural psychiatric problems tsoi et al mcdermott colleagues found consistent improvement behavioural disturbance short term review studies adopting diverse range active musicmaking activities singing often used medium change however review find highquality longitudinal studies demonstrated longterm benefits focusing impact music therapy anxiety review studies severity dementia varied mild severe ingrandolph colleagues found variation nature interventions group sizes findings seemed promising small number studies variability methods made impossible draw firm conclusions also taking account variations quality research reported van der steen colleagues reviewed studies dementia patients nursing homes hospitals concluded people dementia institutional care participating least five sessions musicbased therapeutic intervention probably experienced reduced depression anxiety improved overall behaviour possible enhanced emotional wellbeing quality life although impact agitation music physical mental health aggression cognition effect social behaviour long term impact interventions unclear scoping review elliott gardner summarised known role impact music lives communitydwelling older adults dementia reported music could reduce agitation improve cognition enhance social wellbeing bamford bowell also concluded music could promote range benefits people dementia used appropriately meaningful way contrast vink colleagues reviewed ten music therapy interventions designed treat behavioural social cognitive emotional problems older people dementia criticised methodological quality research reported possible draw firm conclusions later review vink hanser reported descriptions music therapy interventions lacked sufficient detail enable researchers compare replicate studies clinicians apply techniques definitions music therapy musicbased interventions inconsistent practitioners varied extent professional training preparation implementing music based clinical strategies fusarpoli colleagues carried metaanalysis six studies including participants age range years old found significant effects music therapy outcomes similarly huichi colleagues conducted review music therapy interventions older people nursing homes hospitals communities indicated shortterm music therapy improve cognitive function older people considering role arts relation dementia broadly schneider colleagues included relevant studies concluded insufficient evidence demonstrating causality draw firm conclusions music public health music prescription music used communicate public health messages instance cournoyer lemaire report quebec government promoted adherence covid measures use music taking advantage capacity reach large population capture power music populations attention quickly regardless age language cultural barriers effectively communicate messages thus change behaviour clift camic provided evidence base supporting role creative arts public health bringing together contributions practitioners researchers provide comprehensive account field approaches successfully led improvements showed several countries moved towards offering range arts interventions prescription similarly jensen colleagues reviewed current practice relating arts culture prescription sweden norway denmark uk considering evidence supporting social prescription potential barriers implementation later article jensen bonde illustrated variety multitude studies showing participation arts activities could beneficial mental physical health problems demonstrating possible impact reducing physical symptoms improving mental health research focused showing arts prescription effective instance battrawden tellnes explored role significance making music lives men women longterm illnesses different life phases facing different challenges longitudinal study included eight interviews participants aged found music could promote movement release anger aggression transcend pain personal listening preferences important crone colleagues presented findings longitudinal followup study artsonreferral programme uk general practice sevenyear period including patients referred eight ten week intervention referrals half completed course prescribed art attended percent observed engaged intervention significant increase wellbeing observed pre postintervention engaged completed programme multiple health issues main group completed programme rated engaged showed significant increase wellbeing poulos colleagues targeted communitydwelling older people wide range health wellness needs referred programme healthcare practitioner courses led professional artists music physical mental health range artistic activities included dance singing music classes held weekly eight ten weeks six eight participants group culminating showing work performance data participants aged years old showed arts prescription positive impact wellbeing selfreported creativity frequency undertaking creative activities activities offer challenging created sense purpose direction enabled personal growth achievement empowered participants environment fostered development meaningful relationships others similarly murabayashi colleagues studied frail elderly individuals aged years age divided two groups music therapy group participated group sessions minutes conducted music therapist weeks control group waited weeks participation cognitive physical psychophysical functions assessed improvements observed physical function depressive mood quality life overall evidence art interventions effective promotion wellbeing whether individuals choose participate referred social prescribing bungay clift jones et al engaging arts reduce loneliness social isolation poscia et al particularly living rural disadvantaged areas macleod et al murrock graor pearce lillyman role community music creative workshops developed countries high levels mental physical illness associated longterm health conditions unhealthy lifestyles ageing population community music activities address issues jones et al increasing numbers mental health organisations developing musicmaking interventions patients demonstrate whether programmes could effective fancourt colleagues studied tenweek group drumming programme found significant decreases depression increases social resilience anxiety wellbeing changes maintained three power music months later participants also provided saliva samples test immune responses showed underlying biological effects supporting programmes potential enhancing mental health similarly ascenso colleagues studied participants engaged community drumming programme range benefits patients carers including enhanced emotions initiative sense control accomplishment redefinition self social wellbeing perkins colleagues researched group djembe drumming found drumming important form nonverbal communication providing connection life rhythm generating liberating energy group setting facilitated feelings acceptance safety care enabled new social interactions inclusivity musical freedom acceptance making mistakes supported music facilitator important learning solli colleagues review explored service users experiences music therapy development recoveryoriented provision key factors good time together exploring feelings selfconcept music therapy supported development strengths resources contributed growth positive identity hope stickley colleagues established range arts activities could support recovery enhancing connectedness improving hope van lith colleagues review concluded arts could play substantial role mental health recovery stevens colleagues reported significant increases self reported mental wellbeing social inclusion ongoing use skills learned participants depending incourse experience artistic growth communitybased creative workshops supported experiencing severe persistent mental illness workshops typically aim build skills capacities participants providing alternative ways communicate identity recovery stories visual arts writing dance music facilitated practising artists participants typically enjoy workshops involved creative activities others improves confidence understanding illness stewart et al slatterly et al bolger investigated process collaboration music therapist community participants three music projects music physical mental health australia projects undertaken three separate communities supported groups marginalised young people findings provided understanding conditions required optimise potential positive growth collaborators participatory music projects macglone colleagues investigated community music intervention population varied disabilitiesphysical learning bothwho took part weekly music workshops although findings showed improvements individuals selfexpression confidence mood social skills differences outcomes different centres participants one centre improved musical skills another participated enthusiasm others chose art activities music another lasting positive impact despite groups showed improvement communication interaction others joint attention music brain plasticity movement motor skills tend deteriorate age activities support lifelong neuroplasticity making music counteract processes allow reacquisition motor cognitive skills elderly following braintissue damage instance stroke playing keyboard improve fine motor functions neurophysiological changes audiomotor networks rhythmic cueing positive effect gait disorders improving stride length speed overall mobility melodic intonation therapy improve recovery nonfluent aphasia activation right hemisphere networks importantly rewarding effects musicmaking listening provoke neurochemical effects combination musicinduced brain plasticity facilitate neurorehabilitation altenm\u00fcller james much research mobility focused rhythm clinical evidence shown use external rhythmic auditory cueing aid rehabilitation motor movements gait patients parkinsons disease traumatic brain injury spinal cord injury huntingtons disease thaut et al neurological music therapy techniques promote sensorimotor rehabilitation mainka et al music support improvement movement range conditions improving individuals quality power music range speed movement acute medical settings neurological rehabilitation music facilitate target specific therapeutic goals making music beneficial partial paralysis following stroke lagasse thaut motivational aspects music may account gains made evidence increased activation motor cortex improved cortical connectivity altenmuller et al s\u00e4rk\u00e4m\u00f6 colleagues carried voxelbased morphometry analysis acute sixmonth post stroke patients structural magnetic resonance imaging data patients listened either favourite music verbal material listening material sixmonth recovery period showed listening music enhanced behavioural recovery also induced finegrained neuroanatomical changes recovering brain also working stroke patients schneider colleagues evaluated musicsupported training programme designed induce auditory sensorimotor corepresentation movements patients without previous musical experience participated intensive stepbystep training first paretic extremity followed training extremities training given times three weeks addition conventional treatment fine well gross motor skills addressed using either midi piano electronic drum pads pre posttreatment motor functions monitored using computerised movement analysis system established motor tests patients showed significant improvement treatment respect speed precision smoothness movement motor control everyday activities similarly villeneuve colleagues engaged stroke patients three weeks piano training comprising nine minute supervised sessions home practice fine gross manual dexterity movement coordination functional use upper extremity assessed pre postintervention threeweek followup significant improvements observed outcomes particularly higher initial level motor recovery beginning intervention also working stroke patients s\u00e4rk\u00e4m\u00f6 colleagues studied patients acute recovery phase either assigned music language control group following two months music language groups listened daily selfselected music audiobooks respectively control group received listening material patients music physical mental health received standard medical care rehabilitation findings showed recovery domains verbal memory focused attention improved significantly music group groups music group also experienced less depressed confused mood working patients parkinsons disease pantelyat colleagues assessed feasibility effects twiceweekly group west african drumcircle classes six weeks compared controls drumming group showed significantly improved walking performance quality life studying patients cerebral palsy ghai colleagues reviewed records effects rhythmic auditory cueing spatiotemporal kinematic parameters gait people cerebral palsy concluded converging evidence towards application rhythmic auditory cueing enhance gait performance stability alves pinto colleagues also reviewed evidence supporting use musicalinstrumentplaying rehabilitation cerebral palsy proposed active musicalinstrumentplaying could efficient way triggering neuroplastic processes necessary development sensorimotor skills patients early brain damage later study alvespinto colleagues studied adolescents adult patients cerebral palsy well group typically developing children learned play piano four consecutive weeks completing total eight hours training ten participants learning supported special technical system aimed helping people sensorimotor deficits better discriminate fingers orient along piano keyboard potential effects piano training assessed tests fingertapping piano perception vibratory stimulation fingers well neuronal correlates motor learning absence piano training although findings highly variable significant effects training ability perceive localisation vibrations fingers effect training performance simple fingertapping sequences piano motorassociated brain responses work focused children instance marradescaballero colleagues studied children years age severe bilateral cerebral palsy received music therapy power music weeks significant improvements observed overall specific arm hand position well activities standard locomotor stages improvements persisted fourmonth followup also working children peng colleagues explored effects patterned sensory enhancement music muscle power movement control children spastic diplegia loaded sitto stands twentythree children spastic diplegia aged five twelve years old participated individual patterned sensoryenhanced music composed music therapist based participants sitto stand movement percent one repetition maximum load participant performed sittostands continuously eight repetitions randomly assigned music music conditions kinematic kinetic data measured simultaneously music condition music played first five repetitions following three repetitions referred continuation condition compared control condition greater peak knee extensor power greater total extensor power better centre mass smoothness less movement time found music condition significant effects music also found continuation condition auditory stimulation shown improve upperextremity skills benpazi colleagues studied nine matched pairs children aged years old children listened auditory stimulation embedded music music alone least ten minutes four times week four weeks children auditory stimulation achieved goals children listened music alone parents reported improved care comfort children intervention group compared slight deterioration control group bringas colleagues tested effectiveness music therapy intervention children severe neurological disorders control group received standard neurorestoration programme experimental group received additional music therapy auditory attention plus communication protocol immediately usual occupational speech therapy overall findings showed improved attention communication well changes brain plasticity children severe neurological impairments experienced adjunct music therapy music physical mental health another strand research focused individuals huntingdons disease neurodegenerative condition leads progressive loss motor cognitive functions metzlerbaddley colleagues devised intervention involving drumming rhythm exercises target early executive problems difficulties sequence reversal learning response speed timing dual tasking five people completed twomonth music intervention effects rhythm exercises executive function basal ganglia volume whitematter microstructure anterior corpus callosum anterior thalamic radiation corticospinal tract assessed two months training improvements executive function whitematter microstructure notably genus corpus callosum connects prefrontal cortices hemispheres changes basal ganglia volume research focused whether music therapy support suffering multiple sclerosis aldridge colleagues aimed see components multiple sclerosis would respond music therapy twenty adult multiple sclerosis patients participated half receiving music therapy course one year measurements taken therapy began subsequently every three months sixmonth followup without music therapy tests included indicators clinical depression anxiety selfacceptance scale lifequality assessment data also collected cognitive functional measures significant improvements found therapy group time relation selfesteem depression anxiety worsened therapy stopped breathing several studies investigated whether singing beneficial effect aspects breathing overall findings mixed clift instance schorrlesnick colleagues compared singers instrumentalists reported difference participants aged choir string percussion wind ensembles pulmonary function studies patients chronic pulmonary disease also mixed results research singing showing improvements compared controls bonilha et al power music shown limited impact lord et al despite participating singing activities frequently report singing exercised body systems physical exertion involved especially lungs clift et al stacey et al skingley colleagues established views participants chronic obstructive pulmonary disease took part tenmonth singing better breathing programme findings showed participants learned breath control relaxation exercises breathing using singing means deflect attention away breathing problems programme led increased activity levels seen fun provided friendship increased motivation participate activities offered support highlight week majority participants reported improvements respiratory symptoms mental social wellbeing speech impairment music play therapeutic role supporting improvement speech impairments rhythmic cueing used reduce speech rate increase speech intelligibility patients severe dysarthria problems muscles support speech due traumatic brain injury instance result stroke pilon et al similar results found increasing intelligibility speech patients parkinsons disease thaut et al hays minichiello found music provided means communication spouses friends others languagebased communication restricted due parkinsons disease dementia illnesses affecting verbal communication matthews compared two groups people parkinsons disease participated voice choral singing music appreciation activity groups attended week nine weeks significant improvement choir voice volume quality maximum sustained phonation time functional symptom severity end intervention significant group differences observed average maximum voice volume voice quality glottal function attendance groups percent suggesting groups found nature format activities enjoyable worthwhile quinn colleagues music physical mental health worked postverbal people strokes learning difficulties acquired brain injury dementia autism findings showed postverbal people could use music communicate demonstrate capacities working used music foster sense inclusion belonging surgical removal larynx ie voice box profound psychosocial impact often leading depression social isolation laryngectomy breathing voicing articulation tongue movement important restoring communication require exercises challenging motivationally moors colleagues explored use basic beatboxing techniques create wide variety fun interactive exercises maximised use structures important alaryngeal phonation maintain motivation instructional online video created support patients working support speech therapists patients approach engaging useful informative motivating odonoghue colleagues studied whether music therapyincluding songwriting improvisation singingcould help adolescents stuttered findings revealed participants experiences living stuttering importance music everyday lives music could help music hospital settings music hospitalised babies infants children babies born premature underweight benefit stimulation music neonatal intensive care units music enhance heart rate respiration oxygen saturation mean arterial pressure sucking feeding ability behavioural state also linked overall reductions length stay intensive care caine cassidy standley keith et al standley music significantly reduce frequency duration episodes inconsolable crying keith et al loewy longer term benefits reducing reactions fear anger months lejeune et al research found reductions number negative critical events filippa et al regulation power music salivary cortisol levels shenfield et al metaanalysis studies involving infants parents bieleninik colleagues found significant large effects indicating positive effects music therapy infant respiratory rate maternal anxiety insufficient evidence confirm refute effects walworth examined effect music therapy premature fullterm infants developmental responses responsiveness parents sixtyfive parent infant dyads either attended music groups control group infants participating musical activities parents demonstrated significantly social toyplay control group music therapy hospitalised infants shown positive effects infants capacity selfregulate engage social interaction adults compared controls malloch et al music effective promoting wellbeing young patients enhancing relaxation providing distraction helping cope hospital experiences cases musicmaking reduce remove need sedation listening music increase oxygenation levels blood longterm paediatric patients positive psychological impact chronically ill longhi pickett patients react better music therapy therapies hendon bohon longhi pickett longhi et al perhaps frequently perceived fun ocallaghan et al music used paediatric settings enhance wellbeing young patients klassen et al preti preti mcferran help children young people relax daveson longhi pickett malone used distraction caprilli et al hendon bohon help children young people talk hospital experiences develop coping strategies brodsky froehlich robb familiar music reduce anxiety associated hospital environment preti welch reduce childrens stress painful procedures caprilli et al klassen et al nguyen et al vohra nilsson whiteheadpleaux et al cases musicmaking reduce remove need sedation deloach walworth recent review research participants aged years old johnson colleagues showed consistent significant evidence music could reduce anxiety medical procedures although findings relating pain music physical mental health vital signs mixed several studies highlighted importance patient preference selecting music achieved easily use headphones group musicmaking also benefit teenagers hospital bittman et al burns et al nicholson et al nguyen colleagues studied whether music interventions could influence pain anxiety children undergoing lumbar punctures forty children aged seven twelve years age leukaemia participated half experiencing music intervention half acting controls measures taken procedure findings showed lower anxiety pain scores heart respiratory rate music group procedure similarly giordano colleagues found music therapy reduced preoperative anxiety children affected leukaemia undergoing invasive diagnostic procedures barrera colleagues studied impact music therapy paediatric haematology oncology patients data children parents showed significant improvement childrens emotions wellbeing parents perceived improved play performance preschoolers adolescents schoolaged children review music therapy studies participants facchini ruini noted significant reduction psychological distress increase wellbeing eight articles evaluated effects pain biological parameters findings inconclusive patients undergoing haematopoietic stem cell transplants risk developing post traumatic stress disorder ptsd may explain extent music therapy research area instance uggla colleagues examined effect expressive receptive music therapy delivered twice weekly patients age undergoing haematopoietic stem cell transplants music therapy significantly reduced evening heart rate compared controls indicating reduced stress although significant differences saturation blood pressure groups later study uggla et al patients aged years age studied received music therapy twice week four six weeks hospitalisation experiencing music therapy higher estimated physical function time discharge improved quality life power music study uggla colleagues explored six families experiences music therapy found became significant helpful experience important element coping managing treatment uggla bond studied patients aged two months years old receiving haematopoietic stem cell transplantation participated expressive receptive music therapy sessions took place childs hospital room child invited play different musical instruments sing listen music music therapist parents siblings could also participate increasing physical functioning reported children discharge overall increased quality life six month followup suggested music therapy intervention effective similarly robb colleagues examined efficacy therapeutic music video intervention adolescents young adults acute phase haematopoietic stem cell transplant participants allocated video intervention audiobook group six sessions threeweek period intervention music video group reported significantly better social integration family environment haase colleagues also reported adolescents young adults experiences therapeutic music video intervention hospitalisation haematopoietic stem cell transplants fourteen participants interviewed revealed video provided opportunity reflection selfexpression meaningmaking helped tell story overcome negative aspects cancer supported participants overcoming distress challenges providing opportunities reflect meaningful connect others explore identify personal strengths research focused effect listening music recovery period following range surgery preethy gurunathan studied effects vital signs behaviour children showed listening music demonstrated positive behaviour significantly lower pulse rate diastolic systolic blood pressure significantly higher oxygen saturation focusing burn injuries eid colleagues evaluated effect physical therapy rehabilitation programme combined music therapy children lower limb burns compared controls groups music physical mental health improved music therapy group showed greater improvement terms pain range motion gait parameters benefits music therapy families children hospital preti mcferran parents value able participate musical activities child music open communication family members lindenfelser et al addition supporting children stressful procedures parents indirectly supported music creating relaxed environment preti welch music also contribute overall hospital environment modulating patient staff mood rossetti music therapy cancer increasing number music interventions focused supporting cancer instance boldt assessed effects music therapy bonemarrow transplant patients needed exercise prevent muscle atrophy although difficult due treatment effects longterm findings indicated music effective increasing participants selfreported relaxation comfort endurance increased cooperative behaviour participation levels robb colleagues examined impact music therapy anxiety depression following bonemarrow transplants three patients experienced music therapy one hour week six weeks three analysis content patientgenerated songs revealed hope positive coping control appreciation findings provided insight individualised experience patient coping strategies focusing chinese female patients breast cancer zhou colleagues examined effects music therapy progressive muscle relaxation depression anxiety length hospital stay following radical mastectomy group patients either received music therapy muscle relaxation training acted controls received nursing care minute intervention implemented twice day within hours surgery participating showed significant improvement depression anxiety spent less time hospital single session patientpreferred live music shown power music significantly positive impact pain following surgery patients postsurgical oncology ward merry silverman fancourt colleagues carried multicentre study assess impact singing mood stress immune response three groups affected cancer carers bereaved carers patients participants sang regularly five choirs across south wales singing mood stress assessed saliva samples taken test cortisol beta endorphin oxytocin cytokines participants associated singing reductions negative affect increases positive affect alongside significant increases cytokines singing associated reductions cortisol beta endorphin oxytocin levels overall improved mood modulated elements immune system k\u00f6hler colleagues synthesised evidence effectiveness music therapy different oncological treatment phases adult cancer patients narrative synthesis included studies showed overall music therapy positive effects broad range outcomes techniques effects varying different phases curative treatment results promising regard anxiety depression pain medication intake palliative settings improvements regard quality life spiritual wellbeing pain stress reported twentyone studies included metaanalysis showed small significant effects music therapy psychological wellbeing physical symptom distress quality life contrast daykin colleagues drew attention challenges complexity using music cancer patients wide variation responses suggested identity creativity key understanding impact music interventions music surgery music used range ways support people surgery exposure music shown reduce cortisol levels medical treatment le roux et al instance preoperative settings hospitals patients often experiencing pain anxiety distress even aggressive non compliance metaanalytic analyses demonstrated music music physical mental health help reduce anxiety spintge conrad colleagues played critically ill patients slow movements mozarts piano sonatas found use music significantly reduced amount sedative drugs needed achieve degree sedation comparable controls received standard treatment music group plasma concentrations growth hormone increased whereas concentrations interleukin component immune system adrenaline decreased significantly lower levels blood pressure heart rate also indicated reductions stress overall calming music activated neurohumoral pathways associated psychophysiological sedation sweden nilsson found patients undergone heart surgery allocated following day minutes uninterrupted bed rest music followed minutes bed restor alternatively minutes uninterrupted bed rest showed difference cortisol levels initial minutes minutes music presented music pillow connected mp player difference heart rate respiratory rate mean arterial pressure arterial oxygen tension saturation pain anxiety levels music pain considerable interest use music reduce pain stress anxiety exacerbate experience pain music therapy musical stimulation reduce perception pain postsurgical patients alone part pain management programme music chosen patient usually effective music chosen others patients also need able control volume music played long bernatzky et al hole colleagues review reinforced findings showing music effective reducing pain anxiety even patients general anaesthetic pothoulaki colleagues investigated effects preferredmusiclistening anxiety pain perception patients undergoing haemodialysis sixty people diagnosed endstage renal failure undergoing haemodialysis treatment participated anxiety pain measured pre postintervention control group scored significantly power music higher state anxiety experimental group experienced significantly higher pain intensity study pain induced experimentally basi\u0144ski colleagues showed average pain ratings significantly lower music played increasingly music selected arousing complex focusing pain stress management everyday life linnemann colleagues studied women fibromyalgia syndrome condition characterised chronic pain participants rated pain intensity perceived control pain perceived stress level music listening behaviour five times day consecutive days assessment participants provided saliva sample analysis cortisol alpha amylase biomarkers stress response systems findings showed musiclistening increased perceived control pain listening music combination guided imagery also found lead significant reductions \u03b2endorphin body uses numb dull pain mckinney et al although musiclistening guided imagery alone effect vollert colleagues used relaxing music coronary patients rehabilitation found significant decreases \u03b2endorphin physical exercise suggesting music compensated need natural pain relief addition systolic blood pressure anxiety worry reduced decreases found patients performed exercises without music gerra colleagues extended observations showing listening upbeat techno music led increases \u03b2 endorphins demonstrating upbeat music led different outcomes research focused pain reduction terms active engagement music instance irons colleagues carried systematic review studies impact group singing pain psychological physical social benefits interventions reduced pain intensity overall music seem able contribute management pain gradually recognised processes involved fully understood treatment techniques refined meet patients needs effectively mainka et al music physical mental health music palliative care coelho colleagues carried scoping review examine map non pharmacological interventions implemented provide comfort palliative care home care hospices palliative care units eighteen studies included covering ten non pharmacological interventions implemented one fourteen sessions lasted five sixty minutes common music massage therapy characteristics differed significantly across within interventions mostly implemented palliative care units hospices patients cancer diagnosis use music therapy multidisciplinary endoflife care dates back music therapy one frequently used complementary therapies palliative care usa schmid colleagues provided overview users providers perspectives showed music therapy viewed positively similarly nyashanu colleagues undertook scoping review explore efficacy music interventions palliative care music therapy supported management pain anxiety depression promoted relaxation happiness hope enhanced spirituality quality life leow colleagues also reviewed terminally ill patients experiences using music therapy hospital inpatient hospice nursing home homes concluded music therapy could promote social interaction communication family friends patients healthcare workers provide support patients holistic needs mcconnell porter review articles music therapy palliative care found music therapeutic effect physical psychological emotional spiritual suffering palliativecare patients group music therapy might effective way support staff caring palliativecare patients music mental health stress anxiety depression current levels psychosocial distress society significant evidenced number prescribed antidepressants working days lost result stress anxiety growing body power music evidence active involvement creative activities promotes wellbeing quality life health adults mental illness activities singing choir creating art expressive writing group drumming reduce mental distress depression anxiety simultaneously enhancing individual social wellbeing uk currently number projects offer creativearts activities prescription experiencing mental health issues social isolation projects adopt different approaches take place community facilitated professional artists referral process bungay clift engaging music promote relaxation reduce stress using representative sample swedish population juslin colleagues found percent reported listened music least every day one reasons helped relax juslin et al using music reported beneficial easily available time place could tailored personal taste linnemann colleagues assessed whether presence others listening enhanced musics stressreducing effect participants responded questions stress presence others musiclistening five times day minutes waking hours seven consecutive days also collected saliva sample data collection enable biological assessment stress music greatest impact stress reduction listening took place others deliberately listened relaxation later study linnemann colleagues studied participants aged eight years old answered questions musiclistening stress six times day week using electronic diary device reported time duration listening selfreports musiclistening associated lower reported stress levels corroborated objective data participants listen minutes stress reduced experimental study jiang colleagues examined effects sedative stimulative music music preference stress reduction following induced stress one hundred fortyfour female musiceducation students performed stressful mental arithmetic test assigned listen preferred nonpreferred sedative music physical mental health stimulative music sedative music lowered tension anxiety difference preferred nonpreferred music gold colleagues researched effectiveness three months biweekly individual resourceoriented music therapy adults nonorganic mental disorders norway austria australia findings showed music therapy effective addition usual care motivated engage therapies reviews relating music stress broadly positive outcomes instance panteleeva colleagues conducted metaanalysis trials effects music anxiety showed overall decrease selfreported anxiety music also impact blood pressure cortisol level heart rate de witte colleagues review trials participants showed music interventions positive effect stress reduction larger effects heart rate compared blood pressure hormone levels also metaanalysis pelletier reviewed articles used music decrease arousal due stress music alone musicassisted relaxation techniques significantly decreased arousal extent reduction mediated age type stress relaxation technique adopted musical preference previous musical experience type intervention leckey reviewing studies suggested creative activities could healing protective effect mental wellbeing promoting relaxation providing means self expression reducing blood pressure boosting immune system reducing stress overall however evidence weak williams colleagues systematically reviewed articles participants findings seven longitudinal studies showed people mental health conditions participated choral singing mental health wellbeing significantly improved moderate large effect sizes qualitative studies showed group singing provided enjoyment enhanced emotional states developed sense belonging enhanced selfconfidence modern world depression common leading loss social function reduced quality life increased mortality music interventions used alternative therapy antidepressant drugs leubner hinterberger reviewed power music studies participants distinguishing passive listening music active singing playing improvising instruments almost studies significant reduction depression levels time response musical activities particularly elderly group settings slightly better outcomes individual sessions improvements participants confidence self esteem motivation metaanalysis aalbers colleagues found music therapy addition usual treatment reduced depressive symptoms anxiety helped improve functioning including maintaining employment activities relationships concluded music therapy likely effective people decreasing symptoms depression anxiety helping function everyday life although reluctant draw firm conclusions small number studies lack detailed descriptions nature interventions fancourt colleagues studied reaction proinflammatory cytokines music interventions decrease individuals depression recover impact group drumming broad array inflammatory measures assessed sixweek intervention thirtyone participants mild moderate depression completed psychological scales related depression anxiety wellbeing social resilience social inclusion participation drumming sessions lasted minutes period six weeks groups playing together sessions consisted call andresponse exercises learning drumming patterns built larger pieces significant improvements found depression wellbeing social resilience stress tiredness levels decreased beginning end session happiness relaxation energy levels increased impact blood pressure decrease heart rate overall drumming positive impact mental physical health postnatal depression reduced mothers sing babies daily basis listen music fancourt perkins comparison mother infant interactions singing associated greater increases emotional closeness positive emotions decreases psychological biological markers anxiety fancourt perkins music therapy also used support grieving smeijsters van den hurk described single case music physical mental health study treatment woman experiencing grief death husband described able express part personality suppressing since childhood playing piano vocalising improvisational music therapy people depression likely engage group rumination related music amplify negative emotions garrido et al although sakka juslin comparison everyday use music mood regulation depressed non depressed individuals aged years agefound differences depressed non depressed participants mental health care children adolescents young people children young people experience mental illness music sometimes act support mcferran colleagues studied whether involvement brief musicbased intervention engaged young people appropriate decreased distress increased understanding ways use music positively findings showed least measurable decreases distress related participation music sessions similarly arts engagement including music therapy dance reduce internalising symptoms anxiety depression children adolescents geipel et al henderson studied hospitalised young people diagnosed adjustment reactions adolescence either received onehour sessions music therapy acted controls music sessions involved discussion emotions music expression identification body language story composition recorded music drawing music participants showed greater emotional awareness felt greater sense inclusion hong kong kwok examined effectiveness intervention integrating positive psychology elements music therapy increasing sense hope emotional competence happiness decreasing anxiety students grades eight nine suffering anxiety improvement changes hope acting significant mediator relationship intervention decrease anxiety increase subjective happiness power music northern ireland porter colleagues examined efficacy active music therapy children aged eight sixteen years oldwho social emotional behavioural developmental difficultiesand parents either participated usual care additional sessions music therapy delivered weekly music group showed improvements communication social skills social functioning selfesteem depression family functioning austria greboszharing thunhohenstein assessed potential neuroendocrine immune psychological efficacy group singing group musiclistening children adolescents mental disorders seventeen patients aged department child adolescent psychiatry participated singing musiclistening programme five daily minute sessions one week saliva samples taken assess cortisol mood also measured music activities singing led significantly higher reduction cortisol musiclistening listening led significantly higher positive change feelings calmness wellbeing group music therapy also positively affected mood states adolescents aged inpatients psychiatric hospital shuman et al individual music therapy also found slightly improve quality life children psychopathology outpatient department although impact symptoms depended severity comorbid medical conditions gold et al b promoting positive identities social participation shown help recovery mental illness range studies hense mcferran interventions used music medium dance instance jeong colleagues assessed psychological health changes neurohormones adolescents mild depression weeks dance movement therapy forty middleschool seniors participated randomly assigned dance movement group acted controls following treatment reduction psychological distress plasma serotonin concentration increased dopamine concentration decreased seems dance movement therapy stabilise sympathetic nervous system similarly gandhi colleagues studying institutionalised adolescents depression either engage therapeutic listening programme music physical mental health traditional music therapy minutes day two days week eight weeks participants dance group perform minutes day three days week six weeks music found help alleviate depression university students instance wu studied effect hours music therapy anxiety depression selfesteem taiwanese undergraduates positive outcomes relation anxiety immediately following music therapy twomonth followup effects depression less positive although music therapy lead enhanced confidence ability relax decreased negative emotions also studying university students thomson colleagues explored use music regulate moods associated depression anxiety stress one hundred forty six university students aged years age completed online questionnaire addressing levels psychopathology music related mood regulation behaviours personal musicrelated information overall musicrelated mood regulation predicted levels psychopathology high use music venting negative emotions predicted high levels depression anxiety stress diversion distraction worries stress predicted high levels anxiety stress music entertainment maintaining enhancing happy mood predicted low levels depression individuals using music regulate mood may maladaptive although may young people experiencing psychopathology likely use music help reduce symptoms indeed miranda colleagues suggested musiclistening might influence internalising psychopathology role emotion regulation coping insomnia losing sleep widespread problem serious physical economic consequences musics impact physical psychological emotional states may explain helped people sleeping disorders music improve sleep quality sleep efficiency timeto sleep onset greater effectiveness range interventions including acupuncture medication trahan power music colleagues investigated music sleep aid amongst general public using online survey assessed musicality sleep habits music helped sleep responses percent respondents stated used music help sleep fourteen musical genres different artists reported used sleep aids stress age music use significant predictors sleep quality younger people higher musical engagement significantly likely use music aid sleep respondents reported music helped sleep unique sleepinducing properties role part normal sleep routine way blocked internal external stimuli would otherwise disrupt sleep jespersen vuust studied use relaxing music bedtime traumatised refugees experiencing difficulties sleeping intervention group heard relaxing music played night music player nested pillow significant improvement sleep quality wellbeing changes trauma symptoms later study jespersen colleagues studied people insomnia either listened music given audiobooks listen severity insomnia decreased participants perceived improvement sleep quality life changes objective measures sleep reviews role music supporting sleep broadly positive results feng colleagues reviewed studies involving patients interventions interventions statistically effective usual care patients ranked listening music best method overall sleep quality terms sleep onset latency musicassociated relaxation listening music significant advantages listening music music exercise also tended improve sleep efficiency wang colleagues reviewed ten studies involving participants showed sleep quality improved significantly music cumulative effect chronic sleep disorders jespersen colleagues reviewed six publications involving participants across variety settings including participants home sleep laboratory inpatient rehabilitation facility sample sizes varied participants aged years age trials used music others music relaxation music included music physical mental health eastern chinese classical music new age electric popular oldies jazz music played minutes day three days sleep quality improved musiclistening almost studies similarly de niet colleagues conducted meta analysis data adults including older people evaluate efficacy musicassisted relaxation improve sleep quality music moderate effect ongoing research lund colleagues trialling music might help people depression suffer insomnia asking listen music minimum minutes bedtime four weeks music trauma abuse music therapists around world work wide range settings traumatised abused pavlicevic ansdell music shown costeffective powerful supporting sustainable community development mental physical health peace initiatives hesser heinemann help reduce symptoms improve general functioning among exposed trauma mcferran et al acting adjunct conventional therapy promoting emotional regulation increased pleasure anxiety reduction particularly helpful individuals struggle stigma associated asking professional help landisshack et al cognitive behavioural therapy limited success rhythm may particularly important supporting recovery research neurobiology shown rhythmic music specific impact brain therapy models using rhythm used since centres young people risk refugee trauma centres forensic psychiatric wards prisons child adult mental health services benefits include increased levels social integration improvements affect mood stabilisation reductions anxiety depression increases selfesteem faulkner posttraumatic stress disorder post traumatic stress disorder caused wide range incidents common following engagement severe combatrelated power music emotional trauma symptoms include distressing memory intrusions avoidance emotional disturbance hyperarousal lead significantly reduced quality life recent years increasing demand music therapy services within military treatment facilities partly due increased research output also increased prevalence injuriesincluding traumatic brain injury post traumatic stress disorderfor interdisciplinary patient centred care required complexity traumatic brain injury post traumatic stress context military service presents particular challenges music therapists try develop effective interventions bronson et al pezzin colleagues examined feasibility potential effectiveness active musicinstruction intervention improving psychological health social functioning among veterans suffering moderate severe post traumatic stress disorder sixtyeight veterans self providerreferred programme participants aged years old mainly male african american black almost third employment almost half retired due disability research assessed symptomatology depression perceptions cognitive failure social functioning isolation healthrelated quality life participation led significant reduction post traumatic stress symptoms depression trend towards improvement assessed areas carr colleagues assessed whether group music therapy effect post traumatic stress disorder symptoms depression patients already participated cognitive behavioural therapy participants received ten weeks group music therapy following significant reduction severity symptoms reduction depression participants reported group music therapy helpful vaudreuil colleagues used public performance support social transformation reintegration us military service members two case studies service members received music therapy part treatment post traumatic stress disorder brain injury psychological health concerns presented participants wrote learned refined songs number sessions created songs perform audiences interviews showed evidence beneficial psychological effects procedure similarly bensimon colleagues music physical mental health studied six soldiers diagnosed suffering combat terrorrelated post traumatic stress disorder participated series minute weekly sessions music therapy sessions filmed indepth interviews undertaken participants analysis musical verbal content revealed importance group engagement issues related trauma non trauma matters decreasing reflection traumatic emotions increasing expressions non traumatic feelings single case study yearold army veteran wellman pinkerton described tenweek music therapy intervention enhanced motivation decreased stress anxiety depression led reported feelings wholeness medication reduced led increased reengagement previously enjoyed activities enhanced quality life following four years medical disability significant social phobias use music therapeutic purposes also occur informal ways instance one us soldier rapped experiences iraq cope aftermath deployment uganda one young man constantly played stringed instrument traumatised talk role resistance army commander bergh sloboda military sexual trauma issue returning veterans story beck studied five veteran women participated ten music imagery sessions postsession focus group course three months participants reported using music imagery manage reduce symptoms civilians also experience post traumatic stress subject combat events following israel gaza conflict bensimon colleagues examined emotional effects listening happy sad national songs young older adults relationship exposure missile attacks post traumatic stress symptoms negative emotions young adults low post traumatic stress symptoms sad national songs related higher negative emotions whereas older adults higher post traumatic stress disorder symptoms exhibited higher negative emotions response sad national songs power music music asylum seekers refugees survivors music therapists become increasingly interested role music relation war peace refugees trauma akombo edwards hunt kennedy lopez ng following attack usa september many continue traumatised war acts terrorism violence worldwide music therapists sought respond actively events resulting trauma reaching trauma survivors refugees move involuntarily country residence often witnessed disasters wars deaths immediate family members prior leaving traumatic situations provoke strong reactions emotions often exacerbated challenging refugeeprocessing systemfor instance detention waiting refugee campswhich make migration resettlement processes refugees asylumseekers much challenging migrants psychological effects trauma experienced refugees tend longlasting multicultural arts programmes allow sensitivity different identities heritage experience important healing promoting wellbeing gopalkrishnan refugee camps arts support preservation religious identity celebration festivals events help alleviate psychosocial distress trauma reduce stigmatisation among children experienced trauma including sexual abuse terrorism war domestic violence promising findings value arts supporting grief depression post traumatic stress disorder well supporting communication experiences andemicael clini colleagues assessed impact arts interventions forcibly displaced people identified several key issues concerning perceived benefits programmes findings showed participants reported impact creative activities relation skills social engagement personal emotions artistic cultural activities impacted positively helping participants find voice creating support networks providing opportunities learn practical skills useful gaining employment review lenette sunderland music physical mental health mapped potential participatory music practices support health wellbeing asylumseekers refugees three contexts conflict settings refugee camps resettlement settings review highlighted different roles music could peoples lives moved away home countries towards resettlement overall found growing body research music wellbeing asylumseekers provided strong foundation investment music key positive social cultural determinant health group people music reduce symptoms post traumatic stress disorder reducing anxiety depressive symptoms increasing pleasure helping emotional regulation supporting building communities support networks thus enhancing resilience reducing stigma improving general functioning sutton demonstrated community arts projects sri lanka following civil war tsunami arts help people regain control lives huss et al beck colleagues researched impact guided imagery music alongside standard medication adult refugees completed onehour individual sessions pre postmeasures post traumatic stress symptoms sleep quality wellbeing social function demonstrated significant positive changes large effect sizes evaluation single sessions showed participants found therapy acceptable helpful participants used music listening selfcare homes sessions responded positively intervention overall australia lenette colleagues studied music facilitators regularly attended immigration transit accommodation facility share music singing activities detained asylumseekers ameliorate significant mental emotional distress resulting indefinite detention drawing facilitators monthly written observations number key themes emerged linked music singing health wellbeing detained asylumseekers overall clear potential participatory musicmaking counter impact traumatic experiences detention asylumseekers health wellbeing similarly hesser heinemann provided examples music projects supported social inclusion refugees others experienced severe trauma rwandan genocide power music killed million people led enormous distress survived ardenne kiyendeye used focusgroup interviews survivors participated music programme found music changed past given safe place present fellowship prayer provided personal resources face future research looking lasting impact trauma example holocaust survivors years found higher levels resilience among engaged arts course lives relative suggesting value arts immediate aftermath trauma decades follow diamond shrira also evidence music support victims torture alanne studied three traumatised men central africa south asia middle east lived asylumseekers refugees finland received weekly bimonthly music therapy sessions one two years part rehabilitation using projective listening guided imagery free association within psychoanalytic frame reference analysis data sessions revealed music therapy approaches effective promoting verbalisation well regulation expression emotions participants responded positively demonstrated improvement although varying degrees satisfaction therapy increased consciousness patients regarding traumatic experiences perceived supporting calm relaxation findings suggested music psychotherapy methods may effective treating patients survivors torture related traumatic experiences music support healing children traumatised war forced fight serve spies soldier wives camp followers refugees using cultural music creative compositions help young people overcome fears challenges promote healing development selfesteem trust identity osborne provided examples way music neuroscience provide means evaluating success music therapy traumatised children post conflict societies including north uganda palestine south thailand felsenstein studied impact shortterm music therapy intervention three groups preschool children aftermath forced evacuation music physical mental health homes unilateral israeli disengagement gaza strip post trauma treatment evacuees findings suggested music could build post trauma resilience reduce vulnerability preschoolers traumatic events although community family could also strengthen way individual children coped several authors documented benefits creative musical activity children experienced war bergmann heidenrich osborne sutton means developing selfesteem trust identity social cohesion range countries including bosniaherzegovina georgia sierra leone rwanda palestine projects enabled reflection expression feelings programmes supporting refugees displaced young people sierra leone ghana slovenia included dance programmes supported development communication empowered young people gave sense belonging relief supported identity development harris jones et al lederach lederach pesek zharinovasanderson reported work traumatised refugees berlin centre treatment torture victims music therapy context helped young people use cultural music adjust new culture performance opportunities allowed audience members see beyond traumatised refugees real people sierra leone gonsalves worked traumatised young girls forced fight serve spies soldier wives camp followers song girls communicated emotional material needs histories fears current difficulties creative musical interaction supported increased understanding reengagement connections others promoted healing thus empowering participants post conflict kosovo gerber colleagues evaluated work charity aimed promote culture peace unity well development recovery children groups nonparticipating students compared new programme participants participating twelve months graduated programme overall children participated programme least one year fewer emotional cognitive problems recently power music enrolled children ireland kenny examined musical lives children asylumseekers living state system communal housing waited refugee applications processed data collected six participatory music workshops video observations reflective log focusgroup interviews eleven children aged seven twelve years old six different nationalities participated findings revealed importance relevance contexts musicmaking temporary accommodation settings well broader national international contexts children living asylumseeking systems review school communitybased interventions approximately refugee asylumseeking children carried highincome countries refugee camps focus verbal processing past experiences range creative arts activities suggested interventions delivered within school setting could successful helping children overcome difficulties associated forced migration feelings powerlessness humiliation anger reduced social inclusion mental health social acceptance belonging enhanced tyrer fazel music victims abuse child sexual exploitation major international problem victims need rehabilitated reintegrated society supported creative arts schrader wendland described music therapists working phnom penh cambodiain centre provided care young girls rescued sexual violence commercial sexual exploitationtrained staff centre teaching play instruments participate ensembles lead large group music activities could support girls rogers highlighted number factors appear common sexually abused individuals including participants manipulation music therapy symbolic use instruments preoccupation mess containers use boundaries power secrets material case studies illuminated points usa five million crimes involving violence partners annually victims experience lifetime increased risk music physical mental health depression anxiety addiction suicide attempts post traumatic stress disorder additionally womens experience abuse risk factor incarceration palidofsky stolbach describe therapeutic benefits incarcerated adolescent girls working collaboratively theatre professionals create develop perform musicals based traumatic experiences similarly neupane taylor described gendersensitive music intervention able facilitate healing recovery incarcerated abused women also working victims abuse slotoroff developed technique inpatient shortterm psychiatric setting using improvisational drumming cognitive behavioural methods address issues power middleaged woman elevenyearold boy participated increased sense power selfcontrol leading long term positive behavioural cognitive emotional changes flores colleagues used african drumming enhance emotional social wellbeing children residential care exposed form neglect abuse displayed high levels anger anxiety depression disruptive behaviour participants attended weekly sessions african djembe drumming period four months intervention appear significantly impact participants longterm selfconcept levels depression anger disruptive behaviour anxiety increased despite findings interviews observations suggested workshops enhance childrens emotional social functioning terms selfesteem selfconfidence prosocial behaviour enjoyment concentration manifestation musical capacity even though transfer childrens everyday functioning may severity socioemotional difficulties well limitations intervention hannigan mcbride investigated therapists perspectives value using drumming along percussion instruments therapeutic tools family violence treatment groups overall drumming perceived useful fostering group cohesion cooperation helping clients passive communication style become involved groupwork facilitating emotional expression offering participants way experience active relaxation engagement group process power music another approach supporting trauma victims songwriting instance fairchild mcferran studied children aged eight fourteen years old experienced homelessness family violence participants collaborated writing song music meant throughout process song writing children described music provided escape happening lives offered hope better future similarly clendenonwallen studied adolescents sexually abused participated music group activities included song rapwriting rhythmplaying improvisation lyric analysis creative movement adolescents also designed record album covers musicbased activities increased participants sense selfworth selfconfidence music ease anxiety also useful process socialisation verbalisation served starting point discussing personal matters group improvisation also enhanced group cohesion cooperation christenbury combined songwriting art promote healing child traumatised child controlled process therapist composed songs response childs drawings related emotions child chose important healing increased selfesteem provided healthy emotional outlet also using songwriting along improvisational instrument playing lyric analysis musical games participants asked encode decode various emotions graham determined effects music emotional expressivity children adolescents experienced abuse neglect participants removed homes placed group foster homes findings showed increase emotional expressivity degree appropriateness emotions expressed participants rudstam colleagues employed group music imagery ten women exposed physical psychological sexual abuseoften history childhood abuse neglect suffering post traumatic stress disorder participants completed treatment indicated helpful showed decrease post traumatic stress dissociative symptoms alongside increase quality life changes maintained programme ended adopting different approach strehlow music physical mental health focused use analytical music therapy treat sexually abused children showing eightyearold rebellious girl suppressed feelings sexually abused mothers partner responded positively similarly sutton de backer drew case material work young boy adult attending psychiatric outpatient department show form musical listening thinking could help understand issues faced traumatised fairchild highlighted creative resources children experiencing homelessness family violence bring research well range resources draw upon face adversity research challenged view children risk explored resources helped well fairchild colleagues used songwriting interviews collaborate children focusing music meant music offered escape outside world provided hope future would better children described range support friends family sport pets writing journal creativity wanted feel safe cared protect others exhibited considerable selfdetermination collaborative article written one yearold revealed believed learning play drums music therapy changed life music therapy used support parenting instance day colleagues reported reflections five women experienced childhood abuse participated group parenting programme incorporated songwriting three years completion programme participants reflected positively process creating songs reported continued engage song creations parents experienced childhood trauma often experience challenges parenting adolescent trigger memories abuse intensify conflict resulting negative relationship cycles colegrove colleagues devised dyadic music therapy parents adolescents increased responsive parentadolescent interactions parental emotion coaching reducing conflict adolescent mental health difficulties power music children exposed ongoing maltreatment poverty frequently experience behaviour problems south korea kim used music therapy weeks four children reduction externalising internalising behavioural problems overall although considerable individual variation later study kim showed although children music therapy group less depressed anxious withdrawn less attention problems children standardcare waiting groups many confounding factors el sistema programme largescale communitybased music programme includes children exposed violence showed research conducted music centres children aged six fourteen years old participating children improved selfcontrol reduced behavioural difficulties alem\u00e1n et al severe mental illhealth following sections provide examples way music used support recovery severe mental illhealth providing supplementary support traditional pharmacological psychological approaches patients psychosis music therapy musiclistening reported improve symptoms general psychopathology psychoticism aggressiveness interpersonal hostility paranoid ideation phobic anxiety somatisation anxiety depression well catatonic symptoms lack participation cooperation relaxation interaction psychosocial functioning silverman however research confirmed findings attard larkin interesting line enquiry focused use music individually tailored match patients brain rhythms instance m\u00fcller colleagues examined whether longterm exposure psychiatric patients music individually adapted brain rhythm disorders associated psychoticism could act ameliorate symptoms total patients various psychiatric diagnoses randomised listen cds either containing music adapted brain rhythm anomalies associated psychoticism measured specific spectral analysis standard classical music participants instructed music physical mental health listen cds months psychiatric symptoms assessed start intervention four eight eighteen months patients experimental group showed significantly decreased symptoms compared control patients psychoticism paranoia anxiety phobic anxiety somatisation changes may resulted modulation neurochemical interactions improved brain function enhanced neuroplasticity feng colleagues explored whether music therapy could improve brain function patients major depressive disorder using near infrared spectroscopy fifteen mild moderate major depressive disorder patients compared healthy controls treated continuous music therapy ten days verbal fluency task performance participants yielded significantly higher scores music therapy near infrared spectroscopy data showed increases channels significant groups major depressive disorder group showed significant activation dorsolateral prefrontal cortex orbitofrontal cortex ventromedial prefrontal cortex music therapy suggesting music therapy effective one strand research considered impact music acute mental health instance silverman explored effects different levels structure within educational music therapy interventions knowledge illness management recovery affect adult acutecare mental health inpatients one hundred fifteen participants randomly assigned either high lowstructured educational music therapy waitinglist control significant differences relation knowledge illness management recovery highstructure condition groups overall highly structured music therapy seemed best efficiently effectively imparting knowledge concerning illness management recovery acute mental health settings stefani biasutti studied impact group music therapy alongside drug care comparison drug care alone addition nonexpressive group activities treatment psychiatric outpatients twentyseven patients diagnoses schizophrenia schizoaffective disorders bipolar affective disorder depressive episode specific personality disorders allocated receive group music therapy standard care weekly sessions two hours power music standard care participating group music therapy demonstrated improvement neuroleptic drug dosage although antidepressant drug usage increased groups difference significant control group benzodiazepines mood stabilisers showed significant change either group overall group music therapy combined standard drug care effective controlling neuroleptic drug dosage adult psychiatric outpatients grocke colleagues studied individuals severe mental illness experienced weekly group music therapy including singing familiar songs composing original songs professional studio focus group interviews lyric analyses along quantitative data collected weeks music therapy improved quality life selfesteem participants participating greater number sessions experiencing greatest benefits focusing singing williams colleagues reviewed articles including participants efficacy group singing mental health intervention individuals living mental health condition community setting findings showed people mental health conditions participated choir mental health wellbeing significantly improved moderate large effect sizes group singing provided enjoyment improved emotional states developed sense belonging enhanced self confidence working young people youth mental health service australia hense mcferran showed promoting young peoples musical identities could facilitate recovery mental illness reviews evidence effectiveness music therapy psychopathology across range different age groups mixed findings silverman carried metaanalysis including studies showed music could effectively suppress combat psychotic symptoms differences live recorded music structured music therapy passive listening preferred versus therapistselected music however classical music less effective popular music gold colleagues reviewed overall efficacy music therapy children adolescents psychopathology examined size effect music therapy influenced nature pathology music physical mental health clients age music therapy approach adopted way outcomes assessed studies included total participants music therapy medium large positive effect clinically relevant outcomes effects tended greater behavioural developmental disorders emotional disorders social skills selfconcept particularly eclectic psychodynamic humanistic approaches rather behavioural models adopted later review focusing adults gold colleagues found music therapy supplementing standard care strong significant effect global state general negative symptoms depression anxiety general functioning small effect sizes achieved three ten sessions sessions needed achieve large effects overall findings suggested music therapy effective treatment could help people psychotic non psychotic severe mental disorders improve functioning review studies focusing acute psychiatric disorders carr colleagues found drawing firm conclusions limited methodological shortcomings small sample sizes studies significant positive effects used active structured musical participation delivered four sessions clearly defined effective model emerged greater frequency therapy actively structured musicmaking verbal discussion consistency contact clear boundaries emphasis building therapeutic relationship building patient resources seemed particular importance yinger gooding summarised research music therapy children adolescents including disorders usually diagnosed childhood instance substance abuse mood anxiety difficulties eating disorders outlined range music therapy techniques strengths weaknesses research considered music might support electroconvulsive therapy graff colleagues examined patients preferences music prior treatment enjoyed listening music speakers headphones although percent preferred music gleadhill ferris developed framework evaluating impact music therapy people dissociative identity disorder debilitating disorder acquired due severe ongoing neglect abuse characterised presence two identities frequently power music control individuals behaviour framework suggested symptom relief destigmatisation increased selfesteem prevention future abuse important outcomes eating disorders role music ameliorating eating disorders examined number studies reviews free structured improvisation songwriting listening pre composed music used help sufferers address specific aspects eating disorder including able recognise tolerate feelings connect others make links thoughts feelings body music support development sense self facilitate understanding symbolic functions illness robarts sloboda explored process music therapy treatment people suffering anorexia nervosa individual cases illustrated ways music therapy support individual addressing frequently deeply rooted problems instance issues identity negative selfimage distorted body image autonomy control avoiding facing difficult emotions difficulty relationships relationship listening music cathartic purposes emotional eating van den tol colleagues argued enjoyment food music share similar neural activations brain used regulate feelings investigated associations emotional eating disordered mood musicrelated mood regulation found associations depression anxiety stress musiclistening releasing anger sadness emotional eating positively associated musiclistening strategiesincluding entertainment diversion mental workwere associated people low levels disordered mood high levels disordered mood associated high levels emotional eating music listening strategies suggests musiclistening strategies might able used healthier alternatives emotional eating retrospective analysis songs written adolescents anorexia nervosa mcferran colleagues revealed identity common theme mealtime anxious time people anorexia music physical mental health music therapy used successfully significantly reduce postmealrelated anxiety bibb et al addiction chronic drug abuse leads dopaminedeficient state mesolimbic system causing dysphoria abstinence leading craving subsequently return drug use functional imaging studies shown listening personally pleasing music activates mesolimbic reward system fashion similar drug abuse activation could therefore ameliorate dysphoria craving hypodopaminergic state mathis han found listening personally pleasing moving music could reduce craving abstinent alcoholics twelve participants alcoholuse disorder residential substance rehabilitation unit reported level craving listening either participantselected song white noise music intervention significant advantage reducing craving compared noise studies addiction reported music therapy improve perceived control thus reducing cravings silverman researched effect music therapy readiness change craving patients detoxification unit one hundred fortyone participants allocated rockumentary music therapy intervention verbal therapy recreational music therapy condition significant differences groups readiness change contemplation action participants music conditions higher scores verbal therapy condition also tended lower mean craving scores perceived intervention helpful enjoyable group musicmaking activities choirs enhance social connections provide positive diversion people overcoming addiction instance liebowitz colleagues investigated participation musicbased performance instruction programme influenced sense engagement experienced participants residential setting atrisk veterans participants opportunities connect others shared interests connections forged residents extended beyond relationships established choir increased recognition associated performances choir provided diversion concerns power music may served means facilitating adjustment change measured speed reviews impact music therapy relation addiction report lack consistency research outcomes hohmann et al mays et al scoping review articles impact music lives young adult drug users found valued music meeting emotional psychological social needs particularly homeless however research included review limited considering harmful consequences music rather considering potential benefits lemaire et al obsessivecompulsive disorder social anxiety disorder music play role ameliorating symptoms obsessive compulsive disorder alongside pharmacotherapy cognitive behavioural therapy iraq abdulah colleagues evaluated impact passive musiclistening adjunct therapy patients aged years old experimental group received seven minute relaxing music tracks listen daily addition regular pharmacological treatment threemonth period controls received regular treatment findings showed improvement severity behaviours experimental group similarly shiranibidabadi mehryar randomly assigned patients obsessivecompulsive disorder standard treatment pharmacotherapy cognitive behaviour therapy addition sessions individual music therapy standard treatment one month music therapy resulted greater decrease checking slowness washing responsibility overall music therapy adjunct standard care effective reducing obsessions well comorbid anxiety depressive symptoms listening music found reduce time spent dwelling threats people experiencing social anxiety disorder lazarov colleagues examined efficacy gazecontingent music reward therapy social anxiety disorder designed reduce extent dwelling threats forty patients randomly assigned eight sessions either gazecontingent music reward therapy designed divert patients gaze toward neutral stimuli rather threat stimuli music physical mental health control condition music therapy yielded greater reductions symptoms control condition effects maintained intervention also revealed reduced time spent dwelling threats socially threatening faces used training suggesting outcomes transferred situations schizophrenia music therapy reduce symptoms mild schizophrenia including hostility hallucinations suspiciousness emotional withdrawal poor rapport difficulty abstract thinking compared controls schizophrenia receiving adjunct music therapy shown improvement regardless duration frequency number therapy sessions tseng et al review studies total participants undertaken sessions geretsegger colleagues showed medium term positive effects adjunct music therapy range negative symptoms social functioning quality life although effects inconsistent across studies depended number sessions quality therapy working hospital emergency psychiatric ward patients psychosis volpe colleagues found structured music therapy led decrease anxiety depression affective symptoms liao colleagues explored factors important effectiveness group singing social robots interacted individuals schizophrenia nine participants aged years old participated four group singing therapy sessions provided social robot occupational therapist group cohesiveness universality altruism important factors related efficacy programme similarly odellmiller considered music therapists could use music created patients better understand emotions interacted others power music music therapy autistic spectrum disorder severe learning difficulties music therapists worked children autistic spectrum disorder many years typically means improve verbal nonverbal communication music particularly effective supporting development communication kind language ockelford using functional magnetic resonance imaging sharda colleagues showed autistic spectrum disorder alternate mechanisms speech music processing established song could overcome structural deficit speech later study sharda colleagues evaluated neurobehavioural outcomes eight twelveweek music intervention autistic children aged six twelve years old song rhythm improvisation improved communication resting state brain functional connectivity auditory subcortical regions auditory frontomotor regions although connectivity lower auditory visual regions areas known overconnected autistic spectrum disorder children autistic spectrum disorder excel creative activities particularly music superior memory pitch timbre highlevel capacity processing melodic rhythmic complexity janzen thaut survey adults autistic spectrum disorder studied special interests intensity motivation interests impact quality life approximately two thirds sample reported special interest including computers music nature gardening engaged one interests associated enhanced wellbeing including social contact leisure however high intensity engagement special interests negatively related wellbeing grove et al even autistic spectrum without special musical skills benefit music therapy means enhancing social interaction sensory perception language eye contact lagasse musically enriched interactions reduce anxiety aggressive behaviour improve listening attention span social interaction campbell auditory motor rhythmic training improve language acquisition processing well music physical mental health speech control janzen thaut however interventions successful longterm outcomes instance dvir colleagues videoed synchrony body rhythms fourtosixyear old children autistic spectrum disorder music therapists week period higher levels synchrony found repetitive rhythmicity occurred twice times per second used longterm impact although individuals autistic spectrum disorder commonly deficits processing complex emotional cues ability identify emotional content music generally preserved sweden theorell colleagues established playing musical instrument particularly ensemble associated higher emotional competence support review conducted molnarszakacs heaton pointed many individuals autistic spectrum disorder showed early preference music able understand simple complex musical emotions childhood adulthood despite difficulties experienced communication understanding emotions within social domain one study even suggested antenatal music training maternal talk could reduce risk children developing autisticlike behaviours china study parents kindergarten children completed questionnaires revealed antenatal music training maternal talk foetus associated reduction autisticlike behaviours ruan et al parent child integrated music activities support relationships children autistic spectrum disorder parents caregivers lense et al musicbased parent coaching hernandez ruiz musical activities include children autistic spectrum disorder reduce victimised neurotypical peers cook et al research considered music might help children learning difficulties broadly instance mendelson colleagues studied classroombased music intervention improving communication skills children autistic spectrum disorder intellectual disabilities four elementary school special education classrooms findings showed minute weekly music therapy sessions promoted improvements verbal responsiveness working young adults severe learning power music difficulties pavlicevic colleagues found longterm musicmaking provided ongoing opportunities gaining confidence enhancing selfesteem feelings shared acceptance success case study individual profound learning difficulties mcferran shoemark found success therapy lay combination attentive responsive creative behaviour time music therapist listening taking responsibility structure activities young person spontaneously initiating activitieswithboth participants building relationship time biological markers stress also shown reduction following music therapy individuals intellectual disabilities autistic spectrum disorder poqu\u00e9russe et al community music activities also benefit mild profound learning difficulties increasing selfconfidence enabling wider recognition musicality wilson macdonald reviews impact music individuals autistic spectrum disorder generally shown positive outcomes including improved nonverbal verbal communication motor development coordination body awareness sensory perception social emotional reciprocity wide range social skills geretsegger et al janzen thaut shi et al srinivasan bhat vaiouli andreou addition impact functions de vries colleagues showed music reduced anxiety improved cognitive skills attention task enhanced body awareness selfcare skills expression recognition understanding processing emotions ragone colleagues focusing use technology children autistic spectrum disorder showed relationship soundbased activities improvement motor social skills reviews point limitations research particularly terms small sample sizes variation kinds therapy outcome measures still acknowledging benefits contrast simpson keen gave limited support use songwriting improvisational therapy facilitate social communicative behavioural skills young children autism spectrum disorder music successful increasing exercise intensity important reducing risk obesity sleep disorders music physical mental health stereotypical behaviours common children autism spectrum disorder although effects mediated extent exercise structured nature music characteristics child woodman et al research focused nature effective music teaching children range learning difficulties autism gerrity colleagues showed use repetition giving students choice allowing longer response time important teaching strategies children found important clear directions expectations behaviour plan fostering positive atmosphere free distractions thompson colleagues gathered perspectives autistic individuals aged years old inform design musicmaking workshops using online survey structured interviews showed participants expected welcoming atmosphere acceptance diversity overview psychological wellbeing physical health closely linked former enhance recovery illness limit occurrence stress anxiety contribute ill health music enhance wellbeing equally contribute negatively psychological health depressing aggressive music listened constantly particularly presence others musicmaking ensembles activates many regions brain enhancing connections listening musicwhich constitutes aspect making music impacts brain regions associated arousal emotions reward pleasure rhythmic aspects music impact movement whether music slow fast quiet loud affects arousal mood emotion musical preferences major influence whether music therapy effective different ways music influence mental physical health positively negatively addition direct effects music therapy interventions typically involve interactions people therapist participants social interactions involved musicmaking listening others important impact music mental physical health less positive therapist facilitator approaches adopt power music also important mediators possible research untangle differential impact music social interactions others may accompany overall predicting outcome musical intervention mental physical health complex interaction factors complexity also account different research outcomes himonides cc byncnd httpsdoiorg obp music inclusion social cohesion music wide range functions set detail chapter one important functions role actively making music encouraging social bonding function argued evolutionary basis huron harvey suggests music musicrelated behaviours along language speech important early evolution helping promote emotional synergy social bonding foster grouplevel cooperation coordination savage colleagues argue evolution musicality involved gene cultural coevolution protomusical behaviours began cultural inventions effects biological evolution impact social bonding repetition synchronisation combination harmony rhythm pitch provided social rewards linking brain networks physiological systems behaviours cross argues music may particularly suited supporting social bonding generally free risk meaning interpreted different ways allowing humans interact share experiences even though participating individual may different perspectives goals relationships music promote survival way synchronises moods many individuals collectively take action protect defend attack dowling harwood moving together rhythmically seems reinforce process hove risen kogan trainor support role music social bonding fact music occurs every human culture subculture unless deliberately suppressed universal human behaviour record merker et al mehr colleagues support evolutionary role power music music relation coalitional interactions also emphasise importance infant care humans species face considerable challenges compared primates maintain social bonds groups much larger primates music might provide way achieving freeman rhythmic activities induced drum beats music lead altered states consciousness mutual trust among members societies engendered proposition supported empirical research instance weinstein colleagues recruited individuals community choir met small groups people large groups people feelings inclusion connectivity positive affect increased minute singing rehearsal small choir greater increases reported large choir suggesting singing together fosters social closenesseven large group contexts individuals known similarly pearce colleagues followed newlyformed singing nonsinging adult education classes period seven months participants rated closeness group classes three timepoints one three seven months singers nonsingers felt equally connected seven months much faster bonding occurred singing group one month singing may evolved specifically bond together large human groups relative strangers quickly willingness coordinate others supported way music generates positive emotions group musicmaking involves strong element sociability finnegan links music social bonding cross hagen bryant emotion juslin sloboda may explain group musicmaking enhances wellbeing sloboda suggests musicmaking rewarding part generates social bonding cultural coherence role range ceremonies supports roederer social networks developed musicmaking support group identity collective thinking collaborative learning friendship social support sense belonging synchronisation catharsis collective expression experience emotion brown faulkner davidson coffman creech et al lehmberg fung music inclusion social cohesion recent example arditi suggests musicians popular bands perceive performance identity linked identity band group greater solidarity likely remain together music support formation maintenance group identity promote cooperative behaviour conversely create potential hostility towards outgroups children young people group musicmaking offers opportunity engage wide cultural experiences explore new ideas places perspectives support social cohesion israel benefits participants also increases involvement parents carers attendance cultural events exposure culture generally creech et al biological underpinnings social bonding primates involve endorphins endogenous opioid system released synchronised exertion tarr et al associated several human behaviours including laughing synchronised sports well singing dancing passively listening music also engages endogenous opioid system identifying self part group combined activity endogenous opioid system may important way music promotes social bonding endorphins released synchronised movements also effect social bonding social behaviours oxytocin levels weinstein et al kreutz studying psychobiological effects amateur choral singing comparison dyads chatting showed patterns change favouring singing chatting suggesting singing enhanced individual psychological wellbeing well inducing sociobiological response similarly grape colleagues observed significant increases oxytocinwhich plays fundamental role social behavioursin professional amateur singers singing lesson participating musical groups requires attention paid actions intentions group members physical emotional states addition able communicate emotions respond others cross et al group musicmaking promotes activity neural networks connect areas brain associated social cognition music production sanger et al key development empathy musical participation power music enhance empathy children rabinowitch et al may also increase emotional sensitivity resnicow et al young people music preferences indicate similar different values similarity contributing social attraction explaining musical bonding occur range different cultures boer et al human interactions sometimes require behaviour coordinated keller et al synchrony promotes positive social behaviour instance infants bounced synchrony experimenter subsequently likely help experimenter dropped objects needed complete task bounced synchrony trainor cirelli pleasure performing temporal synchrony others may also wide ranging consequences wellbeing overall functioning mcneill instance hove risen showed degree synchrony tapping tasks predicted subsequent affiliation ratings one frequently cited benefits group musicmaking impact prosocial behaviour young children shown enhanced cooperation helpful behaviour musical opposed nonmusical conditions kirschner tomasello el sistema programme projects inspired facilitate prosocial behaviour creech et al intensive ensemble activities seen providing opportunities nurturing positive citizenship including respect equality sharing cohesion teamwork enhancement listening skills important element promoting understanding cooperation majno research usa shown involvement group music activities high school helps individuals learn support maintain commitment bond together achieve group goals sward band participation positive benefits maturing relationships teamwork cooperation sense belonging companionship social development brown adolescence young adulthood musiclistening families peer groups contributes family peer cohesion applies across range cultures including kenya philippines new zealand germany boer abubakar large study people uk van de vyver abrams found greater engagement arts including musical activities predicted greater prosociality volunteering charitable giving music inclusion social cohesion joint musicmaking provides opportunities developing skills relating citizenship encourage tolerance development social ethics increase acceptance children intellectual impairments humpal jellison et al enhance concern wider community issues miksza wiltermutt heath showed students usa scored higher coordination exercise publicgood game singing along song played headphones compared singing forced asynchronous singing musicmaking also used teach leadership skills children primary secondary schools hallam learn communicate verbally musically children music conflict greater illustration power music role conflict situations relationship music conflict complex music always used promote peace used bythose desire create maintain conflict bergh sloboda review literature outlined ways music support conflict give examples music used support preparations war instance nazi germany music used accompany large rallies purpose developing sense cohesion reinert croatia music used develop nationalist feelings start war pettan serbians used folk music bolster concept serbian uniqueness hudson bohlman similarly albanians used music videos attempt create national identity preparation war sugarman centuries music used support militia face battle drums offering rhythm support marching together drums bugles bagpipes used bolster courage mcneill recently iraq american soldiers played loud aggressive music engaging dangerous activities gittoes countries music used promote revolution songs used calls action instance congregational music represents solidarity sense collective identity civil rights movement ward boulanger martel drawing data relating production music fuerzas power music armadas revolucionarias de colombia argued cultural production employed bolster rebelgroup legitimacy internally justifying existing hierarchical relationships leaders fighters externally identifying rebel group legitimate alternative existing establishment rightful representative people typically conflict situations music employed multiple purposes instance nd world war ghettos concentration camps music played complex role daily life used help alleviate distress among incarcerated gilbert time intimidate demonstrate power pettan moreno reviewed meaning sometimes therapeutic role music victims perpetrators holocaust demonstrating importance music times stress music used humiliation torment musical censorship applied music used deception distraction masking prisoner orchestras demonstrate musically induced humane feelings separated sentiment nostalgia coexisting alongside denial indifference way others suffering recently loud noise music used means torture challenge beliefs cloonan johnson torment humiliate prisoners war cusick bayoumi reported detainees subjected music high volume designed destroy minds guant\u00e1namo bay eminem britney spears limp bizkit rage machine metallica bruce springsteen played excessive volume long periods time detainees indicated music used weapon designed deprive sleep cause overstimulation psychologically intolerable contrast promoting conflict causing distress music used many years attempts resolve conflict support peace instance buwaya kalingga people established peace pacts consolidated feasts use specific songs prudente bergh sloboda review point since early increasing use music arts reduce conflict balkans israel palestine music arts frequently used mediation efforts sudan music used meeting place different music inclusion social cohesion ethnic groups displaced result year civil war bergh initiatives included recording joint israelipalestinian cds music therapy children ng brassband performances children different ethnic groups veledar bornstein researched artistic religious contributions peace building indonesia music poetry used attempt resolve conflict cyprus ungerleider elsewhere epskamp bang review literature investigated artistic engagement could facilitate transformative learning development skills capacities constructive engagement conflict fostering new perspectives ultimately cooperative relationships zelizer working bosnia herzegovina focused process artistic interventions suggesting conflict could resolved expanding identity participants beyond current group identities also focusing process weaver argued reconciliation parties conflict viewed creative process zelizer suggested changing emotions rational thought necessary achieve reconciliation civil war much research conflict reduction criticised outcomes based perceptions organising programmes musicians delivering rather participants cohen may distorted reported effectiveness programmes instance fock found teachers danish multicultural music project cautious reporting change pupils responses given questionnaires returned organisers cohen suggested effective projects connect conflict resolution interventions take greater account context lederach also considered artists could contribute peace building review also using empirical data collected conflict transformation projects sudan norwaybergh bergh bergh bergh sloboda concluded interventions ineffective long term relate participants daily lives seems effective make sustainable changes programmes need take place many years multicultural projects music cultures power music shared emphasise differences groups rather similarities exacerbate issues programme intended address imbalance power organisers delivering programme participants also problem establishing efficacy zelizer haskell suggests issues power control need taken account interventions weaker parties may agree avoid future negative consequences academic research area criticised sometimes great emphasis theory rather practice robertson despite difficulties continue discussions music might help supporting resolution conflict lopez urbain considered chapter increasing interest music therapists developing interventions support traumatised conflict edwards ng research focused relationship social cohesion patriotism hamzah colleagues studied impact music malaysia became independent national anthem patriotic songs mobilised state foster sense national cohesion collective identity songs popular accepted malaysian citizens diverse backgrounds part national identity supported repetition national radio television social media platforms group discussions conducted revealed patriotic songs rather commercial popular songs popular wide reaching appeal across different professions ethnicities religions geographic locations patriotic music provided means social cohesion personal intimate affective associations songs solicited individual citizens johan drawing cases intercultural intimacy found production performance studio recordings malaysian artists groupsrevealed malaysian popular music specifically stage maturing nationhood provided important means intercultural cohesion among citizens range ethnicities religions social classes offered intimate creative expression facilitated process everyday social cohesion way music used promote conflict also used increase prejudice instance corte edwards music inclusion social cohesion researched use punk music white power activists end racist rock music movement known white power music emerged great britain connected political parties extreme right throughout expanded significantly multimilliondollar international enterprise promoting white power musicians performing wide range musical genres music particular role recruiting new adherents especially young people authors concluded white power music continued play significant role mobilisation racist political social movements drawing new recruits cultivating racist collective identity generating substantial sums money finance range racist endeavours contrast roberts provided examples punk involvement leftwing social movements including rock racism movement uk peace movement us punk ethic independent media construction centre punk movement made possible punks make connections various social movements addition altering dynamics social movements eyerman drawing research civil rights movement united states memory slavery formation africanamerican identity place whitepower music contemporary neofascist movements outlined music act political mediator research focused specifically using music reduce prejudice instance northern ireland odena studied perceptions practitioners engaged musical activities cross community settings working protestant catholic groups interview data showed crosscommunity music education projects effective means addressing prejudice amongst young people specific contexts setting put limits could achieved similarly folk songs used israel bring palestinian jewish children families together cross community school visits lichman lichman sullivan songs promoting social inclusion reduce prejudice discrimination aggression groups promote cultural understanding instance greitemeyer schwab series experiments showed participants listened songs prointegration relative neutral lyrics expressed less prejudice less aggressive power music helpful towards outgroup member effects unaffected liking song mood arousal properties songs employed suggesting prointegration content lyrics achieved effects clarke colleagues reported outcome empirical study demonstrating passive listening music unfamiliar culture could significantly change cultural attitudes listeners high levels empathy research areas relating way music bring change shown sustainable change tends occur participation active involves participants regular use musical skills period months opposed days spychiger et al harland et al music refugees many years australia one multicultural countries world although globalisation increased number people arriving countries vastly different backgrounds experiences ideologies values belief systems gifford colleagues carried longitudinal study explore experiences newly arrived young people refugee backgrounds first year school focused developing english language skills exception instances teasing bullying experience positive transition mainstream school felt inadequate english language skills engage fully educational requirements felt less supported teachers academic work declined feelings belonging safety significant increase experiences discrimination complete secondary education instead seeking technical training employment many part intact family family instability feature lives family support weakening time may valued wider ethnic community experienced discrimination violence ethnicity religion colour despite often traumatic lives prior arrival exhibited considerable personal strengths nevertheless faced many challenges coupled burdens shouldered families impact ability reach full potential early years settlement australia perhaps large number music inclusion social cohesion immigrants considerable research australia possible impact music supporting integration young children playground games provide mechanism included school environment retaining connections home cultures marsh dieckmann marsh explored music participation specifically participation musical play could contribute wellbeing newlyarrived refugee migrant children providing new musical social beginnings specific reference made children iraq south sudan sierra leone australia punjabi children uk newly arrived central south american immigrants usa school catering newlyarrived immigrants music used support acculturation integration marsh b young people aged years old participated musical activities designed provide opportunities cultural maintenance crosscultural transmission verbal nonverbal communication view developing interpersonal connections social cohesion empowerment varied learning teaching performance opportunities participation performance major school concert important achieving aims key outcomes students included feelings belonging school community wider australian community well global music community reached various technological media marsh b marsh focused collaborative music dance activities sierra leone youth group attending intensive english language centre newly arrived students marginalised young people music dance activities conceived within socially framework provided opportunities participatory parity cultural justice social inclusion within communities home host cultures also australia crawford reported findings case study investigated impact music education students school victoria music education used vehicle engage young people refugee background findings indicated classroom music fostered socially inclusive practices resulted positive transcultural learning space supported young refugees fostering sense wellbeing belonging enhanced engagement learning benefits always power music clearly distinguished general experience school students identify elements musiclearning teaching linked outcomes multiple case study three schools victoria crawford explored perceptions experiences practices teachers directly indirectly involved music education schools high percentage young people refugee background intercultural competence socially inclusive behaviours seamlessly embedded music learning activities offer studentcentred active practical experiential authentic also australia lenette colleagues studied group music facilitators regularly attended immigration transit accommodation facility share music singing activities detained asylum seekers monthly written observations facilitators analysed revealed links music singing health wellbeing detained asylumseekers related humanisation community resilience agency sunderland colleagues reported outcomes exploratory narrative study impact participatory musicmaking social determinants health wellbeing refugees brisbane mapped reported outcomes five refugee asylumseeker members participatory brisbane based music initiative scattered people three key aspects critical wellbeing cultural expression musicmaking consolidation personal social identity cain colleagues using qualitative methods explored participatory music making within immigrant communities could influence wellbeing three broadly defined cultural groups living region participated people baltic origin latin american caribbean backgrounds newly arrived immigrants refugees individual interviews analysed showed musical involvement affected mental social emotional wellbeing focusing staff refugee asylum seeker music programme sunderland colleagues showed shared common concern promoting social justice using music participation creation dissemination research australia concerned experiences migrant musicians mani investigated multiple often marginalised ways knowing educating performing music inclusion social cohesion migrant musicians south east queensland wide range activities undertook new homes built capacity also added culturally derived value lives lives encountered three key features central lives livelihoods connectedness selfidentity wellbeing magowan considered complex emotional dynamics emerged music facilitators music producers asylum seekers variously navigated experiences dislocation replacement recounting painful journeys immersed singers music producers reciprocal recognition reimagining events empathic process empowering asylumseekers aboriginal australians songs australia considerable body research undertaken norway four percent norwegian population refugee background region refugees children six fifteen years age statistics norway norwegian concert agency initiated threeyear programme introducing multicultural musicteaching norwegian primary schools eighteen schools around capital took part research project determine effects immigrant musicians introducing music countries origin fourth grade children positive results emerged particularly regard reduced harassment ethnic tension multicultural music regularly school concert agenda total concerts presented quarter total norwegian school population skyllstad skyllstad initiated threeyear research project aimed understanding cultural traditions immigrant communities oslo preventing discriminatory attitudes project also aimed releasing promoting artistic talents resources immigrant communities cooperation leading artists countries origin fields music dance participating schools benefited programme improved interethnic relationships reduction incidents harassment enhanced selfimage immigrant children easily accepted intercultural initiatives followed multicultural music centre founded arranged yearly world music festival similar projects establishedfor power music instance einarsen fock generally less positive outcomes reported skyllstad bergh followed performances traditional folk classical music musicians home countries immigrant groups years later found although participants recalled programme enjoyed time little impact daily lives relationships groups see connections musical performances musicians populations countries contrast enge stige explored music therapy public primary school rural area western norway focused refugee childrens social wellbeing emphasis peer community children offered music therapy faced various challenges including living difficult home situations struggling academically socially music therapy participatory exploratory character successfully nurtured childrens capacity regulate emotions engage social participation studying refugee camp greece people iraq syria living year millar warwick aimed improve understanding relationship music wellbeing young refugees aged data collected fiveweek period observation individual music lessons group music workshops involving three twelve participants semistructured interviews findings showed actively making music could impact positively young peoples wellbeing enabling development emotional expression improved social relations selfknowledge positive selfidentification sense agency london clini colleagues undertook collaborative study using focus groups indepth semistructured interviews asylumseekers refugees showed participants articulated impact creative activities around three main themes skills social engagement personal emotions activities helped participants find voice create support networks learn practical skills useful labour market wales vougioukalou colleagues using observations interviews explored effect participating weekly structured musical activities improvisation well public performances music inclusion social cohesion observed improvisation encouraged individual unscripted performances instilled confidence solo performance gave individuals experienced displacement marginalisation chance lead safe performative space gave participants chance follow accompany compositions instrumentally vocally drawing cultural traditions thus creating innovative crosscultural pieces provided participants audience members unique irreplicable experience triggered imaginations prompting questions discussion participants findings suggest combination structured improvisational musical activity help foster sense wellbeing social inclusion change power dynamics create opportunities crosscultural dialogue create community people different locations situations welsh choral tradition arts local community provided receptive environment diverse group performers connecting wider local community arts scene led individual collective wider societal benefits usa muriithi using interviews observations performances explored lived experience six refugee musicians involved music prior entering usa traumatic experiences resulted fleeing homes seek refuge elsewhere resettled united states continued suffer experience loss need adapt change struggle trauma negative emotions music method healing trauma facilitating integration supported healing enabling forget problems communicate message hope integrate thus reducing isolation loneliness review henderson colleagues identified possible positive health wellbeing outcomes participatory music activities culturally linguistically diverse people could described vulnerable risk particular migrant populations concluded insufficient evidence existing research draw clear conclusions similarly lennette sunderland mapped potential participatory music practices support health wellbeing outcomes asylumseekers refugees conflict settings refugee camps resettlement contexts findings highlighted different roles music peoples lives moved towards power music resettlement music might support health wellbeing population social inclusion several approaches defining social inclusion overarching approach considers terms interaction psychological sociological factors including motivation loneliness selfefficacy anxiety selfesteem selfregulation identity development feelings contentment belonging social relationships networks group coherence dynamics marginalisation integration interaction social sharing enabling social relations baumeister et al considered earlier chapters music play role enhancing social inclusion many everyday situations rather limited relating largescale conflict musicmaking used support children young people risk poverty prejudice disaffection involvement judicial system instance ho colleagues reported positive changes wellbeing mental health following drumming intervention lowincome children barrett bond found music inclusion social cohesion participation music programme enhanced musical academic social competence confidence connection character caring students four socioeconomically disadvantaged school settings similarly fanian colleagues evaluated creative arts workshop t\u0142\u012fch \u01eb youth circumpolar arctic subarctic regions enabled young people perceived risk explore critical community issues find solutions together using arts observations focus groups questionnaires reflective practice adopted participating young people reported gaining confidence new skills artistic personal many found workshops engaging enjoyable culturally relevant expressed interest continuing involvement arts spreading messages art young people others communities however shortterm nature programmes makes drawing conclusions efficacy difficult instance millar colleagues reported project involving sessions participatory musicmaking hardtoreach young people aged aimed engage terms music resonated lived experience need stability required longterm engagement uk positive benefits selfefficacy selfesteem found lookedafter children dillon criminal justice system daykin et al programmes juvenile offenders successfully addressed complex mental health symptoms behavioural regulation difficulties increased academic performance family functioning bittman et al rapppaglicci et al coutinho colleagues b two reviews showed possible benefits range music interventions adult offenders norway waakter colleagues researched impact music young people experienced serious multiple life stresses cain colleagues carried review explore whether participatory music activities could promote positive outcomes young people culturally linguistically diverse communities characterised risk reported range positive wellbeing health outcomes addition enhanced cultural empathy delgado argued performing arts implemented effectively attract young people schools outofschool settings power music referred third area school family latter nonstigmatising communitybased venues supplement enhance formal education providing counternarrative young people enable resist labels placed serving vehicle reactivity selfexpression performing arts support creative expression transformative individuals communities group musicmaking offers opportunity engage wider cultural experiences explore new ideas places perspectives supports social cohesion broadening experiences israel benefits extend beyond participants include families whole communities creech et al research undertaken context school music education early research switzerland showed increasing amount class music within curriculum detrimental effect language reading skills despite reduction time lessons spychiger et al zulauf led increased social cohesion within class greater selfreliance better social adjustment positive attitudes effects particularly marked lowability disaffected pupils spychiger et al finland eerola eerola studied children participated extended music education classes age nine four hours week compared minutes remaining children end programme children receiving additional classes reported positive classroom climate satisfaction school life however attending additional classes selected strong musical skills may influenced outcomes although factors may important including shared musical interests positive feedback public performance intense emotional experiences feelings affiliation prosocial effects joint musical activities national study children uk sing relatively musically skilled likely report socially included welch et al later analysis welch et al matched data participants following three years sing project suggested engagement musical activities impacted sense self sense music inclusion social cohesion social integration irrespective age sex ethnicity similarly rinta colleagues explored connections childrens musical backgrounds feelings social inclusion data gathered eight elevenyearold children uk finland findings showed children played musical instrument sang family friends regularly felt socially included spain almau found extracurricular musical activities contributed towards increased school attendance social inclusion roma children also spain musicalizatech project promoted musical creativity secondary highschool students showed clear impact participants relation development social emotional skills problemsolving teamwork development technological skills creative processes cuadrado et al contrast usa gerrard found interviews students band leaders teachers parents administrators middleschool band programme latinx students meet needs uncomfortable band model wanted creative work music familiar music teachers face range challenges related social inclusion decide whether part role address issues instance evron working art educator israel considered whether teachers arts ignore violent experiences students relate curriculum address problems simply expect creative activities enable students express fears life experiences avoiding political issues issue whether teachers arts respond challenges reengaging disaffected young people inclusive teaching practices go beyond way burnard review karlsen westerlund argued musical education immigrant students could seen healthy test educational context terms democracy enacted bates considered issues relating social class school music concluded need provide free equitable music education students understand respect cultural backgrounds also recognise social forces perpetuate poverty several authors commented lack equity opportunities different groups power music england griffiths found female black minority ethnic students well represented elite music education poorly represented professional repertoire percent performed pieces white composers percent men treacy found challenges female musician teachers encountered pursuit careers nepal addressed shared visions music education usa palmer considered music educators could address issues discrimination appeared beyond control also usa baird interviewed nine teachers investigate engaged preschool elementaryaged children singing talking social justice issues barriers perceived practice schools society parents educators songmakers could bring changes would improve ability children sing social justice american schools wider society relatively recent past arts general used attempt address social inequality uneven distribution wealth resources inequity unfair differences society environment wealthy poor countries around world parkinson et al instance ireland study deprived area cork explored impact wide music education project feelings social inclusion exhibited local residents findings indicated music could used tool tackle social exclusion educational disadvantage minguella buchanan tasmania langston barrett examined social capital community choir using survey field notes semistructured interviews many social capital indicators evident choir shared norms values trust civic community involvement networks knowledge resources contact families friends fellowship identified key component fostering group cohesion development social capital laing mair studied role music festivals helping build strong cohesive communities found organisation festivals might contribute social inclusion providing opportunities local participation learning new skills access education social justice although organisers tended direct social inclusion efforts towards attendees rather reaching local residents limiting impact local community social inclusion generally music inclusion social cohesion overview evidence relating role music social cohesion demonstrates clearly power music successfully used promote prejudice enhance national identities political purposes used bolster morale engaged warfare humiliate terrorise opponents attempts use music positively promote social cohesion already previously engaged conflict limited success cases highlighted differences groups exacerbating problems active music making may offer support breaking barriers different ethnic religious groups effectiveness given situation depends depth strength existing prejudices current political climate seen chapters music therapy offer support traumatised conflict enhance selfbeliefs members marginalised groups engaged music education faced challenges deciding whether overtly address issues relating prejudice classes consistently adopt inclusive teaching strategies narrowly focus teaching musical issues music everyday life development electronic media latter part th century revolutionised access use music everyday lives western world music pervades every aspect lives clarke et al music played supermarkets shopping precincts restaurants places worship schools radio television medium recordings music plays important role theatre tv films video advertising music available wide variety formats radio recordings smartphones computers stream music demand new technologies changed way people able interact music nill geipel making music easily accessible time wide variety contexts heye lamont juslin et al individuals able control listen music led complex patterns everyday music usage storage leading highly personalised categorisation music greasley lamont users adopt different ways managing playlists fuse new ways collecting music practices predigital collecting hagen digital music facilitated greater interactivity user device music kibby moved collecting music tangible experience ephemeral one mccourt reflection extent people engage music size music industry uk usa amongst top generators income prior developments music accessible people made attended religious social events alongside increased availability music listening also greater opportunities actively making music many people ages learn play instruments sing participate musical groups although degree himonides cc byncnd httpsdoiorg obp power music participation extent depends financial resources abrsm music leisure listening music top leisure activity many people rentfrow gosling engaging leisure activities long history going back least fourth century bce aristotle referred constituting important element life citizens athens including experience melody drama poetry dance perceived important supporting happiness hallam et al recently stebbins distinguished casual leisurewhich mainly includes enjoyable social interactions selfgratification behavioursand serious leisure requires significant effort participating serious leisure fall three groups amateurs hobbyists volunteers amateurs share similar expectations professionals rely general public appreciate support activities hobbyists dedicated lesser extent activities frequently undertaken alone volunteers provide help formally informally dabblers dilettantes participate specific leisure activity brief period time limited extent amateur musicians engage musical activities personal amusement serious leisure activity many activities engage indistinguishable undertaken professional musicians music constitutes key part identity invest much time energy start active engagement music motivations may vary dabblers dilettantes great commitment spend little time practising limits musical development benefits may derive others may totally committed aspire amateur professional status hobbyists stebbins enthusiasts keown tend focus listening large music collections highquality equipment invest considerable time learning adding collections regular attenders concerts festivals tend higher levels musical experience rate music important lives less committed listeners dabblers dilettantes recreationists enjoy music major focus lives although important music everyday life relatively little research attention given understanding behaviours music enthusiasts soundrecording collectors keown mainly men may actively participate collecting soundrecording albums fulfil multiple motivational desires including love music obsessivecompulsive behaviour accumulation completism selectivity discrimination self education scholarship shuker lacher mizerski describe behaviour terms affective responses experiential responses ability swept music need reexperience music influential factors include perceived knowledge illusion knowing objective knowledge knowing based datasupported information opinion leadership allowing individuals opinions influence purchasing behaviours enduring involvement relating product support selfimage better predictors motivation purchase particular recordings demographic variables age social class marital status flynn et al although recordcollecting general identified male characteristic straw technological developments led distinctions terms technology users technology consumers different downloading profiles occasional downloaders online listeners explorer pioneers curious duplicators molteni ordanini related concept enthusiasts fandom conceptualised psychological symptom presumed social dysfunction jenson although also logical consumer strategy focusing pleasure identity development association identifiable capital stevens fandom also related seeking interpersonal relationships music fans duffett whatever musical activity level commitment time spent engaging music impacts benefits derived dedicated fan requires sufficient finance attend concerts pay recordings really dedicated travel distant performances higher incomes required bennett et al power music listening music listening music key leisure activity many people rentfrow gosling easy availability music nowadays means people able interact music time variety contexts listening motivated desire aesthetic experience regulation moods emotions groake hogan promote wellbeing longterm illness batt rawden et al help accessing new ways krueger considered depth chapter music frequently used regulatory strategy maintaining changing moods silk thayer et al one common reasons listening music people generally use music enhance positive emotions used explore negative themes instance distress suicide death subsequently increase depressive symptoms suicidal thoughts scheel westefeld negative outcomes exacerbated interactions like minded others music also negative impact individuals exposed music dislike contexts control unable remove situation cause extreme distress variation extent listeners aware impact music moods typically older people women aware amongst young people girls likely use music cope personal problems kind lay therapeutic practice battrawden denora boys tend use increase energy promote image north et al wells hakanen open intellectually engaged individuals higher levels intelligence tend use music rational cognitive way neurotic introverted nonconscientious individuals likely use music emotional regulation extroverts tend adopt emotional approach listening use background activities chamorropremuzic furnham chamorropremuzic et al use music regulate moods may related musical preferences instance eclectic preferences shown correlate emotionality listening behne wells hakanen flexibility using music music everyday life moodrelated needs schwartz fouts arnett discusses individuals set selecting using music serve needs wants purposes many years controversy extent engaging depictions violence range mediaor listening music violent lyricsimpacts behaviour violent media exposure risk factor aggression short longterm harmful effects including increases aggressive thoughts behaviour desensitisation violence decrease prosocial behaviour empathy however accumulation risk factors relative lack protective factors leads violence rather one single factor anderson et al bender et al browne hamiltongiachritsis case music relationships certain types music instance hard rock heavy metal hip hop rap punk alcohol substance abuse violent behaviour delinquency lozon bensimon experimental study shown misogynous aggressive song lyrics played male females respond negatively opposite sex recall negative attributes neutral lyrics played fischer greitmeyer teenage sexual attitudes norms desires intentions impacted kind music prefer listen agboquaye sexual violent slang expressions nigerian hip hop reflected nigerian highereducation students linguistic expressions sexuality violence onanuga onanuga appreciation rhythmic flow melodic structure particular artists genres revulsion misogynistic sexist messages lead internal conflict young women zichermann overall lyrics music may risk factor violent misogynistic behaviour factors determine whether translates actual behaviour although clear influence language attitudes subtle effect may impact behaviour everyday life attending live musical events attendance live music event indicates greater level commitment music listening recorded music typically motivated power music hearing particular artist style music learning new music personal social reasons example going friends part community pitts burland strong experiences music commonly occur live settings tend enhanced performers interact audience appear enjoying experience transforms experience passive active music festivals offer unique opportunities intense musical experiences physical proximity performers social interactions music making contribution festival context provide sense community help support development identity although risks associated alcohol drug abuse negative behaviours sense separation everyday life distinguishes festivals musical experiences leading participants reflect lives clubbing also creates distinctive musical environment mobile phones play important role managing experience helping develop clubbing friendships supporting friendly vibe club culture bull actively making music many people ages learn play instruments sing participate musical groups past although extent types opportunity vary participation frequently depends financial resources abrsm cultures musicmaking central activity mekranoti indians primarily huntergatherers living amazon rainforest brazil spend two hours day making music women sing two hours morning evening men sing early day frequently half hour sunset historically activity related need vigilance case attack nowadays continues probably intrinsically rewarding werner western cultures musicmaking play central role everyday life people listening music common way engaging music reasons adults participation music grouped three broad categories musicmaking musical act deepening musical knowledge understanding social act developing sense belonging making friends likeminded people music everyday life personal reasons skill development selfesteem satisfaction kokotsaki hallam musicmaking generally pleasurable relaxing provides opportunities selfexpression opportunity demonstrate musical skills give structure life offer opportunities develop friendships get relief family work pressures provide spiritual fulfilment member musical group also lead feelings belonging trust cooperation adult participation musicmaking frequently extension engagement active musicmaking childhood home school pattern engagement generally changes course life diminishing middle years increasing retirement lifechanging events sometimes provide impetus reengagement socioeconomic status bennett colleagues examined relationships class gender ethnicity range activities including music film television literary arts consumption also considered organisation sporting culinary practices selfmaintenance found social class powerful indicator nature cultural consumption factors age gender important primary distinction high popular legitimate ordinary cultural forms rather participation nonparticipation although subtle differences related class instance distinction jazz dixieland jazz radio three classic fm north hargreaves b c examination relationships musical preferences factors relating lifestyles different social groups found numerous associations showing fans high lowart musical styles demonstrated preference high lowart media instance reading tv radio leisure activities relation interpersonal relationships living arrangements moral political beliefs criminal behaviour tended association commonly accepted liberal conservative divide musical preferences social class aspects lifestyle instance travel personal finances education employment health drinking power music smoking indicated liking highart music indicative uppermiddle upper classes whereas liking lowart music indicative lifestyle lowermiddle lower classes audience agency studied impact socioeconomic status geographical location engagement cultural activities identified ten distinct groups based cultural values metroculturalsprosperous liberal urbanites interested wide cultural spectrum commuterland culture buffsaffluent professional consumers culture experience seekershighly active diverse social ambitious engaging arts regular basis dormitory dependablesfrom suburban small towns interest heritage activities mainstream arts trips treats enjoy mainstream arts popular culture influenced children family friends home heritagefrom rural areas small towns engaging daytime activities historic events streetmodest habits means occasional engagement popular arts entertainment museums facebook familiesyounger suburban semi urban enjoy live music eating popular entertainment pantomime kaleidoscope creativitymix backgrounds ages occasional visitors participants particularly community based events festivals heydaysolder often limited mobility engage arts cultural events categorisations highlight issues people face accessing live music related finance geographical location music everyday life music arts music plays major role film media without drama would much less interesting instance shower scene psycho disturbing without music much terrifying music contributes enjoyment films tv programmes many ways film music designed influence emotions subconsciously action ambiguous music provide clues going information music help define characters sometimes character given theme frequently effective dialogue providing information audience instance indicating time action taking place indicate urgency building tension something frightening going happen increasing volume creates impression fastmoving sequences music give certain passages continuity divide film segments music accompanies actions mood event better remembered music deepens emotional experience messages culturally specific instance music indicates bravery one culture might indicate evil another cohen listening support everyday activities people rarely listen music specific activity usually accompanies activities although time induce feelings alert positive focused particularly music selfselected sloboda et al although everyday life much musiclistening takes place alongside activities mean listened full attention lamont et al people listen music travelling carrying boring tasks instance housework routine intellectual tasks engaged physical activity music distract energise facilitate moving time enhance meaning greatest impact behaviour selected particular purpose lamont et al common use music travelling helps individual isolate travellers pass time make preparation whatever activity engaged arrival destination bull lamont et al power music music driving effects music driving vary depending type music context characteristics driver survey british drivers revealed approximately two thirds listened recorded music music radio driving reasons listening included relaxation concentration music seen less distracting conversation associations possession motor insurance noclaims bonus preference silence although genre music affected driving performance driver age may mediating factor older drivers listened classical music may less likely involved road accident simply safer drivers lower levels sensationseeking risk taking drink driving youngest age group house dance music associated higher incidence accidents may associated times groups friends travelling together driving night introducing potential distractions challenges instance poor visibility driver drowsiness distractions passengers influence drugs alcohol dibben williamson however possible different genres may affect driving safety musical characteristics dance house music tend characterised fast tempo high volume complex rhythmic patterns layered textures highly arousing increase alertness alternatively divert attention away driving brodsky recarte nunes may also result greater aggression wheel wiesenthal et al using driving simulator catalina colleagues investigated extent listening music could affect young drivers emotions driving performance found driving music increased tendency increase speed level particularly happy music playing relaxing music music reduced probability speeding also using simulated driving navarro colleagues manipulated musical background using preferred researcherselected music played different tempi listening music influenced drivers performance tempo arousing music improved drivers responsiveness changes speed vehicle following cancelled music everyday life reduction intervehicle safety margin also simulating driving arafat colleagues investigated effects natural sounds classical music hard rock driving performance driving efficient natural sounds inaccurate hard rock participants perceptions impact music driving reflected findings studying young adults broader travelling context heye lamont showed listeners consciously chose music depending current goals may linked destination listeners created auditory bubble enhanced awareness surroundings although partly permeable denora also suggested personal listening created environment asylum provided space explore inner reality time removed connection human beings music work accompany mental activity music always played major part work activities continues used coordinate movement alleviate boredom develop team spirit speed pace work nowadays singing accompany work uncommon developed world office environment listen recorded music report improved mood providing able select music tasks routine solitary music improve concentration focus relieve boredom reduce stress block unwanted noise lamont et al increasing access music contributed changes listening music offices employees listen music personal listening devices survey musiclistening office settings uk found employees listened music third working week listened wide variety styles artists music helped engage escape work often used seal office environment managed listening disturb colleagues appear unprofessional front clients haake companies come recognise music support job performance foster ethical conduct meyer generally cognitive work enhanced playing calming relaxing music although task boring stimulating music power music may required maintain concentration however tasks involving rote memorisation tend disrupted music although act mnemonic support memory factual information hallam macdonald hallam rogers saw chapter schoolchildren students frequently play music completing academic work driving effect music depends range factors interact together including complexity task nature music children behavioural difficulties may particular difficulties concentration helped calming music playing background hallam macdonald music exercise regular physical activity benefits physical mental health music common accompaniment exercise whether gym outside park streets music played exercise shown optimise arousal facilitate taskrelevant imagery improve performance simple motoric tasks repetitive endurance activities preferred motivational stimulative music reduces levels perceived exertion improves energy efficiency leads increased work output highintensity exercise carefully selected music promote ergogenic psychological benefits although appear help reducing perceptions exertion beyond anaerobic threshold medium tempo music enhance positive feelings highintensity exercise recovery periods medium fast music increase zoning enjoyment remembered pleasure karageorghis et al high humidity high temperature conditions time exhaustion music playing longer perceived exhaustion lower nikol et al music effective accompanies selfpaced exercise selected motivational karageorghis priest schneider colleagues also showed adequate choice music exercise enhanced performance output mood potteiger colleagues found different types music acted distractors exercise associated lower ratings perceived exertion differences musical preferences exercising influenced music everyday life age working gyms older people prefer quieter slower less stimulative motivational music priest et al review terry colleagues concluded music associated significant beneficial effects affect physical performance perceived exertion oxygen consumption heart rate effects moderated context exercise opposed sport tempo music music commerce consumption recorded music played extensively workplaces shops airports restaurants hotels commercial industrial uses music constitute major industries general rule people tend avoid music like attracted places find music appealing led various authorities use music persuade people consider undesirable relocate specific public places typically opera classical music used purpose police also used music try reduce aggressive behaviour groups people drinking heavily playing childrens songs calming pleasant music everyday life music used manipulate purchased advertising create appropriate ambience retail settings music achieves capacity change arousal emotions way associated particular events items one strand research focused role music store ambience instance ishar colleagues studied consumer purchasing behaviour selfservice convenience stores sri lanka found music one several factors influenced purchasing along scent light singh colleagues found appropriate background music helped retailers create desirable store atmosphere contributed image store allied consumer preferences playing right kind music direct impact consumer behaviour within store farias et al preferred music played customers stay longer comfortable relaxed likely purchase background music fast loud causing discomfort less time spent shopping appropriate level arousal induced music increases pleasure power music positively influences satisfaction shopping experience moran et al music also affect perceptions atmosphere banks bars north et al speed people shop positively related tempo volume background music milliman found slow music led supermarket customers shopping slowly spending money perhaps took time browse available products smith curnow found customers spent less time store loud music playing although difference amount money spent type music influence bought one study stereotypical french german music played store influenced whether french german wine purchased although customers unaware influence music north et al similarly soundtrack depicting natureinfluenced perceptions country origin orange juice cost whether oranges genetically modified beliefs health benefits drinking north et al lacher mizerski examined purchasing new rock music found sensorial emotional imaginal analytical responses music direct effects responses turn influenced purchase intention strongest indicator purchase intention need reexperience music covid pandemic led major increase online purchasing within context hwang colleagues found interactive opposed static background music enhanced experiential value ecommerce consumers music used entice people retail establishments north hargreaves demonstrated setting advice stall caf\u00e9 university campus offered leaflets advice students range issues pop music played three levels complexity moderately complex music positively influenced approach towards stall although actually visiting preferred music better attracting students stall music although disliked music acted deterrent different kinds music impact perceptions ambience also affect amount money spent instance north hargreaves played pop classical easy listening music everyday life music caf\u00e9 four days customers rated ambience caf\u00e9 also indicated much prepared spend typical items instance slice pizza canned drink popular music playing caf\u00e9 seen lively youthful classical music led perceptions upmarket sophisticated stereotypical piped music led perceptions downmarket customers prepared pay money kind music playing contrast silence classical music led customers prepared pay areni kim played classical pop music wine cellar found although two different types music lead customers buying wine classical music led customers buying expensive wine suggested classical music primed customers feel affluent act accordingly restaurant setting north colleagues also found customers spent money classical music played opposed pop music positive effects classical music spending particularly marked nonessential items starter coffee afterwards sounds made consuming food affect perceived instance potato crisps perceived tasting fresher sound biting louder zampini spence discontinuous uneven sounds influence perceptions crispy vickers wasserman music influence perceptions flavour music selected reflect descriptors often used describe wine instance heavy subtle refined zingy refreshing mellow soft influenced perceived taste wine direction emotions symbolised music north research focused impact music speed consumption food drink instance milliman studied restaurant customers found slow music led customers eating slowly completing meal hour average compared three quarters hour fast music played caf\u00e9 setting roballey colleagues found fast music led customers eating bites per minute slow music playing spending may also affected slow music leading greater spending drinks milliman student cafe power music diners asked say much liked music north hargreaves b data showing moderately complex music popular also clear music disliked noticeable became music plays key role advertising persuade customers buy particular products music needs appropriate customers need understand advertising message also able relate emotional elements music successful advertisements provide information emotional power attitudes potential customers changed music conforms conception nature product instance exciting classical music might used advertise expensive sports car food adverts tend accompanied cheerful songs may include product name lyrics north colleagues prepared radio adverts five brands online bank people carrier bathroom cleaner chocolate bar high sugar drink addition voiceover music played fit characteristics brand recall product higher adverts featured music fitted advertised product music wellmatched product better remembered audio branding form jingles signature tunes support memory brand overall music effective helping enhance appeal products promote memory \u00e7upi morma deaville et al north et al rathee pallavi economics music music makes major contribution economies locally nationally internationally including recordings radio livemusic venues production distribution applications including ringtones computer games films childrens toys background business environments employment musicians music economy spread across categories economic activity construction manufacturing wholesaling retailing consumer services public sector musicians work employees selfemployment largest groups music dance education broadcasting software computer services beyers et al uk music music everyday life introduction streaming services presented particular challenges industry molteni ordanini musicians music industries generally concentrated relatively small number large regional centres least case usa ukflorida et al although music festivals kinds major impact local economies even entrance events free considerable benefits local economy generally bracalente et al tohmo usa music industry recently accounted billion music market research uk accounted billion employed almost people accounted billion exports billion music tourism uk music music nonhuman species music impact animals plants music part enriched environment shown positive impact many nonhuman species including domestic animals reared farms captivity zoos wildlife parks aim playing music generally enhance wellbeing although research exploring benefits cognition instance music shown positive effect rats mazelearning capacity rauscher reported rats exposed mozarts sonata k completed maze faster fewer errors minimalist music white noise silence background suggesting repeated exposure complex music improved spatial temporal reasoning similarly tonon amaral colleagues assessed effect classical heavy metal music short longterm memory rats exposed music eight hours day days exposure rats familiarised two objects memory tested ninety minutes days rats exposed either type music performed better controls regard shortterm memory although impact longterm memory suggesting temporary effect within agricultural context one strand research focused impact playing music cows milked instance north mackenzie found dairy cows power music increased milk production three quarters litre day listening slow rather fast music nineweek period exposure pleasant auditory environment alleviated stress encouraged relaxation resulted greater milk yields similarly mallick colleagues studied amount milk produced aged crossbred cows following instrumental music playing background milking milk production increased particularly evening may stressful time cows prior exposure music also agricultural context jiafang colleagues found repeated sound stimulation mozart mechanical noise natural sound background affected behaviour physiology immunity hybrid piglets exposed six hours sound stimulation per day short term music reduced stress responses long term enhanced immune responses noise increased aggressive behaviour reduced immunity music also benefit domestic animals particularly dogs cats hospitalised receiving veterinary care rescue centre wells colleagues explored influence five types auditory stimulationhuman conversation classical heavy metal pop musicon behaviour dogs living rescue shelter dogs exposed type auditory stimulation four hours one day conditions classical music led time spent resting heavy metal encouraged barking stimuli effects review mcdonald zaki showed classical music could influence behaviour physiological measures associated canine stress responses heart rate variability level vocalisation time spent resting animal hospital settings boone quelch showed harp therapy decreased restless behaviour anxiety respiration rate hospitalised dogs postsurgical care research focusing domestic cats hampton colleagues found music reduced stress veterinary context effective music designed specifically cats classical music relation music plants retallack claimed plants exposed soothing music showed better growth healthier without music ramekar gurjar showed vedic chanting positive effect plant growth leaf size music everyday life internodes parts plant carrying water hormones food nodes chowdhury gupta studied effects different types sound health growth marigolds using light indian meditative music well noise also monitored germination chickpea exposed light indian music music promoted growth development plants including germination whereas noise hindered focusing role sound germination okra zucchini seeds creath schwartz used musical sound pink noise healing energy musical sound highly significant effect number seeds germinated compared untreated control effect independent temperature seed type position room specific petri dish person scoring overview music plays major role everyday life major leisure activity also supports undertaking many everyday tasks including travelling exercise intellectual work people listen music pleasure also manipulate consolidate moods cases negative effects individual differences extent people aware effects music fewer people actively engaged making music attending live events perhaps lack opportunity financial constraints types music listened musical activities engaged depend broadly economic factors age individual dispositions music plays crucial role arts commerce purchasing advertising also makes major contribution local national economies benefits music also seen nonhuman species including growth productivity animals agricultural sector growth germination process plantsreflections exploration evidence power music perhaps surprising aspect exploration evidence relating power music fact much research related wide range methods adopted study impact many different musical activities people need scientific evidence demonstrate power music recognise power everyday activities use manage moods emotions although may consciously aware extent powerfor instance influencing buy consumption food drink way used advertising drama films certainly engaged commerce aware musics impact use manipulate behaviour hold political power deliberately used music generate prejudice violence approved application torture extreme recognised power music controlling banning possible benefits listening making music health wellbeing broadly recognised although often conjunction conventional treatments even conditions particularly helpful reducing stress anxiety pain way directly affects opioid systems brain however individual level think power music terms benefits health wellbeing individuals may reinforce existing negative emotions exacerbating mental ill health reflection lack power quite reverse demonstrates powerful negative effects himonides cc byncnd httpsdoiorg obp power music assessing impact actively making music music therapy challenging effects music cannot easily disentangled social elements necessarily mean music make contribution clearly many cases may exceptions instance individuals like particular musical genres specific musical activities relationships facilitating musical activities play key role bringing change quality facilitation cases relationships quality musical experience may important actual musical activities making creating music others social event social nature important factor success failure impact activity selfefficacy selfesteem overall selfbeliefs depends feedback others musical activity leads feedback given may always positive feedback negative likely negative effects lead individual looking rewarding ways spend time major controversies relation research lessened escalated time concern impact music various aspects cognition particularly children young people also older age evidence neuroscience clearly shown learning play musical instrument leads changes brain extent changes transfer activities hotly debated although evidence impact range aural skills strong might expected activities require high levels aural perception analysis sound skills turn important development language evidence transfer skillsfor instance spatiotemporal reasoning executive functioning literacy mathematics intelligence aspects memory academic attainmentis mixed possible causes outlined argued gold standard research requires random allocation participants intervention control groups latter alternative activity rather activity paradigm gained credibility routine use medical research however medical research typically take account individual differences involve human interaction level likely affect outcomes case reflections exploration evidence power music research involving musical activity outcomes listening music depend many individual differences including personality gender musical preferences musical experience also vary depending whether listening undertaken alone others considering actively making music possible confounding factors even greater research evidence might stronger control groups participate alternative activities reason activities equally successful bringing positive change fact sport visual art instance may generate positive change undermine possible impact music types musical engagement may advantages interventions complex demands make participating individuals aurally emotionally intellectually physically socially evidence stands moment clear musical activities might beneficial promoting particular outcome currently much evidence mixed extent explicable terms different musical activities studied research methods used research wider benefits music high priority research funders may many years possible provide clear guidance musical interventions might lead particular outcomes qualities delivery interventions key successbibliography aalbers fusarpoli l freeman r e spreen ket j c vink c maratos crawford chen xj gold c music therapy 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suppression artist artistic artsbased asia assessment assignment associative asylumseeker asymmetry leftward athlete athletic atmosphere atonal atrisk attention attentional abilities attentional processes attentional system attentional control impairment attentive analytical listening attitudes cultural discriminatory towards learning towards music towards offending towards prisoners towards self towards sex towards elderly audiation audiobook audiovisual audition index auditorymotor aural australia austria authentic cadence autism spectrum disorder autobiographical memory automation instruction processes skills autonomic nervous system autonomy axial diffusivity babies basal ganglia basal metabolic rate baseline basque country beatmaking behavioural modelling behavioural problems bereavement betaendorphin bias big five personality test bilateral bilingualism bimanual coordination movements patterns synchronisation training biological birth blending blood flow blood oxygenation blood pressure blues bonding boredom bottomup processes boundaries boy brain damage music brain injury brainstem bravery brazil breathing british columbia bullying cadence calmness canada cancer cantonese cardiovascular career plans power music caregiver care home carer see caregiver caribbean catharsis cats causality cds cell nerve cell transplant transplants cell transplants cellular immunity censorship cerebellum cerebral activation areas cortex functions hemispheres palsy processing ceremonies change readiness chanting chess chicago chills phenomenon china choir chord chronic illness chronic sleep disorder chronic stressors cingulate circuitry citizenship civil war clapping classical classroombased training close relatives closure cluster analysis cluster randomised controlled trial coaching coarse temporal scales cochlea cochlear implant cognitive control cognitive impairment cognitively unimpaired cognitive maturation cognitive processing coherence collaboration college attainment college students coloured blocks index columbia comfort communication music communicative gestures communitybased comorbidity comparative study composers composite composition comprehensive neuropsychological battery computer music computerised concertos concerts conductor conflict conflictmonitoring abilities conformity social norms confounding factors confusion connectedness connectivity conscientiousness consciousness consonance consonantbased word discrimination contour contralateral cooperation music coordinated movement coping music corpus callosum correctional institution correlation cortical thickness maturation cortices corticospinal cortisol courage circle courage covariate covid cows creative behaviour creative thinking creativity crime power music music crosscommunity crosscultural crossdomain crosssectional crosssectional survey cultural capital cultural omnivores culture adjustment music music interpretation musicmaking awareness music crosscommunication music music culturefree intelligence test cytokines dancing deactivation deafness decisionmaking decoding dehydroepiandrosterone dementia see also alzheimers disease see alzheimers disease depression detention centre determination developmental difficulties disabilities delays developmental functioning music developmental responses music deviant stimuli dexterity differential diffusivity digitspan task disabilities disadvantage disaffection disorder behavioural brain eating gait language mood neurodegenerative neurological obsessivecompulsive psychiatric rhythm schizophrenia sleep social anxiety disruptive behaviour index dissociation dissonance distractibility distraction distress divergent thinking diversion diversity doctoral theses dogs domaingeneral domainspecific dopamine dorsal dorsolateral dorsomedial drama drawing driving drug dosage drugs drumming dysphoria economically disadvantaged educated mothers elderly electroencephalography electrophysiological elementary students elite el sistema emission tomography emotional listening emotional selfregulation emotional stability empathy empirical study empowerment endocrine endogenous opioid system endorphin england enjoyment ensemble power music entertainment entrainment envelope tracking episodic memory ethnicity eudaimonic europe eventrelated potential evolution exhaustion exoffenders expert expressivity exprisoners see exoffenders extensor extensor muscles extroverts familiarity fasciculus fear feelings belonging female see also girlsfestival fibromyalgia syndrome financial hardship see also economically disadvantaged finger flexor flash mobs fmri foetus folk folk fiddlers food fraction computation france frank sinatra freedom freelance friendship frontal frontocentral frontoparietal frustration gamelan gammaband activity gangs gender gene generalisability genetic genre index germany germination gifted girls glasgow glenn miller glucose gospel government greece grey matter grief growth hormone gyrus haematopoietic haemodynamic haiti hallucinations happiness harmonic harmony healing healthcare professionals hearing noise spatial hearing music hearing speech heart rate heavy metal hedonic hemisphere heritability heritage highfunctioning high risk high school hip hop hippocampus hobby hobbyists holistic holocaust homelessness hong kong hormonal hormones hospices hospital hostility human capital humoral immunity hyperactivity hyperconnectivity identification emotion language unit logo music self identity power music illness imagery music imagination imaging imitation immersion immigrant immigration immunity immunoglobulin immunty improvisation incarceration inclusion india infant see babies infantdirected informal musical activities infrared spectroscopy infrequent deviant stimuli harmony inhibitory control insomnia institutionalised instrumentalists intensive care intensive training intercultural interference interpersonal intelligence interval intonation therapy intrapersonal intelligence introverts ipad iran iraq ireland israel italy jamaica jamming joy judgement kalamazoo kids kinaesthetic kindergarten kinematic kinetic korea index language impairment latency lateralisation latetrained leadership learning climate leukaemia life satisfaction limbic linguistically diverse liverpool lobe localisation lockdown locomotor loneliness longitudinal study los angeles loudness love lowarousal music lowfrequency oscillations lowincome see also economically disadvantaged lullabies lungs lyrical lyricwriting magnetic resonance magnetoencephalography mainstream education maladaptive malaysia male manipulative dexterity manual dexterity marginalised mastery maternal maturation mean arterial pressure meaning medication medicine mekranoti indians melodic melodies memories working memory memorisation memory impairment memory performance men power music mental health mental rotation mentor mesolimbic metaanalytic analyses metabolic metabolism metacognition metal music methylphenidate mexico midbrain middleaged middleclass middle school milanese military military service mirror neurons misogynism mobility modern language association modulation monolingual morale morphometry mortality motherese mothers motivation motoric mozart effect mozart w mp player multicultural multimodal multiple sclerosis muscles musicality musicianship myelination national anthem see anthem nazi germany negativity brain activity feeling negligible neighbourhood neocortical neonatal nerve impulses nervous system neurocognitive neurodegenerative neuroimaging investigations neuroleptic drug neurological neurological impairment neuron neuroplasticity index neuropsychological neurorehabilitation neuroscience neuroticism neurotransmitter new zealand nigeria noise noisy nonhuman species nonmedical interventions nonmusicians nontrained northern ireland norway norwegian nostalgia novice numerical magnitude representations nursery nurture occipital oculomotor offender offending ohio ohio proficiency test openness opera optimism opus project orbitofrontal orchestra oscillation outofkey outoftune overarousal overstimulation oxygenation oxygen saturation oxytocin paediatric palliative parahippocampal parent parietal parkinsons disease participatory patriotism patterning patternmatching peace pedagogy peer pressure power music percussion perfectionism performance performer perseverance persistence personal development personality pharmacological pharmacotherapy philippines phobic phonation phoneme phonemic awareness phonetic phonetic contrasts physical development physiological pitch pitch impairment planum temporale plasma plasticity playlist playschool pleasure poetry poland police pop posterior posttraumatic stress disorder poverty preattentive precentral gyrus predictive predictive coding predictor predisposition preference pregnancy prejudice prelinguistic preliteracy premotor prepotent preschool pride priming prison prisoners index problemsolving procrastination proficiency prolactin proneness prosocial prosodic prosody protective factorseffects protein proximity pseudowords psychiatric psychiatry psychodynamic psychometric psychopathology psychophysical psychophysiological psychosis psychosocial psychosomatic psychotherapy psychoticism pulmonary punk pupil referral units putamen qualitative quality life quantitative race racism randomised controlled trial rap rapport rats receptive activities refugee regression analysis rehabilitation rehearsal reintegration relationshipbuilding relaxation relaxing relief religion reminiscence reoffend repetition reproduction music residential home see care home power music resilience resonance respect respiration respiratory responsiveness retention retirement retrospective rett syndrome rewarding rewards rhyme rhythm cueing impairment prosodic cues rhythmic prosodic cues rituals rock romantic music rostral rules saccadic sadness saliva salvation army san diego scanning school readiness secretory sedation segmentation segregation selfacceptance selfactualisation selfaffirmation selfawareness selfbelief selfcare selfconcept selfconfidence selfcontrol selfdescription selfdevelopment selfdirected selfdiscipline selfdisclosure selfefficacy index selfesteem selfestimated selfevaluation selfexpression selfidentity selfimage selfknowledge selfmonitoring selfpaced selfperception selfrated selfregulation selfreliance selfreport selfsatisfaction selfselect selfsystem selftaught selfunderstanding semantic sensationseeking sensitisation sensor sensorimotor sensory sequencing serotonin setshifting sex sexism sexuality sexually abused sierra leone sightreading sing sleep smoking sociability social capital social climate socialisation social isolation social media socioeconomic status socioemotional sociomoral reflection software soldier solidarity solitude somatisation somatosensory sonata songwriting power music soothing sound discrimination soundtrack south africa south america spain spatiotemporal special educational needs spectroscopy speech deficits speech impairment spinal cord spiritual fulfilment spirituality spontaneous sri lanka stem cell stereotype stigma stimulation story development stress striatum stroke stroop test stutter subcortical consonant discrimination subculture substance abuse suicidal suicide superior longitudinal fasciculus surgery survivor suzuki method sweden switzerland syllable symbol sympathetic nervous system synapse synchronisation synchrony systematic systematic review systolic blood pressure taiwan taskswitching tasmania taste teamwork tears technology teenager tempi tempo temporooccipital index tension terrorism therapeutic therapist thrash metal threats timbre timing tiredness togetherness tolerance tomography tonality tone tone deaf topdown processes torment torture tower hanoi test transcranial magnetic stimulation transferable transformation transformative transplant trauma trust twins unconscious awareness undergraduate unhealthy united states see america untrained urban valence variability variables variation vascular ventral striatum verbalisation veterans victim vigilance violations violence virtual visual analogue scale visual impairment visual memory behaviour visuomotor vital signs vivaldi vocally expressed emotion voice power music volume volunteer vowel voxel voxelbased morphometry vulnerability weapon music wechsler adult intelligence scale wellbeing western whitematter microstructure williams syndrome willingness womb women word discrimination working memory behaviour workshop world war worry youth team alessandra tosi managing editor book rosalyn sword melissa purkiss performed copyediting proofreading rosalyn indexed volume anna gatti designed cover cover produced indesign using fontin font luca baffa typeset book indesign produced paperback hardback editions text font tex gyre pagella heading font californian fb luca produced epub azw pdf html xml editions conversion performed open source software pandoc httpspandocorg created john macfarlane tools freely available github page httpsgithubcom openbookpublishers book need end share books including one read free access online students researchers members public cant afford printed edition access ideas title accessed online hundreds readers month across globe share link someone know one book additional content available httpsdoiorg obp donate open book publishers awardwinning scholarled notforprofit press making knowledge freely available one book time dont charge authors publish us instead work supported library members donations people believe research shouldnt locked behind paywalls join freeing knowledge supporting us httpswww openbookpublisherscomsection like open book publishers follow openbookpublish read open book publishers may also interested philosophy cover songs pd magnus httpsdoiorgobp classical music contemporary perspectives challenges michael beckerman paul boghossian eds httpsdoiorgobp rethinking social action music search coexistence citizenship medell\u00edns music schools geoffrey baker httpsdoiorgobp obpthe power musicsusan hallam evangelos himonidesthe power music building earlier work power music research synthesis impact acti vely making music intellectual social personal development children young people volume susan hallam evangelos himonides important new resource \ufb01 eld music educa prac ce psychology well signposted text helpful subheadings power music gathers synthesises research neuroscience psychology educa develop understanding e\ufb00 ects listening ac vely making music printed digital edi ons together supplementary digital material also found h pwww openbookpublisherscom cover image tabitha lincoln rights reserved cover design anna gatti susan hallam evangelos himonidesan exploration evidencehallam himonides power music exploration evidenceebook ebook oa edi ons also available open access" +} diff --git a/The-Fan-Building-Formula.json b/The-Fan-Building-Formula.json new file mode 100644 index 0000000000000000000000000000000000000000..294149a904fa58ae5c35622c4e44326c14fa1827 --- /dev/null +++ b/The-Fan-Building-Formula.json @@ -0,0 +1,5 @@ +{ + "filename": "The-Fan-Building-Formula", + "department": "Marketing", "Manager", + "cleaned_text": "fanbuilding formulafanbuilding formulathe steps need master create superfans make living musicthe steps need master create superfans make living musicdespite lot people think best time music industry endless ways find connect ideal audience fans love music longer mercy corporate gatekeepers nothing standing reaching people waiting fall love music get right music bring financial freedom allows keep making music said lets dive fanbuilding formula quality music probably pretty obvious must said first thing need start building fanbase making income music quality music music isnt good nothing else matter dont budget launch massive international advertising campaign make people think music good actually good thats lot content oaa dedicated toward helping create high quality music home know music good enoughhere ways test see music good enough start promoting microgenrelisten music playlist songs genre stack distract get feedback ask people honest feedback song get song reviewed audiokitecom second step creating superfans choosing microgenre music dont need write massive hit pop songs order make living music write songs hits inside particular microgenre music niche pick microgenre create music inside suddenly become big fish small pondwhich much better trying compete giant artists lot resources microgenre ask twist twist whatever sets apart example top genre electronic synthpop digs deeper synthwave digs even deeper futuristic popwave futuristic popwave micro genre culture next key learn build culture around microgenre take time experimentation build strong culture potential really grow income build culture working brand image post social media branding branding simply music people think feel music want music microgenre social media posts album art congruent help audience know everything comes person band make sure theme going everything makes experience audience post social media make sure either entertains inspires educates audience culture brand surrounding music turn listeners fans superfans superfan someone spends least year brand get super fans making year music email marketing email list foundation music marketing email marketing really start build relationship fans social media something control fact increasingly social media platforms making pay reach fans plus get account shutdown good reason dont want lose fans overnight happens email list asset worth real money email list something control best way get message fans plus even even upload email contacts facebook show ads people grow email list youre going need professional email marketing software cant send mass emails gmail violates anti spam laws best email marketing tool music artists convertkit use get started free clicking affiliate link decide upgrade paid version ill earn small commission extra cost email list software start offering free song exchange email address begin building listat point fans finding youre attracting high quality music enticing culture engaging social media posts youve started grow email list giving away free song time launch indie artists rely hope marketing simply upload music internet hoping people find ive guilty real marketing predictable repeatable scalable want put automated system place allows sell music products way predictable repeatable scalable marketing world called building sales funnel take someone doesnt know receive content eventually turns buyer probably sounds little overwhelming confusing right ill putting content orpheusaudioacademycom goes online launchingpaid traffic specifically facebook ads really explode fanbase since youve already done heavy lifting figuring microgenre culture youve started build email listit becomes pretty easy locate pockets people facebook know would love music matter creating effective ad attracts brand first piece creating automatic machine sells music autopilot need get traffic meaning people seeing offer youve mastered steps start building giant list engaged superfans dollars day eventually even start use facebooks advanced retargeting tools like youre looking item amazon see item show facebook feed post video fans facebook facebook automatically track watches seconds video show different ad audience video viewers allows engage even buy music paid trafficthe final step master copywriting copywriting art science using written word motivate people take action headline use press release text ad words post social media post everywhere skill people dont know copywriting skill learned developed though going learn communicate best fans audience way increases engagement develop superfans want help take next step journey regardless youre starting shoot email reaganorpheusaudioacademycom let know best help artist journey adventure reagan ramm orpheusauidoacademycom copywriting next steps" +} diff --git a/The-Music-Industry-in-an-Age-of-Digital-Distribution-Patrik-Wikstrom.pdf.json b/The-Music-Industry-in-an-Age-of-Digital-Distribution-Patrik-Wikstrom.pdf.json new file mode 100644 index 0000000000000000000000000000000000000000..3624cd5bd40fc2342f32c304da710b125ef3cace --- /dev/null +++ b/The-Music-Industry-in-an-Age-of-Digital-Distribution-Patrik-Wikstrom.pdf.json @@ -0,0 +1,5 @@ +{ + "filename": "The-Music-Industry-in-an-Age-of-Digital-Distribution-Patrik-Wikstrom.pdf", + "department": "Manager", + "cleaned_text": "music industry age digital distributionthe music industry age digital distribution patrik wikstr\u00f6m patrik wikstr\u00f6m bbvaopenmindcomchnge key essays internet changing lives patrik wikstr\u00f6m music industry age digital distributionbbvaopenmindcomthe music industry age digital distribution patrik wikstr\u00f6m principal research fellow arc centre excellence creative industries innovation queensland university technologybbvaopenmindcom bbvaopenmindcom communication culture music industry age digital distribution patrik wikstr\u00f6m bbvaopenmindcompatrik wikstr\u00f6m patrikwikstromcom illustration emiliano ponzibbvaopenmindcom communication culture music industry age digital distribution patrik wikstr\u00f6m communication culture patrik wikstr\u00f6m principal research fellow arc centre excellence creative industries innovation queensland university technology australia dr wikstr\u00f6ms research primarily focused innovation learning creative industries author music industry music cloud polity press published research journals technovation international journal media management journal media business studies journal music business studies popular music society wikstr\u00f6m served faculty member northeastern university boston j\u00f6nk\u00f6ping international business school karlstad university sweden wikstr\u00f6m received phd media communication studies karlstad university graduate chalmers university technology gothenburg received masters degree school technology management economics academic career dr wikstr\u00f6m worked european media telecom industry held positions business development manager strategy consultant music industry age digital distribution patrik wikstr\u00f6m sites services changed life wikipediaorg amazoncom googlecom courseraorg napstercombbvaopenmindcombbvaopenmindcom communication culture music industry age digital distribution patrik wikstr\u00f6m music industry age digital distribution global recorded music industry experienced period growth lasted almost quarter century approximately one billion records sold worldwide end century number records sold three times high end nineties spirits among record label executives high music industry executives time expected team teenage internet hackers led shawn fanning time student northeastern university boston would ignite turbulent process eventually would undermine foundations industry shawn fanning created launched file sharing service called napster allowed users download share music without compensating recognized rights holders napster fairly quickly sued music industry establishment eventually forced shut service however string increasingly sophisticated services immediately followed suit even though traditional music industry used aggressive methods legal technical stop explosion onlinepiracy services napster kazaa limewire grokster dc pirate bay avail soon one file sharing service brought justice required cease operations new services emerged took place end sales physically distributed recorded music eg cassettes cd vinyl measured unit sales back relatively low levels early years passed since napster launched music industry completely transformed model ruled industry past century largely abandoned rapid transformation music industry classic example innovation able disrupt entire industry make existing music industry age digital distribution patrik wikstr\u00f6mbbvaopenmindcom communication culture music industry age digital distribution patrik wikstr\u00f6m industry competencies obsolete power influence prein ternet music industry largely based ability control physical distribution internet makes physical music distribution increasingly ir relevant incumbent major music companies required redefine order survive chapter examine impact internet music industry present state music industry age digital distribution three music industries order understand dynamics music industry first necessary recognize music industry one number different industries closely related time based different logics structures overall music industry based creation exploitation musicbased intellectual proper ties composers songwriters create songs lyrics arrangements performed live stage recorded distributed consumers licensed kind use instance sheet music background music media advertising television etc ba sic structure given rise three core music industries recorded music industryfocused recording distribution music con sumers music licensing industryprimarily licensing compositions arrangements businesses live musicfocused producing promoting live entertainment concerts tours etc companies sometimes recognized members music industrial family makers music instruments software stage equipment music merchandise etc however important industry sectors traditionally considered integral parts industrys core preinternet music industry recorded music biggest three one generated revenues aspiring artists bands traditional music industry dreamed able sign contract record label contract meant record label bankrolled professional studio recording allowed artist entry record labels international distribution system something bbvaopenmindcom communication culturecommunication culture music industry age digital distribution music industry age digital distribution patrik wikstr\u00f6m patrik wikstr\u00f6m otherwise beyond reach unsigned bands second music industry sectormusic licensingwas much smaller mundane recorded music industry sector music publishers oper ating business largely businesstobusiness industry without direct interaction audience main responsibility ensure license fees collected song used whatever context fees subsequently fairly distributed among composers lyricists third music industry sectorlive musicgen erated revenues sales concert tickets although live music long proud history came play second fiddle recording industry twentieth century record sales undoubtedly important revenue stream record labels generally considered concert tours way promote studio album really concerned whether tour profitable sometimes record label even paid tour support would enable bands go tour promote album even though actual tour running loss music industry structure including relationships three industries developed midtwentieth century deeply cemented internet emerged challenge entire system shortterm impact internet music industries primarily concerned distribution recorded music consumers means recorded music industry severely affected loss distribution control rampant online piracy two music industry sectors initially left less unaffected matter fact recorded music industry suffered past years two industries gained strength prominence several reasons shift balance happened one primarily reasons simply one revenue stream diminishing music industry required reevaluate busi nesses try compensate lost revenues recorded music increasing revenues music licensing live music instance revenues music licensing doubled dur ing past years due new active licensing practices also due fact media industries changed similar way music industry considerably television channels music industry age digital distribution patrik wikstr\u00f6mbbvaopenmindcom communication culture music industry age digital distribution patrik wikstr\u00f6m radio channels videogames internet websites outlets two decades ago outlets need music primary secondary content music publishers also general nimble record labels address demand new media outlets clear example music publishers changed business practices strive establish onestop shop musical tellectual properties media outlets clear music licenses single contract may sound like obvious service traditional music industry always case rather one legal entity holding rights composition another legal entity controlling rights recording musical work master music publishers age digital distribution increasingly control master composition makes licensing process efficient music licensing industry past years evolved profitable music industry sector often also considered innovative agile sector three music licensing profitable music industry sector live music developed largest music sector fairly straightforward explanation live music experienced surge dur ing past years live music simply easier control recorded music musical band demand grow revenues live music increasing number concerts raising ticket prices even though financial crisis put dent growth live music industry nevertheless surpassed recorded music industry size second half previous century largest music company record company internet transformation music industry worlds largest music company live nation usbased live music company spun clear channel marker changing power relationships music industry noted though boundaries three industries clear preinternet era music companies including live nation serve general business partner artists composers support activities regardless whether concern live concerts merchandise licensing distribution promotion recorded music consumers means longer entirely easy categorize music com pany one three industries nevertheless case bbvaopenmindcom communication culturecommunication culture music industry age digital distribution music industry age digital distribution patrik wikstr\u00f6m patrik wikstr\u00f6m live nation revenues still mainly generated via live concerts still makes relevant refer primarily live music company section presented three main music industry sectors affected introduction internet size strength routines relationships industry sectors transformed next section turn attention specifically recorded music examine new business models music distribution may able lead recorded music industry path toward recovery growing digital music market music industry went great lengths beginning century put stop online piracy however equally ambitious innovative developing new models legal online distribution certainly feeble attempts major record labels time important criterion development services seemed way threaten existing revenue streams add additional revenue companies majors succeed one goals new services compete existing physical sales however unfortunately services could compete anything especially online piracy first company able create successful online service legal sales distribution music music industry player allit apple computer called time apple able convince major labels music consumers would buy music legally offered extremely simple service allowed buy download music less dollar per track service called itunes music store one sense itunes radical change music industry first online retailer able offer music catalogs major music companies used entirely novel music industry age digital distribution patrik wikstr\u00f6mbbvaopenmindcom communication culture music industry age digital distribution patrik wikstr\u00f6m pricing model allowed consumers debundle music album buy tracks actually liked hand itunes also considered careful incremental innovation major labels positions power struc tures remained largely unscathed rights holders still controlled properties structures guided royalties paid per every track sold predictable transparent apple correct prediction consumer behavior itunes music store considered anything enormous success itunes music store worlds largest music retailer offline online sold billion songs since launch ser vice evolved substantially decadelong existence fig recorded music volume note digital includes fulllength albums singles split vinyl includes lps eps split music dvds included source ifpi digital music cassette compact disc vinyl bbvaopenmindcom communication culturecommunication culture music industry age digital distribution music industry age digital distribution patrik wikstr\u00f6m patrik wikstr\u00f6m number competitors using less business model entered digital download music market even though competition increased itunes remains top market share percent global digital music market figure indicates global recorded music market evolved since shows digital music market able partially compensate decline physical sales total recorded music market still lost percent sales since peak digital download services itunes music store introduce gradual change music business logic legal music services far radical thereby also far controversial services offer individual tracks purchase set price rather offer users access large music library able listen leisure users normally pay monthly subscription fee allows listen many songs library want often want may sound like appealing proposition legal access based music services struggled convince record labels license catalogs services well convince users possible enjoy music without actually buying owning copy track album considerable entrepreneurial activity segment music business services go live bust weekly basis many service providers still desperately looking business model attract music listeners satisfy rights holders challenges certainly considerable music service far received attention international music industry one could possibly found right path service called spotify spotify useful vehicle explaining logic music industry age digital distribution section present service drives music industrial transformation forward even eventually turns spotify unable create business model sustainable long term already able transform mindsets users rights holders likely music technological milestone magnitude walkman compact disc apple itunes music industry age digital distribution patrik wikstr\u00f6mbbvaopenmindcom communication culture music industry age digital distribution patrik wikstr\u00f6m emergence accessbased music services spotify founded daniel ek martin lorentzon ambition create legal adsupported music service free music listener generated licensing revenues copyright holders spotify means first attempt create legal service could compete illegal file sharing predecessors various reasons failed miserably projects may one reasonable explanation rights holders spotify negotiating particularly enthusiastic engaging another risky online music project despite initial skepticism october com pany announced two years discussions negotiations signed agreements music industrys leading rights holders distribute music audiences handful european countries order succeed many others failed spotify forced make number concessions addition offering major rights holders shares company also required implement fundamental change business model instead offering service solely funded ads also developed advanced ver sion service funded subscription fees spotifys model two different service versions basic version free advanced versions offered subscription basis usually called freemiuma play words free premium often profit margin free version low even negative expected subscription fees generate enough revenues make service profitable logic behind freemium service model users shall willing use service free using service gradually make behavioral emotional investments service increase costs efforts switch another service goal make many users free version convert subscription version order achieve goal free version number increasingly annoying features advertising lack key features ability use service certain devices removedavailable premium versions service challenge spotify freemium services balance different versions way bbvaopenmindcom communication culturecommunication culture music industry age digital distribution music industry age digital distribution patrik wikstr\u00f6m patrik wikstr\u00f6m stimulates right customer behavior entices users become paying subscribers date music services manage feat either free version good motivate customers upgrade service deprived features attract customers spotifys case achieved conversion rate approximately percent means percent total user base using premium version pay monthly subscription fee spotify received considerable amount attention mu sic industry across world attention largely based suspicion criticism toward business model meth ods criticism extent focused whether freemium model presented longterm sustainable even stronger criticism focused revenues shared rights holders different levels value chain least two reasons criticism emerged first music companies since decades back used royalty model licensee pays fixed amount per song sold played used whatever way model difficult apply accessbased service since revenues generated service based songs sold played used based number users service providers accessbased music servicesregardless services funded subscriptions advertisinghave argued rather paying fixed amount per track listened simply share whatever revenues gener ated rights holders without getting deep accounting detail scheme beneficial service provider transfer considerable part business risk rights holders rights holders argue revenues depend skills services advertising sales team simply get paid music distributed customers past number accessbased service providers required sign contracts generated fixed royalties per track rights holders however agreements make difficult get accessbased music service ground several pioneers accessbased music service market able survive long one reasons spotify considered milestone shaping new music economy com pany seems successfully convinced major music companies music industry age digital distribution patrik wikstr\u00f6mbbvaopenmindcom communication culture music industry age digital distribution patrik wikstr\u00f6m certain markets indeed share spotifys business risk instead taking fixed license fee per track take share spotifys revenue regardless high low spotify succeeded making number concessions negotiations instance fering major music companies opportunity buy minority share spotifys shares spotify reported percent revenues ads subscriptions paid royalties rights holders end company generated billion dollars rights holders around world according spotify proof model work however even though seems possible generate revenues ac cessbased music services new contract structure radical change music business attitude toward distributors means uncontroversial criticisms expressed artists com posers caused fact royalties primarily paid service providers music companies directly composers musicians artists creatives argue given fair share revenues even actively choose license music services spotify revenues end pockets almost ridiculously low want sup port corrupt unsustainable system one reason problem occurred debate clas sification royalties generated accessbased music services music companies ie case old record companies claim royalties shall considered unitbased music sales case would mean musicians receive percent royalties paid spotify music companies musicians claim hand spotify cannot compared traditional record sales rather categorized performance case would mean musicians entitled percent revenues rather conflict concerns great extent inter pretation agreements record companies artists established spotify even internet existed debate type royalty particular internetbased music service bbvaopenmindcom communication culturecommunication culture music industry age digital distribution music industry age digital distribution patrik wikstr\u00f6m patrik wikstr\u00f6m generate may seem like legal issue minor realworld implication absolutely crucial question determine structure future music industry much stake unlikely music industry players easily agree model perceived fair parties section discussed emergence accessbased music ser vices challenges encountered try enter digital music economy next section takes discussion one step forward reflecting services change audiences relationships music section argues accessbased music merely transitional phase evolution new music economy points indications industry increases reliance socalled context based features services realtime listening experience revenues recorded music fallen dramatically past years people across world listen less musicrather listen recorded music ever recorded music permeates every aspect daily lives legal accessbased music services combined illegal online file sharing services means less every song available everywhere time access explosion transforms way people use relate recorded music instance preinternet days recorded music expensive scarce music listeners chose record buy care growing record collection living room cabinets served diary lives told via number record purchases music listeners owned physical records way strong sense ownership physical objects books souvenirs furniture objects served tools identity formation communication music industry age digital distribution patrik wikstr\u00f6mbbvaopenmindcom communication culture music industry age digital distribution patrik wikstr\u00f6m institutions collection ownership become increasingly ir relevant age digital distribution ubiquitous access music light observation relevant question new role recorded music identity marker age digital distribution may retrospective record collection served identity marker preinternet age music listeners abandon physical collections required search new ways use recorded music tool communication identities friends world scenes increasingly used purpose onlinebased social networks facebook twitter etc accessbased music services commonly interconnected social network services thereby allow music listeners constantly announce world track currently listening stream information primarily interest advertising platforms clients since allows profile audience based listening habits send advertising messages adapted demographics interests shift retrospective collection realtime listening experience radical shift music listeners relationship music diminishes significance memory past music experiences moves focus interesting note kind structures behaviors emerge music consumption shifts ownership access collection playing amaral et al instance shown music listeners actively curate musiclistening feed order make sure reveal track fit image want exhibit access based music services even created privatelistening feature order enable users listen music without sharing experience world accessbased services still early days still actively search optimal service pricing structure al low compete survive currently competition services largely based size music catalogs availability different territories different mobile platforms etc however reasonable assume eventually services asymptoti cally converge toward similar music offering available platforms include less every song ever recorded bbvaopenmindcom communication culturecommunication culture music industry age digital distribution music industry age digital distribution patrik wikstr\u00f6m patrik wikstr\u00f6m according basic economic theory competition similar ser vices products based price profit margins eventually shrink large players eventually survive compete oligopolistic market accessbased music services words become commodity market behave similar way markets sugar oil market reached gloomy state room novation differentiation based pure access model less exhausted online music service providers likely look ways differentiate services keep profitability one way go beyond pure access model create services features provide context songs catalog context may instance enable music listeners way search easily find song looking particular moment may al low users share music experiences friends organize favorite music experiences convenient ways etc context based services provide less deterministic far expansive space innovation services based pure access model innovation within accessmodel framework leads toward ultimate goal universal access songs ever recorded innova tion within contextmodel framework lacks knowable outcome provider contextbased music service greater possibility create competitive advantage based unique innovative features possible within accessmodel framework today number contextbased services grows alongside access based music services often music service offers access music well range features allow users things music customer problem needs solved cus tomer needs access music rather navigate things music words customer value increasingly created providing audience tools allow things music rather providing audience basic access music shift providing access music providing services features based assumption access music already provided part similar general transformation music industry discussion focused distribution music shift music industry age digital distribution patrik wikstr\u00f6mbbvaopenmindcom communication culture music industry age digital distribution patrik wikstr\u00f6m content context also observed segments music industry value chain number artists composers recent years implement ed contextfocused model creative production musical works rather making polished recordings audience experience enjoy created services practices involve audience creative process allow fans things music british singersongwriter imogen heap one example trend heap actively encouraged fans upload sounds images videos production latest album used material work inspiration actual building blocks songs consequence heaps fans felt collaborating idol part communal creative experience billy bragg also singersongwriter britain different generation different genre heap bragg also established contextoriented experi ence fans albeit perhaps primarily driven fans bragg bragg reflects relationship fans explains provides social framework fans fans dont even like music enjoy part social community baym musical artists producers go way beyond traditional mat song create mobile applications allow users play music different ways londonbased rjdj san franciscobased smule two examples organizations developed ap plications challenge boundaries music interactive videogames tendencies raise fundamental questions definitions music industry music organizations tools software playing music become recognized vital part music industry fourth core sector industry next live music music licensing recorded music mean estab lished music companies artists composers live music music publishing became increasingly important industry sectors first years millennium traditional record labels reinvented selves built new capabilities allowed serve record labels music publishers management companies live music companies etc turned degree music companies placed equal emphasis bbvaopenmindcom communication culturecommunication culture music industry age digital distribution music industry age digital distribution patrik wikstr\u00f6m patrik wikstr\u00f6m three music industry segments contextbased services software continue grow importance music companies need add yet another new competency perhaps new business areas orga nizations enable capture increasing value created contextbased music services music industrial transformation continues recorded music industry radically transformed past years much remains industry takes definitive step leaves physical world behind chapter discussed aspects transformation continues accessbased music services play substantial role process chapter also touched upon recorded music becomes increasingly marginalized revenue source industry segments live music music licensing become increasingly significant finally also presented audiences relationships music change part transformation services features allow users play music rather merely play music move center stage music industry digital age music industry age digital distribution patrik wikstr\u00f6m communication culture music industry age digital distribution patrik wikstr\u00f6m references amaral adriana simone pereira de s\u00e1 marjorie kibby friendship recommendation consumption musicbased social network site presented aoir conference milwaukee wisconsin baym nancy k friends fans seeing social media audiences musicians participations wikstr\u00f6m patrik music industry music cloud nd ed cambridge uk polity press communication culture music industry age digital distribution patrik wikstr\u00f6m us open mind channelshare article author patrik wikstr\u00f6m related articles games internet fertile ground cultural change future opera robots people frontiers knowledge music notes read full book books bbvaopenmindcomenwhatisopenmind youtubecomuserbbvaopenmind bbvaopenmindcomenauthorpatrikwikstromenopenmind bbvaopenmindcomenarticlethemusicindustryinanageofdigitaldistribution music industry age digital distribution theres future visions better world values ethics st century innovation perspectives st century multiple faces globalization frontiers knowledge youtubehiaurcovu" +} diff --git a/Tonal Harmony and Counterpoint Core | Berklee College of Music.json b/Tonal Harmony and Counterpoint Core | Berklee College of Music.json new file mode 100644 index 0000000000000000000000000000000000000000..950cbfb139b3b8770b22b0a58ba98864c9b750d3 --- /dev/null +++ b/Tonal Harmony and Counterpoint Core | Berklee College of Music.json @@ -0,0 +1,5 @@ +{ + "filename": "Tonal Harmony and Counterpoint Core | Berklee College of Music", + "department": "General", + "cleaned_text": "" +} \ No newline at end of file diff --git a/Touring-Articles.json b/Touring-Articles.json new file mode 100644 index 0000000000000000000000000000000000000000..9329ae23f80ae370fb96cd0671467ccd01234088 --- /dev/null +++ b/Touring-Articles.json @@ -0,0 +1,5 @@ +{ + "filename": "Touring-Articles", + "department": "Manager", + "cleaned_text": "articles touring playing live reading collection touring articles ensure liveperformances successfuland fulfilling articles cover every area importance written respected experts areas touring playing live wisdom authors share comes years hands experience please take time toread article time spent pay many times long run table contents click heading go section introduction page glossary live performance booking terms jeri goldstein performingbizcom talent representation primer brief rundown terms business mark steiner steve tetrault gig salad venue operator musician good lationship depends annette warner coffeehousetourcomwhy playing live important clare dowling moot preparation page tour tourthat question sheena metal music highway radio expand definition live performance bob baker thebuzzfactorcom find right venue live show jeri goldstein performingbizcom dynamics success jeri goldstein performingbizcom positive indie attit ude advance career jeri goldstein performingbizcomvital gig booking ools press kit jay flanzbaum onlinegigsplanning tour kim ruehl betamax setting successful tour kenny kerner musicians institute booking agents page looking agentby jeri goldstein performingbizcom booking agents national touring max mcandrew house blues approach booking agents jeri goldstein performingbizcom managers cant live thembut live without sheena metal music highway radio booking gigs page booking local club shows carrie klein nasty little man promotions basics booking tours jay flanzbaum onlinegigscom negotiation techniques build booking knowhow jeri goldstein performingbizcombooking act jay flanzbaum onlinegigs get better gigs les vogt entertainment consultant get paid youre worth lee kennedy dunroven music command higher fee live show jeri goldstein performingbizcom performers flub interview dont laugh les vogt entertainment consultant audition interview complete reply les vogt entertainment consultant use right followup book gig dreams jeri goldstein performingbizcom successfully book followup gigs club owners bookers jeri goldstein performingbizcom attending booking conferences jeri goldstein performingbizcom contracts page preparing professional engagement contractby les vogt entertainment consultant right documents booking gigs jeri goldstein performingbizcom college gigs page nacaby fran snyder concerts home naca college gig navigate educational market morgan performer magazine musicians advice college market derek sivers cd baby booking college shows dan ostrowski alive arts band break lucrative college market jeri goldstein performingbizcomhow get college market steps derek sivers cd baby booking college shows without using naca meredith levande meredithlevandecom touring tips page steps successful tourby david hooper mu sic business radio touring strategies renting tour vehiclesby jeri goldstein performingbizcom band safety tips night club fires stampedes james blakely go listen live gig checklist preparing gig show dennis damp media web source promotion page performance marketing tour supportby vivek j tiwary starpolishcom turn gigs major media events jeri goldstein performingbizcom understanding draw diane rapaport jerome headlands press harnessing fan power street teams daylle deanna schwartz author start run record label publicity jay flanzbaum onlinegigs entrepreneurship key new artist success today les vogt entertainment consultant using radio build fan base page touring radio work together bryan farrish bryan farrish radio promotion tour distribution using radio bryan farrish bryan farrish radio promotion use radio promotion boos airplay build new audiences jeri goldstein performingbizcomcomparing stations touring bryan farrish bryan farrish radio promotion radio station visits bryan farrish bryan farrish radio promotion sponsorship page finding sponsor bronson herrmuth author miles record deal get tour support musical act jeri goldstein performingbizcom get big sponsorship money band tour event production thom king multimediary entertainment marketing perfect marriage artist corporate partner thom king multimediary entertainment marketing sell rich hardest got free cds trip jamaica scott mccormick disc makers playing non traditional venues page booking nontraditional shows events greg johnson starpolishcom booking festivals fairs events jeri goldstein performingbizcom tips getting fair dates corporate gigs les vogt entertainment consultant solo restaurant gig guitar la carte dan lambert guitar nine records definition guerrilla gig wikipedia free encyclopedia definition basement show wikipedia free encyclopedia house concerts great opportunity fran snyder concertsinyourhomecom house concerts new way reach new fans bruce haring author destroy career music house concert booking tips artists fran snyder concertsinyourhomecom setting house concert tr ritchie si ngersongwriter folk club audience guide jeremiah mccaw ezeduzit creating local gigs mark w curran author getting gigs musicians singers survival guide cant find gig get street kevin minihan eastwood band art showcasing rick goetz elektra records attending open mics jams page open mic performers guide jeremiah mccaw ezeduzit live performance first open mic int erview open mic host spook handy anne freeman aspiring songwritertips hosting successful open stage kristen schuldt hydraulic woman jam etiquette victoria bluegrass association ten commandments jamming jeremiah mccaw ezeduzit performing page gig manners boost appearances venues annette warner coffeehousetourcom art performing daylle deanna schwartz author start run record label really grab audience marc platt si ngersongwriter ways musicians increase tips bard marc gunn bards crier finding truth thro ugh stage personas gilli moon warrior girl music improvisation surprises key great cover band kevin minihan singersongwriter get moving singing better move body mark baxter voicelessoncom performance power yvonne debandi sing smart vocal coach az singing tips teri danz vocal coach one world music importance vocal health yvonne debandi sing smart vocal coach breathing singers vocalists yvonne debandi sing smart vocal coach wicked cold big gig tips singers works teri danz vocal coach one world music drunken melodies kate hart detroit women dealing stage fright page beat stage fright jocelyn brady suite sure fire ways overcome stage fright speaking performing reverend michael bresciani conquering stage fright speakingtipscom stage fright donn marshall university puget sound getting past first thirty seconds yvonne debandi sing smart vocal coach stage fright anne minnery recording artist live performance calming nerves catherine l tully indiemusiccom turn shaking knees nice vibrato bray singersongwriter better playing chemistry beta blockers blair tindall mozartinthejunglecom generating cd sales shows page selling cds gigs case study rogues marc gunn bards crier confessions master cd sales woman sharon wothke rogues tips selling cd gigs igs guitar forum sell cds april singersongwriter selling merch shows page double gig revenues selling merch tony van veen disc makers make money wylie gustafson merchandising scott mccormick disc makers tour merchandise stands tshirt gigi swanson mg incentives order shirts sell event django bohren seatthole shirts sell gigs nobodys gonna ya tim ziegler lostrockcom live concert recordings usb sticks ryan jarrett blogryanajarrettcom introduction glossary live perfo rmance booking terms jeri goldstein performingbizcom rights reserved industry jargon know able move comfortably thought would lay foundation provide glossary basic terms artists team agent representative artist makes artist available performance dates agent negotiates fees contracts dates coordinates tours many states agent must licensed book talent nyfl ca particularly strict regulations licensing talent agencies could check volunteerlawyers arts organization state information start search new yorkbranch wwwvlanyorg personal manager provides artist overall career direction guidance coordinate team members play role artists development negotiate record deals publishing deals find appropriate agent publicist business manager team members cases personal manager book performance dates certain states illegal business manager manages artists finances team member us ually added artists making substantial income requiring fulltime person handle finances gigs artist investments general financial advice road manager takes care details prior tour advance tour date make sure artist arrives date optimum condition fulfill contracted duties band cant afford road manager member band may serve capacity publicist coordinates artists publicity marketing campaigns provides pub lic notice media create awareness artist radio promotion company coordinates radio portion marketing campaign artist releases new recording canbe hired record label inhouse radio promotion department hired manager artist radio promotion campaigns generally last weeks goal help recording gain enough airplay register various radio charts track new recordings booking terms hold placing hold date reserves date artist question final decision booker artistis made offer accept date booker purchaser person club venue books talentpromoter promoter may book talent multiple venues paying rent promoters may also restrict booking one specific venue whether venue venue place performance may take place deposit portion guaranteed fee deposits generally returned signed contract percentage guarantee may suitable deposit though guarantee norm deposits legally supposedto held escrow account date played anything happen cause date beplayed deposit may returned depending contract agreement think aboutasking deposits start getting guarantees excess guarantee fee agreed upon artist paid gross total income ticket sales expense deducte netthe total income expenses deducted including artist guarantee straight percentage agreed upon portion income ticket sales larger portion percentage generallygoes artist reasonable artist percentage negotiation points percentage deal actual percentage know whether percentage gross net guarantee plus percentage artist gets base guarantee plus percentage often deals based percentage thenet depends deal certainly try get percentage gross guarantee vs percentage artist gets base guarantee agreed upon percentage income whichever greater loadin time agreed venue available artist load gear set sound check advance date series timely calls check venue everything ready artists performance checkwith venue contact regarding production hospitalit housing coordinates necessary travel advancing date keep informed dat es promotion ticket sales help avoid problems happen good habit begin advancing date jeri goldstein author bo oking agent musicians performing artists guide successful touring nd edition updated agent artists anager years currently consults artists agents managers consultation program manage rinabox presents performing biz seminars workshops conferences universities arts councils organizations book cdrom information programs available ava ilable wwwperformingbizcom phone email jeri jgperformingbizcoma talent representation primer brief rundown terms business mark steiner steve tetrault gig salad rights reserved talent agent talent agents individuals whose primary function secure work clients artists actors bandsmodels musicians singers magicians novelty acts etc multiple agents work together work common company serving multiple talents otherwise known talent agency standard agreementbetween agent performer speaker contract major point theme stating certain amount time normally minimum year usually multiple years agent exclusively handle employment means every profe ssional paid booking would contracted agents office portion commission fee going agent agency also anarrangement nonexclusive representation individual band work oneagent agency exclusivity either agency case agent books date gets commission performance however leaves much room confusion conflict noncommitment lack loyalty booking agent also known buyers agents usually fall category exclusive nonexclusive talent agent best way know describe difference looking real estate real estate world youhave property seller property buyer property talent andentertainment world property person people broker book represent people talents skills abilities etc purchase people time purpose performing talents buyers typically live venue owners special events plannerspromoterspresenters private corporate event c oordinators bridesgrooms work behalf negotiate broker talent would fall title buyers agent bookingagent manager addition agents agencies various forms managers sometimes lines get little blurred job responsibility title suppose c call anything want long clear exactly suppose within manager category personal managers personal managers th e simplistic description responsible managing talent duties vary one individual act another simply go details arrangement determine exactly responsibilities may include booking engagements meaning essence workingas talent agents well taking care daily scheduling bookkeeping itinerary andor personal affairs business managers conduct business portion acts life career managers whole oftentimes including business personal booking anythingelse talent needs wants provided parties agree within arrangementunderstanding also unions organizations affiliations groups clubs memberships licenses guidelines rules jurisdictions books instructions help must adhere depending associated bottom line talent teams partners decide work second party purpose advancing promoting employing must clear theexpectations sides define exit clause either hold end thebargaintread carefully choosing agent record label promoter sign nothing obtain legal guidance considering hiring talent agent talent agency representation several things consider certain never sign document without first hiring reputable attorney look cost secure legal advice pay many times take ten seasoned veterans recording industry nine tell thing wish much success career get gig mark steiner steve tetrault cofounders gig sal ad north american talent di rectory local regional performers speakers entertainers spanning spectr um entertainment genres gig salad gives talent buyers agents event planners universal access directory talent searchable name category location need additional exposure looking get gigs hoping land one might open doors big break consider joining gig salad today wwwgigsaladcom venue operator musician good relationship depends annette warner coffeehousetourcom rights reserved venue operators musicians historically odds seems lovehate relationship times wants bite hand feeds conducting interviews last year online person phone come basic understanding rift musicians venues musicians accuse venues exploitation venues view musicians monetary demands beyond market bear spiral forms nobody succeeds apathy createdthe following combination comments gleaned several sources wide ranging genres styles atmospheres musicians venue operators musician werent us musicians club owners would nothing going sell beer liquor venue act thats trying promote music outlets wasnt wed darts dj something else musician get paid think worth everybody wants us play door guarantees venue good following arent exposed well door seen bands come cleared lots green door worked hard show made money made money therefore door stays open another paycheck road addition also staff needs paid stock needs bought bills pay night needs pay need much smaller budget maintain businessthan need maintain musician successful first show brought many people venue still want pay us money next time come back deserve raisevenue work hard sell product different music arent going make us money sure arent going pay proven worthy draw willing negotiate guarantees based previous shows right tonegotiate return shows well dont want money offer dont book gig book gig best interest promote us well musician venues seem favorite bands revolving dont give new acts chance prove good venue experiment whole lot expensive equipment already something sounds great willing show us opening act without demanding top pay determine worth us decisions bas ed us decisions based musician many venues dont help promote entertainment effectively enough advertising leave bands working us promote show venue stop depending people walk doors see gig poster put want people come see act let know performers sell best make money dont accept anything less deserve face posting flye rs everywhere one comes gigs maybe need consider revamping even disposing current methods study market little venues genuinely like good bands definitely like money bring bottom line want pay even collect cover charges help offset cost many venues regardless good many people bring cannot sell enough product pay high fees restaurant fullservice bar combinations going make moremoney average fullservice bar turn makes money average beer bars make money coffee shops income depend venue important music budget restaurant venue live music every night doesnt mean music pulls crowd books music might thefirst expense go budget crunch many venues scale back pay keep booking livemusic rather shutting music completely ive got issue musicians attitude colleagues play less money accusing traitors making rough higher priced musicians find work fair guys noteveryone musician wants needs make living hobbyists muchright play demand certain pay level join union protect right dont expect venue choices increase result move better make sure clout industry support decision unorganized workers industry theyever achieve collective benefits organizatio ns high priced musicians slam venues budget little return investment mess things everybody venue either closes stops booking live music altogethercheck egos arent worth bunch money youve playing x number years worth make money venue operator insert favorite artist doesnt sell venue hes writing songs wall crayons since age two sells venue hepromotes music sells tickets many artists leave town driving miles miles play venue money less feel like touring artists blatantly criticizing community venue operators slack greedy huh band book venue week big gig expect crowd want see next weekend well wouldnt go see elvi anyone else two weekends row seems motivation pack house many bands doesnt extend past fir st time fair demand increase give venue chance see past first timein playing crowd would anyway bringing following firstis case going naturally try get one less expensive majority venues notout rip musicians venues survive businesses cant blame hello anybody home venues motivated support fair local musicians choose host live entertainment suggestions bring effort forefront make productive constantly reassess performance bands acts schedules dont make everyone pay bad bands book making good money share performers making guilty exploiting live entertainment stop low paying venue go artists afford fair performers much better night planned give boost pocket would love see cared enough share difference made register night offer reasonable tab help offset low fee always offer free nonalcoholic drinks nothing else maybe add meal agreement sound man already paid staff dont dock musicians another already low fee agree cash paid include sound cost even offer figure musicianswant bottom line also make sure sound staff qualified bartender filling musician would rather provide sound crew pay pocket sound like bad radio especially paying dont pay buddys band pay ing someone else brings crowd maintain schedules accurately nothing irks musician showing see another act setting night made mistake calendar musicians counted money bills since booking made blink eye expected toeither share work performance arrangement including one artists performance happens something make dont take oh well attitude treat expendable passing booking responsibilities dont change schedule thenew booking manager doesnt like band previous one hired schedules must changeddo enough time allow musicians fill night another gig agree pay band certain fee pay least fee dont attempt lower salary end night night didnt go well intended advertise effectively dont expect musicians bring crowd need part help bands much want help venue musician many musicians spend years honing skills continue allow exploited love play music dont allow respect ability challenge market succeed demanding pay want marketable work speak need help want seek mentors resources needed help make good decisions business venues want avoi reputations alarm get burned dont go back work door prefer deal venues door person bring working door may need staff check ids thevenue reason handle money wo rking percentage definitely door person thats working counter guarantee door may still want use counter youare working guarantee dont need anyone door unless simply want head count forfuture bargaining power things musicians work together positively provide support suggestions well rounded approach dealing community venue operators peers always remain positive professional ground venue operators even answer well pass yesterdays booking guy may tomorrows venue owner huge budget may know someone hed like hook later make solid effort atimproving developing good public relations skills never underestimate fans dont rude unapproachable people dont time today way ladder tomorrow dont bad mouth venues peers gossip nev er ending circle moral decay behavior speaks instances remember venue owners booking managers talk fromother venues passion frequency talk musicians dont bash venuefor paying money fact showed late started hour later thanagreed upon issues another member music community take least attempt heal riff means make busine ss try see fail stabbing back keep mind goes around comes around show time job best dont lazy promotion show venue care gig recruit friends help make post flyers maintain website email lists etc use internet help promote band shows trade links bands music websites personally reaped benefits onli ne exposure know works make email signup forms gig cards business cards websit e info regular part equipment monthly one page news sheet dont computer access even use brag achievements upcoming projects etc print lay gig table hold regular band meetings assign one two promotional tasks per band member one person responsible everything solo act enlist support network help find stuck situations bands ego important music areplaying together maybe time look elsewhere sometimes clean house see brighter ceiling nothing positive devel ops constant battle wills focused effort tackling problems start things work better foreveryone involved firm set st andards regarding people productively deal self actualization issue grow importance long run wastingtime time wasters never good thing avoid members community ooze bad vibe negativity cant influence dont influenced nothing change insistence wont change always front guy appeal proper venue market avoid taking gigs sake money type place whats point playing avoid placing beer value performance treated present want book gigs type bartering dont expect good paying venues take seriously know played free beer venue street keep salary arrangements private would job satisfied pay accept contracts personal decision never hesitate book gig writing youdont know venues habits always copy signed contract gig seeking reviews local even online publications sure take organized approach send nice package including bio cd photographs review writers many ways arejust like venues need interesting thorough subject matter pique interest enough towrite information seek move easier subject include contact information case want know always good make friends right people right places nothing says shouldnt go way support community nd im talking playing free gig two go beyond get involved community key team player goodthings happen helping promote others arent taking attention areactually increasing everyone wants cognized input value place community makes positive little selfless means great deal musician appreciated another musician go support lets start new local fad call musicians helping musiciansall year long dont justpromote next appearances promote bands playing venue within theweek coming theyll nex time around never good politics promote venues microphone stick youll back current venue encouragepeople pick copy upcoming shows dont forget bartenders waiters microphone least set respectful friendly staff venue never know pouring serving drinks month close new boss make practice clean stage leaving trash bottles replace tables move leave like found believe staff apprecia tes shows considerate act good waiters keep supplied beverages night stagetheres reason tip youre entertainment join online news groups organizations discussion forums network music communities youd surprised good focused networking playing another town always pull local open playing locally pull town band open venue allows thats one many ways work way another city supporting musicians living learn deal people professionally cant seem get particular member community leave alone focus goals stop succeeding mu sicians venue operators economy together together survive fail supporting one ano ther adds strength courage breathes life overall music community annette warner wilmington based singersongwriter w ho also editor gogirlsmusiccom founded warner entertainment singersongwriter b ookingpromotional resource management company maintains fulltime job sales copywriter web designer company awesomewebs maintains weekly column local magazines called warners corner discusses public relations tips tricks musician devotes many hours week voluntee r efforts focusing assisting coming musicians developing good public image include hosting weekly op en mic help local musicians gain stage exposure reached annetteannettewarnercom website wwwcoffeehousetourcom playing live important clare dowling moot rights reserved playing music live vital bandartist many reasons putting concert playing gig enables get music make people aware band also sell merchandise cds gigs promote website network people playing live performances means build fan base get immediate feedback music without vital connection expect people know exist relying internet alone promotional needs wont enough want build larger dedicated fan base tips make sure business cards contact details website info distribute gigs get free cards wwwvistaprintcom also good flier give people details myspace upcoming shows contact local press put posters help promote gig build mailing list collect mobile numbers inform people upcoming show mo people get impressed venuepromoter likely rebook put good word friendsat concert matter small big pointers never ever put band pos itive prepared sweat lot anyone heckles remember whos got mic big speakers dont afraid make eye contact set list band member try stick tune guitars guitar tuner carryspare strings polite staff punters advertise website myspace songs introduce song dont waffle offer merchandise sale dont afraid tell sound engineer want vocals monitor guitar turningupdown speak clearly important fun fun sotoo audience playing live bit nerveracking ou never played live weary sure expect could try attending local open mic night g et taster live performance open mic nights big towns cities way build yourconfidence go amazed gigging help boost yourconfidence help build solid fan base clare dowling member moot two piece fe male band huddersfield uk moot play original blend reggae funk rock jamming guaranteed make people move line clare electric guitar vocals eryl drums wwwmootmusiccouk preparation tour tourthat question sheena metal music highway radio rights reserved every musicians fantasy tour bus rolls arena full groupies beer pizza fans crowded front hoping catch glimpse americas hottest band group escorted dressingroom full groupies beer pizza enjoy various pleasure stardom roadies set stage show time artists take stage crowd screaming lights glaring theamps humming drummer clicks first song wake back pt cruiser bass players elbow ear drummers asleep foot youve eaten nothing last week corn dogs frozen burritos tour imagined lilith faire lollapalooza warped tour thissucks every musician dreams touring getting boring town trying tunes new crowds new areas fresh faces bonding road writing new tunes motel room free food free drinks getting paid getting laidliving life music biz full touring horror stories bands stuck road money come home musicians eating days clubs canceling gigs night warning negative reactions bar patrons local bands list goes make sure touring experience positive one musicians eliminate potentially negative experiences create positive onesthe following tips add success touring experience dont plan tour youre unhappy home affair fix problems marriage tour cure problems within band problems band members lives general malaise local scene tour strain stress loads work excited enthusiastic positive planning prepare leave never plan much take many precautions home place reth ink every scenario arrange accordingly get van tuned pack extra em ergency money bring list additional clubs area case gigs fall pack extra st rings sticks bring backup guitar pack extra merchandise bring emergency foodwater pack extra batteries power cords bring cell phones humble thankful youre strange town new club act like gue st nothing ticks club ownerpromoter whos taken chance unknown band outoftowners swaggering club like paris hilton episode simple life matter cool town unproven ground first impression important ask dont demand set qui ckly play appropriate volume clean friendly courteous say please thank unless youre booking jerkville usa positive attitude could set well way repeat booking better perks nd local supportseize every opportunity youre going take time away work fam ily buzz youve built music community head great beyond conquer unknown landsyou might well come back something lovely memories outofstate parking ticket youre new place possibilities endless sell cds sell tshirts get new names mailing list solicit local reviews interviews radio introduce club owners futu bookings find books local festivals play impromptu house party gig make new fri ends street team next time think something havent even written dont expect conquer world one tour rome wasnt built day neither touring empire fun enjoy trip using building block make tour particular place better elaborate play cards right trips may making terrific money secured lodging either new friends let crash aclub pays motel get food drinks comped guaranteed press radio coverage short touring best thing ever happened band work hard play smart follow correctly matter much love tour always remember keep foot door locally great work home makes clubs excited bringing show town sheena metal radio host producer promoter music supe rvisor consultant columnist journalist musician syndicated radio program music highway radio airs ov er affiliates million listeners musicians assistance program music highway boasts members currently promotes numerous live shows weekly los angeles area resides info wwwsheenametalcom expand definition live performance bob baker thebuzzfactorcom rights reserved let ask happen person converted fan music number possible answers basic level one thing happen per son must hear music many ways someone hear music radio television internet dance club retail store friend home car stereo live performance lets focus last one even advancements technology live performance continues one best ways connect fans sell cds prosper artist hopefully marketing plans include heaping helping live shows type live shows plan problem many musicians get stuck live performance ruts fail think outside box instance rock bands flock like lemmings nightclubs acoustic singersongwriters obsess coffee shops folk venues thats fine end thought process complain thatthere arent enough gig slots acts want play solution redefine live performance goals ask right questions ask book shows clubs youll rarely look outside possibility ask reach ideal fans live performances list potential venues suddenly wide open play front potential fans nightclubs one answer great continue pursue community festivals neighborhood block parties grand openings rallies auto shows craft fairs finishing line city marathon public beach sunny day anywhere large groupsof people gather fair gamesure every option logistics sound system stage etc glimmer idea along lines worth looking guarantee number acts competing spot atone offbeat events much less number find tradi tional live music venues expand definition live performance ask empowering questions open mind tothe many new ways r fans live performances preceding article excerpt bob bakers audi obook every musician know self promotion bob also author guerrilla music marketing handbook unleash artist within branding online also publishes thebuzzfactorcom website ezine deliver marketing tips selfpromotion ideas empowering messages music people kinds get free subscription bobs ezine visiting wwwthebuzzfactorcom today find right venue live show jeri goldstein performingbizcom rights reserved yes important play often possible also important make sure play rooms help move career forward topic requires review longterm goals keep mind tackle every new aspect career case selecting appropriate venues challenging rewarding challenge lies finite number venues one may play infinite number acts competing venues reward realized youbegin qualify venues choose play order fulfill commitment reach career goals different way approaching booking keeping career goals mind consider following factors time approach booking gig know audience think overwhelmingly important thing band understand know audience know audience able imm ediately determine whether one specific venue right another example audience lik ely downloading songs itunes listening npr think playing one club downtown starts shows pm youve noticed audience generally ages audience may follow venue hand age demographic audience attempting book club downtown may appropriate consider following factors age majority people age group considerations influence decisions late nightentertainment family children early work days availability discretionary funds desire creature comforts like softseat theaters age group may constraints asabove late night start times may impact day schedule much also may concernedwith seating nonsmoking environment time best late night starts impac ability perform best certain venues may wrong audience pm crowd wont second show starting midnight demand second night rather two shows night perhaps schedule matinee early evening show pm show later daytypes room fans accustomed standing show sitting fans u sed sitting shows people know particular venue never provides seat audience wont appreciate seeing show ticket sales slump attempt play bigger hip venue audience used seeing type venue may also lose sales attempt raise profile one acts decided work promoter chose put act room unlike act ever played factors came play room waswrong artist ticket sales poor promoter understand acts audience method promotion choice venue proved fact beginning tour book gigs consider music type fan music attract think audience appreciate actnarrow helpful simply say think everyone would like music big favor specific music similar another act check audience see venues hey playing consistently buys tickets shows knowing audience influence type venue chose perform even identified fans ones buy tickets standing show starting pm venues may chosen simply stepping stones others may recognized showcase clubs might want use stepping stone venue create buzz get following comes career movement though important identify important clubs major markets showcase club onewhere people industry likely scouting new acts media print radio likelyto attend write reviews promote new artist wetlands new york city club audience softseat theater variety must use similar tactic selecting right theaters build audience way playing select theaters might playing university performing arts centers community centers first wi th goal playing much larger concert halls eventually outdoor sheds want play comfortable bars theaters intimate hous e concerts concert halls youve determined audience determine best space present music perform according goals comfort level predetermination helps eliminate lot unnecessary phone calls concentrate appropriate venues according goals audience preferences begin call appropriate venue establish relationship booking person venue decide whether particular venue right act details consider capacityare ready room room large oo small ever sold room size prior calling venue research venues using indie venue bible evaluating venue calling may determine ones suite act nes right make note ones may perfect year two include ones g et back later stage size often may matter instances knowi ng information begin discussions booking person may help decide fit entire six piece group drum kit keyboards players comfortably stage cant fit stage configuration flexible venue may wrong act always keep mind want situation showcase act best move another venue run insurmountable obstacle try compromise theintegrity performancetechnical requirements bring sound lights engineer venue accommodate set rooms however require sound lights provided checking specificationsoffered venue also important qualifying factor venue required equipment rent whats necessary expense budget fee clubs determine fee percentage willing pay act based upon actsprospective ticket selling capacity act public demand commands better guarantees percentages discuss negotiating fees another article believe understand fact known acts getbetter fees unknown acts build track record ticket sales order leverage tocommand higher guarantees advantageous percentages unreasonable however ask thebooking person approximate budget might spend similar act clubs offer thisinformation determine information asking acts booked recently knowledge acts perform ing market quickly get sense kind money venue spending talent instance booking person names majoracts known general public include local regional talent arefamiliar may see league unless persuade booking person include opening act unlikely booking act hand acts named similar local regional know bands getting paid sense venues budget may confident booked similar fee box office ticket outlets box office one may purchase tickets advance venue use outside ticket venders venue uses local business sell tickets ar e familiar easily accessible audience phone reservations possible knowing give advance indication show selling give sense advance promotion going work thevenue increase promotion advance ticket sales slow door sales box office sales tickets usually sold door collects money venue provide door person collect money provide person many situations someone working door trust mean great difference amount money make get determine guest unable insist door person make sure person door checking count advertising promotion kinds advertising venue advertising budget act week many rooms place strip ads local papers entertainment section comes weekwill act get enough attention means advertising venue willing forms promotion expect opening act make sure included promotion advertising ask proposed advertising budget determine impact upon final fee hospitality venue provide meals refreshments housing thing may help make gig possible getting large guarantee playing percentage door hotel room rooms provided venue may help budge similarly knowing meal provided rather spend money means another budgetsaver ask booking person questions entering negotiationthese items assist decision making proc ess determining venues right act rooms grow time others simply crossed list approach bookings method evaluating venue making determination using facts rather feelings research rather impetuousness venue booking person attempt qualify determine whether right perform room tools equalize process proactive rather reactive sometimes playing wrong room stall thwart effortsto reach career goals qualifying venue save time effort money boost career next desired level jeri goldstein author bo oking agent musicians performing artists guide successful touring nd edition updated book cdrom information programs available ava ilable wwwperformingbizcom phone email jeri jgperformingbizcom dynamics success jeri goldstein performingbizcom rights reserved discuss booking strategies marketing plans forever group established aworking group dynamic success may illusive one first concerns worked group see group worked together interacted away music ive seen situationswhen band make incredible music together soon rehearsal gig everyone disappears world dont interact one another much tocreating successful band playing music want know group simplytolerate absolutely necessary first place start see goals group alignmentdoes everyone want thing may best done manager one simply ask someone tied anyone particular within group serve impartial facilitator suggest getting together nonrehearsal date person would share ideas group individual sees theirdesires groups goals individual goals open honest communicate sets tone future interactions one member may see group vehicle songwriting another might using group stepping stone solo career different group comes along liking one member might like play intown gigs rea lly want tour extensively area another mem ber may want play really want put much energy group kinds things important know front lot energy money time invested group starts take kind discussion often produces many whatif scenar ios brainstorm future situations may arise get chance see others may react example opportunity open series dates larger act offered group means road month perhaps morein situation member doesnt w ant tour extensively wouldnt good explore situations advance rather moment actually happens everyone discusses thesepossibilities prelude success rather reaction group chance make greatmusic enjoy effort involved making itonce aware members view role group plays lives able proceed setting realistic goals also appropriate set timeline change needs occur inorder satisfy members relationship group make arrangements member give enough advance notice quitting group begins heading direction interested going allows group enough time find replacement whats needed depending upon legalstructure group contracts group members may required spell membergets get investments made contracts would help describe financial compensation leaving member required investment newcomer anticipate many worse case scenarios advance cooler heads design outcomes remedies taking responsibility success many tasks required making band successful first getting started enoughmoney hire road managers business managers others take care details keep groupoperating various tasks must fall members group jobs like booking dates prior agent often takes time requires certain type personality may also job crucial band wants play anywhere garage often people findthis least fun well recommend group member taking task compensated withan additional percentage split perfo rmance fee agent would paying anywhere agree percentage pay member group percentage every date book tasks meaningful groups success may decide person takes responsibility specific job rather offering additional compensation one jobyou simply split gig fees equally job holds equal weight requires equal amounts time thevarious jobs necessary keep group going build toward success booking mark eting merchandising keeping books advancing tour dates publicity may come others specific groups needs main tasks group members share equally aspects operations may decide split income equally ifhowever one two group members take responsibility majority tasks keep group working would appropriate compensate members accordingly additional compensation shows respect work done behalf entire group thesearrangements established early groups career hose members extra work less likely feel unappreciated overwhelmed suffer burnout take care people taking care group serious success start meaningful dialog among members know allheading direction working goals establishing working dynamics early groups career ensure consistent growth smooth transitions easy interactions jeri goldstein author bo oking agent musicians performing artists guide successful touring nd edition updated book cdrom information programs available ava ilable wwwperformingbizcom phone email jeri jgperformingbizcomhow positive indie attitude advance career jeri goldstein performingbizcom rights reserved touring musician encounter variety situations potential disrupt days plans attitude meet daily challenges influence success failure move career plenty obstacles thrown path may choose approach positive attitude negative w hy attitude method choose affects around may even partially responsible getting getting breaks clearly think deserve id like examine situations may arise attitude may make huge difference ive worked many artists years manager agent promoter consultant one thing stands outs performer else attitude life music manner inwhich approach day every situation attitude infectious positively negativelybe sure leave situation reputation upbeat positive attitude one thehighlights making phone calls book date first place attitude plays major role phone conversation prepare phone sessions dont pounce phone vengeance determined book thewhole tour get right frame mind calm yet enthusiastic tired badday dont make booking calls inappropriate carry personal problems phone conversations win many friends land many gigs booking calls sales pitch present positive attitude likely get positive response always easy maintain phone call phone call nets little call next week multiple calls become frustrating feel upbeat attitude begin fall stop making calls paper work take awalk practice change gears say something youll regret way leave last call promoter club owner way remembered pleasant conversation welcom e next call may weeks answer calls set success arriving venue arrive venue first impressions make difference rest gig go unusual hit traffic way venue various travel delays unnerve anyone isnt anyones fault dont take gr eet venue anxiously awaiting arrival probably looking forward helping settle assist way able check attitude opening door make sure first thing mouth great meet pleasant greeting must set tone rest event want thevenue help put best show ou need set stage offer winning attitude dealing technicians settled next challenge sound light check task fraught one obstacle another inadequate equipment wrong equipment inexperienced technicians unhe lpful technicians enough time anxious stage personnel want accomplish effective sound andlight check stay upbeat clear needs express succinctly respectful thosewho work venue run technician bad attitude nothing sayto change attitude except keep check remain pleasant step outside blow steam whereno venue staff see return refreshed ready workwhen comes setting sound know sound best persistent e ngineer achieve sound like dont badger clear attempt win sound particularly sticky issue artists cert ainly one area maintain cool want good show unless travel sound engineer mercy board one person want pissoff attitude make break show dealing promoter time time run club owner promoter difficult first phone call clear gig would challenge simply promoter offered resistance didnt get easier arrived venue youre make life changes person determined get gig best show fill hall win audience sell merchandise hopefully favor youll get paid fu amount agreed upon perhaps youll get another gig future maintain positive attitude throughout spite vibes coming promoter goals clear ignore distracting demeanor dealing audience finally stage certainly place air problems unkind disrespectful people worked hard stand th moment absolute best tested matter happened back stage dressing room phone show thecar driving show sound check display ugly attitude done folks wont forget theyll tell friends audience deserves highest regard show show may tired gig though opportunity win loyal fans build solid support develop career meet wi th fans sign autographs set aside fatigue little longer perform venues clubs may working volunteers invited meet presenter workers spent weeks prepar ing event take opportunity youll solidify return gig dont accept invitations parties interested attending short meet greet gig go long way creating good reputation youhave meet travel schedule unable stay meet greet let venue personnel know thatbefore arrive expectations stay talented musician fabulous act savvy businessperson sport bad attitude successes hard remain cl ear throughout dealings venue build respect group testament leve l professionalism maintain positive attitude situation ensure good reputation precede spark new successes jeri goldstein author bo oking agent musicians performing artists guide successful touring nd edition updated book cdrom information programs available ava ilable wwwperformingbizcom phone email jeri jgperformingbizcomvital gig booking tools press kit jay flanzbaum onlinegigs rights reserved think band finally ready start playi ng gigs need basic marketing items place first prepared competitive world music industry suggestions demo booking purposes cd presentation need slickly designed packaged however need laid professionally simply band name contact information song titles easily located cd todays technology reason use tape instead cdor write information directly cd marker invest time creating printed lab el send cd duping company put together cheap printed cds paper sleeves bio short sweet point include brief history band members adescriptive paragraph bands sound artistic vision also helpful photos band help spice page layout band name contact formation easily located top every page press two three pages press enough anything less one page enough bands either go way overboard many press clippings dont include press c lippings two years ago waste paper press start mission harass local newspaper alternativeweekly college newspaper online music site view cd live show band name contact information easily located top every page photo technology take picture print affordable justify band picture band name contact information easily located band shot poster template gig book going require posters design simple poster room fill shows specifics x sized posters stand better x either fine helpful print copies ofthese posters advance including one booking package show ready startpromoting gigs band name contact formation easily located poster flyer template also useful convert poster small postcard size flyer able lay four one x sized sheet p may necessary include send bookingpackage one ready good idea stage plot simple document every instrument musicians microphone monitor needs may necessary gigs even left th e booking package many venues require either fax email stage plot one ready advance band name contactinformation easily located stage plot folder save money talent buyers either file formation away throw cases nice glossy folder items superfl uous use special occasions onlythe website least distinct url ie bandnamecom compiles information music samples photo bio information press clippings contact information stage plot po ster template flyer template technologically savvy ho wever website become personal marketing team things band related jay flanzbaum got start booking agent putting together national regional tours independent bands years running boutique agency inspired creation onlinegigs incredibly powerful booking promotional tool independent bands agents wwwonlinegigscom planning tour kim ruehl betamax rights reserved sure could hire someone else lets face point decide book tour ive spent good deal time tour managed learn thing two lif e road helpful hints least get door start early always best give time scrambling week leave youre touring inthe summer bet everyone else clubs get inundated want make sure youre taken consideration particularly important youre looking churches house concerts often theyll booked year advance pick region want narrow appropriate amount space youre planning sp ending whole summer road example tour east coast may ok three weeks would incredibly ambitious find venues think wont ever get stiffed mistreated venue bit idealistic important narrow chances happen great resource online finding venues house concerts great place look churches never stiff alliance shows sure thing well call ahead always call send materials one ou want make sure club still exists theyre still booking folk acts also clubs hand booking agency often book several clubs town touch base ahead time let know youre suitable clubyou initially calling maybe hook another venue send demo bio press kit doesnt fancy shmancy really better put time effort materials people venue dont know anything well make honest impression make sure demo recent bio date also nice include letter venue introducing thanking ahead time listening work dont wait call places noting websites dont want artists call booking case honor policy theres reason time theyre going call call longdistance give two weeks listen cd call check need stalk ifthey dont answer yet try back laterbe realistic may look like terribly long drive new york lanta trust realistic book dc raleigh way respect venues youre booking make sure youre going time get still energy put good show even take one day per week important time send contracts boy wish someone would told long time ago contracts dont written attorney write make sure date time agreedupon compensation method clearly stated sign person booki ng signs keep copy helps save getting stiffed helps cl ub know youre serious get car checked outthis essential definitely dont want wind middle nowhere driving eight hours find car falling apart make sure bring wd duct tape spare oil jug water case overheat gas case run better safe sorry oh join aaa head make sure copy itinerary struments amplificationpa list phone numbers every venue copies contracts names people spoke particularly important get lost looking venue youre caught traffic another state happens plan well advancegive venue plenty time take care need take care leave figure youre going sleep along way sleeping car become necessity youre alone especially risky dont get wrong ive done beds much nicer check cell phone plan make sure wont roaming whole time additional things need join aaa instruments amplificationpa itinerary contact information everywhere youre playing extra money cash credit case something goes horribly wrong road atlas youll need know suddenly skirt rush hour dc plenty copies cd sell good cell phone plan kim ruehl seattlebased musician freelance writer well politic al junkie history buff kim spent nearly decade touring us folk singer based seattle splits time day job university washington job freelance wr iter addition folk music guide also rootsamericana columnist sound magazine frequent contributor performer magazine online seattlestcom performs regularly folkrock band betamax released cds cognition wwwmyspacecombetamaxseattlesetting successful tour kenny kerner musicians institute rights reserved best way artist create buzz sell records simply take music people friends means touring getting road tradition everyone even remotely associated entertainment industry authors go book tours movie stars visit every major latenight talk show others pop radio broadcasts print interviews promote opening play concert really hungry success touring costly proposition financially organizationally takes money finance travel lots time planning put together even think getting road must first determine want go wish accomplish sightseeing partying thats case better stay home product promote new cd maybe touring viable solution putting together tour simply experience recommended go sellingpromoting something people buy andif tour advance career know might sound crazy begin planning least six months actually want leave give plenty time research mail packages make fol lowup calls book appropriate gigs route tour save additional money rehearse update equipment insurance get van repaired assemble crew get shit together man already starting look like six months may enough time youve decided go road prom ote new independentlyreleased cd youll want decide areas cover youve never strongly suggest staying close home meaning go hundred miles away ou live los angeles area try booking gigs seattle north way san diego south routing en able reach venue days drive return home next day necessary several cities washington seattle tacoma sleep drive san francisco next day theory applies regardless live next youll want make list appropriate clubs areas youll touring dont get lazy one homework theres nothing embarrassing wasteful metal band setting gear stage jazz club get picture call clubs find charge booking talent mail neat professionallooking package cover letter specifying dates expect area sure package includessome industry quotes airplay youre receiving recent reviews dont forget include video cd youll want wait least business days packages arrive begin followup calls phone polite persuasive direc understand club reason book since thousands unsigned local acts dying play venues free offer clubs cant get fo r free heres youll need thinking use imagination nobody said would easy rightassuming youre going successful booking string club datesand always remember get signed performance contracts list pay time loadin soundcheck show time hospitalityprovided club usually form hot meal band crew drinksyou route dates one two ways first begin club longest distance home drive schedule dates working way back home base show clo sest home scheduled last begin opposite way playing way farthest point making straight non stop drive home final show hesitate call local aaa office reques tripkit package areas touring helpful giving direct routes exact mileage city city information allow accurately budget tour go road short period time weeks many dates kill drain money youre theres income gigs selling merchandise set giant loss tours end therefore try book many dates row possib le take every fifth day remember use day little relaxation little promotion next gig find anyone band crew relatives friends tour area might friendly phone call result place stay overnight thi save hotel bills food money forced sleep hotel cheaper better bed hot cold running water phone theamenities youll need guys get used sleeping single room look motels located within mile two club saves mileage gas th e club booker helpful suggesting places stay overnight preceding article excerpt best selling music education book going pro kenny kerner published hal leonard available bookstores amazoncom kenny kerner former senior editor music connection magazine kenny currently director music business program musicians institute hollywood specialties include personal management artist de velopment music business phone kennykmiedu booking agents looking agent jeri goldstein performingbizcom rights reserved reached point career development adding agent team would logical next step pick phone st art calling around suggest following get clear picture take inventory create overview career position date process information help present clear picture career assist making powerful pitch agent consideringtaking inventory includes reevaluating past two ears growth would include list past performance venues fees actually received capacity venue number seats sold havent keeping track information soon begin along detailsi would also list merchandise sales venue inform ation helps assess growth year year venue venue especially play specific venue number times year numbers increase time good indication building following thisis exactly type information booking agent want know determining whether invest time money add roster w hen present organized evaluation career development agent along promotional package immediately set mostscouting agent define goals create set career goals timelines projections art ists looking agent relieve work dislike themselvesmaking calls book gigs look agent help raise level performance dates increase number dates performance fees set career goals forthe types venues would like play present prospective agents determine specific time line would like goals accomplished based kind concreteinformation youve gathered evaluation step make realistic projections percentage increase foresee next two years exam ple based last years information able determine book ings fees merchandise increase next year year present agent hard numbers effectively evaluate whether worth involvement research final step making phone calls research doesnt matter well organized talented calling wrong type agent wasting time check indie venue bible booking agent area agents book specific genres music styles performance researching agencies determine genre music type performance compatible check roster artists see recognize anyone may acts might openwhen finally speaking withsomeone agency mention create list appropriate agen cies make sure get names one two head agency small company know acts working specific agent might compatible ask hat act would mind sharing information agent may get insider information regarding whether good time makeyour pitch based agent signed looking new acts addgo conferences another method researching agents attend booking showcasing conferences agents often use conferences scout new talent seeing acts live performance help agents get sense ofaudience reaction well getting better picture might potentially selling great benefit attending booking conferences walk around exhibit hall meet agents representing acts view booths ee roster well examining agency presents artists booth display get sense agents organization andcreativity manner represent talent stand listen way pitch artists prospective buyers three tasks belt confidently present appropriate agencies feel ready make pitch present much professional overview act aclear evaluation past performance realistic projection future jeri goldstein author bo oking agent musicians performing artists guide successful touring nd edition updated agent artists manager years book cdrom information programs available ava ilable wwwperformingbizcom phone email jeri jgperformingbizcom booking agents national touring max mcandrew house blues rights reserved currently work talent department hous e blues many years agent icm one worlds largest talent agencies house offices nyc los angeles also maintainseveral satellite offices world booking business divided two separate equal parts promoters purchase talent agents sell acts heres works agents part salesmen part negotiators young old black white male female would tell people faces would light wow thats coolyoure agentthenthere long pause go ask agent well asked question many times find best way describe ask person seen movie jerry mcguire say thats exactly sit offices yak telephone headsets time leave day done headset neither perknor plus rather essential spend much time phone two agents alike everyone marches beat drummer dress extremely casual wear whatever want incl udes jeans tshirts sneakers office spaces pretty vibrant music playing walls covered gold platinum records although nearlyas lush encountered various record labels perks associated anagent include assistant acts first line defense liaison outsideworld maintain expense account travel frequently see new act existing client flew la several occasions attended music midtown atlanta ga including many nycarea roadtrips outside free cds record companies ability go show free ofcharge say became spoiled attending live shows beca use always hooked right credentials today attend shows unless royal hookup get taste ofit never go backhow day spent typical day life music agent starts around clearing voice mails emails received previous day first deal anything pressing emergencies get day starting calls agent calls promoters territory gives artists avails ie available dates shows promoter done telephonically crucial assistant present handle onslaught return calls many times tour hinge one date itsimportant know whos calling times given avails created routing place holds venues holds line markets distances like start gather offers promoters offers exactly sound like offering money artist offers contain theessential details show performance include artist guarantee ticket price capacity tax ratecurfew merchandise rate ticket scaling times contacts well get specifics terms later offers always faxed input computer mainframe printed clean version ra responsible agent responsible dealings client prints offers goes artist management ba booking agent partof country detailed description difference ras bas depending whatconclusions ra artist management come deals passed tweaked details nee changed confirmed done telephone important make sure promoter listening details giving process continues tours book time leave office days leaving office signify end work day evening put many nights spent eating dinner attending client performance scoping new act thinking back icannot recall one week attend least one show watch acts energy stage presence listen mix vocals talking record company contact actsmanager come cia training facility located outskirts kidding agents come right college head directly agent training program let tell breaking agencys training program quite task training program glamorous description wordmailroom one grueling experiences one go ended stocking peoplesrefrigerators making coffee sorting mail messenger packages city spent close five months mailroom got break jon podell come william morris promoted mike krebs agent mike served mailroom knew hungry agent like offered spot assistant gladly took agents serve dual role companies hey function responsible agents ras booking agents bas however handful bas business ra responsible dealings client interact liaise artists manager record company everyone else associated project ra final authority acts direction artistmanagement bas supplement ras efforts booking particular regions country haveexpertise depending agency divided music department may separated size thevenues style music icm divided st yle music side alternative music club department adult contemporary departmentcan agent one band members andor manager call efficiently behalf set show agents ones allowed call venues promoters fact manytimes manager artist call directly ho wever agent prove beneficial importantly agents already established relation ships venues promoters relationship means take phone call least call back may case ifyou call may adhere venuepromoter booking policy sending press kit waiting abouta month calling like call give pitch see whats available notto say success going direct ly venue promoter feel agent helps tremendously whats old saying battle getting front door agents openthose doors get paid go doityourself route attempt book national tour prepared getting promoter telephone often difficult rule number one get promoter phone keep conversation short get point research venues schedule well advance talking promoter specific dates see whats booked whats available let promoter know money concern wish get room perform persistent annoying hav e played venue similar size stature bring conversation gives credibility developing following also help increase chances getting premier venues want play many major markets possible dont want oversaturate area way numbers go touring touring regularly last least polite courteous promoters club owners deal thousandsof acts materials dont time first time try later stay clear makingwaves decrease chances getting specific venue additional benefits agent agent always considered extra member band say agent theclosest person act touring obviously based proximity factor rather stems agentclient relationship let try clarify something great somethinggoes wrong road agents responsibility fix say agent one responsible liveshow dealings act agent one sold act promoter certain guidelines always outlined show contract promoter deviate theterms agreement agent must intervene behalf artist feeling like extra member band made job better time situation came artist going get screwed would get right bring situation head case point routing toadies southeast territory date booked raleigh two weeksout promoter tickets sold dont eit contract deposit little worried cause guy pretty green dont history three days still depositand contract conferencecall guy bands ra guy flakes show cancels thedeposit go tell guy without sendi ng money never get show icm one ever thought would get money seven months later showed upyou see situations like great agent get pit fight like dogs clients good thing agent provides good cover absorb negativesthat associated booking live shows artist promoter artists representative mean look promoters like show stiffs promoter loses bundle money one wants see chances promoter call looking reduction want look promoter ultimately responsible yourartist management agree giving back money ok agent never wants give money back also dont ever want promoter lose ass fine line agent allows artist say want say want want point time decisions come full circle agent manager ultimate roleplayers good cop bad cop depends scenario find attract booking agent check copy indie venue bible booking agents area also want solicit referencesfrom people run club scene promoters deal agents daily basis great resource tap finally may want check cd inlays favorite artists often list agents name co mpany possibly even phone number always worth try agents pick acts relationships friends industry may promoters club owners record company people managers mtv folks vh cats tour managers resources agents consult daily basis tip hot act come anywhere therefore strong networking critical identifying contacting best agent act certain agents gravitate certain kinds music say generic way partly true partly find company responsible acts provide insight going project case poin lets say new alternative act call agency find agents acts either hip hop rb classic rock unless visualize touring likes eddie money beach boys suggest take music elsewhere identifying agents would receptive style music key startin g point selecting agent saves sending kits every agency time music falls n deaf ears photos bios make recycle bin good strategy send package agents assistants instead directly agent several things first assistants open mail andthey often listen music even assistant likes music agency music delivered freely among others name brought conversations plus agency ends signing act assistant get props bringing may come way promotion assignment project greater say thatcompany remember todays assistants tomorrows agents another good way seen heard set industry showcase take place la nyc similar cities strong musicindustry presence ie nashville show set well advance everyone invite hav e date marked calendar cant tell many shows missed due conflicts like goi ng knicks games date locked essential get word entails e mails flyers phone calls like cant get agent phone try get assistant go show people invite better turnout try get good cro sssection industry personnel find news travels quicker way good ploy bait people free drinks food agents never pass free beverage cracker arrive night show success talk talking creates buzz buzz everyone interested act start feel agentspassion looking agent looked acts find someone truly passionate project say two reasons first business full ups downs trends fads want someone stick good bad agent loves band successful relationship touring career secondly agent serves representative want someone reflects nothing worse trying sell something youhave interest faith tough sell people see right every agent wants shows sell wo rking club department developing acts meant always case new bands exactly new following many never toured extensively across states new act gets signed always uphill battle book thedates pull every piece ammo get act certain rooms certain nights salesfigures paid attendance airplay etc vividly recall begging people acoustic singer thename jewel cases agents fall back love act ability either sell act orin cases ability strongarm promoter thats agents want sign acts passionate easier sell good example artist named martin sexton first saw martins live show awe shivering blew us away signed himwithout hesitation selling martin dates honor privilege every call love passion pitch choose booking agency first things first talent agencies especially big ones take unsigned acts think theyinstitute policy weed acts didnt would listening thousands unsolicited materiala year collectively would receive around new ubmissions day also believe adhere policy business game chance order better increase chances winning want odds favor taking acts signed labels think agencies feel better chance break act hence policy taking signed material think agency perspective makes sense acts signed majors disposal marketing departments radio promotion departments tour marketing departments like one would think people working unison chances breaking act heightened theory true agiven case point band richmond va called fighting gravity got signed mercury awhile back mercury puts record promo stuff band ok eventually gets dropped universal takeover day still sold records independently mercury didgetting signed major great achievement guarantee successful agencies paid commission basis standard rate shows book however youre courtney love billy corgan sure mo st agencies would willing negotiate cut think taking rolling stones gross year touring versus taking screaming trees gross slightly lopsided ill take depending want career ar e many ways choose right agency first foremost strictly musical act ask several clients came icm fullservice agency full service means music department icm houses classical music department motion picture depar tment sports department commercial department literary department speakers department madonna brandy courtney love came icm partially awesome motion picture department mediums interest take hard look full service agencies caa icm william morris monterey peninsula another booking agency motion picture department icm shut alternative music department january fyipower people rarely talk power everyone knows exists story mentioned earlier getting toadies money promoter combination many things ultimately came fact icm powerful agency power bas ed size money dress long business power based ski knowledge scene standing among peers promoters know clients one junior agents icm soi developing power relationships promoters case point routing monster magnet last record powertrip tour hot everyone wanted magnet date early cycle record getting hammered spartanburg sc one top three cites list knew perfect promoter show mick minchowran ground zero even record completed would call ask band wasgoing dates fan promoter perfect mix routing change several times mick process moving locations show fell cracks landed magnoliastreet pub show ended default sure correct venue felt bad mick wanted make came back made sure magnet performed eventhough competing offers every national promot er area needless say show huge success everyone blast identifying correct promoter venue previous example mick correct promoter show folks magnolia clearly say monster magnet favorite band musically sells market venue contact ground zero check whats playing wasperformed past going find hootie dave matthews rather slayer cannibalcorpse would never sell mick edwin mccain date wouldnt cause could promote appropriate room far experience su ccess heavier music theme nights identifying correct promoter venue ask clubs schedule often venues theme nights means certain nights clubs specialize specific styles types music ifyou heavymetal act routing city available date club techno night chances going go well case obviously people regularly attend evening expecting techno heavy metal history one factors agent takes consideration selling act promoter promoter history act promoter purchase act past answer theoffers stand equal basis however promoter history act must taken intoconsideration especially promoter booked act favor lost money show past selling act promoter history always correct decision like routed slayerthrough florida ended giving date harry tiyler h ad history despite fact ra doubts harrys ability promote show harry convinced us basi cally begging show let long story short harry voicemails monda morning show played weekend proceeds tell rained show venue hadholes roof water seeped holes shorted production show adisaster harry get another show merouting dates agent routes dates mileage distan ce primary concern boston dc sounds good actually get car bus van drive wasnt started making road trips see clients fully understood toll road takes wasnt even performing first need identify traveling signed major label hopefully tour support access van better yet even tour bus youre traveling bus youre less worried driver bunk capable making long hauls driving night overdrives bus gives greater range cites hit traveling bus need limit sc ope distances style one knows limitations financial otherwise one road artists three shows row artists play seven straight entirely comfort thing isdecided casebycase basis routing dates need look good match ups acts scenario one would locate good opening position national act markets want hit gives credibility tell people opened lets say everclear secondly takes pre ssure technically another acts show need worry much drawing people cause supposed headliners job chances performing good sizevenue good production thepromoter probably promote show may even get free advertising agent agent get bills either calling acts agent calling promoter directly half packaging bundling appropriate acts together submit acts agencies open coheadline whomever may touring showswapping developing relationships acts everyone begins career madi son square garden may people hometown chicago waverly ny may draw people theoretically speakingeveryones numbers better hometown since people know perform aregular basis located venue every city wanted get able perform astrong local act one would automatically performing front good crowd thats importance getting road meeting many bands possible everybody home base offer outoftown band prime slot tur f chances return favor show swapping colleges mother pay days agents ca stupid money colleges approached solicited offers always stupid oney stupid money basically means give atm card pin im gonna take want see colleges deep pockets ibelieve bottom agents make sure pay premium acts artists receive betterbottom line agents get fatter cut playing front collegeage kids never hurtssince buy huge percentage popular music deal several types deals agent negotiate venue flat deal agent promoter agree flat financial guarantee often deal used caps artists earnings potential basically means matter well show act paid flat fee colleges pay mostly flat deals always paying three four times act normally gets paid club levelthe plus deal profitsharing deal always coupled minimum frontend artist guarantee deal reads artist paid guarantee plus percentage agreed upon agent promoter call split point split point tally total show costs specificperformance includes fee artist madeup deal plus fixed expenses reads act guar anteed show grosses artist promoter share profits ov er fixed expenses artist receiving promoter industry standard promoters cut agents like deals provide called backend backend refe rs potential band receive extra show monies way show well band paid versus deal deal artist take guarantee versus percentage total boxoffice receipts gross net ie costs deducted whichever greater deals show costsare itemized beforehand tallied night show settled actual expenses example ofthe versus deal would look like guarantee vs net boxoffice receipts atsettlement would take tally admissions subtract tax approved expenses compare figure guaranteed walk whichever sum greater theversus deal many stadium acts use deals several largest acts take strictly percentage dealwith guarantee magic bonus third deal two promoters florida call magic bonus magic bonus created stages presented sellout set cash bonuses intervals paid admissions sellout rule thumb know bonuses kick youre close abonus tour manager smart buy remaining tickets get band bonus contract put writing contracts important provide written proof agreement agent entered phone contracts take surprises save many headaches main items want listed date venue capacity ticke price ticket scaling financial guarantee tax merchandise rate times loadin sound check show etc billing contact names numbers plus would get contract signed talent buyer prior show way discrepancyyou persons signature affixed contract ticket scaling refers type tickets sold event tickets either ga general admission reserved ga means sold firstcome firstserved basis located pit area front stage reserved means either corresponding seat designated area ticket holder standing seated generally tickets sold premium often located premier locations floor balcony tier sections vip areas merchandise rate refers agreement made promoter artist much artists merchandise sales artist keep variable rate based percentage depending venues policyand specific act rate fluctuates standards fall artist venue best deal artist receive means artist keeps proceeds generated frommerchandise sales venue anything less means promoter gets cut merchthis means sold merch rate agreed would receive promoter would receive merch sales huge make break many acts especially earning less guarantee many times artist sells merch however venues arrange member staff sell fee coursebilling placement acts performance given show opening act reflected contract headlining act reflected contract knowing whereyou playing bill ensures arrive time aware acts performance promoters notorious adding third act bill beware advance thedate well billing also determines placement advertising promotions show arethe headliner get top billing posters flyers etc tax comes gross comes top technically money artist would never see contract face would items listed fo llows gross potential tax rate net potential gross calculated taking ticket prices mu ltiplying venue capacity gross established take tax left net potential shows settled net taxesneed taken tax varies state state need check venue town rider provisions riders essential documents attach contract ride contract outline requirements show performance especially critical production every artist agent know exactly expect ever venue regard sound lights may bare minimum production requirements need know steer clear rooms poor production avoid instances feel product ion inadequate may jeopardize live performance ask questions fr ont advance date well work potential glitches well folks sums booking agents national touring works good luck write us stories road max mcandrew began career music business international creative management inc icm drafted agent training program pr omoted assistant music agent apprenticed mike krebs steve kaul promoted music gent capacity agent max oversaw club department bookings south east section country included booking coordinating organizing routing various national tours addition scouting developing new talent max departed icm take position talent department house blues currently employed assistant talent buyer concert promoter acts worked working include stone temple pilots wutang clan widespread panic deftones edwin mccain vertical ho rizon splender absolutely loves nine days many others approach booking agents jeri goldstein performingbizcom rights reserved reached point career development adding agent team would logical next step pick phone star calling around suggest following three steps take inventory create overview career position date process information help present clear pi cture career assist making powerful pitch agent consideringtaking inventory includes reevaluating past two ears growth havent keeping track information soon begin along details would also list merchandise sales venue w hen present organized evaluation career development agent along promotional package immediately set scouting agent presentation tells agent mindful growth organized manner conduct business attractive aspects artists livelihood agent create set career goals timelines projections artists looking agent relieve work dislike themselvesmaking calls book gigs look agent help raise level performance dates increase number dates performance fees set career goals types venues would like play presentthis prospective agents determine specific time line would like goalsaccomplished based kind concrete informat ion youve gathered evaluation step make realistic projections percentage increase foresee nexttwo years example based last years information able determine bookings feesand merchandise increase next ear year present agent hard numbers effectively evaluate whether worth involvement research doesnt matter well organized talented calling wrong type agent wasting time agents book specific genres music styles performance check roster artists seeif recognize anyone know acts working specific agent might compatible ask hat act would mind sharing information agent may get insider information regarding whether good time makeyour pitch based agent signed looking new acts add another method researching agents attend booking showcasing conferences seeing acts live performance help agents get sense audience reaction well getting better picture might potentially selling great benefit attending booking conferences walk around exhibit hall meet agentswho representing acts get sense agents organization andcreativity manner represent talent stand listen way pitch artists prospective buyersin conclusion three tasks bel confidently present appropriate agencies feel ready make pitch present much professional overview act clear evaluation past per formance realistic projection future jeri goldstein author bo oking agent musicians performing artists guide successful touring nd edition updated book cdrom information programs available ava ilable wwwperformingbizcom phone email jeri jgperformingbizcom managers cant live thembut yo u live without sheena metal music highway radio rights reserved cant throw rock metropolis earth without hitting someone claiming manager musicians go managers follow accepted ex pected entertainment industry outof control cocaine habit failure pay taxes tell people youre musician one first thingstheyre going ask manager ho wever throws music business know ask even accurate question good manager whats difference may ask isnt manager better manager would seem answer question unequivocally yes rea lity bit like asking isnt herpes ridden prostitute girlfriend better single truth bad representation far worse lack representation fact things band probably never achieve without aidof manager agent entertainment attorney etc bad representation stagnate careerstop dead hurling climb ranks super stardom even worseundo hard work band already done sad true bad manager take perfectly good band turn th em thing foul old gypsy women covering faces rags spit give band evil eye pass ok may bit dramatic seriouslyall band really name reputation would take chance either putting whole band han ds someone youre sure best interests stakethe following tips help decipher whether manager take top turn band flopthe drummers girlfriend manager sure may get names mailing list invite girls beach volleyball team gigs post latest pictures website photo gallery shes really manager shes helper president fan club head street team worlds sexiest roadie sheprobably doesnt know put together press package make calls get arreps office meeting also applies boyfriends wives husbands booty calls one night stands moms dads cousins aunts uncles neighbors nieces nephews grandparents grandchildren pets homeless guy roots trash mi dnight people may wellmeaning accept aid dozens ways takes village build popular unsigned band dont give thelabel powers managertreasure fans dont let manage given youd surprised many overeager slightlyobsessed fans move semi stalker megamanager simple weeks cannot stress simply wrong entire concep two dozen major reasons important fans need kept distance reason person comes hows matter many play gets early sits front seemingly paralyzed starring enraptured either theyre love someone band theyre insane may reasons get restraining order certainly reasons make someoneyour manager bands manager knows every secret musician every person memberspersonal life keep money live whos fancontact database information want someone cutout pictures bedroom ceiling athisher disposal enough said dont sign contract unless worth managers like control choose managers pe ople macram\u00e9 wall hangings mane hair ponies thus managers try evoke signing contract theentertainment industry contracts like marriage ce rtificatesbefore sign one sure band wants tied person long time year two years five years etc theyre much easier get get example sign contract efficient somewhat green manager helping heshe get everything po ssible little resources heshe gwen stefanis management team approaches big gig wants put tour john mayer think tell love take tour contract someone elsefor next five years hit us offer still stand much must signcontracts keep short make sure give room act think play communicate otherswithout getting clearance band warden manager make includes exit clause read upon sometimes bigger better although huge ego stroke brag musicians backstage whiskey gogo manager works grammy awardwinners stadium sellouts sometimes unsigned band canget lost huge management firm mr big stud manager busy picking madonnas dress american music awards may forget ask quincy jones attend bass players birthday gig billy bob wangs tofu bbq shack problem huge managers focu often goes acts making million dollars year year expenses probably highest priority ever good ar e super amazing industry contacts never remembers invite gigs manager great provide benefit band sum total band members band helpers ou find someone open doors take music places cannot go best intentions heart grab contract sign enjoy benefits may find conned stalked ignored andor leg ally bound someone puts agenda wellmeaning otherwise ego whats right band andwhatever dont sit around waiting mrms right wisk band feet carry hisher white horse fairyland everyone gets record deal members know anyone whats right band nothing attract th e perfect manager faster seeing musicians thing maki ng headway difficult business great attitude terrific music sheena metal radio host producer promoter music supe rvisor consultant columnist journalist musician info visit wwwsheenametalcom booking gigs booking local club shows carrie klein nasty little man promotions rights reserved one two bookers capacity mercury lounge new york became wellacquainted th e many dos donts booking smallish type artist smallish type club bigtime city booking guidelines vary city city club club certain fundamental standards apply everywhere club bookers job first thing know booking act club bookers spend hours day windowless non airconditioned often fly mouseinfested basement office club booking one leastglamorous jobs music industry went work every morning bar reeked vomit stale beer night concrete floor littered cigarette butt shards glass bathrooms disgusting stayed way busboys fin ished cleaning around pm corporate perks might associate music business expense accounts travel except maybe annual south southwest music conference austin free subscriptions billboardor hits okay perks drank lot free beer became less appealing staring taps kegs day long got free cds friends labels many would want put guest lists soldout shows return got clubs free although leaving work last place wanted go another club words club bookers slick polished musicindustryexecs gold record plaques walls time warner stock portfolios club bookers job club bookers club bookers listen demo tapes day long also night manager publicist printed sold tickets hung posters designed flyers ran keyfood deli platters painted dressing room scraped stickers bar booking club handson get dirty doityourself venture unlike boo king act club bookers young eager make venue known selective hip booking policy midsize club like mercury lounge wide range artists majorlabel veterans wilco echo recentlysigned talent showcasing labels bands playing first time finding new upandcoming artistis one rewarding parts job also one difficult timeconsuming riskyfor everyone involved needed book acts could draw well attract lot paying customers show proof ear talent also make money club artist playing club first time play well also bring paying customers order asked back second shot musician trying get show reputable club may manager andor booking agent may going whole process wit hout help theres nothing unprofessional solo artist band member trying book show hisher manager agent whos thoroughly familiar ins outs intimacies act fine make necessary calls nec essary however recruit friend simply fulfill perceived role one knows act bes likely persuasive voicethe first call first time call club keep pitch brief clubs regular booking days hours find youre calling right time youre calli ng day booking hours try make pitch anyway may want lumped masses calls theres really way around mercury lounge booking hours tuesdays thursdays pm artists would try sneaky clever call thinking theyd get ahead everyone else didnt work annoyed made less likely take calls lateronce get right person phone right time ask theyre accepting demos always alwayscall sending music trusting club hours weeks sometimes months time talent want pr epared want familiar name ideally want looking forward receiving wonderfully precious gift mercury would receive submissions week times got backed would stop accepting new material unsolicited unfamiliarsounding submissionscould easily get lost overlooked relegated bottom alwaysgrowing pile dont let happen packaging press kits youve established club accepting music get correct spelling bookers first last names lot people dont bother get right put package mail usually advised againsthanddelivering club environment fastpaced unpredictable could easilycome inopportune time unwittingly leave bad first impression youre putting together press kit keep simple onepage bio really need press clips fine necessary goes photo make sure include contact number tape cd since bio usually goes trash fairly quickly following clubs care wait least two weeks sending cd make first followup call youre huge hurry give three four weeks call ready possibility one listened cd yet may asked call back another week two three someone listened beprepared answer obvious questions important quest ion bookers standards usually kind draw read many paying customers bring paying customers potential drinking customers clubs make money bar sales doorrevenue honest following tr uly starting never played show anywhere say may told get gigs somewhere else work draw clubs justarent right place jumpstart career music theyre looking artists established following arent always willing take chance unknown thats case take adviceand try get shows another venue maybe somewhere smaller newer openmic night may want settle less reputable club youve played times go back original first choice youll numbers back claim highest drawingband lower east side hand havent played many shows booker really impressed demo may willing give shot happened band called sway signed reprise renamed thisway added benefit highly recommended ar repa recordlabel talent scout friend mine part loved music lastminuteprimetime saturday night slot open decided deserved chan ce paid band two days notice brought people secured several shows within next monthsagain benefit honest dr aw club bookers competitive friendly terms see talk tell played brownies last week brought people might call brownies counterpart see thats true thenumber actually closer phrase youll never play town may entirely inappropriate really good reason brought people last time played wetlands come clean bookingrelated equivalent dog ate homework asunday midnight snowing oh yeah mothers day sounds pretty flimsy itll leave better position band brought people pm balmy thursday negotiations rules game certain standards industry folks take granted relative newcomer may unaware important probably twoweek courtesy rule general mostdefinitely big music town like new york good idea keep least two weeks shows thesame city youre coming town doesnt make sense financially play one show try work something ahead time clubs may tempting play much possible really bring draw send postcard advertising nocover show arlene grocery june th show brownies june th pretty likely theaverage fan going come free gig cant tell many times even worse bossopened village voice time local entertainment papers discovered great supercool band booked also playing baby jupiter sudden werent great super cool anymore youre opening established artist may asked make certain compromises headlining bands sometimes request solo acoustic openers might ditch band night maybe asked much shorter set youre accust omed playing play front hideous neon green backdrop youre getting paid headliners money may get even bring majority people seem like unacceptable sacrifices dont take show playing front soldout crowd help youre really ready different clubs different payment policies clubs guarantee certain amount money small midsize clubs put burden give percentage nights door revenue may percentage entire nights door may percentage acts draw latter case customers asked artist theyre ther e see make sure negotiate payment night show otherwise may end haggling door person contracts unsigned acts usually necessa ry verbal agreements standard probably times wish something bi nding times booked show sent mailing find club went ahead booked foo fighters slot happen unfair may lose money unfortunately wont much tryto snag opening slot probably wont happen national artists tend bring openerswith best bet play sympathy ca rd use advantage get amazing show later date think youre getting runaround patient persistent pushy calling every week booking hours persistent callingat hours every day pushy want booker familiar name cringewhen hears put club mailing list hat know youre playing many ways selling music certain level brand recognition essentialif music industry connections use em want showcase record labels necessarily enough say soandso atlantic columbia really wants come see play ar people usually paying customers one two recordlabel reps come show huge sell booking standpoint however hav e industry buzz selling point people talking band club wants th e scoop sometimes regardless draw ar rep call club directly club bookers constant contact labels agentsjournalists usual industry types know people put call youknow someone whose band already good relationship club try jump bill theresnothing wrong friendofafriend route payoff booking act small midsize club fr ustrating endeavor youre given first gig however relationship artist club start ed bring paying customers first show shouldnt hard time getting second one consistently bring good numbers may asked headline show open national artist peter salett excellent example annyc musician thing well several years besides considerable talent also hardworking reliable always pleasant staff audience anyone elseinvolved show headlined weekend nights mercury opened bowery ballroom abigger venue mercury lounge roughly capacity headlined bowery youve proved club anything possible cu ltivating maintaining good trusting relationship club set right course long fruitful career live music scene worked mercury lounge three years also bowery ballroom day opened responsible booking artist relations working thes e two popular nyc venues gave amazing access incredible range industry contacts book ing agents managers promoters label executives journalists course musicians left job july st arted current stint publicist nasty little man amazing roster includes indieest indie bands big superstars work artists like ween sonic youth supergrass ben harper chris mills nasty found perfect middle ground small company without cor porate politics find label also big enough offer sense stability thats hard find youre working basement bar wwwnastylittlemancom basics booking tours jay flanzbaum onlinegigscom rights reserved able book gigs successfully youll need ton persistence even better organization whether booking locally regionally nationally essentially need skills tools effective independent bands agents definition tend lack nationwide connections necessary tomake idea booking extended tour possible result ones successful aregenerally ones understand gather effectively manage business relatedcontacts weve seen pretty lousy bands damn good gigs talent isnt always main issue data collection havent already going start colle cting contact information people help achieve goals goal touri ng career music industry better find venues colleges festivals record companies managers record stores media contacts business never early start process ou start today even cd wont ready another years dont full time drummer yet every person meet every possible gig hear need recalled later dat e many sources beginner even veteran turn gathering type informationprinted music industry directories like indie bible incredible amount information get started alternative newsweeklies like village voice boston phoenix great source localmusic venues festivals college listings major markets country independent weeklypublication found online wwwawnorg online music communities like also ideal place find bands similar style playing data management start gleaning contact information printed directories online communities newspapers bands soon realize need good way organize access data likely pages full notes emails venue referrals sprea dsheets covered names numbers key able effectively organize new found contacts way maximizes opportunity one software web based contact managers like outlook act maximizer onlinegigs efforts help centralize business related messages tasks contact information doesnt make sense dig multiple email boxes different computers find important messages anymore would unable find important phone number le ft address book spokane wa whatever application method choose sure get following features would apply specific needs complete total access import ant contact business information one location multiple archived backups information case data loss equipment failure reminder system upcoming activities tasks integrated email fax messaging message tracking searching customizable specific industry remotely accessible internet connection ability easily share information others importance contracts months working task list religiously following every cd consistent professional manner ready start booking gigs work gonethrough find contacts reach one would shame lose gig lastminute admittedly last minute cancellations double bookings occur story usually goes like sent cd january finally book gi g april upcoming august tour tuesday night door rooms food needed stopover colorado nevada call week gig texas club never heard whats worse another band booked night band confirmed writtenagreement toss situation band proof band contract band withthe contract usually wins gigs lowdough nodough deals still send written agreement written agreement line defense work gone secure gig mention work need properly promoting e mail easiest method easily send message get confirmation faxing also relatively easy however send snail mail agreement pretty big hassle goal constantly remind talent buyer agreement put details front higher dollar value agreement diligent insisting signed hardcopy version agreementgetting ready road putting group people road amount time comes responsib ilities many people need detailed information schedule order tour effective safe organized band members families anager publicist even fans need access different information trip minimum shows listed website soon confirmed ideally ou would also list set times venues address phone number website bands bill tour itinerary best way sure trip error free everyone team chronological listing tour dates much little detail need master itinerary band members list contact info venue set times payment details venue capacityticket price age limits step step directions one gig next bible trip andthe copies make less likely lost lincoln nebraska without buyers phone number sense direction tour itinerary also crucial tool satisfying greatest responsibility touring band advancing shows want journey free surprises advance shows simplymeans contacting venue week gig confirm performance details get important load information find last minute changes entire organization band members managers agents tour managers interns needs one person assume role properly promoting shows never played particular market likely nobody town idea would anyone come see pl ay idea even playing really need press minimum listing local radio print music calendars first step put together contact names fax numbers email addresses etc local media outlets mile radius gigs prepare professional concise press release good release able convey pertinent information one pageradio stations newspapers get flooded everyday hundreds releases time readnumerous pages outline bands zen philosophy bass players numerous influences keep point read keep layout clean use multiple fonts font sizes many colors graphics make sure release section performance details easy pick includes performance date band name venue name full address phone website ticket price set times agelimit bands bill also sure include personal contact information contact name phone email website someone needs get touch photo interview want able track quickly easily contact management program really comes handy could take time create numerous personalized press releases press contact found would probably take days depending size market talking new york city could take months proper tools able create one template send personally addressed releases fax email hundreds media contacts oncethe dance think every band outing well choreographed dance administration needs happen precision grow new market put check list place follow like religion every gig pretty soon become second nat ure band members organization alone going make success sooner get basics place sooner spend time enjoying music todays music marketplace exposure independent acts generally limited totouring want heard outside loca l market going get band gigs outside local market put solid plan place achieve goals jay flanzbaum onlinegigs got start booking agent putting together national regional tours independent bands years running boutique agency inspired creation onlinegigs incredibly powerful booking promotional tool independ ent bands agents wwwonlinegigscom overview booking gig marc davison author area access rights reserved club club owner nightclub bar small size venue ar e going call upon first foremost business owner someone invested good deal money working long hour overhead bills paid theres profit left ov er probably business enjoy music music motivation would job listening tothe radio work business make money way clubs make money charging admission andor selling drinks clientele amount patrons club attract result type entertainment atmosphere club provides aclub owner looks hire band perform decision hiring revolves around entertainment value band provide bands value based many people draw b entertain regular clientele c band following big drinkers ask club owner tell great band one brings big crowd band plays great doesnt draw anyone work great bandthe days clubs working hard develop act fo r part long gone locally might find place give start night like sunday monday bring crowd due high cost rent insurance liquor security opening doors club owners offer much way pay come perform one many clubs today put anywhere bands together bill maximize audience band draw people bands draw people night course doesnt always work way bands draw others unle ss pack house sharing bill fact life many different types clubs bars etc sake conversation need concentrate type place first looking play whether live big city small town chances find small drinking bar least person capacity small stage lights small dance floor room aside regular clientele bar flies younger people go occasionally see bandthe owner establishment like every club matter size pr obably inundated requests bands play available dates decisions book usually based following reputation group already established band word street club circuit well play size crowd bring determine whether good reputation usually clubowners know due competitive nature always checking whos playing guys club band good reputation preferred clubs new untested act especially theyre vying booking date tape press kit two important marketing tools band serve proof accomplishments documented professional manner everyone club owners press way record labels press kit contains bio group band photo press clippings alongwith vital booking information accompanied demo tape music club owner looks material listens tape det ermines whether want offer gig band new never played area club owner takes big risk booking thereputation club based many things including kind music features never seen supersede guarantee make take financial gamble hiring sales pitch fact successful people world salesman whether youre selling computers cars ideas truly successful need possess certain communication skills andconcepts club bookers busy people great deal time look quality band easily found furthermore due vast amount phone calls club bookers receive helps youcan offer something makes group stand develop edge get maze tapes press kits desk need possess following traits professional attitude personality first need come like winner without cocky arrogant first group world writes music need try sell line best band youve ever seen trust best band theyve ever seen never stageof game already think club booker seen heard allow chance come conclusion let music talking allow take criticism club owners one many people approaching forhelp turn offer opinion need improve changeyourself every opinion thrown way however enough people comment particularcharacteristic group consider conquest next rung need climb ladder success upon calling many musicians open line much better everybody else need break hear get turned feeling better everybody else breaks come prefer let music ta lking words bravado feel better everyone else thats great keep inside inspiration healthy positive attitude magnetic draws people youtiming say everything partially right look successful people listen story youll find hit big yes timing everything also realize times tried failed like baseball player times get bat chances give hit ball every time bat yield base hit eventually keep might get pitch meet perfect swing boom outta really timing putting time everything making calls dont call one club call fiveclubs make goal book least three shows week dont stop call clubsand book five batting friend get hall fame knowledgeunderstanding know opponent war youre going battle without knowing enemy send belongings attempt book club try find much place even means going night hanging worst thing book club right music happen sometimes time learn something learn booking habits owner find minimum draw owner expects bands draw people worst even attempt contact place people keep stressing people book clubs inundated phone calls windowof opportunity seconds phone best better know youre going say minimizewhat ask get right point make pitch unless talk talk walk walk dial dial patience last least something bands need little bit patience going get booking agents club owners phone first time call second third keep leaving yourname number continue ask good time call back get frustrated ten calls dont get respon se move meant use time energy next conquest take personally people know time reputation stronger come back club find pleasantly surprised willingness work first bookings appoint one person band assume role making contact bookings important split jobs within group equally important jobs cross otherwise cause conflict best choice individual assume role band booking agent shouldbe one member comfortable phone able takes sell band helps tohave likable personality well knowledge music business referring way business conducted also know going industry whole would certainly help conversation skills read issues billboard magazine rr cmj etc hook local established band inquire local show coming pening act help break ice club allowing see youve got without pr ess kit also gives chance play front audience hopefully pick new fansyou prepared set least minutes music consider audience applause time songs possibly push set minutes usual time allotment opening act group willing let open discuss money point bands need every penny make already favo r getting door something cant buy bring money good chance wont get gig look club area know band help way proceed look club preferably home area conveniently located friends come make sure admission age low enough exclude many fans dont forget first show going want bring many people begin developing good reputationmake sure club features bands used loud volume levels last thing need constantly reminded lower volume worse case scenario told stop playing altogether call club inquire call club inquire bookings get name club address hours booker works ask long receive tape call back bookinginformation necessary speak club booker time get call isinstructions send tape press kit call back two weeks waste time theirsfirst mail tape ask booker live close consider dropping tape one thing gives chance step venue see especially first time youre lucky booker might even lis ten tape right away perhaps person behind bar leave tape become good contact enter agood conversation could asset call back time youve instructed would help remember even jotted names people met club spoken phone answer phone remember voice refer name made big impression ask speak owner person booksthe shows lie exaggerate size following honest let know juststarting would like chance open popular group start adding following indeed first show still telling friends family members whoever else event count kind initial following event club received tape conversation book show three main points need address paymentdatetime thursday friday saturdays far best nights week depending sundaymight bad usually affected people school work next day monday tuesday terrible first show somewhat mercy club booker offers chances going friday night could monday pm worse amthough may able come many reasons time slot wont work need understand reason booker offer anything different reputationand way knowing sure kind crowd bring take chances remember club pay bills unless supply documented proof like press kit legitimizing group describing drawing power id say take offered consider audition club get impress whoever ability turn face adversity entitled far pay concerned unless reputation established going rate band based youve paid past five shows deal offer deal take payment isbased entirely many people draw first show need prove youcan bring good business every time play prove getting areasgoing rate bands useful tool negot iating pay amount people bring door based upon admission price times amount people e stimate much money club making crowd sample admission x people came show amount made door entitled depend entirely club policy areas going rate reputation asked much looking take equati sample receive anywhere money figure percentage use equation sample sample gross x percentage amount x job negotiate based many factors including reputation club policy going rate club certainly never offer value expect club basically club functions room borrowing put show dont depend owner foranything maybe advertising job bring crowd important understand fundamental rule although ethically paid every time play work really working self reality paying new business starting develop client ele usually done advertising new business costly undertaking ca se advertisement performance pretty cheap way build clientele ask besides get used throughout career going types dates might play free like seminars agentrecord company showcases etcjust gain exposure following many types pay structures offered clubs pay play scenario asked time booking purchase advance x amount tickets promoter show amount ranges city city nyc im around get tickets becomes responsibility sell fans clubs thecase purchase tickets makes ticket cost insures promoter andthe club profit night make profit show raise cost lets say ticketthis sleazy way promoters business advise steer clear deals however promoters put offering place play opportunity make money taking pressure financial liability definitely gives insight workings business puts pressure succeed altogether horrible find reputable promoter isnt lazy works promote show better paysometimes band needs play live showcase club owner booking agent due high cost running business club wont take risk paying band never seen heard many clubs offer open mic audition nights certain night youll get around half hour play club see kind crowd bring youre good enough pay gig dont often recommend bands give show away nothing times right circumstances really want get place regular basis good way going get paid trade offs sk willingness booker concede give indication type club individual ask owner club regularly take ads paper give mention upcoming ad alone valuable press kit try get perks club like guest list try book tentative future date time show way good crowd happening giving good response advertise return date right maximizing potential draw next show percentage admission price redeemed passes passes x postcards used bands clubs world advertise show passed clubs street mail giving friends fans alike information event night show club hav e someone door collecting passes admission money end night club count collected passes pay percentage ofthe passes name fair deal right wrong first unless father owns club door man mother theresa cant really trust club account every pass redeemed imagine course busy night easy doorman misplace passes realize going one accuse foot gorilla eatssteroids breakfast punks like lunch purposely threw away garbage thinknot try convince club owner drew people cards collected therefore expect fork money ttempting kind surgical procedure even dr beverly crusher heard therefore need take following precautions find biggest baddest level headed friend post near doorman collect passes handed doorman isnt permissible carry counter check amount people redeeming passes sometimes person looming background easily intimidated enough keep otherwise dishonest club owner doorman straight try original style color even size postcard disagreement owner show might want look around front door area dance floor even trash recognizable post cardspercentage deals standard club circuit tips negotiating work favor start cut passes usually around admission price admission youll get per card draw people shouldnt get higher percentage per ticket yes need e negotiate accelerated percentage per amount people bring lets say draw people get bring people entitled club open negotiation onset book gig areas country admission prices shows somewhat expensive youre appearing bill acts chances going get lot time stage order entice fans come might want work deal clubowner offers friends cheaper admission price return accept either slightly lower percentage recommend larger draw ount percentage goes instead cover charge offer postcard charge return club pay pass bump go people instead hoping accomplish showing bus iness smarts well appreciation club trying draw amount people booker might interested getting true count brought also cost less money showing appreciation might prone right keep mind clubs burned plenty bands ripping stuff clubs defacing property youve got show respect expect show back return percentage admission price slightly better deal usually reserved reputable bands club pay end night percentage door receipts depending many bands appear night w hat spot band played opening act middle acts headliner determine percentage lets take ticket price bands three oclock morning finally sit booker told people paid night see bands people ticket comes promised gross receipts would get set pay clubs good reputation usually offer start new band set price usually around starting trust decent money take develop following begin make club money nothing bargain cases club offers starting pay club cares acts help develop following types venues willadvertise local papers ask ni cely might give names music reviewers might invite review band set pay plus percentage starting get club good reputation band draws big crowd lets say deal club pay set salary plus collected door money people effect get matter happens club draws people ticket get x difference equals total pay night contracted price plus course rely clubs honesty always keep mind club much business making good money try anything upset tides turn get popular youll notice clubs become like home fansthe door simple arrangement group supply someone front door hell collect admission comes end night keep everything collected usually get kind deal fairly popular band enough reputation demand band bill common suburban areas college towns bigger cities tendency clubs door give percentage many deals incorporate little one perhaps new twist know promoter colorado books number popular clubs denver area many new acts booked pay regardless draw capacity included get big ad main music newspaper well page write brilliant ispromotional material places money cant buy fact seems almost bonus youconsider valuable write ad press kit course good deals without drawba cks example promoter books bands cd need signed band band reached level marketing merchandise see later book positive signal industrythat band made first stages development negotiation recourse event feel unfairly handled pay otherwise comes pay disadvantage especially beginning little performance options mercy club negotiation unique unto successful must notattempt outsmart opponent rather match wits good argument based upon facts goodsense business etiquette supposing go settle show prom ised gross door receipts stage see capacity room packed hat line door needs manned two bouncers instead usual one sit office watching clock turn waiting get paid booker enters offering drink says okay drawing people pay stare ahead wondering one two heads address instead hitting roof inquire possible club obviously filled capacity booker doubt combat kinds excuses ranging half people regularcustomers pay must blind tell many people club must keep mind honestly drew huge crowd booker would fool piss point vowed never perform armful confidence offer possibility clubs town would appreciate fans way settle happily play competition fool would end conversation respond one two ways bluff called know ou hand youre asked think fair let offer one solution offered payment people feel club maxed offer split middle pay percentage people roughly difference arrive difference adding dividing total half bookers reaction may positive may come back offer might end another split middle argument might x amount dollars spent dvertising way drew many people expl also spent x amount advertising proceed show mailing list pages night multitudes signatures drive point homewhat hoping achieve much financial lets face neither really prove many people came door unless tickets sold show sold advance courteous tone want establish jerked around fool rather someone taking care business end get respect club keeping honest future final result negotiation put bit money pocket raise respect hopefully culminate better arranged deal next show youperform want point although may happen time time many reputable clubs pleasure play w bands treated fairly far many circumstances bands find disadvantaged level headed techniques need assimilated always direct problem person directly responsible correcting yelling bartender denied drink passes proper procedure methods booking show documenting confirming things discussed booker phone less risk arrive club marc davison author book area access map road musical success marc davison puts many years experience musician artist manager book topics include starting band booking gigs press media recording copyrights merchandising touring fi nances managers agents record deals much everything need know market act music marc draws years experience playing touring bands booking managing give area access musical success marc also coowner watt consulting wwwwattconsultingcom negotiation techniques build booking knowhow jeri goldstein performingbizcom rights reserved making deals time whether looking record deal publishing deal booking performance date hiring side musician renting car buying new sound equipment hiring engineer torecord next cd even deciding going lunch entering negotiation techniques could help make comfortable skilled handling thesesituations reach desired outcome article cover techniques morespecifically geared toward increasing skills booking performance dates establish goals believe everything new project tour phone call productive successful first establish goal situat ion consider next tour touring releasing new cd simply filling calendar dates decided want expand touring region want tour completely new market need make specific amount money within specific time frame ex ample next weeks want play dates make establishing goal tour influence conduct phone call extras acceptable unacceptable instance throw two hotel rooms make acceptable able pay guarantee asking may added bonus instan ces may allow date guarantee small value hotel greater theguarantee might considering small example relates back established goalsfor tourlets look two scenarios help clarify need setting touring goals scenario cd release tour goal get much publicity possible open new marketsin situation getting radio airplay getting print reviews getting act front many new audiences possible focus tour yes woul like make money getting publicity cd therefore band priority setting publicity goal types dates seeking differ would seeking goal earn specific dollar figure wouldlook dates open larger acts thus putting front larger audiences booking radio interviewsand live performances radio shows would another advantageous situation able get support act slot opening multiple tour dates major act would make minimal dollars however youwould opportunity play front much la rger audiences also able sell new cd sales potential support tour scenario touring specific dollar amountgoal play dates make days establish goal demands look dates venues allow earn per night means need book dates market following command guarantee potential increase earnings decent percentage guarantee equal still want publicity absolutely acc ept publicity instead money case possibly really depends type publicity many dates make theshortfall still meet goal se realistic goals building following never drawn kinds crowds would earn kind money unrealistic goals set upfor disappointment set touring goals lin e career development measure successes established goal tour easier begin discussions promoters club bookers lets consider additional techniques necessary increase negotiation savvy ask openended questionsnegotiation process depends developing relationship person success entertainment industry depends well develop industry relationships sking openended questions allows relationship become established ask question answered yes room fluid conversation develop questions framed openended manner conversation mature flow naturally example present jazz club booker answer yes conversation never gets th e ground however ask kind music book club opportun ity yes answers booker answers book jazz mostly blues rock information considercontinue information ask additional openended questions conversation begun gather much needed information decide whether club fits touring goal hot tip sure gather much research online resources directories venues youare calling actually making contact sound professional bookers appreciate wasting time questions already posted ir websitedont first one mention price continue openended question technique need information club decide whether dollars media outle ts support goals may ask fee right away might set fee still dont enough information venue offer fee yet effort discover kind budget work che ck online schedule see theyve already booked names familiar many acts career level know approximately get able determine kind money would spend group name mostly major well k nown artists may determine ready play venue may use information pi tch act opener one upcoming major acts questions need know offering fee might kind sound system large stage seating standing capacity ticket pricing policy answers questions help determine appropriate educated answer question fee likely looking dont thrown abrupt questions fee ask openended questions necessary give wellthought answer line goal tour point need discuss money first get informationno beginning get answer dont hang upget informat ion yes favorite answer second favorite ill take maybe day answer move talk tour dates coming area find booking major act perhaps might opener ask shoul call back update booker developments career may make interested booking act finally get one venue begin aggressive search venues fill date using deadlines important move negotiations along let drag past point return havea promotion timeline mailings get fans publicity disseminate appropriate press negotiation drags might miss important deadlines offer deadline could one week hours hours need answer date discussion may set promotion motion cases need get answer may search another venue one going work offer deadline negotiation moves along comes conclusion offered deadline sure enough time consider issues make educated decision dont allow rushed making decision may regret future takethe time consult appropriate people eam group simply work numbers review options basic negotiation savvy time become familiar standard types deals used negotiating performance dates also suggest various situations deal isbest suited keep mind however every negotiati creative individuals participating following standard deals require tweaking suit particular situation feel free explore ofyour options booking personnel shall negotiat ing familiar standard deals may comfortable using one finalize negotiationsfive standard types deals straight percentage straight guarantee guarantee plus percentage guarantee versus percentageguarantee plus bonus straight percentage straight percentage percentage ticket sales income taken door key negotiation come appropriate percentage deal often offered performer notknown market promoter willing risk front money guarantee percentages range door typical percentage splits per cent artist percent venue negotiating type deal important build value marketplace order get promoter agree highest percentage rate possible see show well promoted get good audience promoter little risk unlikely put much effort promoting date would advisable get idea promotion thepromoter willing include contract deal advantageous performer certain circumstances artist strong following area loyal fan base large mailing list straight percentage especially high percentage often net artist higher fee deals well discuss artists produce shows local venues savvy selfpromoters good media connections areperfectly suited straight percentage deal quite often guarantees club owners offer farlower amount artist net straight percentage circumstance however unknown market straight percentage may good deal promoter maybe interested using straight percentage reduce risk venue touring unknownmarkets make every effort negotiate guarantee cover basic expenses least know thevenue risking something behalf might actually make efforts promote date theyrecoup minor investment straight guarantee straight guarantee requires promoter offer artist money new performer venue amount may low unheard straight guarantee assures someincome building audiences new markets artists reached certain level theircareers ask much large guarantees quite satisfied straight guarantee key negotiations coming guarantee works parties budgets draw larger audiences perform venues greater seating capacities important determine whether straight guarantee adequate compensation must consider seat ing capacity ticket pricing venues budget weigh guarantee discussing figures begin show profit far outweighing guarantee may time begin incorporating split percentage deals straight guarantee guarantee plus percentage deal determined considering seating capacity ticket prices gross income potential expensesincluding artist guarantee acts draw potential figures calculated able determine amount remaining expenses point may negotiate percentage ofthe overage amount left expenses split promoter standard percentage splits range percent artist percent venue anything possible thegreater demand artist act better able command larger guarantees andpercentages percentage overage added artists guarantee make complete fee artistyou may begin see deal advantageous artist large draw deal win win parties rewarding artist venue efforts making date successful guarantee vs percentage case guarantee set percentage determined artist receives whichever amount greater ticket price capacity gross potential need calculated deal ticket price seating capacity total gross income potential perhaps agreed theguarantee percentage gross sales case gross sales greater guarantee artist would get however deal net expenses case expenses including artists guarantee equals net artist would get greater amount guarantee key deal whether percentage gross net always try make deal based gross bookers want make based net math deal determine howthe numbers eventually work always calculator phone negotiating youdetermine deal producing numbers would like see suggest guarantee plus percentage especially promoter insists percentage net expenses percentage split likely lowered case guarantee plus bonus numerous promoters like deal eas accounting using guarantee plus bonus artist rewarded bonus amounts guarantee based upon blocks tickets sold income example venue seats ticket pr ice equaling gross potential venues expenses artists guarantee suggests artists guarantee based seats sold bonus amounts determined calculating overage numberof seats remaining sold seats remaining often number seats divided intoblocks case four blocks seats eac h block seats sold artist receive additional amount money case block deal would add sold seats sold seats sold seats sold show sold seats artist fee would guarantee plus bonuses total fee left promoter likely thebonus amounts may lower give promoter larger percentage overage perhaps orit also possible single bonus amount offered predetermined number seats sold benefit deal easy calculate problem bonus given partial block sales seats instead case guarantee plus percentage provides advantage since accounts every seat sold way work deal base income rather seats sold instance use ticket price seats gross potential promoter may choose bonus act specific income amount amount bonus calculated determining theexpenses guarantee single bonus amount incremental bonus amounts may offered thisworks well situations low guarantee set reduce risk act much better thanexpectedthese five deals standard industry dont let restrict creative deal making end options available attempting negotiate deal work thepromoter key negotiation knowing options option work specific situation good luck jeri goldstein author bo oking agent musicians performing artists guide successful touring nd edition updated currently consults artists agents managers consultation program manage rinabox presents performing biz seminars workshops conferences universities arts councils organizations book cdrom information programs available ava ilable wwwperformingbizcom phone email jeri jgperformingbizcom booking act jay flanzbaum onlinegigs rights reserved technology organization keys success people start turning technology help organi ze music careers usually means finding difficult manage process using traditional address book notebook outlookstyle application technology world wont make much difference performing live times month arent looking exposure looking perform often possible manage music career road digital solution something ought consider saturate local market long start cannibalize fan base eventually either need expand performance radius simply reduce number local live shows attempting play traveling means opportunities live music talent buyers product hands likely book performances nobody cd andpress kit really sit around wait phone ring follow many times buyer considered nuisance maximizing time also means constantly pursui ng new opportunities set goals terms many new talent buyers send info weekly basis old adage know know holds true music industry need gig lincoln nb helpful know local live venues get touch talent buyers identifying possible gig opportunities new markets really tip iceberg real work starts find location seems like good fit act whole series activities need religiously executed contact talent buyer book gig notify team fans prepare road promote show local media finding booking promotional contacts booking gigs successfully requires persistence organization whether agent artistbooking act doesnt matter whether ar e booking locally regionally nationally essentially need skills tools effective first place start collect contact information locations hire live music performers need many possible increase su ccess potential also need much information phone number styles music capacity contact name etc location get handsonalternative newsweeklies great source local venue listings every major market country independent weekly publication found online check alternative weeklynetwork wwwawnorg sometimes ads alone enough determine whether act isappropriate particular venue still need get touch venue however find booking policies get right contact name talent buyer printed music industry directories incredible resource directories tend list everything venues record companies managers back easy get overwhelmed make sure pick one right thats going lp accomplish goals take look indie bible get sense offered peers excellent place find venues appr opriate band gladly share theyve learned regarding best time reach buyer exactly pitch act safe bet usually interested telling people venues played dont afraid whip pen piece paper names numbers get hands possib le gigs lock keeping track booking efforts youve scoured web bought every music directory harassed every touring band know point probably incredible collection v enues colleges festivals press contact information likely pages full notes emails referrals spreadsheets covered names andnumbers key able effectively organize newfound contacts waythat maximizes opportunity one software webbased applications act outlook onlinegigs efforts help centralize business related messages upcoming tasks important contact information handheld versions filofax palm pilot also suit many needs whatever choose sure get many following features would apply specific needs complete access important contact business information one location multiple archived backups information case data loss equipment failure reminder system upcoming activities tasks integrated email fax messaging message tracking search customizable better suit specific industry remote access internet connection ability easily share information others preloaded directory industry contacts next need either import address book data entry get information one place get habit storing data every contact business thislocation every phone number every email every call every meeting etc one tool becomes address book task list reminder system filing cabinet complete phone call make notes said store contact sounds simple enough trying remember different talent buyers told lastconversation become confusing similarly record created every upcoming task need complete list venues need called packages need sent press releases need generated etc best tools world cant help anyone isnt steady system upkeep interaction task lists need cleaned contact information constantly needs updating maintenance system ofcentralization organization keyperformance contracts months working task list religiously following every club persisting specifically told interested r eady book gigs many agreement made based phone call virtual handshake want live without headaches get habit sending written agreement story usually goes like sent cd januar finally book gig april upcoming august tuesday night door place stay food muchneeded stop colorado nevada call week gig somewhere texas club never heard whats worse another band booked night band confirmed written agreement check faxwave give free faxto email phone number gives ability buyer physically sign agreement fax back instead receiving traditional paper fax get electronic copy signature email inbox choose eliminates likelihood agreements faxes slipping cracks venues book ton talent problems keeping information straight promoting shows diligently sending cds follow ups landing gigs issuing contracts youneed sure update fans well local press upcoming performances never played particular market likely nobody town idea would anyone come see play never heard idea even playing really need pre ss minimum listing local radio print music calendars first step put together contact names fax numbers email addresses etc local media outlets mile radius gig prepare professional concise press release good release able convey pertinent information one page radiostations newspapers get flooded everyday hundreds releases time read numerous pages outline bands zen philosophy bass players musical influences keep point read keep la yout clean use multiple fonts font sizes many colors graphics make sure release section performance details easy pick includes performance date band name venue name full address phone website ticket price set times agelimit bands bill someone needs get touch photo interview want himor able find quickly easily crm contact resource managem ent program really comes handy could take time create numerous personalized press releases press contact found could take days depending size market talking new york city could take months proper tools like outlined section able createone template click send issue release personally addressed fax email hundreds ofcontacts oncegetting prepared tour gigs booked important contracts signed returned need get couple things done leave minimum prepare tour itinerary outlines ofthe details trip whole team keeping manager publicist band members loop going ultimately cut stress leve l give everyone copy gigs address phone number set time etc someone going get directions gig next might well include itinerary hopefully cut set directions getting lost destroyed get road someone use itiner ary advance shows every venue needs called week gig confirm last minute details getting habit advancing shows way eliminate surprise sound systems blow venues close liquor licenses get pulled every band needs someone take another simple task two one issimple arguably one important conclusion many independent musicians make living touring cd merchandise sales mavericks represent everything diy grassroots living heir dreams art thrive power organization information strange balancing act someones got onlinegigscom group diy musicians bands agents built central database whose members contribute help maintain result information constantly date members join continue become even accurate grow access right tools resour ces every artist ability survive prosper practicing craft visit onlinegigs wwwonlinegigscom get better gigs les vogt entertainment consultant rights reserved want something youve never something youve never done nothing ever change decide something different first step find really fit overall scheme things many levels success may booked year advance sellout every performance outstanding audience responses eagles club circuit success course push achievements another level likely prepared analyz e acts play fairs casinos corporate events etc achieved goals study differences open mind try make necessary adjustments likely think ready next level actually perfectly natural receive promotional mate rials every day bar performers believe belong concert circuit yes less talented artists concert circuit whose talents may diminished beyond acceptable levels one time performers earn longevity competence hard work popularity fa ct still large loyal forgiving following purchase tickets shows question wannabe concert artist always thesame many tickets sell sell enough tickets turn decent profit buyers promoters calling yousometimes take initiative promote concerts prove others especially sell tickets beginning selfpromotions often bring serious dose ofreality usually form much smaller audience expected learn expect unexpected always cover tail free ticket giveaway program fill empty seats required always try look good face failure offer charity group large membership portion ti cket price selling membership special discount price mailing list andor telephone solicitation often sell half tickets go sale general public together public sales complimentary tickets make venue look full build positive momentum future shows little luck publicize sellout always creates immediate attention asses chairs means bettercd tshirt sales back room dont forget collect many email addresses possi ble excellent chance build e mail list learn much event dont get discouraged take years build legitimate following important look goo perception everything organize many giveaway options possible wont know last minute youre going flop may need distribute lot tickets quickly contingency plan ready case continued run positive response shows auditions promo packages sure indication either promotion method needs improvement karaoke track show success doesnt make good entertainer longterm dedication practice learning make difference shortcut gaining ability deliver talent audience magic precision seasoned professional projected personality confidence attitude areal pro together dialogue makes audience laugh cry almost talent isdeveloped time come eventually lot hard work possibly little sooner professional coaching technical ability fraction total talent package required become complete entertainer requirements particular order creativity image attitude charisma persistence anddetermination wont need attributes reach success level know many performers without much technical ability carved successful careers charisma persistence determination worlds successful entertainers initially tolddont quit day job rise top thr ough creative avenues overcame technical flaws music industry cant explain average poor singer come superstar qualify unlikely wonders labeling stylists though worthy measure excellence surely artists whos vocal abilities average best talented areas find way combine unique delivery brilliant lyrics produce hit records classic examples success johnny cash bob dylan chris christofferson matter musical genre process getting noticed always acquired degree ability must assemble professional promotional package accurately represents performance continually send potential buyers agents producers promoters party planners hire type entertainment send promo pack without first contacting potential recipient telephone email asking permission remember dont get secondchance make first impression best opportuni ty impress quality promotional package dont exaggerate include bogus accomplis hments come back haunt update promo information regularly always include live video sample shows performance introductory rap audience response brief minute variety sample suffi cient buyers however full performance video ava ilable occasion potential buyer wants view entire performance may requested client wishes sure deliver full length performance wishes check ability communicate audien ce websites purpose rarely reveal enough hook worthwhile buyer without additional firepower dont totally rely technologyof ingredients needed success cant overemphasize importance good attitude stand strong chance getting assistance guidanc e wherever go without career likely filled endless obstacles may never ever really understand didnt get wanted go les vogt lead singer vancouve rs first rock n roll recordi ng band prowlers gained local popularity playing live owl prowl radio program shared stage bill haley gene vincent buddy knox eddie cochran roy orbis jerry lee lewis les independ ent producer promoter entertainment consultant contact wwwme mbersshawcalesvogt lesvogtshawca get paid youre worth lee kennedy dunroven music rights reserved getting paid youre really worth probably want clubs pay really worth change way think approach things clubs point view think business person musician ask question clubs hire entertain ment make money bottom line like think minute owned club choose two bands following would choose worst band town way would make bar b best band town would make business person one would choose honest business person bands believe greatest singer hottest band people automatical ly flock see clubs pay premium prices see wrong information key find club makes every night play slip head bartender ask himher tell final register count end night keep track club making show clubs revenues start increase take information owner renegotiate paying believe ha kind information makes hard club owner say club owners count thinking like musician expect toknow care club makes turn tables think like business person willcome ahead rest lee kennedy solo performer lake tahoe nv making living musician since lee author year without record dealhow command higher fee live show jeri goldstein performingbizcom rights reserved whether booking band agent important establish value within particular market demand act fees increase bookings easier contract beginning touring career probably little demand therefore fees low difficulty booking dates building reputation following important keep track following factors enabling begin establish track record somevalue establishing value act helps create leverage negotiating promoters andbooking personnel venue begin establish value review promotional materials start bio within bio important information facts promoter use sell act audience make sure clear concise little fluff exaggeration highlightyour accomplishments date reader doesnt search lengthy paragraphs orderto get important facts help sell act example interviewed regional tv radio show meaningful area wher e regularly perform dont bury within text bullet information make stand someone read materials pull interesting facts rework page graphically emphasize selling points create user friendly press packet press materials designed promoter media mind mention promoter attempting book date example supply venue ready use flyers posters let know send promo cds local radio along press release date send sample readytousefillintheblank press release may also sendone media list ask contact publicity person let know ready work themin order insure local media covered promote mailing list let promoter know large mailing list area mail email list tour dont mailing list easiest direct marketing toolyou create start one next date takes pad paper pen keeping itsimple nicely designed form fillout card fo r elaborate mentioning many people mailing list target mailing gi g lets promoter know tap fans buy tickets venue keep accurate records date played establishing growing value market creating record previously played dates one important things keep track f ollowing information review making booking calls venues seating standi ng capacity b many tickets sold venue c ticketprice cover charge weather like night may influence sales ehow much merchandise sold f gross sales got paid g kind promotionwas done press releases advertising postersflyers edia coverage h major event town night large cities always many events occurring night small towns mayonly one event could influence outcome date call new venues town youve previ ously played information close hand help negotiate better deal youve previously sold seat venue per ticket attempting book seat venue pr omoter something reference establishes value information places equal footing acts able sell tickets begin command fees according established track record areawhen booking dates new area never played still use information comparison demonstrate able accomplish dont expect get kind fees untested market information lets promoter know something professionalism methods use develop audience get habit keeping records begin refer information automatically booking calls become conversational youll find using pertinent facts whichcontinually boost acts value negotiations based factual information rather emotionas become adept find leverage many venues regularly perform establish value new market demand act increase booking act become easier good luck great time take advantage yearend review tax purposes strategic planning next touring season reap benefits year youll jumpstart yourplanning next year well good luck jeri goldstein author bo oking agent musicians performing artists guide successful touring nd edition updated book cdrom information programs available ava ilable wwwperformingbizcom phone email jeri jgperformingbizcom performers flub interview dont laugh les vogt entertainment consultant rights reserved considered entertainment position kind interview often determiningfactor performers sometimes give strangest answers int erviewers questions blunders made simply amazing manager entertainment buyer handle performer mentions theyre keen working hard whats proper response app licant minutes late followup interview slouches back chair gives attitude reminded tardiness wellfor starters manager buyer least try keep straight face responses actually happened try avoid urge burst laughing would tota lly unprofessional according unofficial survey performers looking work strive make favorable impression managers buyers audition many tend blow big time interview segment inappropriate comments made years follows applicant stated confidently wasnt anything could tell didnt already know one prospect told reasons shouldnt hired band leader applied job asked might like job said playing requests people another candidate said wasnt really interested job liked performing hours short dennis compo longtime associate entertainment consultant said wasnt surprised results interview people daily basis amazes many inappropriate comments blundersare made said compo interviews performer every week variety job opportunities seeing across board specific one category ages ive individual saythat would prefer job offer competitorlike entertainment consultants party planners compo says job interview crucial applicant sometimes important prepare questions likely asked example know venue company hiring another common mistake speak negativ ely previous employer venue speak positive aspects proposed job table one youre eagerly looking forward compo says believes best listen respec tfully applicants interview going badly take aside later offer pointers future interviews think share information give feedback said matter poorly candidate dont laugh adds another recruitment specialist know disagrees offering pointers applicant poorly interview thats role suggests interview tips help nudge right directionresearch job opportunity find much hiring co mpany andor gig audition interview check website possible talk meone played company venue past prepare intelligent questions youve done research come questions ask gig company incorporating company related dial ogue stage always good selling point questions along line always received positively listen pay close attention interviewer good listener need focu full attention speaker try avoid thinking sa next maintain eye contact use nonverbal clues nodding show interest saying ask questions whenever anything unclear keep answers briefyour responses focused concise ok think moment answering fact make answer seem thoughtful avoid chatter beyond direct answer naturalpauses allow interviewer absorb said go easy charm although want appear personable dont overdo concentrate showing ability job hand work hard winning interviewer come insincere let personality shine youve got kooky side isnt top dont suppress entirely let interviewer get know show initiative interview goes well want job might offer solve problem providing sound lighting equipment playing extra dance set accommodate buyers needsbring publicity material leave professional promo package interviewer sure include something remember dvd andor cd plus newspaper reviews highlight notable past performancesperhaps letter reference com parable company function would appropriate closing would suggest interviewers ar e generally aware performers skill set interview takes place interview allows buyer become acquainted per son behind talent glimpse candidates candor professionalism personality often thedeciding factors one way dont blow opportunity les vogt lead singer vancouve rs first rock n roll recordi ng band contact wwwme mbersshawcalesvogt lesvogtshawca audition interview complete reply les vogt entertainment consultant rights reserved recently received lot emails performer middle waiting game sitting mans land good audition followup interview without indicat ion whether accepted bigtime agent got really great gig applied common question take another job offer waiting gig really want answer yes dont take running opportunities youve actually landed job means receiving acceptable memorandum understanding signed contract frequently asked questions areq soon interview ok follow send thank letter email generally fine within two days sure correct names titles spelling interviewer thank fo r time state clearly want job excited opportunity simply showing inte rest enthusiasm step nervous applicants often overlook havent heard back within week followup checking phone call q called back twice told things look good still decision process two weeks ago still havent heard back call without seeming desperate absolutely appropriate follow ever days dont seem impatient simply say checking wondering status confirm interest gigq person interviewed casual using slang familiar casual returna let interviewer set tone conversati ons stopping short swearing anything makes uncomfortable formal letters emails may forwarded people since want seen professional appropriate tone initial conversations provides insight organizations method operation level professionalism lack thereof comfortable imagine living st eady diet road use experience preliminary process fo rm ultimate decision whether want accept opportunityq didnt get gig want know call ask didnt get job yes proceed caution perhaps appropriate appro ach would improve presentation become better candidate future best case scenario receive tips strengthen chances future opportunities youre lucky enough get honest feedback accept graciously even dont agree careful burn bridges pushing hard seeming indignant arrogant arguing pointsof disagreement even dont get gig process learning experience networking opportunity dont blow les vogt lead singer vancouve rs first rock n roll recording band prowlers gained local popularity playing live owl prowl radio program contact wwwme mbersshawcalesvogt lesvogtshawca use right followup book gig dreams jeri goldstein performingbizcom rights reserved youve chosen touring market selected right venue week maybe two andthe club booker keeping dangling know c ould well venue really think work ready play club yet booker wont make commitment time marches onbooking opportunities slip away adequate promotion time dwindles still wait long long wait gig commitment challenging question must tackled time book tour becoming emotionally attached overly invested landing gig one specific venue could detrimental overall touring strategy even though certain clubs important play making push next level attempting ga media attention need backup plan case club unwilling work schedule notall cities variety clubs suitable act cases may lucky find one youconsider tour routing travel distances likely new markets include tour plans attachment toplaying specific club occurs often fall trap tips help avoidbecoming overly invested venue selection use deadlines timing important factor consider launch booking campaign assuming allow ample time book dates booking time frames directly related type performance venue beingbooked clubs book ahead weeks assign deadlines venue attempted beginyour booking campaign flexibility waiting commitment prepare move setting timeline venue state dead line front venue booker example need complete booking october leg tour could get back september would appreciate may want less forthcoming simply say need hear back fromyou september deadline stated less emotional attachment situation youcan take action deadline arrives heard booker making one last call confirmation say move another prospect hanging remember leave opening future dates know youll ouring area later year mention time frame suggest place hold future date plan laid even get close panic time begin scrambling find replacement date one comethroughas attempt get gigs reviewed invite music critic especially open someone better known likely interest seeing main act invitation might get early enough finally catch show keep media contacts informed aboutupcoming gigs may eventually accept one invitations guest list youve offered invitation make sure name guest lis contact actually comes gig finds pay get may well turn around leave club may offer guest slots plan invitati ons wisely accommodate everyone important dont offer invites stated contract thats irresponsible unprofessional shows lack respect club demonstrates dont read contracts want invite additionalguests youve reached comp limit check club booker ask guest listcould expanded accommodate possib le could offer buy tickets important guests show wont matter guest get tickets long dont pay let intended guests know name either guest list door tickets waiting box office name guest plan alternatives researching potential gigs gather information multiple venues area begin preliminary contact venues may prove valuable point larger venues area really ready play yet doesnt hurt begin contacting simply get name front booker ask acts booked around time planning tour perhaps openingslot act could fill already information youve begun talks booker calling venues choice gig falls wont seem like desperate act simply afollowup call new availability backup al ternatives places proactive position rather reactive one activating contingency plan becomes part routine instead act urgency touring cities venues even one suitable venue find nearby towns could also included routing without adding extended distances tour similarly explore alternative venue types colleges organizations city corporat e events add possibility choices increase income avoid night draining travel budget another benefit multiple venue options prevent needing accept gig terms unacceptable instance gig youve waiting actually comes booker offers thedate terms unfavorable option turning date alternativeswhen stake hopes single venue hav e placed position accept date nothing time passes become desperate fill date accepting unacceptable may necessary careful set precedence future negotiations booker able wear letting time run time may use tactic onfuture dates inadequate terms booked act th time may set standard future bookings make difficult raise standards ive often heard stories frustration artists plan tours one venue mind focus attention landing gig one venue time passes upset lack responsecoming booker point third call must heed message booker sending returning calls need either move venues change approach andtry new contact method perhaps youre leaving messages line doesnt go directly booker cross check numbers directories su ask acts played club contact number plan options advance booking acts hadnt heard back someone within four days week id contact placing another call email fax try tomaximize possibility reaching expanding methods contact without seeming like abarrage incoming messages bookers preferred method conta cted try adhere ithowever manage booking campaign proactive planning strategy advance set deadlines give options tours come together less frustration greater efficiencygood luck jeri goldstein author bo oking agent musicians performing artists guide successful touring nd edition updated currently consults artists agents managers consultation program managerinabox presents performing biz seminars workshops conferences universities arts councils organizations book cdrom information programs available available wwwperformingbizcom phone email jeri jgperformingbizcom successfully book followup gigs club owners bookers jeri goldstein performingbizcom rights reserved keeping band road gigging constant challenge artist selfmanaged selfbooking artist need even diligent attempts book tour dates efforts build loyal following specific markets important book return dates venues youve already played better time begin negotiating return date time settling current date heading room settle ni ght clubs manager make sure tour calendar along current contract want copy contract make sure actual settlement matches contract figures also gives chance write pertinent information nights gig right contract many seats sold many comps actually showed information merchandise sales nextwrite name person settling show person originally booked date finalize settlement current information available date use leverage open discussion booking return dat e hopefully everything went well everyones expectations met surpassed first time venue business club might enthusiastic helping build following bringing back soon asyou look calendar begin making suggestions convenient future dates great timeto ask theyve got coming might work open show get front larger audience person saw perform may eager think placing front main acts booked even person settling show person books talentbeginning discussion captures enthus iasm gig played mention youll calling booker day two would great person settling could passalong comments well show went night attention might ask felt show know venue little better played perhaps additional ideas work together boost area publicity next time ou demonstrate enthusiasm returning infectious dont discussions futu gigs right everyones excitement evening dwindle busied next nights gig next artist coming capture moment shows memories still hot person settles date actually booker even greater chance least getting hold date two booker would much keener sense upcoming calendar shaping would know might fit might perfect match opener may actually book date right good chance might able consider specific dates get holds call back beginning conversation much better place momentum behind call greater likelihood finalize return date much sooner initiating discussions settlementwhat happens wait artists get involved travel current touring schedule may call venue return date tour band home loses impact immediacy opening discussions ni ght last show club capture excitement good gig wouldnt great return tour calls make simply ones confirming next tours dates would f abulous perfect world probably juggling dates number callbacks essential question whether ornot want back already answered finalizing right date left thereally hard part taken care night gig give try good luck jeri goldstein author bo oking agent musicians performing artists guide successful touring nd edition updated agent artists manager years curr ently consults artists agents managers consultation program managerinabox pr esents performing biz seminars workshops conferences universities arts councils org anizations book cdrom information programs available available wwwpe rformingbizcom phone email jeri jgperformingbizcom attending booking conferences jeri goldstein performingbizcom rights reserved booking conferences seem cropping every stat e times year thought would offer tips approach attending large booking conference let make distinctions first among many varieties conferences one may attend geared toward bookings agents artists connecting promoters club bookers conferences media events artist may connect prospective agents managers recordlabels create media buzz act promoter attend media events well always potential getting gigs much less conference specifically set promoters tosee new talent would like discuss booking conf erence specifically address maximize showcasing efforts selected showcase articles talk benefitfrom exhibit hall attending workshops networking techniques set goals planning attend conference best set career goals review longterm goals marketing plans may previously estab lished conferences cost money important select appropriate conferences based upon career goals upcoming two years want expand touring specific region select conference opens doors region perhapsyou ready national attention set sights larger national conferences avoidattending conference ready attend choose conference offer opportunities jump next logical level career leap level unprepared examples specific career goals relate selecting appropriate conference build local following attending conference even though attendees come country concentration venues bands managers agents media local region styles music represented build national following attend sxsw austin tx wwwsxswcom held midmarch year conference grown years ttracts promoters media managers agents film industry recording industry country canada well internationalattendees goal create national buzz look management record labels stir major media attention may right conference large conferenceand one easily get lost crowd prepared make big splash invest somepromotion conference conferences international genre specific event specific likely find number conferences right next career move confident conference selection consider applying showcase slot conferences select showcasing talent jury selection committee others work firstcomefirstserve basis application fee showcase fee along officially juried showcasesmany conferences also opportunities selfproduce showcase either designated rooms must rent rooms venues selection cost official showcases sponsored conference get major promotion conference often attended greatest number attendees depending conference setup independently promoted showcases tend attract great deal attention extensively promoted creating buzz showcase key drawing attention desire see act lot competition multiple showcases happening simultaneously showcasing artist vying theattention many people key elements successful showcasing important make stand unique way ask unique act emphasize aspect promotional material show show everyfollowup contact advance promotional campaign conferences send registered attendees advance attendee list use list send email printedinvitations showcase identified people want know act promoters agents managers labels media make pre conference phone calls personally invite specific people contact local media conference town pitch storyyoull need hook attract local media find one preconference contact im portant trying create interest prior everyones arrival conference site people arrive inundation flyers promotional materials every acts event concent rate efforts setting meetings issuing personal invitation prior conference promotional campaign event check official conference attendee list ident ify people previously contacted new official list create attractive flyers post designated areas around conference thousands similar flyers make sure graphically attractive readable distance major event conference goers attend check permission place tabletents tables seats promoting showcase many acts attempting similar promotion campaigns information showcasing event begins become diluted important make personal contact hand person clever uniquely designed invitationreminder showcase find promotional item different general flyer paper sign one conference artist remote control blimp name sides floated ba lloon heads attendees gathered lounges bars dining areas general meeting places definitely attracted attention creative competition fierceyour showcase plan actual showcase keep following mind know exactly long set c onferences allot short times like minutes give minutes plan perform material familiar enough pre ssure showcasing time try new material take chances want impressive time set music talk rehearse set many times second nature offered sound check take use every minute make sound lights work using sound company provided conference find contact names prior event forward sound light plots ahead time tou ch engineer review specific sound requirements understand provided must bring avoid surprises arrive situations able provide sound arrive plenty time set sound check many acts rotating offstage showcasing unnerving sometimes frustrating things dont go planned solid performance even sound light go bad stay cool best show know audience appreciates sympathizesand situations often work favor remain control never know might audienc e matter many people show showcase two attended could ones offer deal show youre made finally chance meet people showcase get shake hands plenty cards ready offer promot ional packets cds successful showcase major career boost attracting attention movers fieldcan change life also simply welldone showcase caught attention new people provide monumental changes immediately part showcases conferenceevents require consistent followup event wi th contacts made conference impact made may realized right away dont come away deal hoping get number dates planning dont discouraged act keeping touch met conference move toward desired goals experience connectionsmay take number years resu lt significant deals bookings ready take serious st ep toward next level career attending showcasing appropriate conferences could boost seeking good luck jeri goldstein author bo oking agent musicians performing artists guide successful touring nd edition updated agent artists manager years curr ently consults artists agents managers consultation program managerinabox presents performing biz seminars workshops conferences universities arts councils organi zations book cdrom information programs available available wwwperf ormingbizcom phone email jeri jgperformingbizcom contracts preparing professional engagement contract les vogt entertainment consultant rights reserved every dollar earned entertainment business product negotiated contract contract clearly reflect engagement details confirmed previous discussions purchaser engagement contracts kept simple possible together basic contract rider additional details addition never hurts review improve contract youve using yearsthe object clarity rather bargaining strength either performer purchasers side goal tolay deal everyone page simpler contract likely apurchaser agree sign situations handshake verbal agreement quite acceptable legal difficult enforce people think dont need contracts must either well known reputation really trust peopletheyre dealing things change misunderstandings happen contract protects partiesof course money involved mo need contract performing hobby may need contract business one havent prepared contract intimidating ask someone sign party actually respect professionalism worst happen wont sign dont itsusually contract one sided perhaps even unfair perfect contract every situation many clauses touch article common practice make brief standard contract attach rider specific needs requirements important considerations contract header always display name address telephone number clearly top contract form important client knows return signed contract sure computerized forms contain correct address date time compensation signature parties cases youll need information always betterdefinition performance parties know expected performance provide clear concise description nature performance number musicians singers cluding set length set breaks anything else unique performance location date time seems like nobrainer heard horror st ories performers showing wrong day two performers booked date enough said length performance described definitioncompensation clear whether fee fixed amount guarantee percentage door revenues include payment made deposits well clear payment method specifically receives example deposit goes agent remainder performer contract payment based per centage door parties right present box office access box office records gross receipts percentages involved contract specify ticket prices manycomplimentary tickets permitted recording reproduction transmission photography usually artists right grant specific permission press publicity good thing flexibility key common purchaser right u se performers name likeness advertising promotion always make sure purchaser ha appropriate promotional materials benefit greatly right sell merchandise premises smaller venues engagements right usual ly performers revenue often form large part performers compensation larger venues likely specific terms merchandise sales venue may people sell meals transportation lodging usually depends type performance corporate promoter gigs usually cover everything local public venue gig benefits less gratuitous guest lists passes dressingrooms hospitalities vary cases nonexistent sound production clarified supplies sound lights specif ically equipment provided often performance ruined improper sound production always beneficial performer designate representative control sound equip ment whenever possible buyer providing lights sound suggested equipment list part attached rider acts god specific course action eventualities weather illness needed protect parties definitive clause included cancellation number ways handled depends gig usually enoughnotice neither party penalized supposed happen sometimes helps clear specify happens either party cancels reschedules engagement permits licenses andor royalties customary covered purchas er simple concert performance requires promoter venue pay compulsory standard royalty use copyrighted material however doesnt hurt clearly state responsible payment fees specific requirementsrestrictions may certain requirements performer purchaser thanking sponsorannouncing performer attire language corporate private gigs etc agent terms often agent seller agent may separate agreement purchaser performer contract directly performer client case agentscompensation clarified contract along obligations agentinsurance security personal liability insurance property insurance usually responsibility purchaser venue although often included contract performer certain held harmless fromany public liability insurance damage theft personal equipment numerous clauses sometimes included mentioned common would recommend look variety contracts decide clauses best apply situation also welcome request sample contract awarenessthat neither sample contract opini ons article constitute legal advice les vogt lead singer vancouve rs first rock n roll record ing band contact wwwme mbersshawcalesvogt lesvogtshawca right documents booking gigs jeri goldstein performingbizcom rights reserved youve probably read numerous articles espousing benefits written contract gigsyou might even experienced one moments wish written contract forthat one gig friend di dnt agreed upon amount money end night never mind wiser listing explanation variety types contract agreements supplemental documents used booking gigs letter confirmation times formal performance cont ract may inappropriate unnecessary type document friendly yet describes details booking agreement fully written paragraph letter format includes essentials performance time date place producer artist provideswhat responsible item included type letter may used organizations andindividuals unaccustomed music business industry st andards charities private parties example key written record important details party signed copy performance contract nonunion performance contract includes information letter confirmation except written using legal art language legalese rather business letter paragraphs contract numbered paragraphs formal work clubs universities concert halls concert promoters performance contract recommended prepare contract check entertainment lawyer make sure includes necessary clauses appropriate state find sample contracts adapted needs variety places set forms book available email pdf format fr om website numerous books available readytouse contract forms youll find short list end article books available amazoncom music business category performance contractunion afm american federation musicians specific contract members ought use afm contract requires information allows members credit th eir union pension plans meets specific union stipulations depending type music area perform perform onradio television may member aftra american film television radio artists union aftra artists required use aftra contract radio television performancesperformance contract rider purpose including document help define exactly necessary enable artist present best performance serves extension performance contract aid promoter taking care details artists mindful preparing contract riders toinclude necessities enhance perfo rmance many club owners promoters scrutinize contract riders cross unnecessary items serve inflate budget take undueadvantage promoter often cross entire contract rider considering frivolous andinconsequential main contract considerate thoughtful real needs technical rider document details artists sound lighting stage requirements attached performance contract instructions copies distributed appropriate technical personnel thevenue stage plot detailed layout stage sound equipment instruments positioned stage plot accompany technical rider lighting plot diagram describes type placement lighting best highlights performance may include song lists lighting cues hospitality rider describes artists food housing travel requirements place list dietary restrictions necessities meals provided club bookings simple performance contract due begin work promoters perform larger clubs concert halls documents useful beincluded time issue contract remember put writing jeri released hour seminar cdrom marketing act seminar set modules information marketing creating effective promoti onal materials access media marketing template niche marketing expensive conferences attendlearn convenience boost career book cdrom information programs available available wwwperformingbizcom phone email jeri jgperformingbizcom college gigs naca fran snyder concerts home rights reserved national association campus activities established nonprofit organization puts regional conferences music acts comedians lecturers entertainers showcase front campus activities programmers around country member colleges associate members talent agent makes naca largest organization kind acts like billy joel bruce springsteen suzanne vega toad wet sprocket used naca college market steppingstone success comedians also thrive market helpedthe careers carrot top jay leno sinbad many others organization covers entire us divided regions southeast new england east coast upper midwest etc region puts one two conferences per year fallsemester lasting two four days depending size th e region delegates students several hundred schools attend order check performers selected showcase membership participate conferences must first become naca member two membership options naca regional associate member one region year price oftwo regions year national associate member operating regions naca artist avoid fees getting agent already member later showcasing best way get gigs college circuit showcase regional conferences several different types showcases take place naca conference weekend music acts perform either main stage bands name acts showcases club solo acts small bands showcases showcases feature four six acts one act usually comedian taking role emcee eachperformer gets minutes stage good sound lighting crew front audience canrange people getting showcase must submit showcase application conference wish showcase agent fills extensive forms provides minute sa mple video cassette cd along basic promotional materials showcase application deadlines six months advance conference acts notified months conference takes place costs per application hundreds ofacts compete coveted showcase slots ou selected showcase pay additional privilege pay play absolutely colleges tens thou sands dollars spend year campus entertainment cultural programs colleges send group ofstudents regions conferences choose acts programs receive money successful showcase lead income club act even main stageact gigs colleges need entertainment weekly monthly events orientation week homecoming etc entertainment needs seasonal little work summer winter break use styles music though pop rock acts seem fit bill often acts perform strictlyoriginal material mix tons coversthe venues audiences shows vary gr eatly concerts sometimes held beautiful auditoriums hundreds people attendance nooners take place dingy cafeterias lunch time half audience facing way necessarily glamorous money def initely better nightclubs music groups solo acts usually perform minutes gross solo bands schools also typically pay one nights lodging decent hotel supply one meal show performerspay transportation travel expenses marketplace exhibit halls every conference central exhibit hall agent artists meet prospective buyers talent agency selfrepresented artist showcase must purchase exhibit booth place distribute promotional terials conference many agencies set television vcr play artists videos bring stacks brochures cds give away marketplace usually takes place round showcasing students immediately flock boothsrepresenting acts showcased hit showcase unusual see thirty peoplegathered performers booth students line meet act nd talk hisher agent also pick promotional materials bring back campus coop possibly best part naca performers agents expected encourage schools block dates together words several schools region interested act standard money incentive co operate booking act scheduling eac h schools show occur week cuts travel costs artists savings passed schools example one school iowa wants book solo act price however canform block two schools region perform three schools within five dayperiod block price drops per sc hool finally many school one region want book agent try form block school get bargain rate ofthese blocks form coop sessions co nference usually agent follow weeks months conference make happen recap one school shows days less shows days less standard rate club showcase acts many main stage showcase bands charge twice much booking gigs agents vs selfrepresentation thought nightclub owners nightmare campus activities department usually run group students supervised faculty advisor students usually short weekly office hours sometimes dont show furthermore drastic change personnel happen every year every semester many programmers inexperienced booking producing shows finally schools book particular act band per year thats lot keeping upto one act receive new longdistance phone bill press kits get lost stolen start think hey maybe agent would cool way agents market charge top earn every penny call schools year year behalf many artists develop relationships many colleges business others relationships mean salesgigs know musicians arent good relationshipsagents also bear costs membership per year costs exhibit hall booths per conference largest expense telephone calls finally good agent makes look like pro hes great always sounds better im great get started first get information source reach naca phone address national association campus activities harbison way columbia sc websitewwwnacaorg also helpful ask information join list agents work themarket available website second attend conference ask naca nec essary credentials day passes attend showcases exhibit halls see youll competing ask following questions acts similar meus success market unique way could serve market would show appeal college kids decision makers women put together promotional materials competitive market video brochure cd etc patience persist market things dont take quickly willing travel long distances perform away home weeks time answer yes talk agents learn lot watching listening work exhibit hall marketplace ask questions talking clients usuallyhave acts handle smart ones accept promotional materials obnoxious patient persistent polite follow next months yes months produce best results way smaller growing organization also serves market association promotion campus activities apca fifth year appeals schools smaller budgets due lower membership delegate costs charges apcas membership schools based largely thesoutheast organization plans expand northward next year one annual conference spring next one takes place february thth charlotte nc feature showcasing acts apca owned run eric lambert performer mind although conference run much like naca conference showcases exhibit ha lls mr lambert proud note conference leans towards original acts screens tapes cds personally twenty minutes material per act allows better understanding act compared nacas threeminute limit hard agree differences naca apca straight apca website apca exhibit hall booths come guaranteed showcase booth demo opportunity applicant refunded conference fees additionally charge showcase submission fees limit number booths exhibit halls give associates better opportunity business school members attending act wishing showcase may send video promotional materials may reviewed showcase approvalthere differences note yearly membership organization actually costs covers booth showcase fees showcase apca last year schools attended visit website apcacom also reach phone email apcamailapcacom naca apca exclusive organizations many talent agencies use work college market naca older participating schools performers apca growing isgaining respect reasonable alternative naca summary many acts taken quickly naca ac ts like christine kane beth wood performed shows first year naca several musi c acts perform one hundred shows year math however mistake expect make lot money right away short run likely spend lot money acts take fine tune promotional materials showcasing skills furthermore selected showcase regularly process equal partseffort potluck never know college students looking moment took year half get agent took another year get showcase another months finally made profit first two years spent showcase fees application fees promotional materials taken three years establish market bother eventually college gigs allowed profitably tour country also something hitting road makes feel like career going somewhere people always seem treat little better know youve come long way additional work part book nightclubs coffeehouses way well college gigs college shows usually minutes long also feasible perform two shows day along better pay allowed work backing musiciansthat normally couldnt afford take road college market everyone find happy hour smoky bar rut found years ago last week certainly worth looking pay better audiences aretypically nicer even dont bec ome naca star overnight dozen gigs per semester great kickstart booking first outofstate tours fran snyder singersongwriter based lawrence ks love house concerts fran created wwwconcertsinyourhomecom site dedicated creating opportunities artists perform gigs people listen site free use artists may join ye ar promote act site also funds national press campaign increase popularity house concerts fran snyders music heard wwwfransnydercom naca college gig navigate educational market morgan performer magazine rights reserved college gig one respect thought generic store brand music industry supermarket people seem aware despite relative value culture advertising inundated consumers instead reach big names shelf purposes examplethe principal venues established reputations often especially youre musicianthese items beyond means financially otherwise like business musical career requiresgrowing expect reap rewards college g ig often answer beginfor many artists college booking process seems one shrouded mystery understandably schools share business mentality standard venues hosting concerts smallpart ongoing effort keep students content knowing approach unique niche touring market discouraging artists yes landing college performance requires methodology unfamiliar many certainly revenue source worth tapping thankfully set fairlywellestablished guidelines channels enable make eager students deeppockets effect two standard avenues getting college gig first doityourself method direct solicitation press flyers music like second cooperative agencies mostpredominant easily national association campus activities naca association campus activities apca also emerged another helpful organization plan attack shouldyou choose artists negotiated process booking agents understand thecollegiate business mindset quickly point four important influencers making decision money reputation attitude entertainment value naca website notes links higher education entertainment communities business learning partnership words organizat ion serves meeting ground artists colleges thereby facilitating booking process among nacas fferings artist matching service block book online service allows neighboring colleges view others schedules book sameartists perhaps importantly regi onal national conferences clearly performance opportunities abound syd bostonbased singersongwriter estimates booked couplehundred shows nacas service refers organization halfjokingly musicians crack understanding naca joining naca costly also yield astonishing amount money notes syd artists decide membership cite expenses main factor associate national membership designed companies business college market costs year press time membershipprovides access organizations services enables apply regional nationalnaca conferences syds college booking agent george hornick wallys world entertainment affirms conferences driving force membership definitively best way book showsespecially land showcase opportunity terri mazurek peppermint booking whose roster includesellis midwestern singersongwriter great success naca echoes hornicks sentiment showcase well best way get attention college market indeed little research willreveal lucrative one conference performance following syds first showcase endedup scheduling college dates day paying results uncommon advised though getting showcase requires serious investment attend conferences anartist must first booth pay campus ac tivities marketplace fee must also pay showcase application fee selected perform must pay showcasing fee well herein lies thefinancial tradeoff typifies naca also keep mind showcasing slots reserved solely musicians college representatives looking acts entertain students meaning comedians magicians performance artists also vying coveted performance slotshow succeed personable active even land showcase still worthwhile pay booth fee make impression music hav e positive demeanor certain amount flexibility good attitude make pleasant work wil l also confirm prospective college buyers interact well potentiall entertain audience personal effort tangible results ie increased bookings mazurek notes many students heard ellis met conference liked points fact half bookingsthe schools calling directly asking large number repeat bookings hornick mimics comments remarking comes somebody like syd personality music proven invaluable naca eyes students program committees find endearing hecontinues talented also keep set students entertained period timenaca entertainment students want entertained musical ct right magician novelty etc syd agrees everyone whos decent charismatic say success respect becomes apparent college gigs differ standard venueperformances entertainment value accessibility paramount consider agent trick student activities committees college program boards like largely studentrun meaning personnel turnover occurs frequently also still academic worries outside booking entertainment priorit izing thing life hornick puts selfrepresented artist trying maintain relationships one college let alonehundreds job unto certain agents work specifically colleges making sure theirrelationships remain intact transitions conferences prime territory forstrengthening bonds additionally agents clients proven track records appealing schools book one many acts one contact use naca springboard college gigs certainly pay well create benefits real venue performance take advantage fact generated terest among seriously buzzdriven community aim playing local venue next time around dr aw paying fans mazurek warns dont follow shows ticketed concerts nearby venues whole audience folks used seeing free may pay see show road continues adanger becoming college artist student may take seriously important balance college shows ticketed club shows hornick concurs artists use tofinancially supplement tour success college market shouldnt ultimate goal grassroots option colleges bound way book exclusivel naca become members present compelling package much luck nacaassociated artists granted method requires significantly grunt work choosing process analready established reputation help name recognition often move top pile youmay also want choose path group might trouble competing various novelty acts go naca case save membership showcasing fees directly soliciting schools asked approaches colleges outside naca mazurek replies simply lots lots ofcalls schools keeping touch letting know open dates acts sending flyers andonesheets effective followedup developing maintaining uptodate list college contactswill allow conduct mass mailings easily various resources gathering information see directory follows allegedly dispatch certainly one ingenious groups came grassroots work made wellchronicled entrance school market making huge list ofprivate schools contacting onefood thought methods take lot work certain amount money spring either sure ready need syd advises curious musicians bide time establish following priorto joining naca also digital age industry insiders beginning notice changes standard formats booking college shows mazurek highlights shift conferences seem somewhat less effective recently student reps finding artists via internet myspace artist sites etc itused successful showcase would result bookings seems like success bookings hornick agrees theres much coop buying going conferences youre lucky get couple blocks concludes observation indicative perhaps whole college booking process stating longterm investment put three years sticking order get turnaround morgan writer performer magazine wwwperformermagcom willperformermagcom musicians advice college market derek sivers cd baby rights reserved made fulltime living playing colleges got hired schools gross net east coast florida maine far west arkansas ill try put one article every bit advice wisdom could share fellow musicians experience disclaimer opinions observations unique experience others may disagree hiring colleges one thing get straight dont confuse college radio college gigs kids run college radio real music fans ones deeply music musics sake ones big budgets entertainment activities called student activities office usually made girls pink sweaters election class treasurer high school think reese witherspoon movie electi playitsafe environment want everyone yes every last person happy get reelected means student activities office wants hire fun safe lively crowdpleasing entertainment possible whether hypnotist comedian rubber sumowrestling suits guy brings exotic lizards famous talkshow host hotw ax hands magician musician want entertainment approaching need emphasize safe bet marketing filled testimonial quotes like one finest perfo rmances weve year college st angus crowd couldnt stop laughing lyrics thirsty whale real joy work cant wait back siberian sunbathers convention bio mention awards youve bigmainstreammedia sources also recognized talentits glamorous ask anyone whos done dozen college gigs without big track record often play lunchtime depressing cafeteria stressedout students tryi ng study scowl disturbing least get paid afterwards actual situations ive hadtheir contract said adequate pa system turned tiny microphone plugs wall principal address classrooms gig anyway sang itwe drove hours gig arkansas forgot coming played people ina backyard degree weather fingers numb bi g echoey gymnasium set next noisy cottoncandy machine thats power outlet room example see diary two typical weeks road wwwhitmenettourdiary perfectlyscheduled tourthe idea real tour cross country perfect line rarely happens way able make fulltime living saying yes everything ohio april connecticut april thmichigan april th maine april th problem pl ay hours drive play drive repeat fade another scenario live new york mail flyer colleges fr om florida maine imagining nice long tour instead book two gigs one south carolina one new hampshire college circuit east coast lot easier west coast colleges within hour drive new york city youre roaddog right perform situation right guitarist quits night gig youve got another guitarist take place rightyouve got enough money pay transportation hotel ways case something goes wrong right driving hours youre clean lively friendly rightwhen change mind last minute want perform instead pm rollwith rightwhen drunk frat boys heckle run play skynrd joke ground keep cool best show possible anyway right know plenty crowdpleasing cover songs emergencies r ight youve played cold numb fingers sang fullvoice three hour shows nobreak one day rightif prima donna usually book long advance rule thumb book spring semester fall fall semester spring exceptions always booked lot april shows february december shows october se usually smaller lastminute shows secret june great month contact colleges staffemployee director student activities working summer things quiet good time book welcome week entertainment end august beginning septemberconsider flexible size mainly got college market promote piece funk band hit figured since going spend money membership fees marketing might well make ways book made piece funk band acoustic twoperson version one band member alone afterthought made professional pests would run around campus black fabric bag bothering people price see wwwagentbabycomartistpests course professional pests got many bookings musical acts point able work budget course wish could always book full band could always sell scaleddown version naca conferences theres organization called national association campus activities naca puts conferences student activities buyers get together check showcasing talent website iswwwnacaorg hard get showcase spot youre bestofthebest spending thousands making superprofessional video submissi artists billboard charts performers years college experience comedians saturday night live etc everyone puts together great minute video live performance sampler quality matters edits matter thats whole subjectthough short video needs amazing year summer submit showcase consideration appx submissions pick around expensive get involved first naca member buy booth registration submission fee odds youllbe rejected get accepted showcaseacceptance fee cost going playing im complaining dont think naca getting rich costs everything band submitted three years spent finally got showcase spot band played main stage showcase opening night booked gigs right spot another next year worth youre reallygoing commit really think thing hand people spend years trying get showcase fin ally get one dont get gigs band funpartycrowdpleasing band think thats well naca nonaca every month would send flyers student activi ties buyer every college area advice making good college flyer wwwcdbabyorgcollegeflyer schools hired think came flyers made think might sk ip naca conference completely save money spend marketing methods go directly college buyermy advice considering college scene start mailing list sending flyers get shows way see think love want commit years matter whatthe startup expense either join naca get nacafriendly booking agent derek sivers president extremely popular online music store cd baby first week alone cd baby artists paid end cd ba paid million directly musicians million cds sold get music online vi sit wwwcdbabycom booking college shows dan ostrowski alive arts rights reserved mean hear someone talking colle ge market well depends talk say opportunity band play fraternity parties make lots young fans eventually get mtvs spring break others sa schools present performers environment enriched culture part open minded interested promoting music arts kinds still others say college market provides artist opportunity play packedbars clubs way becoming next hootie blowfish regardless whether performer time starting probably heard good money easy routing target audience asso ciated college towns brainer right lets go play college dates well although statements reasonable extent experience truly succeed th e college market equal amount risk resource patience needed part artist booking agency witnessing success artists dave matthews band ben folds five rusted root guster god street wine college towns across america throughout tremendous artists generally started grassroots level playing college bars fraternity parties spring festivals andeventually back college campus big money got huge thats one side story hand artists life general beth wood domestic problems keller williams winefield granian dispatch regularly tour schools make decent buck playing college campuses help booking agency little help agency provide basic information use get jumpstart reaching much soughtafter college market developing artist many avenues vehicles utilize reach anaudience college town quite obvious read find got involved college market agencies promoters nat ional organizations help artists like break market well hello mrs riley yes replied name dan ostrowski going attending classes st francis next semester great help youwell musician seeing chair music department thought would call ihave several questions id like askok well im kind busy right giving lesson get point sure need place play drums campus get suggestions well certainly want drummer practicing hours night call dom peruso thedirector student activities glad help careful though probably rope intohelping move stage time time could easily lead helping run sound forentertainers perform campus youll involved wont time schoolthanks advice mrs oriley ill careful get involvednot get involved little know phone conversation august would eventually lead path becoming owner entertainment agency alive arts specializes college market could seen coming thats certain left hometown eriepa attend college st francis lorreto pa merely playing rock band friends high school enjoying creative energy music passion mine never even thought business side entertainment seemed distant really interested lets jam iwould say worry stuff later well stuff consumed life could notbe happier happened read hung phone mrs oriley music department called dom peruso office student union explained situation said could set drums schoolsauditorium access evenings cool place jam didnt even mention anything moving stage going good deal finally arrived st francis got settled began notice different types entertainment scheduled perform campus naturally interested thought could get band play campus went asked dom review select performers play campusdom said office receives materials artists mail takes calls agents schoolattends college booking conference sponsored national association campus activities naca naca nonprofit national organization brings together school programming boards concert committees collegiate booking organizations one end artists agencies otherthere regional conferences held fall east coast great lakes new england southeast southcentral upper midwest far west heart amer ica pacific northwest illinois wisconsin one national conference spring host city conference changes year year naca pretty good job making centrally located everyone region attend agencies schools sign naca yearly basis pay membership fee participate conferences naca conference artists agencies offered unique opportunity actually perform live showcases college buyers build blocks tour dates coop booking efficiently offertheir entertainment directly college demographic without doubt powerful tool getting booked college circuit showcase naca conference company alive arts showcased five different artists regional conferences showcases resulted bookings spring really getting started naca world artists davebinder howie day five oclock shadow matthew west play upward college dates year foran average fee approximately per show expenses bad living add thissuccess everything talent artist lso quite bit benefits utilizing naca organization well discussing naca dom mentioned possibility band coming play one many campus open mic nights recognizing interest things musical dom quipped oh way dan need someone host organize upcoming campus open mic night reasonable amount trepidation answered umwelli guess right dont move stage anything like mrs oriley warned dom replied yeah dan promise stage labor regular guy back next time run things maintenance crew move stage run sound maybe well see really much like anything helpalright well third day college unbeknownst made commitment would last entire college career open mic night arrived move stage run sound much fun asked could next one turns guy charge wasleaving school also chairperson programming board booked entertainment oncampus mr peruso years experience getting people work learn free offered chairperson position soft rock caf\u00e9 campus programming board sudden charge spending budget entertainment clue wanted place play drums thats got listening mrs oriley schools select entertainment sat dom began show ropes college booking got first glimpse school selects campus entertainment student activities office hundreds files sorts acts comedians bands solo musicians hypnotists lectures velcro walls yes velcro wall get one next family reunion watch gramps stick upsidedown inflatable sticky wall velcro leadership training naca conference materials dom said part overall student activities organization would responsib le operating committee people called soft rock would book entertainment campus following semester generally schools select acts w ant bring campus year sort committee form usually chairperson little influence sway vote herway committee goes materials sent mail review acts naca conferences fact often several different committees responsible booking entertainment acollege student activities people concert committee student government specialized clubs ie womens group earth day committee black history month organizations attend naca conference type meeting brings together school buyers artists agencies every schoolhas student activities office oncampus programming committee sort want playon college campus logical place start student activities office naca main officepublishes yearly directory containing hundreds school contacts included naca membership virtually every school webbased resource find inform ation organizations clubs campus latter takes little time another benefit joining naca muchof work researching call publish yearly directory naca conference hey dom whats said pointing naca conference program lying table thats go spend money year go golfing said smile mean go conference book acts spotyep pretty efficient quality entertainment goodwhen go itin three weeks go east coast regional naca lancaster pa year lancaster pa yeah amish country bring boots lancaster pa exactly entertainment promised land world waiting spawn new artists agents first visit turned real eye opener one inspiring moments booking career although realize time naca conference soft rock delegationand witnessed wide variety great entertainment bring sch ool key witnessed went showcases bands played us mi nute spots show us buyers standpoint better way preview act hire much better getting apress kit cd mail dont think naca conferences offer college buyer opportunity seean artist live making decision book themobviously gives advantage artists perform conference opposed say need showcase naca play college campus certainly streamlines process getting act noticed college buyers delegation also attended coop buying sessions built blocks dates schools route artist campus reduced cost saved money organization end participated first time entertainment business left half calendar filled nextsemester tons ideas fill additional months entertainment got back tocampus wondering important information helping get booked colleges think buyer minute first artist agent trying sell something theschools performance worth something willing pay since schools arespending money generally want make booking dec isions easily affordably often case booking entertainment college campus great deal time wasted artist buyer trying get phone getting committee make decision book band general runaround type stuff naca conferences peop le needed make decisions one place ready business calendars open contracts getting signed great artists agents business gets done run around factor reduced good schoolbecause get plan events spend money effectively confidently selling act college try make easy people book becoming involved naca help accomplish hey dom spent entire budget year coop buying session easy calendar entertainment completed next semesteroh yeah thats great shot morning best game thats ok time practice wont phone day booking acts next semester took care alltrue naca sure make easy get job doneyep also picked information band get involved nacagreat maybe well see showcase next east coast conference never know try true get involved utilize naca tool taking first step getting involved artist agency easy picking phone calling naca main office log naca website wwwnacaorg getinformation much costs join submit materials showcase selection information location time frame attending regional nat ional conferences essentially two ways artist get involved naca self representation representation nacaaccredited agency representing naca representing naca definitely great place start drive determination see things patience follow lots leads one give easily try tofind representation successful acts using naca booking tool selfrepresentedselfrepresented artists dave binder travelin max rick kelly mark rust karen goldberg barry drake craig karges like control selves get keep money ie commissions agent choose selfrepresent several fees aware ofas mentioned membership fee join naca organization artist agency regional memberships available national memberships cost membership fee gives access national directory college contacts also makes eligible apply forshowcase spots conferences expensive first join naca attend conferences patient work system well pay long run expenses attending naca conference range showcase application fees buying booth conference hotel three days travel paying att endance fee end expect spend approximately every regional conference reason alone many artists interested represented agency agency picks fees considerably less risk artists investment time money work agency naca far popular avenue artists choose pursue huge list agency names naca memberships naca website wwwnacaorg go look onemay important connection need make college market agencies years experience dealing naca organization may even find agency specializes particular type entertainment received many many solicitations artists via listing naca website alone booking agent thinking invest ing naca system listing naca website national directory pay time recent promising clients come seeing ad national directory spot naca website fact artist whod like c ontact company alive arts college representation visit us wwwaliveartscom artist represented agency agency submit materials showcase selection chosen showcase sele ction committee bam youre go conference deliver stellar performance wait dat es roll may sound simple must aware competition showcase spots always fierce especially larger regionssuch east coast southeast great lakes new england competition less severe smallerregions like upper midwest far west pacific northw est heart america getting involved one less competitive regions may strategic way approaching things beginning agents say key getting showcase sending great video committee look recommend artists produce minute video highlighting best elements oftheir show showcase submission seriously thinking giving naca whirl stronglyrecommend getting together excellent video pay end use promo piece send schools later well use showcase submission experience thatbuyers like see much want hear middle agent may heard term lets take moment explain middle agent someone generally works school organization book nationallevel entertainment middle agentworks paid school negotiate good price act usually takes partial interest production values show naca agencies operate middle agents almost entirely like concert ideas specializing providing bigname entertainment college campuses middle agent charges school fee based price act national agencies like arrangement theydont deal schools dont give additional commissions schoolslike experienced college agency negotiating behalf whole middle agent position important young developi ng talent important become popular agent interested making money offering additional service schools along regular roster actschoosing use naca people choose get involved naca lots reasons mainly joining naca participating conferences pursuing general college mark et expensive time consuming artists agents also find environment within naca interested entertainment butsometimes interested promoting arts dont bother end naca experience make really clear naca supports industry agents artists collegeprofessionals student programmers book lots entertainment schools also clearthat book artist campus without help naca maybe interested touching base local colleges universities local talent avenue offer different approach overall college market promoting act readily availableand costeffective schools gladly pay quality local act touringnaca talent expensive selling act local college also easier playing around town bit pa light arrangements invite student programming board agig show stuff ive seen used effectively large college towns like columbus oh state college pa syracuse ny mentioned ways getting involved college towns music scene bars clubs fraternities miscellaneous clubs campus benefits getting campus without help anagency tough spend time researching campus need first locate student activities office clubs organizations committees think would interested booking live music time visit campus find information could set facetoface meeting music chairperson present material way know call ask booking st francis someone used approach hired dont ever afraid calling asking many questions school minutes spenton phone land desk exact person want talk general advice regarding naca nd playing college campuses agency owner large relatively specialized world college boo kings attest rewards pitfalls niche market many agencies tell expensive exist thecollege market specifically naca college market ends specialized market different reasons takes patience time wade massive amounts information fewgeneral pieces advice found helpful years focus building relationships many artists agents join naca first set hemselves big disappoi ntment expecting much little time takes time work way college booking world vastly different club booking reason treat seen many artist join naca expecting immediately fill calendars college dates none happen getdiscouraged quit first year focus meeting people forming relationships last years building credibility within system go meals educational sessions conference initial intent meeting people selling act meet relationship going put booking hat stay away pressure sale situations less goes important enough mention one likes high pressure sales situation seen many artists agents try end wind one two bookings bad reputation pushy focus people first get comfortable offer info actcontracts rider paperwork gig next little paperwork course one benefits playing schools everything contracted legit whereas local club may want offer contract even pay matter college almost always money guaranteed never school pay artist contracted amount design standard contract use college gigs andmany issues covered ou idea standard contract see attached artist performance contract guidelines create contract suits needs increasing number schools presenting additi onal paperwork artist aside artists contract school order protect liability institution anything undesirable may happen result artists show simple performance contract ends dozenpages final execution days lawsuit culture understand justanother good reason contract well aside payment use contracts performances matter may cover liability financial issues thoroughly keep good records prepared give financial data school ask tax id social security number order issue check ou tax id act get one volunteer lawyers arts able help free situations schools issueindividual checks band members put hat information standard contract would need supply tax id social security nu mbers member employee band payment schedule solo artist really isnt issue ss number suffice point get tax id go legit start making money way go riders also important make part contract good rider set documents attached contract ride contract simply outline technical needs required artist perform possible recommend working production costs base fee handling sound light details schools generally arrange production values sure specific detailed rider college gigs notorious missing fine details ofsound lights developing artist certainly want compromise show image withinadequate production go way detailed production show well advance organization production side things pay road terms presenting asprofessionally possible get act return gig ethical doesnt go naca business overall treat people kindly return business dont take advantage people oney many school delegates attending naca conferences learning booking process experienced willing explain things treat respect professional performing college campus professional time remember bar club general alcohol clublike atmosphere going dont screw return tripto campus drinking drugs carrying like idiot willing teach learn many students staff attending naca conferences learn ing booking process like experienced take time explai n things like contracts riders technical requirements also willing learn certain colleges operate everyone conducts business wayand take time show attention detail dealing sit uations less normaldont give takes time build relationships necessary succeed college market expect spend two three years developing plan works one measure success terms milestones along way dont discouraged things working planned willing adjust along way make changes put track longterm success market ask advice people succeeded cr eative new ways presenting act buyers college booking opportunities aside naca organizations target get gigs college town listed fraternities fraternities general risky places play mainly infamous bouncing checks skimping production also great places generate solid fan base college town best way obtain frat gigs contact school get list different social chairs housemake contact social chair send stuff give good price cover detailsof show including production power requirements played many fraternity parties house electricity enough withstand pa take care details advance things go smoothly another great way get fraternities tap social circle friends fraternities band got major start fraternity market penn state university try toidentify schools active greek life go afte r include penn state bucknell university vanderbilt west virginia university university alabama major universities larger colleges active greek scene could also ask ttend one monthly meetings held campus greek council could present act offer send information interested parties specialized campus groups f specialized show celebrating aspect society culture ie female performers forwomens history month culturally diverse groups fo r black history month family programs parents weekend roots rock earth day etc chances th ere need act point school year many colleges recognize thes e special times performances programs look organization campus may share ideals artist sometimes high profile benefit concerts sponsored groups campus try identify offer servicesone performance wellattended benefit lead gigs road college bars clubs becoming popular college town bars clubs sure way eventually landing gig campus lowerpaying club gigs serve springboard popularity college town goodway get noticed fraternities well band becoming popular bar around state college pa found busy next semester playing frats better money lets face college students like drink eventually frequent bars clubs see band get bar gigs well usually start opening acts basically play little nopay labor love really identify popular band college town pur sue opportunity open themarts associations could completely different article ow n like naca conferences types arts associations hold booking conferences cater performing arts centers campus theaters community groups joining participating types conferences often expensive naca general attended experienced music art buyers know naca tends place learning many people established place ofconducting business go online search arts associations southern arts exchange midwest arts alliance western arts alliance northeast arts alliance arts presenters dan ostrowski founder alive arts entertainment company operating within college market represents artists keller williams house hoi polloi one world tribe rubberneck joules graves pat burtis dan played drums years group platos ca erie pennsylvania toured colleges universities booked managed artists success college towns worked schools present national acts andfoundedproduced music festivals national local talent nw pennsylvanias grape jam music artsfestival resides baltimore maryland wife lisa reached aliveartsaolcom wwwaliveartscom band break th e lucrative college market jeri goldstein performingbizcom rights reserved schools session thought would lend insights playing college market begin fall touring season artists college market gold mine others simply offers frustrationmany acts successfully use colleges point fr om launch careers others found leading dead end number drawbacks playing th arena well benefits explore ends spectrum keep open mind market might fit bookingplans colleges universities offer variety performing opportunities many campuses multiple facilities available use performance spaces facilities may range performing arts center fully equipped soft seat theater dressing rooms curtains proscenium stage lighting sound transformable gym cafeteria lounge various facilities often booked programmed different departments director schedules theater productions classical jazz dance popular artists touring internationally usually books theperforming arts center director center generally coordinates outside performances classesand college productions making facility rarely available college departments major booking entity campus student activities center supervised faculty staff member student committees majority programming depending individual college collegeswhose programming completely scheduled faculty member popular student committees areoften concert coffeehouse committees students decide spend huge budgetsavailable student fees collected year dedicated campus activity planning programming may alsobe scheduled individual departments campus generally small budgets fraternities sororities offer performing opportunities feel act belongs performing arts center environment begin booking efforts contacting director facility method capturing attention many performing artscenters directors attend booking conference association performing arts presenters wwwartspresentersorg holds major annual booking conf erence new york city january fall series smaller regional conferences help artist concentrate touring targeted area conferences performing arts exchange sponsored southern artsfederation wwwsouthartsorgmidamerica arts conference sponsored arts mi dwest wwwartsmidwestorg midamerica arts alliance wwwmaaaorg waa sponsored western arts alliance wwwwestartsorg although attendees conferences also include performing arts center programmers associated college campus many college performing arts center programmers attend least one regional conferences often attend national conference new york well chances gaining theattention programmers increased decide attend possibly showcase expensive conferences attend organizations join please certain act appropriate type college venue similarly programming student activities center number conference opportunitie various committees may select acts oldest largest organization naca wwwnacaorg national association campus activi ties naca hosts national conference february year along eleven regional conferences organization running booking conferencefor college activities apca wwwapcacom association promotion campus activities apca much smaller two offers new acts opportunity break co llege market without requirement spending big bucks chance although naca often forefront ofshowcasing new talent colleges challenging individual artists break organization reap benefits first year showcasing exhibiting mention conferences organizations simply many college bookers rely bulk talent buying impossible break college market campus campus basisbut greater chance recognition use conferences entr\u00e9e side playing college market think one challenging issues agents selfbooking artists must deal booking colleges student turnover rate campuses student committees charge ofbooking talent agent artist often finds task frustrating sometime totally disheartening point giving dealing rotating committee chairs graduating students students join committee one two semesters students varying office hours office hours forcing track dorm rooms one attempt solution always get name number facultyor staff supervisor advising student committee usually one authority sign thecontracts usually office hours begin run trouble finalizing date contact thefaculty supervisor ask help facilitating booking since committees part students education often required play role teacher walk booking process one painstaking step time holds true step aftera contract signed want date promoted campus make sure follow every aspect right gear packed loaded vehicle youve played date campus activity gigs paid collected funds student fees facilities run like professional clubthey need make money order continue however campus activities need make money committees allocated budget want get amount money next year must spend money allocated current year leaves committees envi able position spending great gobs money without fiscally responsible always concerned whether money well spent orwhether students whose money funding event ever show take advantage activities course impacts act booked heard many acts playing thecollege circuit money great audien ces small often nonexistent professional performer attempting treat career professionallyplaying college market may stress depar tment since dealing professionals fair though every happily find student takes hisher committeework seriously hot tips playing college market use college date anchor date tour yes benefits playing market money ju st one benefits ive known artists played college circuit years made good money often getting three four times better fees artists working club circuit use dates anchor dates surround themwith tour lesser paying prestigious club gigs often college dates may booked weekday nights sometimes even daytime leaves weekends club good paying college gig often help fund portions tour enhance college booking oncampus appearances get contacts specialty departments english music theater departments offerto master classes prior actual gig might add money pocket may help increase audience actual gig promotion planning college date necessary promotion along done college get touch college radio newspapers send notice anyone mailing list area contact local media sources use college pr per son coordinate media surrounding gig use college radio unless campus station commercial station campuses commercialstations likely get airpla live interview one shows incredibly influential college stations around dont miss opportunity tap benefits may provide going tour colleges might c onsider subscribing cmj college music journal wwwcmjcom keep abreast whats current college stations contact media college town promoting date campus dont forget intown media another benefit playing college gigs open public intown promotions get noncollegeaudience thats great future gigs area make sure dates reported playing college circuit gains reputation within college circuit reporting mechanisms naca help campus programmers review artists previous tours one campus reports great gig likely campuses influenced report also book youthere many major recording artists began building careers college market recall seeing brand new act bruce springsteen e street band one college concert mycampus programming committee took chance booking recall great show areally large crowd small student union purpose room gee wonder whatever happened act good luck jeri goldstein author bo oking agent musicians performing artists guide successful touring nd edition updated book cdrom information programs available ava ilable wwwperformingbizcom phone email jeri jgperformingbizcom get college market steps derek sivers cd baby rights reserved hired colleges around northeast made good money also wasted tons money sometimes things wrong heres best advice experience works doesnt get database colleges complete contact info current person hiring entertainment college colleges us constantly hire entertainment better good database contact management program commend indie band manager though popular ones filemaker act ms access claris works ms works ms outlook goldmine etc used maintain database college contacts stopped search web bit im sure youll find someone selling current list send onepage flyer every school good onepage flyer picture price testimonial quotes contact info fun colorful exciting describe things terms dont talk drummers background member names prove secondswhy reliable good time evening college name price clearly recommend band solo act like charge little next time new unknown act even circles dont expect thismy advice make good college flyer wwwcdbabyorgcollegeflyer tell flyer call free cd video send asap call followup say thanks say call back hate one school books call schools area send great promo material colorful posters table tents postcards depressed play people tuesday afternoon fluorescent lit cafeteria nice take money go home thank keep touch voila thats best bang buck college market believe tried many ways dont waste money waycollege fyi sending flyers usually get phone calls hopefully turn bookings costs mail flyers youll make back one gig often book semester advance october book february may entertainment march book septemberdecember calendar dont email dont call unless crucial send short flyer read seconds send andthey wont read trust spent sending every college ultimate kit video cd pages info etc didnt get one single phone call months later sent single effortless onepageflyer got calls gigs go figure student activities people hire squeaky clean girls run class treasurer college radio people rebels pierced faces two camps communicate want college radio play whole different world dont think theyll fall place dont bother joining naca going conferences mess unless youre totally committed toit yes may get gigs youll spend find conferences way tooexpensive band hit got big main stage showcase one year yes booked gigs weekend took three years conferences get best advice start save go plan mentioned earlier th article derek sivers president extremely popular online music store cd baby get music online visit wwwcdbabycom booking college show without using naca meredith levande singersongwriter rights reserved artists believe one go naca national association campus activities getcollege dates naca beneficial also costly easy get lost massive amounts ofmaterial gets passed around naca system ive played countless college dates nd instead going naca found material stood among piles collect ed via naca college non traditional venues made sense background traditional ive performing clubssince teenager sort thing ive told musician thinking bit academicside business sense unusual today waiting path train new jersey two heavy bags guitar leaned telephone booth live new york city earlier performed college new jersey many musicians acoustic college gig lame crappy way spend hot sticky sunday afternoon especially another supposedly lame gig evening starbucks coffee sho p playing singing material two hours agai n truth told singersongwriter world gigs done far career pl aying obnoxious traditional nyc venues whenever im waiting train bus lately quite often frequently someone approaches asks im playing etc expected man approached asked told im singersongwriter one adphone ear lowering volume sony discman asks funk jazz say folk pop women contemporarysingersongwriter show cd one already opened course asks could listen hand smiles talking tells owns ja zz club looking opener huge jazz festival similar style musicmy cd clouds released informally august though material date back early time fear performi ng live going kept performing rigorously thought naively hat playing acoustically lame especially since guitar playing far perfect felt wasnt versatile enough carry whole show unless virtuoso couldnt play solo without sounding like another folky chick guitar backing band comprised topnotch musicians heart hearts excited tobe part project great musicians caught would perceivedby industry people would anxiously prepare onceeverytwomonths show nyc club like bitter end cbs luna lounge treat huge event truth told really playing every open mic every acoustic venue could find get front people end result band grew frustrated annoyed band environment full tension non conducive vibe music band broke faced brand new long awaited released cd confidence time low nothing scared thought getting solo thing promote cd add insult injury simultaneously got fired job tried put music career together getting fired jobs became hobby managing booking consumes daylight hours matter much tried tostay focused job music everything related inevitably came first shall say camethrough nevertheless work menial day jobs support career wondered singersongwriters able tour al l country trust funds week fired cousin profe ssor monmouth university gave cd student activities board called asked perform offering seemed like inordinateamount money back small profit gigs ungodly amount money played gigand amazed getting paid week later booked starbucks coffee show managers loved much gave nu mber district manager called come play stores guaranteed pay inbetween relentless calls nyc clubs nd getting runaround people calling play money sent cd two local college also called booked close wheels started rolling went home called people knew different places found names local colleges called colleges sent cds appropriate booking people december following academic semester played different colleges even back twice semester called everywhere made contacts followed like mad end played half colleges andcoffeehouses submitted material band manager time booking agent truly believe good product sense friendly professionalism phone got gigs many colleges alternative venues sick dealing agents managers often pushy andask higher prices contacted schools performed sincerely wanted play letthem know artist type crowd appealed overall message wasi also thoroughly enjoyed getting know people talking think people apt give shot time spent phone getting know allowing th em get know fine line pushy persistent tried carefully cross students liked cd also excited speak directly establish relationship played school ive various types college gigs great sogreat ive also various types club dates great great main difference least guaranteed good money college showsone best experiences playing nazareth college rochester ny school made real effort promote show putting fliers ev erywhere playing cd college radio station students actually heard new material even got set stage awesome show warm welcome made huge coffeehouse event took dinner performance got know students r eally get feel open new music quiet twohour performance friendly asking questions lyrics wanted even came auniversity rochester show two days later also set stage another awesome gig nowhad builtin fan base besides selling cds making great contacts nice following students frequently send email telling music helped understand one school many enthusiastic woman singersongwriter many young wom en really relate im saying actually feel im making difference statement something set early career dont get wrong really bad days getting work getting rejected get wonderful messages emails feel important part culture generation want influence countless times young women tell want im ask imake part job sit talk establish thebeginnings career singingsongwriting ive already heard letting know theyare actually encouragement gave inspiration sincere end ive played countless colleges borders bookstores chain coffeehouses time like real gig good sound system definite listening audience honesty placeswhere ive met genuinely interesting people real feel hope music literally way like guy met path train contacted nicelypaid opener music festival living new york city meredith levandes talent singing songwriting became stronger fears channeled sprit nanny also emotional struggles felt inextricably linked many women fragile human condition songs flect destructive force broken promises vulnerability mind many untraditional topics usually found catchy pop tunes addition touring east west coast college coffeehouse circuit mer edith used play nyc club venues often prefers college circuit coffeeho use scene wwwmeredithlevandecom touring tips steps successful tour david hooper music business radio rights reserved anyone ever tour tell fun games fact lot times opposite still bands comes time wanting hit road think thethrill lifetime important points consider planning tour big four youre going need reliable transportation first dont buy van first time lease one see something really want get involved youre ready take plunge w ant buy something new van always best far reliability also find real bargains rental companies companies great keeping vehicles keep accurate records maintenance done buy something use van dont even think hitting road without aaa membership pick broken dow n car theyll also make sure dont wind jailat least speeding youre going need somewhere crash hotels get expensive live without hbo campgrounds like koa reasonable option youjust want shower dont mind sleeping tent van another great option staying bands people love help people take advantage internet meet people work relationship ahead tour youre going eat get camping gear get used cooking food whenever youll feel better would eating fast food time youll also save money another advantage hotels many offer free breakfasts take advantage sure make trips take care many future breakfasts possibleyoure going need money dont count getting paid every gig lined sooner later youre going run short funds panhandling selling cds street option may well get cash need getenough gas get next city make sure credit card emergenciesother important rules avoid calling cards surcharges really add youll definitely need money something else get plenty sleep dont performance suffer wont able interviews visit record stores anything else youll need make tour success sleeping bags must theyre great van strange houses wherever else happen end pack light isnt vacation work less junk bring less clutter vanbus annoy neatfreaks band sometimes cheaper go thriftstore shopping spend money laundromat avoid buying anything states high sales tax buy cigarettes nc ky tobacco states avoid buying ny pa nj avoid alcohol dehydrates costs lot money tends make everyone irritate much quickly remember isnt vacation nice people go long way well worth come around next time unloading loading equipment keep one person van one inside venue keep eye things never leave equipment unattended even think trust thepeopleyou cant drive speed limit youll get better mileage problems police one speeding ticket screw whole tour budget possible take laptop computer yahoo google great information places youre visiting maps things really cant live without print list contacts including mailing list keep get bind try contacting someone area see help good luck tour david hooper founder kathode ray enterprises nd host music business radio show features interviews various industry professionals giving listener insight expertise business wide ranging guest list include grammy award winning producers artists musicians songwriters well record executives promoters artist managers wwwmusicbusinessradiocomtouring strategies renting tour vehicles jeri goldstein performingbizcom rights reserved startup phases establishing new group may want make investment touring vehicle instead pressing items require investment dollars promotional packages photos recordings rather increasing wear tear one groups vehicles renting touring vehicle may best method getting around early stages tours may one two weeks long sometimes even four five days perfect situations renting offer strategies make rental experiencebecome fluid hassle free making calls rental company would helpful create overview upcoming tour dates far future possible fi nd company like leverage rental rate reserve multiple dates company assure ongoing rentals fewfactors keep mind research perfect rental company groups needs vehicle size many companies minivans cargo vans van comfortably seat passengers reality wont need seat passengers normal minivan leaves little room five people luggage instruments equipment depending upon specificrequirements may pass many favored companies order find vehicle appropriate size national companies vs local companies value national company evident problem vehicle road likelihood finding replacement vehicle small town usa greater national company nationalcompanies also working volume ability discount widely one problems large company may often loca ted airport depending live airport rentals often carry additional airport taxes surcharges increasing daily rate substantially chance rent offairport sometimes save airpor surcharge taxes depending city example live new york city renting van city almost impossible renting major new york airport carries huge taxes surcharges take th e time travel new jersey find van rentals also rates much better touring close home using loca l company may provide advantages opportunity establish relationship owner owner may flexibility since donthave answer corporate headquarters sets rates may even able work sponsorship deal local owner find loca l company appropriate vehicle make proposal sponsorship deal next year give van rentfree place name promotion year menti name posters articles radio get free advertising within local community w normally business get touring vehicle trying national company possible difficult since make proposalsthrough companies advertising departments agency tours regional local company gain creating sponsorship anytime building regional support using regionalcompanies build network benefits communities live work apowerful point make proposal sponsorshipmake personal contact whether chosen local company national company initial phone conversation meet manager owner person make proposals discuss intentions working relationship get names possible meet staff manager owner may always available arrange rentals sure anyone deal knows special arrangements made mileage important consideration whenever ask unlimited mileage unless calculated cost per mile distance intend travel always pay rentals without unlimited mileage corporate accounts accounts always available even legal corporation many times however corporate accounts carry rates higher promoti onal deals often offered depending often renting worth checking rates es tablish group corporate account account information entered rece ive similar treatment time rent keep mind though meet manager set profile company corporate account may necessary locked corporate rates want flexibility along service advance reservations must want take advantage promotional opportunities offered company often notice upcoming promotions al ways take advantage larger discounts making reservations advance established relationship staff chosen rental outlet call reservations cities times flying renting vehicle attempt get best deal possible even different city reserve advance always take advantage full week rates special weekend promotions last minute reservations find situation needing last minute car reservations always get lower rate call toll free number major rental company make reservation rates always higher counter without reservation land airport go pay phone call toll free number make reservation first go counter simply pull reservation get much better rate discount cards save money time rent aaa usually saves frequent flyer airline memberships renting conjunction flight get points major car rental companies also offer discount cards often come professional memberships member anumber organizations membership card arrived wi th discount card alamo hertz avis good specific time period certain restrictions specific codes identifying organizationalways mention discount card king reservation calculate rate accordingly make note reservation go counter actually pick vehicle discount information included howe ver show discount card counter extra insurance add substantial amount daily rate however may comforted knowing pocket expenses accident occur accept additional insurance liabilitycoverage gold platinum visa mastercard rental provision may necessaryfor take extra coverage check credit ca rd information consider applying card rental rider use vehicle rentalsprepurchase gas often save time rent ffice town familiar local gas stations may cost effective refill returning car renting unknown area prepay option convenient rush trying make flight even though may pay cents extra purchase full tank unfortunately makethe decision taking car leasing working car dealers another option looking longerterm rentals larger size vehicles vans whenchecking rental companies include car dealerships may van looking willing work lease agreement tour plans least one month plan ontouring consistently throughout year even discuss oneyear lease agreements restrict mileage however may large enough deterrent send rental company read anylease rental agreement carefully signing considering local car dealership also opens potential sponsorship deal another opportunity present marketing proposal dealership order compel offer vehicle reduced lease rate exchange advertising tour rental lease situation fees tax deductible since rental clearly business usage touring becomes regular steady income may make sense explore purchasing touring vehicle unless someone group perfect touring vehicle willing offer thebands use renting appropriate vehicle tour may costeffective way travel jeri goldstein author bo oking agent musicians performing artists guide successful touring nd edition updated currently consults artists agents managers consultation program anagerinabox presents performing biz seminars workshops conferences universities arts councils organizations book cdrom information programs available ava ilable wwwperformingbizcom phone email jeri jgperformingbizcom band safety tips night club fires stampedes james blakely go listen live rights reserved past seen devastating tragedies night clubs night club fire rhode island andthe stampede chicago cost many lives problem affects industry safety something thatperformers need take consideration people shows fans upporters part extended family safety important would terrible artist fans die show know lot bars clubs indie arti sts perform code many falling apart thats extra careful playing dump maybe reconsider gigs possible problems could arisei want present common sense tips ensu band safety playing live venue check exits important make sure know exits venue playing also make sure rest band people crowd know make sure exits locked available escape necessary emergency happens stage direct people exits dont panic best get everyone calmed center attention microphone help get thepeople dont stupid stunts something sound real cool may put people danger dont professional operators dont use fire water show dont incite riot fighting know people like mosh dance dont let people get hand dont encourage something could become dangerous let employees venue know people getting hand dont know many fights seen shows could avoided members band see people getting aggressive reported staff everyone wants good time without havingto worry bullies audience connect staff meet bartender security anyone else works venue ask emergency plans already emergency plan place find prepared pay big way may even save someones life dont get caught situationwithout sort plan go listen live totally free resource indie bands promote interested signing go listen live contact us wwwgolistenlivenet gig checklist preparing gig show dennis damp media web source rights reserved good idea prepare gig checklist remem ber everything band need upcoming show band would want forget equipment necessary items especially show miles away home example gig checklist may find useful upcoming gigs band gig checklist venue show date time time directions item checklist guitars backup guitar hex wrenches guitar mic chords clips drum key stands bass drum drum guitar amp cabinet bass backup bass amp cab lyric sheets music keyboardssynthany direct box effects pedals extra strings miscellaneous items miscellaneous special items pa rental pa mics book sound tech book lighting tech transportation equipment business demo press invoice contract venue weve included business cards press kits ensure band never misses chance promote future shows never know may gig always promotional tools ready good luck preparing gig che cklist bands next show dennis damp runs mediawebsourcecom website prov ides music industry resources songwriter band find band press kit demo tips recording studios cd duplicat ion songwriting resources record company submission guidelines music industry information band promotion musi c industry articles get gigs music business books music equipment wwwmediawebsourcecom ediawebsourceyahoocom promotion performance marketing tour support vivek j tiwary starpolishcom rights reserved live shows often best way develop new artist expose new music seeing band live takes convince fans buy cd radio station play single publication review theiralbumdemo therefore tour support integral part marketing plan term tour support used music industry define either amount money record label gives artist help cover costs touring keepsend road efforts members business team record label personnel marketing reps manager etc promote shows take advantage marketing opportunities surrounding live performance purposes article going focus second part definition related marketingin context tour support isnt marketing tour whole also marketing individual performance separately marketing artist around live shows even local act playing shows hometown article still critical importance fact article isrelevant artist stature anywhere long theyre playing live shows tour support definitely formal tour thats prefer use term performance marketing performance marketing involved process begins weeks every show date continues week also incorporates elements music marketing mix ie retail radio press etc therefore may want create personal checklist ensure cover allyour bases performance marketing checklist cover suggestions major sectionsin article im live act act music doesnt lend liv e performance definitely marketing disadvantage first piece advice reeval uate brainstorm ways act could fact translate live way incorporate drum machines computers stage alongside voice live guitar convey songs solo artist records backing band one cant afford pay live shows arrange play solo acoustic versions songs give serious thought acceptable way trans late material live much suggest experiment small clubs front close friends still support live experiment fails miserably never know try ou may surprised live performance adds new exciting albeit different facet act brainstorming come conclusion material simply cannot translate live recommend organize several listening parties music played throw listening parties like youd book shows book listening party mark et promote exactly would live show words act cant perform live still find method present music public venue clublike setting performing live mitigate marketing disadvantage increasing efforts elements marketing mix ie retail radio press lifestyle marketing etc several artists top radiofriendly popsters criticallyacclaimed alternative acts like xtc successfulwithout performing live fill marketing hole something good songs andmusicbooking shows preparation obviously market performance need book performance show booked get ready series important steps maximize marketing exposure gig marketingpromoting concert nuts bolts use mailing listssend announcements mailing lists flyers street addresses afford emails online list initial email sent days show date reminder email day two show particularly important gig longer initial lead time reminders goodidea example particularly good email show announcement starpolish artist advisoryboard member rob siano band spinning images original message spimagesaolcom mailtospimagesaolcom undisclosedrecipients subject worst alternative band ever hello spinning images threatening play last chance poughkeepsie saturday july st come protest petitions available online stop maniacs coming anywhere near building show starts pm get early bring pickets air horns info go thanks rob spimagesaolcom spinning images live saturday july st pmthe last chance crannell st poughkeepsie dont forget wwwspinningimagescom would like mailing list simply reply see k directions taconic north poughkeepsie exit rt w get exit go straight minutes pass mcdonalds right right track keep going see gettystation right hamilton st go next left make left make another left theparking lot chance still cant tell many emails get artists dont take care many important little things make effective promotional email rob covers top bottom blind carbon copied bccd everyone made undisclosedrecipients addresses everyone list hidden respec ts privacy list membersthe message catchy subject title worst alternative band ever also implies tone rest letter case tongueincheek style makes sense spinning images main text message short memorable case funny also makes sense spinning images personalized simple thanks rob doesnt feel much like chain letter also includes contact information critical repeats main information small block uppercase text soon email open readers get pertinent details glance dont huntthrough main text venue time date address notes bands website alludes going online earlier text gives list members polite instructions unsubscribe mentioned see k name spinning images album however noted album title listmembers may forgotten finally gives clear directions venue could also included venues phone number noted whether strict allages show readers assume dont sayotherwise club loose door policy thats worth noting hard copy flyers hardcopy flyers street mailings take consideration issues email exampleabove though course also vi sualdesign element eyecatching hopefully make list members want hold onto fl yer gig maybe even afterward youve got really great visual hardcopy flyers mailed well advance arrive days first show announced flyer ie mail least w eeks first show expensive manufacture mail flyers may need use one flyer advertise multiple dates thats case dates different parts country try break mailings ship different markets atdifferent times person list gets flyer days nearest show date sinceemail free put time send one email per show basic grassroots concert promotion weeks prior show date must promote event entire local music community outside mailing lists ensuring everyone knows show happening developing excitement appearance long advance actual show date inform contacts upcoming show try get date added appropriate concert calendars local press radio retail accounts budget take key ad key press also noting show keep mind guidelines noted respect effectiveannouncements even money radio ad spots less recommended often moreexpensive theyre worth design flyers posters advertising show hav e album also mention availability one several local retail accounts flyers ones used mail street addresses mailing list keep posters smaller side x recommended thatthey fit crowded kiosks small storesdistribute flyers throughout local music community remembering include college high school campuses dorms underneath doors student unions record stores coffeehouses skate shops tattooparlors jewelry shows concert halls clubs underneath windshield wipers cars etc whereverappropriate hang posters noting show throughout local music community remembering include college high school campuses record stores campus kiosks street bulletins cool parts town student unions coffee shops smoke shops etc wherever appropriate hang posters noting show venue youre playing venues possible called merchandising venue design execute creative promotional techniques spec ifically tied act venue playing show date well get little later critical important emphasize perfo rm efforts even act unknown people see flyers posters dont recognize name flyersposters may convince folks go show def initely start put name minds get flyer next show see poster second time around point however vaguelyremember name perhaps even subconsciously think know act hmmm ive heard beginning allpowerful buzz youre trying create via music marketing work promoters every venue promoter books shows additionally responsible generating awareness clubs events specifically filling house paying customers booking purposes already developing relationships various concert promoters venues targetmarkets confirm show date much possible still work promoter support event dont ask help market show actively suggest ways work together mutual benefit example return flooding difficulttoreach college community announcements bands appearance promoters club perhaps even noting upcoming shows club promoter could give number compensations including extra display space inthe club posters possible use club show postshow party even extratickets show use giveaway promoti ons artists develop especially good relationships promoters may able convince se discounted tickets shows anyone showing student id meeting preset criteria possibilities collaborative creative crosspromotions venues endless depend nature relationship foster promoters downside wonderful marketing potential depending market venue may find promoters extremely difficult totally unwilling work best point outwhy working good think objectives selling tickets shows selling drinks bar marketing venue etc make pitch firm accordance objectives everything music marketing dont offended working promoters doesnt go well youd like markets hard enough getting promoter book bandmuch less work creatively still try try difficult promoter wouldnt creatively work notices pack venue ticketpaying folks whore also buying drinks andor food promoter unsurprisingly availableagreeable future terms booking future appearances working creatively mutual benefitmonitor artists concerts take advantage opportunity promote upcom ing shows someone elses events example popular local national band performing town know similar fan base may want pass announcement flyers along promotional items people leaving show possible promotional items stickered show dates album availability information noting retail account andor announcing upcoming tour note always better pass promotional items end shows people generally excited show usually willing hold onto flyers promo items received way way way dont hold onto stuff concert gave musicrelated items like cassette samplers may pop cassette car stereo onthe way home also worth mentioning placing flyers windsh ield wipers cars parking lot effective way capturing attention exit crowd ticket requests guest list ticket distribution soon confirm show date ask prom oter many spots guest list many promotional hard tickets may business contacts explain pad guest list friends family really want bring musicindus try contacts see act promoter unwilling give enough free admission ticketsguest list spots satisfy business needs ask orher whether purchase additional advance tickets reduced rate business contacts unwilling give discount budget permitting may still want purchase extra tickets contacts im getting important able get key businesscontacts show free extra incentive stop check outi strongly recommend matter policy never guest list friends family especially earliest stages developing artist reason simp le earliest biggest supporters friends family likely willing pay see live many cases shows paid via percentage ticket price ex plain friends family feel even comfortable paying furthermore remember pack house paying customers venue happy promoter likely offer another better show future alsoexplain friends family feel ev en comfortable paying see live point take support likely get str ict youre guest listing friends family dont make exceptions make girlfriend boyfriend siblings parents pay start make exceptions policy breaks friends feel slighted may lose future support reiterate strongly recommend promotional tickets spots guest list solely reserved key business contacts additionally may want also hold pair two promotional giveaways inform contacts upcoming show fi nd many would like see show give sense best distribute promotional tickets guest list spots careful overpromise wind situation cant fulfill requests received thissituation arises suggest purchasing extra tickets contacts opposed uninviting someone promised ticket dont jeopardize business relationship concert ticket good rule thumb keep tickets side available long possible often extremely important contact expect procure tickets request tickets last minute set aside tickets lastminute reques ts able accommodate important contacts dont tickets commend buying important contacts budget permitting finally remember prioritize give tickets key contacts contacts long supported come firstpromotional giveaways promotion upcoming show generate ex citement act may want hold giveaway one radio stations press record stores lifestyle accounts giveaways simple ballot box raffles callintowins better yet think creative giveaway contests prizes giveaways include tshirts promotional items music samplers etc ticket giveaways also effectivepromotions especially shows diffic ulty selling advance tickets whatever reason concerned empty good time work promoter also want hisor club empty may supply extra tickets promotional giveaways remember insure thatyou acquire tickets guest list spot organizing committing giveaway stock placement retail accounts record sales often increase surrounding shows due localized attention performing artist must ensure fans seek cds find easily stores stocking cds placing right section try get owner manager place albums prominent section store surrounding show date example counter little note like appearing next week khyber pass signed record label manager make sure label andor distribution company taken care stock placement retail accounts surrounding shows tour datesinterviews press conferences show dates present excellent opportunity solicit inperson interviews radio press video contacts theyre likely interview around show date story report cover ie show course youre touring act town night show show date may opportunity solicit inperson interview much possible interviews set tandem review concert mind best time set interviews sound check shortly show starts waythe interviewer stick around show immediately following find several contacts interested interviews rather trying schedule many short interviews could request organize one longer informal press conference accommodate allrequests single event make sure organize logistics event time securing space etcwell advance everything runs smoothly keep thes e press conferences informal fun example conference could held bar restaurant coffee shop etc near venue much possible trynot place much physical distance band interviewers order maintain feeling intimacy similar oneonone interviews fi nd often convenient time press conference sound check promotional performances preshow promotional daytime performance often best way promote nighttime concert theseevents take place air radio station instore retail account creative location altogether ie college cafeteria local caf\u00e9 coffee shop public park etc worked sonymusics college marketing department set promotional performance group preside nts united states america hot dog stand totally unforgettable successful event promotional performances work best theyre acousti c due easier logistics less production costs experiment electric try ganize promotional performances locales might expect goodsized somewhat captive audience disappointed wind playing small crowd remember every little bit counts one new fan turned one cd sold extra bit buzz generating one new fan might excited come sh ow later night might bring friendsat beginning end promotional performance mention bands name information nighttime show availability recent cd applicable college cafeterias popular local cafescoffee shops great places promotional performances venues often builtin daytime crowds hand crowd unappreciative live music played lunch hour perhaps venue ideal unsure merits venue mo st performance opportunities early days take chance play event prepared possible disappointment colleges concert entertainment boardscommittees book shows school identify concert boards target market make conta cts order identify opportunities promotional college performances additionally cafes coffee shops physical space also willing book developing artists acoustic performances although many outlets larger chain stores may less willing due national corporate policies pitching promotional performance request pitch matter keep mind needs venue pitching point performance actually good enhance atmosphere lunchtime crowd youve met enthusiastic audiences great success playing similar locales markets etc successful securing promotional performance sure find many pertinent details possible much time take location event distance nigh ttime venue needs provide sound equipment necessary certain venuesrooms even acoustic hows require basic sound equipment whether cost anything etc order guarantee awareness good turnout market andpromote free daytime performance much way promote nighttime show make sure promotional materials mention performances promotional performances free charge audience members since major point show encourage people familiar act come see nighttime performance whichwill likely carry ticket price promot ional performances freeofcharge venue may willing pay perform since theyre di rectly making money performance somewhat fair hand college concert boards often substantial budgets cafescoffeeshops good business may willing offer little compensation politely ask aboutpayment performance mildly suggesting used paid performances andthat usually expect little something prepared play free think performanceas truly promotional event nighttime concert moneymaking venture meet greets dinners parties believe would enough interest business contacts budget organize preshow dinner meetandgreet industry calls events band postshow party events laidback opportunitie key contacts meet hang informal environment events go long way convincing contact help actespecially band mates particularly funny engaging otherwise personable creative butreasonable ideas meetandgreets dinners parties pick unusual cool memorablelocation event example ran alternative marketing epartment mercury records held meetandgreet band james bumpercar amusement park promote thennew record whiplash event memorably called get whiplashed james careful figure associated costs creative events like advance make sure st ay within budget postshow parties particular get hand large bar food tabsif budget least strongly recommend every performance band mates come backstage mingle audience fans key contacts mighty mighty bosstones every single show hey play decade every stage career matter large venue attitude go long way toward creating intimacy act fans business contacts kind intimacy turn go long way toward supporting building buzz surprise bosstones accumulated kept devoted fan base stable business contacts believe band find apleasure support ongoing musical projects creative use time much possible develop design execute projects creatively use time surrounding show date particularly outoftown show market day two exampleyou could organize guitar clinic local high school taught lead guitarist could arrange spokenword caf\u00e9 performance youre particularly opinionated vocal worked sony music college marketing department organized play basketball pearl jam event university pennsylvanias palestra unforgettable folks attendancethe band developing stages time well known course pick event fits vibe projected image comfortable participating members remember promote upc oming concerts new record releases events also careful work logistics associated costs creative events well advance avoid financial surprises preshow get venue well advance sound check neatly hang posters throughout place inaccordance venue restrictions annoy club manager promoter industry terms called merchandise venue restrictions might include clean areas posters cannot placed hanging requirements ie staplesstaple guns always carry tape staples cover allyour bases posters note new record availabili ty tag local record retail store thats stocking record applicable introduce nice doormanbouncer sound guy guys like make show lot enjoyable fans see things run smoothly theydont like attitude guarantee youre trouble one developing band managed internal policy always bought sound guy doorman drink show courtesy always came surprise went long way developing good relationships folks result enjoyed better treatment door onstage repeat performances venues bring list contacts know coming show possible meet venue hit stage offer lend hand club personnel promoter sometimes assisting astressedout promoter something unrelated performance takes cement good future working relationship promoter importantly play great show postshow show arrange one marketing reps friend fan position exit distribute promotional items exiting crowd remember better distribute items show crowd exci ted seen band likely hold onto free giveaways mentioned another good postshow place distribute applicable items windshield wipers cars parked venues parking lotpromo pieces could distribute show could include stickers posters cassette samplers specialty items careful find advance club ha restrictions gi veaway items example clubs dont allow artists pass stickers none items manufactured design simple flyer noting albums availability one retail stores distribute might even ask one stores whether would interested honoring coupon sell cds discount anyone attended show coupon could flyer design handout show cassette sampler stickered discount information ie two dollars newalbum amoeba records cassette selling stuff best time sell cds merchandise successful show advance show find club allow set goods fo r sale policy may surrounding merch sales venues demand goods sold request staff sell stuff make surethat point show announce merchandise sale venue afterthe show band manager start selling merc handise directly last song band members join assist soon finished moving gear stage thereare two reasons manager band directly responsible selling merchandise firstselling merchandise obviously involves handling money trust handle money secondly friends fans want hang band members show mostlikely approach merch booth say hello excellent time ask buy merch distributing free tickets show strongly recommend give away freemerchandise friends family earlie st biggest supporters likely willing actually pay stuff especially early days take support financial wellas emotional get mailing list best time solicit new names mailing list successful show followup week show member business team one marketing reps perform followup activities extremely critical often forgotten final step performance marketing process call contacts attendance thank hem support see enjoyed show ask feedback make feel like opinions matter take criticism well make updated pitches contact appropriate trying get add radio station concertreview press etc call venue thank folks helped make show possible promoter owner bouncer sound guy etc go long way towards developing good relationships venues unable get appropriate folks phone write simple thank cards mail drop venuejust make sure know put thanks call family friends fans att endance thank support dont take attendance granted week show check see sales increased retail accounts airplay gone radio stations concert reviews appear press accounts week two show may want di stribute flyers music community noting albums availability retail stores keeps act fresh everyones mind helps maintain buzz developed performance long possibleas founderceo tiwary entertai nment group starpolish vivek j tiwary involved production management marketing investment film theater music television vivek also accomplished writer director music videos short films record producer musicians genres vivek writer director fifth beatle wwwfifthbeatlemoviecom feature film currently development based life beatles manager brian epstein wwwstarpolishcom turn gigs major media events jeri goldstein performingbizcom rights reserved youre barreling along booking tour dates promotion playing gigs generally feeling pretty good way things going yes youre thinking sp ice things make exciting everyone especially media bring bit attention road show answerthemes upon returning new orleans moderated panel accessing media panelists music critic publicist radio programmer one point workshop attention focusedupon creating media events capture audience press tv radio talking media events visiting dignitaries discussing simple cd release little creative mind expansion planning outreach community businesses nd organizations turn simple cd release media event take make media notice youincorporate approach time want stir things first lets talk themes always teach seminar attendees crystallize de scription act single sentence three five words take approach bit think create theme around cd title type music play name title song want pushto radio create name upcoming tour etc example publicist panel worked bb king focus blues genre working color blue decorations hosting restaurant event manipulated menu foods include everything king nameking crab legs chicken la king get idea planning ideas incorporated invitations press releases prepromotion get people press excited theevent could expect attending shin dig grabbed attention another angle becomes important involve community businesses organizations approach restaurant club hosting cd release likely pull ut room rental sheet begin tallying costs give estimate approach theme reaches beyond cd release incorporates lo cal regional national charitable organization start figuring inkind services donation media attention event likely get theme gives something get excited gives creative jumping point marketing tool involved supporting theme become inspired coworkers eager add specialty overall product event really get peoples creative juices flowing event coordinated charity ultimate beneficiary media coverage grows exponentially businesses aremore likely donate services exchange association event subsequent media attentiontheyll receive attention far outweighs might receive straight advertising eventtakes new meaning bring great deal attention cause ultimately cd act event would possible using nonthematic approa ch takes creative thinking even exercising outrageous ideas move beyond basics realm staging media events finding theme ignite ideas makes easy exciting involved suggestions consider incorporating thematic approach career think plans next two years events projects tours works begin think themes new projects brainstorm group members managers record labels publicists discuss next projects work theme plans develop project tour recording begin planning event begin incorporate theme event consider following think businesses could involve theme ready create proposal get excited integral part event think benefit share presenting proposal think community charities could align would natural fit theme particularly interested specific organization strive create longlasting relationship might span years grow career consider graphics posters colors design features enhance overall execution theme expand impact media public food involved event theme carried catering simple low cost players involved participating benefits highercause sponsor donates costs clever theme good cause sponsors attracted event want participate specific location important theme execution get licenses might need city county check local event calendars ke sure event wont interfere another scheduled day might cost money yes payoff greater many times greater sending press releases hoping get printed even noticed plan ahead build associations youincorporate themes plan donations sponsorships inkind services cover many costswhen consider cost large mailing phone campaign get radio attention media eventapproach potential impact much broader audience get used creating budgets project undertake becomes apparent might dole bits budget prospective sponsors costs various line items completely covered sponsor incorporating thematic approach project planning budgeting creativity become worth effort evaluate results yes bit work init ially outcome magnified many times placing among true prof essionals reckoned business step ordinary place act among unique outrageous extraordinary aregaining momentum careers dared interesting competition allstarts choosing theme next project wo rk theme angles pleasantly surprised end results jeri goldstein author bo oking agent musicians performing artists guide successful touring nd edition updated agent artists manager years curr ently consults artists agents managers consultation programmanagerinabox presents performing biz seminars workshops conferences universities arts councils organizations book cdrom info rmation programs available available wwwperformingbizcom phone email jeri jgperformingbizcomunderstanding draw diane rapaport jerome headlands press rights reserved understanding draw old western movies draw meant pull six shooter music business word draw different meaning presenters music club owners concert promoters etc bands draw defines many people come event particular day particular time particular price many occasions band popular new york draw people concert butin san francisco cannot bring people small club draw concert halls fill fora particular band ticket prices presenters figure bands draw theywill market research first look bands performing history available bands bio current tour dates etc try ascertain many people may attended shows talk club owners concert promoters try correlate number people come performances variables may affected numbers variables provide information draw size bands mailing list effort presenter put drawing peopleto gigs recognition bands name branding popularity bands cd onewordofmouth notice airplay reviews competing bands competing leisure activities movies sports festivals day events etc results resear ch tell pay band charge customers date book large auditorium hire bands understand needs businesses work hard tell th ink draw pulling history reviews airplay etc building draw bands dont draw need build playing much possible community live thereby building local following solution ssome standard creativethat help bands build draw packaged night bands draw attract audiences would sympathetic music either k club owner help find band share stage approach managers bands persuade let open showsclub owners usually prefer strong package presented trying figure compatibleshows opening acts usually earn less expenses takes gig little ofwhat charged door paid headline band breakeven low paying gigs better thanspending time rehearsal room opening bands cheap education working audiences developing showmanship professionalism building draw bands played three four times enthusiastic audiences result packaged draw bands persuade clubto let play night monday night owner agree bandwill work extra hard getting people club nothing else load club friends family toensure full enthusiastic audience club owner impressed bar business heshe thatnight bands efforts make good audience general feeling excitement room bands always supplement clubs promotional efforts use gig spread name around least provide club owners additional promotional materials send put week gig put flyers key places community diligent co llecting names mailing list using let friends fans followers hanger know playing invite reviewers help familiarize name club owners always impressed kind cooperation importantly spreading bands name around help build drawhere imaginative ways bands helped get people club club owner make money band persuaded club owner underwrite twoforone beer tickets night scheduled perform good advertising gimmi ck tickets handed generously two nights prior gig help attract people club band b attracted lot publicity playing late lines department motor vehicles band c popular one town fans nearby city contact band city performs regular basis asks first warmup opening set offer town added incentive offer share mailing lists mutualinterests bands served needs club owner may book new bandsometime future building draw promoting gig showing band put goodprofessional show audience start time dont take long time tuning adjusting talkingamong forgetting watched audience comes ready entertained pace sets well handle transitions songs easily without much lost time theyspeak clearly mic say sa briefly get going relate friendly way audience make interesting watch well listen beef aband member wait offstage diane sward rapaport founder president jerome headla nds press inc pioneer field music business education extensive work arti sts manager late bill grahams fillmore management ms rapaport began teaching music works predecessor ms rapaports successful book make sell recording revised fourth edition book teaches steps involved setting managing small record label large small label operate ms rapaport lectures numerous colleges audio schools artists advocacy conferences cu rrently teaching music business classes internet university colorado denver av ailable seminars speak ing engagements booking information please call jerome head lands press inc harnessing fan power street teams daylle deanna schwartz author tart run record label rights reserved independent success usually based amount gra ssroots promotion thats generated street teams great way spread word music potential fans effectively generate buzz cd even release budget hire street marketing companies put together market across country cant afford create one fans believe best way single valuable tool cultivate market music havefans love music street teams cost effective productive marketing campaign tonybrummel president victory records chicago says anything various promotions internet going retail setting displays securing instore play filling stock check lists us giving us reports programs see labels product compliance listening stations payfor especially chain level big thing going concerts passing posters stickers orsamplers everything community promote records often music lovers passionate specific genre know others loyal fans work work hard spread word create excitement record stores keep informed salesand marketing opportunities jay woods senior vice president general manager new westrecords austin big believer people talking record stores says dont havethe luxury big staff constantly try recruit people eyes ears us storestheres much phone youve got let people know youre street teams help accomplish thatusing street teams makes sense getting new fans think might pique interest advertisement act dont know fans ent husiastically telling love artist enthusiasm contagious fans happy help theyre asked go many lengths show appreciation efforts let fans know street team recruit members whenever get excited helping place website people sign join listwhat specific things youll need help need help website let know someone call media radio stations ask fan may know someone skills need valerie vigoda lead singer electric violinist groovelily great example act thats harness ed power fans member street team act publicist years fan went actually work pr company mutually beneficial announce youre looking gigs encourage people get friends involvedkeep record fans live tap markets tour fanpower force seriously help advance artists career create grassroots awareness thats necessary sell cds book gigs bring people website get press get next level tour ask help market street team members give flyers hang posters whatever promote gig reco mmend radio stations approach ask stores bring instore promotion get stores carry cd even help find gig dont know venues region recruit fans work merch table perform return give free tickets gigs tshirts whatever else make feel special hang littleat gig ask fans go chatrooms post messages bulletin boards artists similarto talk music lovers might love knew make sure good website potential fans invited show great appreciation members street teams whenever create separate newsletter street team members let know news first make personal talk like friends becausethey thank individual members specific things newsletter inspire others things gettheir name cant make fans feel special thats want helping give specialtshirts advance copies new releases song one else perks think fans feel like part something special theyll work hard create community among fans groovelily di began petal pushers pp program check website wwwgr oovelilycom valerie vigoda says create sense community make team feel special work together spread word organized vigoda explains petal pushers turned vibrant growing community friends gatherings parties active online discussion group makeexclusives available pps often put one avid petal pusher charge theprogram hes point person asks pp theyd like involved encourages dowhat theyre comfortable postering flyering contacting media giving sampler cds helping themerch table gigs cases promoting shows small group pps funded bumper stickers say petal pusher powered people enjoy part community helping spread word aboutmusic like show appreciation much try channel incredibleenergiesstreet promotion important grass roots awareness give posters street team members different markets go retail stores talk buyers pushing cd ask street team members go place potential fan might go encourage let know theyre going music events fans genre attend especially large venue give tshirts preferably website wear ask give postcards samplers stickers swag name website onno lakeman red violet duo based holland says given people tshirts flyers uk festivals works us events thousands ofmusic lovers visiting festival see someone wearing shirt handing flyers street team membersthat tap fans artists help increase following greatly might potential fans shop fans bring promotional material retail stores music lovers may go stores dont sell cds might give swag support music ifenthusiastic fans approach tony brummel says thats big alternative marketing area label likeus lot alternative type accounts might interested artists things us outside regularmusic retail example continually supply skateboard shops surfboard shops place like free music tshirts giveaway items turn theyll gi samplers put posters play cds store dont sell cds still want sales music retail many stores play music dont care retail sales numbers ask sell someone foreign country orders cd cd baby contact invite join fans offer send free cds friends p ile postcards advertising music leave cards record shops clubs places music lovers pick people whove done say orders cities picked fan distributed cards peoplecan invited join street team internet street teams anywhere tap source fan power career spread wings daylle deanna schwartz music industry coachconsul tant speaker author bestselling dont need record deal survival guide indie music volution start run record label real deal get signed record label billboard books daylle also publishes daylles news resources free music industry newsletter selfempowerment q uarterly also free daylledayllecom wwwdayllecom wwwidontneedarecorddealcom resources advancing music industry publicity jay flanzbaum onlinegigs rights reserved finally put bunch dates together going small tour realize hard work puttingthe shows together job hardly done processes apply booking gigs also apply todoing publicity need compile press contact information send performance information consistent professional followup procedure presumably shows tour markets never places one ever heard well certainly sounds like good time youd better good publicity plan may think romantic play gigs nobody bar staff clubs never take another chance unl ess worked hard publicize show means every show equally hard monday night os h kosh much saturday night gotham every venue official media list dont compile one forever indebted list full specific contacts talent buyer hasrelationships also people likely interested particular eventyou need media list every venue play ing tour organization send formal release need create separate release document gig media contact market release brief point three four paragraphs atmost local newspapers radio stations pummeled information everyday time read paragraphs dont forget vital event information minimum include location name location address location phone location website event date event time age limit ticket price bands billand notes want include releases sent maximum weeks event every media contact deadline submit event information contacts require fax sent others prefer email sure send information via proper method risk getting lost shuffle wait days week starting follow get right point call following release sent seeking possible cove rage interviews information ready prepared sell jay flanzbaum onlinegigs got start bookin g agent putting together natio nal regional tours independent bands years running boutique agency inspired creation onlinegigs incredibly powerful booking promotional tool independent bands agents wwwonlinegigscom entrepreneurship k ey new artist success today les vogt entertainment consultant rights reserved dictionary defines entrepreneur risktaker skills initiative create business associated synonyms administrator backer busi nessperson contractor executive impresario industrialist manager organizer producer promoter definitions pretty much outline job description required entertainer succeed todays music business environment many booking agents promoters becoming extinct animals inability conquer internet much talen buyers beginning contact directly websites various internet technologies middlemen mostly agents exclusively control talent specific niche market cannot adjust new climate areslowly fading away oblivion entertainers agents must wear many different hats order survive ever changing new marketplace performer must often act hisher agent manager publicist mostly ifthey dont business getting noticed isnt easy certainly wont happen alot agents busy learning become producers event planners help earn living today themost experienced agents particularly interested taking time develop new artist even artists potential blatantly obvious understand time effort required get artist pointof recognition acceptance performers often blindly believe ready nottherefore agent representative put great deal time money act end ofthe day fired bringing performer immediate success expecting entertainers specialty areas especially difficult time attracting agent interest thankless work required search buyers specific market groups told goodmany artists booking order survive point much stretch successfulartist become agent talent natur al progression selfmanaged artist strong act nose business hard suggest another performer satisfied client great act comes along buyers think sun shines back side theyre likely targets wouldbe artistagent entertainers becoming agents happening need get used itmany artists especially beginning offer services many agents possible theyll happy accept bookings directly end user buyers venues well definitely right thing artists starting andor specialty areas borderline abilities find difficult getting gigs without pushing hard artist becomes successful booking hisher dates usually nobody else many acts eventually good get noticed become successful determinati persistence learned book necessity rarely work agency except agent controls venue gig want case theyll gladly pay appropriate booking agent commission hardly blame agents talent really needed easy understand days ar tist passing leads even leads obtained agent booked gig back agent becoming thing past basically boils survival whoever gets gig gets commission many artists belie book gig shouldnt agent commission pay sounds like fair deal doesnt lets look otherside picture every worthwhile agent continually preparing promotional material searching pounding new prospects well servicing existi ng contacts forms artist publicity making followup telephone calls daily basis artist also working hard finding new contacts plus agents working artist likely offering acts promo well sooner later buyers begin receiving promo terials several different agents likely wont buy especially price varies often case buyers get nervous prices vary many try locate acts directly possible order get best possible deal internetallows anyone opportunity connect almost anyone matter minutes entertainers must always alert able recognize happe ning businesses need know agent responsible getting gig especially rebooking even comes directly phone website agents know always compensated appropriate booking commission trust confidence set one performer apart theothers help build strong longlasting mutually beneficial relationship booking agents easy build network positive team players remain honest forthright rather cutting corners false entitlement nonpayment agent commissions maintaining positive attitude cooperative work ethic agents producers buyers guarantee continued support throughout entire career failure honor maintain relationships eventually eliminate suppor system one day youll wonder arent working much anymore les vogt lead singer vancouve rs first rock n roll recordi ng band eddie cochran roy orbison jerry lee lewis les independent producer promoter entertainment consultant contact wwwmem bersshawcalesvogt lesvogtshawca using radio build fan base touring radio work together bryan farrish bryan farrish radio promotion rights reserved first area like see artists use radio gi gstouring majority money made indie artist even real distro going live gigs via cd merch sales also number one thing station would like see artist playing market help one using whether tour yet start small market commercial regular rotation mixspecialty college see areas ar e getting support using book additional gigs want way around trying work radio areas giggingbecause get enough mass support working areas even though playing point seems difficult many artist understand ill repeat great playing certain town alone enough reason work stations town leavingout rest stations around country format true gigging market single bestthing help radio like gas best thing get make car run butyou first car likewise first get radio marketing lined meansworking radio way radio works getting spins many stations formattype timeacross country build hit starting working stations two things go clubs markets getting radio support ask stations promoter ask clubsvenues placesthe stations might recommend booked commercial station might recommend aclient club club advertises station useful station wants club advertise recommending gig giving spins station providing club needs artist community know combine ads club hopefully run needed nice turnout station college station referral toclubs still use club going respect fact someone station respects artistand felt artist would suitable club spins college station wont hurt either things offer clubs prearranged intern clubs market arrive day early flyer appropriate retail locations also offer inter offer find post club info onpertinent websites local market even offer find interns work club keepin mind things road portable web access important bryan farrish independent radio airplay promoter reached airplayradio mediacom contact articl es found wwwradiomediacomtour distribution using radio bryan farrish bryan farrish radio promotion rights reserved lot folks immediately want try get product store using standard distribution label however project marketing priority maybe testing artist funding things might consider foregoing standard distribution altogether favor tour distribution using radio tour distribution rely solely gigs move product ie product sale live gigs bother trying get retail placement since saving time moneyof trying get distro get put energies towards increasing radio drive people gigs sell product basically tighten ing loose circle traditional forms distro top major indie self consignment require permission partnership others order get product onto retail shelves getting approvals difficult new label major indie deals basically impossible solo artists even selfdistro consignment deals require tons time energy money set copies move certainly guarantee profit however purposely deciding avoid circle entirely putting focus radio instead quite well selling product gigs oull get full sale price since new indie labels product sold anyway exc eption might hip hop distro well even gigs yes true even trying get st ores youll catching flack lot people invariably people tend folks never gotten type distro either major label people get companys stuff stores easily personal stuff course someone music magazine paper fo cusing since concerned radio friendsfamily want br ag telling people cd stores leaves clubs venues booking people places might also want give reasons need instores learn radio since clubs try hard get radio cant afford really value act already getting exposure exposure course spins might also morning show gibberish ads even community event announcements going people gigs youll booking larger clubs booker normally would take call act normally sells two ten cds couple shirts able move cds ten shirts one night course addition club might paying outside los angeles course dont forget use sales tactic someone walk crowd ask every single person theyd like buy dont put stuff table one last area sort crosses boundary gigonly sales would instore performances able perform retail music store many ti mes store stock sometimes even pay product several weeks leave still physically go play stores first place still requires touring thus still makes point bryan farrish independent radio airplay promoter contact articl es found wwwradiomediacomhow use radio promotion boos airplay build new audiences jeri goldstein performingbizcom rights reserved often get calls artists want know mo using radio promotion company help boost airplay build new audiences artists believe hey ought launch fullblown campaign soon hotoffthepress cd artists others depending career goals course use radio promotions identify hot markets touring prepared tour markets airplay greatest best use radio campaign track cities radio stations added therecording plan support tour dates cities later four six weeks campaign completed radio stations become familiar music stations become key points contact help promote tour date notify station upcoming tour likelyto extend airplay promote date phone live interviews possibly even work promoter orvenue cosponsor radio station may even able recommend specific venues promoters area start booking process use radio promotions campaign leverage better dates contact various venues markets greatest airplay mention radio campaign sta tion playing recording degree airplay recording receiving knowing radio supporting act often persuasive factornecessary land date two methods radio promotions consi der hiring radio promotion company radio promotion set criter ia help decide works best hiring radio promotions company acts intentions expand touring beyond thei r region tour nationally would benefit working professional radio promotions company costs range per week eight twelve week campaign prepared spend least eightweek campaign going well might want add additional two four weeks costs company co mpanies charge additionally expenses like shipping phone need enough promo copies cd available well promotions company tell many stations service select company well established promoti ng genre music radio format main formats americana nacsmooth jazz rock adult contemporary country adult alternative gospel rb new age world music latin rap urban college depending radio chart used know format recording fits intend use radio promotions tool push act next level research formats listen stations playing formats prior making recording interviewing companies work review recording taki ng project anxious successful campaign reputation maintain various radio stations theircredibility stake every project pitch ensure recording available markets campaign concentrating include signing distributor stock local stores mean recording available online retailers recording begins receive airplay radio stations want make purchase information available callersselfmanaged radio promotion consider range touring tour within specific region remain close home base may prove cost effective manage radio promotion although regions country radio promotions companies concentrate solely single region conduct national promotions campaigns intention touring outside region plan move slowly region region expense national campaign may prohibitive unnecessary time money spent regions youdo intend tour wasted touring restricted one area easier select tour cities andresearch appropriate radio stations city city need costs spread extended period necessary promo cds able concentrate city intend tour main concern scheduling time send promo cds make initial calls station check cd arrival least week make followup call check theairplay cd receiving small task time consuming hire friend fan part time assign someone band solution time consuming nature project might hire someone weeks anhourly rate total much lower pr ofessional company organized pleasant phone manner accomplish much result professional company difference professional company established reputation music directors thevarious stations take calls employee spend time establishing relationshipfirst campaign doesnt necessarily completed within specific time frame able target cities greatest importance decide set tour dates markets making recording budget include money promoting recording set aside dollars shipping costs phone calls promotional cds packaging materials research number stations likely target make sure included number initial count manufacturing artists recording budgets om additional money promotion make booking gigs building audience easier desi gnating money market new cd tern help leverage bookings targeted venues desired markets goal radio promotion campaign large sm create audience awareness group new recording national promotions companies use c harts mark progress choose regional campaign benchmark number stations begin playing cd stations report specific chart unheard independently selfpromoted artists cd achieve chart notoriety ive worked number artists conducted campaigns great success andcharted spent many hours day calling reca lling efforts rewarded well ultimately goal use radio airplay boost bookings build fan base radio recognition helps causes include aspects radio campaigning marketing program jeri goldstein author bo oking agent musicians performing artists guide successful touring nd edition updated agent artists manager years curr ently consults artists agents managers consultation program managerinabox presents performing biz seminars workshops conferences universities arts councils organizations book cdrom info rmation programs available available wwwperformingbizcom phone email jeri jgperformingbizcomcomparing stations touring bryan farrish bryan farrish radio promotion rights reserved invariably people first go promoter want start lots regularrotation spins biggest stations country cant blame hem especially brand new business quickly try steer towards something realistically make happen interestingly people already understand touring difficulties involved know cant start first tour booking hollywood bowl shea stadium live la couldnt perform hollywood bowl night already booked doesnt bowl want support local talent bowl wouldnt shea stadium call booking since major stadium tour fur ther since live la would hollywood bowl make mistake booking artist live la reason course large stadiums lot seats fill waste time stadium staff deal artist enough awareness make use stadiums size fortunately new artists understand st art small clubs even smaller coffee shops also understand order start first tour need string together series small gigs city city giving attention energy trying book stadiums since would complete waste time situation applies radio except instead caring many people sitting seats many new people sitting seats becaus e heard would playing stations care many people tuning importantly many new people tuning inwhen learn songalbum played station friends listen large commercial station yourhometown mean station reason play songalbum large commercial stations certain size awareness requirement artists play one reasons play new songs established arti sts brand new artists major labels artists via tv stadium magazine exposure w ill bring new listeners station new artist hisher label however radio equivalent smallclub tour answer smallmarket regularrotation campaign commercial specialtymixshow campaign college radio campaign stationsshows live die number new listeners bring ever day way largemarket regularrotation stations smallmarket regularrotation campaign useful even set airplay chartscommercial specialtymixshow college campaigns matter fact make ent ire career small airplay campaigns smallclub performances way make careerout running restaurant local neighborhood without ever trying compete mcdonalds huge success living yes eventually start marketing campaign move mediummarket stations small market stations good difficulty cost roughly equivalent booking filling seat venues around country even larger stations follow next difficulty cost level probably similar booking filling seat venues around country thus beyond newartistslabels first time several releases years experience required bryan farrish independent radio airplay promoter contact articl es found wwwradiomediacomradio station visits bryan farrish bryan farrish radio promotion rights reserved one radio marketing tool sparks lot interest new artistslabels manage station visits majors usually reserve station visits priority artists expense lotof wellfinanced indies even never done radio like idea also many times put dollars visits putting areas radio marketing probably dueto familiarity folks concept traveling radiotechniques mention nice thought able get outandabout good since stationvisits one powerful yet expensive ways marketing small smallmedium marketstations see marketsize list wwwradiomediacommarkets makes station visits useful start stations see artist real loves hisher music artist believes enough make trip rare nonlocal artist able come station visit costs time involved ofno use visiting one two stations whole country format months else effective small market visits also rare indie labels try visiting usually try top markets dont chance instead small smallmedium markets welcomed thus sma ller stations really remember visits happen attempting visits must decided whether art ist people skills needed make connections music important point unknown artist visits station heshewill judged personality alone stati care hear music performed artist speaking live station performances mething always wanted artist indeed artist gets along station rush live studio performance might happen station ask dont artist march instrument tow try subtle town artist incredibly important marketing shaking hands local store music buyersmanagers music writers tv hos ts club promoters probably chance artist ever meet pers unless successful artist gets come back year visits probably need set radio promoter especially station planning promotions around visit pr person target stations format markets smaller airfare motel costs k k months visits including course money artist schedule probably artist zigzaggin g around country important hit stations life single try save timemoney groupingclose cities together thus ending week two dead time visits done properly theartist new market every day lastly save major medium markets yoursecond year dont want spinning wheels bryan farrish independent radio airplay promoter contact articl es found wwwradiomediacom sponsorship finding sponsor bronson herrmuth author miles record deal rights reserved success music business separating self pack one quickest effective ways artist find sponsors unless live unpopulated remote region world probably surrounded plenty potential sponsors music basically ndividual company corporation business area possible sponsor really takes wanting sponsor feeling good promoting whatever product make sell distribute nutshell thats sponsorship works sponsor supports return promote product sponsor support sponsor support many different ways depending product active promoting give reallife example band sponsorship deal budweiser regional distributor met club owner friend p layed club invited distributors warehouse given tshirts ball caps fancy mugs stickers kinds budweisermerchandise including several cases beer paid big banner made logo done professionally satisfaction asked hang behind us whenever performed one corner banner said budweiser presents logo along logo much bigger prominent none cost us dime sponsored budweiser definitely gave us anedge competition came time get gigs clubs find sponsor music target businesses actively promote product local radio tv stations ones already showing desire ability promote product effectively area city town visit homework find w ho charge make appointment go meet chances may already know ou live small town city maybe someone know already relationship use connections get started run radio spots original music already professionally recorded see open using music background music bed radio promotions songwriter write song tremendously effective starting point approaching potential sponsor walk play song wrote product car dealerships great places start looki ng many bands riding road right vehicle provided sponsor good c hance name logo professionally painted vehicle along sponsors car dealerships also lots promotions eventswhere live music customers ev en approach sponsorship decline making aware music may turn great paying gigs somewheredown road radio stations awesome sponsors many radio stations produce promote concerts cases use local area talent open concerts thats lot free radio exposure sponsor even like record radio station sponsor really help get exposed immediate ar ea quickly approach ones play style music bronson herrmuth author book miles record deal also runs songrepaircom whose mission actively assist songwriter clients providing information advice direction looking wwwsongrepaircom get tour support musical act jeri goldstein performingbizcom rights reserved touring expensive especially tour two people many costs associated launching tour many costs incurred playing first date independent artist managing career possibly running record label responsiblefor fronting money marketing recording eventually touring ways however get financial support touring costs takes little work research creativethinking result someone else pay touring expenses key process first carefully consider act members group connections may might provide lead potential support source main factor consider iswhat benefits group offer potential supporter accomplish process considerhaving brainstorming session group members make series lists guide toward finding tour support identify touring expenses following list get started add list specific touring items appropriate tour support promotional materials specific tour posters flyers photographs merchandise items tshirts hats concert programs etc hotel accommodations touring vehicle band owned rental public transportation airfare train bus concert venue rental fees selfpromoted concerts advertising office expenses shipping mailing costs phone gas expense equipment purchase rental special promotional events guest artist touring actlist connections may might include friends associates busines work banks utilities advertising travel agencies printers hotels instrument manufacturers etc mailing list also invaluable resource artists collect names addresses email addresses possibly phone numbers however ask sign mailing list occupation complete exercises become evident piece inform ation may benefit future projects mailing list marketing tool listing people attended performance indicated interest continuingto receive information group volunteered heir contact information use list greatest advantage consider following instrument band member play instrument stores equipment companies frequent hotel chains frequent specialty stores shop clothes food office supplies car rental company use often vehicle serviced purchase vehicle printing done banking specific sports organizational ties may come many sources potential tour support relationships continue brainstorm make lists identify benefits offer group offer potential support sources benefit business organization identifying needs concerns business organization helping return must emphasized proposal made bu siness common return benefit advertising plac ing business logo tour support provided xyz promotional materials mention business name media interviews business gains access new audience advertising opening new markets finding new customers highpriority every business organization band offer potential tour supporters creative way reach new customers supporting tour needs attractive package need demonstratehow broad outreach tell kinds marketing plan especially attractive iftheaudience plan target good match potentia l supporter example perform shows families children good match may babyclothing store kinds benefits may attractive businesses organizations perhaps specific tour benefit charity way linking businesses interested supporting charity yourtour achieve name recognition community minded organization certain funds befunneled charity thereby offering supporters possible tax deductible benefits check charitable organization regarding qualifying tax deductions individuals interested helping band progress may also good match fund certain expenses may require advertising benefits ideas recognized involvement might consider offering play event individual planning return support people working company may get company offer tour support return band playing company eventas identify potential supporter link specific portion expenses ie local printer printing costs hotel chain complimentary hotel rooms tours coming year youget idea key winning supporters attractive tour package wellplanned marketing coupled finding businesses organizations individuals interest bands success research potential supporters find band offer supporter maximize benefits generou support start one item list expenses begin incorporate tour support idea touring plans poster printing good starting option since visible tangible easier get one sponsor fora tangible item attempt finding many sponsors cover expenses youve successful one sponsor name seen posters potential supportersmay easily show examples supporters contributions number clients incorporated sponsorship tour support program touring routinely successfully reduced specific tour expenses last yeari wish similar success jeri goldstein author bo oking agent musicians performing artists guide successful touring nd edition updated currently consults artists agents managers consultation program manage rinabox presents performing biz seminars workshops conferences universities arts councils organizations book cdrom information programs available ava ilable wwwperformingbizcom phone email jeri jgperformingbizcom get big sponsorship mo ney band tour event production thom king multimediary entertainment marketing rights reserved touring bands greatest opportunity success touring expensive getting tour band event sponsored critical success sponsorship offset production travel prom otion costs virtually expenses right sponsor also significantly augment advertising publicity promotions expenses however getting sponsorship participation take lot effort commitment part need prove topotential sponsors opportunity deliver good return investment following step step procedure used multimediary entertainment marketing secure hundreds thousands sponsorship dollars numer ous tours events artists television programs feature films done several major record labels signed unsigned artists nowwe want share knowledge experience create introduction letter first step securing sponsorship dollars craft professional introduction letter highlighting features benefits opportunity offering features benefits might include inclusion advertising product sampling banner display given brief overview opportunity close letter asking permission send detailed presentation introduction letter critical part sponsorshipsuccess equation well crafted get foot doordemographic analysis understanding audience critical potential sponsors want know reaching best way gathering information right finger tips call radio stations ou think playing music ask account executive ask person fax tapscan scarborough prismdemographic qualitative information likelihood armed detailed overview audience looks like match potential sponsors also great hit list companies start hitting creating sponsorship presentation introduction letter demogr aphic profiles ready begin creating presentation presentation seal deal sponsors contains information need make educated decision opportunity presentation must contain followingelements two three paragraph overview opportunity detailed overview tour routing markets venues overview type public relati ons media support expect sponsor included audience demographic profile tour partnership deliverables sponsor receive investment total investment looking sponsor return sponsor expect pieces puzzle ready go shake trees sponsorship dollars effort consistency land sponso r always deliver promise retain sponsors year year deliv er promptly kick curb philosophy always promise deliver phi losophy assured ongoing solid sponsorship participation years come multimediary founded thom king late multimedi ary worked virgin records capital records universal warner brothers lions gate films several major independent record labels entertainment production companies multimediary also worked several consumer brands including lifestyles condoms miller beer red bull monster energy drink dr martins snapple honda motor company british petroleum adidas multimediary entertainment marketing get band event right track sponsorship details pricing please visit website wwwmultimediarycomsponsorshiphtml perfect marriage artist corporate partner thom king multimediary entertainment marketing rights reserved synergistic partnership artist corporate sponsor impetus new business model music industry everyone industry aware struggle artist ever see penny efforts getting record label deal secondly increasingly difficult record labels stay competitive well profitable ongoing problems however creat ed amazing opportunitiesartist partner working concert first component creating strategic marketing partnership finding corporate partner ready willing able sponsor artist decade multimediary working variety ofcompanies numerous categories ranging beverage industry auto market established nearly contacts vps marketing brand managers moving advertising entertainment marketing budgets towa rds artist partnerships logical several reasons first consumers rarely make buying decisions based entirely print ad radio billboard tv commercial buying decisions emotional often influenced word mouth endorsement taste maker influencer peer groups taste makers influencers usually performing artistes sports figures celebrities ex ample hay day michael jackson able move many join pepsi generation remember one glove thing shaved heads baggies mens eyeliner leg warmers tribal tattoos belly rings low rise pants midriff tops popularity fads started perpetuated taste maker value proposition generates buyin corporate partners second component strategic marketing partnership artist primary concern artist integrity art greatest fear aligning corporate partner cause audience perceive sellingout result risk losing credibility artist corporatepartners also face risks mega stars ali gn super brand face overt endorsement campaign may lose credibility taste maker case everyone loses million dollar question partnership built without jeopardizing integrity art street cred artist solution obvious get know artist know artist personal level find outtheir likes dislikes companies admire eat drink wear spare time hobbies political views create list interests work compare list list potential corporate partners fall artists interests tastes sensibilities h list ready create partnership wins wins winwinyou pieces comes ill scratch back scratch mine part equation symbiotic rubber meets road important par tners establish set defined measurable goals artist label going interested offsetting recoupables production costs promotion advertising well tour support addition increasing unit sales corporate partner expecting build brand equity alignment taste maker artist also looking sellin pullthrough opportunities well experiential branding productsampling options directed toward target market corporate partner need get specific sku product sold retailer onpremise account barnightclubrestaurant ideas could get everybody heading dow n right path lets say example hair care product corporate partner artist targets women artist loves product embraced partnership partner loves demographic artist targets hereare potential scenarios situation may create gift purchase program special cobranded cd unique mix tracks attached partners packaging provides incentive consumers purchase product also gets artist music front target audience referred gwp program onpackprogram manufactures find appealing gift consumer get nowhere else purchasing product also attractive artist moved thousands ofcds unique distribution channel purchase purchase program sim ilar gwp program except artists special cobranded cd available discount consumer purchases corporate partners productoften times comes point purchase disp lay featuring artists likeness instance free standing coca cola display states purchase twelve pack cokeyou get specially mixed available nowhere else cd samplefor touring creates even opportunities artist label expect substantial tour support form money kind gifts corporate partner refer kind mean include artist advertising campaign currently place augment alr eady placed additional dollars support tour looking exchange instore appearances artist also want label artists street teams product sampling instores around theconcert venue sometimes want wrap tour bus brand caseexpect create vip section arena plan show meet greet session eachvenue want give corporate partner exposure venue wel l long permitted something go rider performance contract venue promoter reasonable request considering support corporate tour partner bringing tablehaving artist instores moves much product artist partner pieces ready capitalize lucrative world strategicmarketing partnerships remember careful get bed artist corporatepartners must goals well commitment types partn erships really like marriages stay within call circle trust may circle go unbroken case studies zero lifestyles condoms tour integration lifestyles condoms joined partnership band zero zero voted spin magazines baby makin cd year since lifestyles business keeping happening madesense zero go road tout benefits safe sex recommend use lifestyles condoms lifestyles included advertising promotion zero street teams handed zero lifestyles cobranded condoms lifestyles made generous financial commitment tour offsetan otherwise recoupable expense band moved scans due touring lifestyles obviously got endorsement taste maker product hands welltargeted audiencebonnie raitts tour asked work time grammy awar winning artist bonnie raitts tour extreme privilege given opportunity bring partners bonnie raitts tour partnership came somewhat unique circumstances since bonnie never endorsed product company intend integrity art paramount managements intention green tour embodied bonnie raitts environmental stance potential partner screened advisors greenness culminated tour transportation run bio nonpolluting bio diesel fuel green power entire tour supplied partner integration tour partners able display products within venue partner included program printed recycled paper pr participant significant considering tours like dont happen every day multimediary founded thom king late multimediary also worked several consumer brands including lifestyles condoms miller beer red bull monster energy drink dr martins snapple honda motor company british petroleum adidas multimediary entertainment marketing get tour band event right track sponsorship details pricing please visit website wwwmultimediarycomsponsorshiphtml sell rich hardesty got free cds trip tojamaica scott mccormick disc makers rights reserved business professors would well make rich hardesty case study niche marketing targeting college fraternity crowd hes able parlay singersongwriter talents fulltime eightyearcareer hes sold cds opened kid rock cypress hill gotten major liquor company pay forhis last two albums another company pay spring break gigs jamaica perhaps notsurprising majored business marketing college hardesty left job federal express take stab performing full time quickly became college favorite playing bars singing songs like never wanna fkin see doobie song first album jonesn became one bestselling cds local indiana music scene itssingle never wanna fuckin see rema ined popular jukebox selection kilroys sports bar bloomington il since first put one college bar gigs hardesty learned jagermeister looking new band sponsor sent video made shows could see worked crowd recallshardesty monitored bars played notic ed sold bunch jager played one bars ended selling jager bar world bottles one set ended giving full sponsorship paying last two cds jagersponsored promotion hasnt stopped however last year released copies cd included one hardestys songs worldwide website email get emails people asking get cd says maintained great relationship withthe jager band manager email weekly talk ways keep rolling strong currently helping jamaica giveaway next week tw fans get free round trip tickets travel stay band marchthis year mark hardestys fourth spring break tour negril jamaica year hardesty takes students negril spring break even gives away tickets lucky fansthis promotion helps bring people indiana gigs regularly draws people itgets hot spot target audience college springbreakers since college students fromall us visit negril hardesty able get exposure students national level first jamaica trip set asked sun splash tours new york pay bands trip negril provided brought bunch fans iu purdue wanted show fans great cultural escape also wanted something different would separate theother bands first president leery agreed brought bunch students usand put great show risky business bar grill american band wesparked lot attention negril tour since become popular fans couldnt gothis year sold fast scott mccormick works disc makers disc makers offers bestlooking product hottestsounding audio valuable free promotional tools including free distribution free upc bar code much much wwwdiscmakerscom playing non traditional venues booking nontraditional shows events greg johnson starpolishcom rights reserved earliest days music fan reco rd retailer journalist publicist venue owner radio show host always heard greatest music unfortuna tely never found audience every beatles rolling stones number current favorites many equal brilliance remain great lost classics need name names lists favorites wonder speculate favorites never made bigger well para phrase bruce springsteen tougher rest although art matters matter marry art commerce reality intense competition find keep audience starpolishencourages collaboration competition among developing artists still need tougher restto best build career fan base trouble booking local clubs finding audience conventional performance venues youre simply looking fo r creative ways expand already successful touring schedule perhaps time think outside box consider unusual nontraditional outletsfor live performance especially todays world wi th many clubs dont pay may even try make pay play important ever find nontraditional ways touring getting songs heard help make living minimize cost finding audience promoting act types alternative venues performances living room house concerts springing everywhere prefer call venue blue door oklahoma city house concert even though looks like roadhouse apartment mostly book singersongwriters play clubs blue door certainly intimacy house concert time house concertsare intimate gatherings real living room suburb somewhere gigs primarilyacoustic least lowlevel electric guitar amp usually people come make donationfor music enjoy wine whatever food menu house concerts almost always financial guarantees artist hosts ask reserv ations usually great gigs everyone sometimes artists play pa sometimes music might back yard intimate gig get sometimes significant launching artists career ellis paul coming blue door six years still plays house concerts like suzannas kitchen wimberley texas first time ellis blue door six people aud ience two boston ellis lived sold ticket taking door loyal oklahoma following well arising national appreciation might increase audiences see jim carrey film irene hear elliss world aint slowing soundtrack album ellis paul worked thetrenches paying played numerous house concerts across country noisy bar playing real drag listening room almost always successful nomatter turnoutin folk music circles house concerts tradition many years really select places mainly texas california parts east coast many artists normally associated folk world taking playing house concerts pat dini zio smithereens recently put together house concert tour fan base across country cindy bullens whose history really rock roll planning similar tour fall listing house concerts opportunities around country visitwwwhouseconcertscom also reach mailing list fan base help identifying contactingfolks may want book living room coffeehousesbookstores put two together since almost bookstore gigs stores cafe really coffeehouse gig want book gig barnes noble borders storebystore basis youhave go community relations coordinator want try book tour throu ghout entire chain need go corporate offices goes without saying cant get loud thesesettings musician worth salt knows tone necessary dont forget thelocal coffeehouses might want local solo arti st band play every week bring folks might want find new interesting artist driving sometimes borders andbarnes noble coordinate cd release disc display music department ihave witnessed exciting shows ever borders like bill kirchen rocked placewithout loud bother book readers across store small restaurants know oklahoma city galileos restaurant small bistro books performances week touring musicians quite ready play seat blue door sure happenseverywhere least owners hip good music songwriters usually gigs smallguarantee often cover door probably p lus dinner depending setup small restaurants good alternatives local club listening room wont book yet translate good buzz around act eventually give story leverage need toget bigger venues record stores bigger stores independents really option unless well known enough warrant acd release show smaller rockoriented stores sometimes let set play usually little money least playing music town youve never played stores knowledgeable core audience sometimes initiate concerts times artists come legwork every town least one underground record storethat promotes alternative new music dont shy get touch guys best friends fraternity sorority partiessmaller college gigs artists want play original music often overlook gigs think never hurts try take might covers hat doesnt mean cant play songs well youre tour get one place anot anyway might well play music frat party conventional shows hav e heard greatest road stories parties would suspect sometimes get hand sixties bands paulrevere raiders commander cody mitch ryder detroit wheels others healthy fratparty circuit many bands college partycircuit still great place play dont mind rowdy parties asked play lot cover songs high schools high schools overlooked places play starting high schools great place hone skills make young possibly lifelong fans preparing go next levelthe right contact person booking high school performanc es vary school try contacting teachers administrators student leaders setting playing either assembly outside school start hometown trying around countrysharing gigs hook local artist band open shows return favor want break part country oklahoma city austin band gourds opened local band red dirt rangers turn rangers open shows austin notonly great way build appropriate audience also important develop connections likeminded musicians remember collaboration artists fruitful competition justwork money situation among advance shows busking timehonored tradition itinerant musicians playing street corners nothing ashamed fact decent source helpful pocket money known lucinda williamsused play street area around university texas called drag artists suchas peter case ani difranco stories playing music guitar case open tips find busiest place whatever town play sometimes might need permit city hard get usually bucks fact city leaders feel busking wonderful tradition makes city alive like new orleans go theentertainment district set outside club best place busk since people alreadylistening music nearby talking alternative venue presenters venue blue door oklahoma city kind cross club house concert venue nontraditional although much things small club important remember talking alternative venue presenters really different dealing presenters promoters booking act really sale job one hardest business supposed call convince someone never hear music take chance even love music tough sell well things remember making initialcall prospective nontraditional presenters relaxed cordial ask kind music booked simply ask send demo current disc remember people humans try develop friend ship presenters possible make short folks get lots calls get address say thanks ask call back matter venue easier dont waste time presenters stage dont waste expensive bio press ki photos etc cant tell many photos discarded bands artists send stuff wont ever play send brief bio music thats waste spend lot money elaborate press kits unless particular visual element absolutely critical presentation make look nice readable thats need got elaborate video press kit useless dont make promoter work hard get know im interested someones music want hear music fact whilethe bio might interest dont even need book someone like music need contact ican talk future gigs less really days call back two weeks know cd demo arrived patient get tons f calls cds listen sometimes week isnt enough call several times g etting anywhere assume interested honest sometimes dont cal l back instead telling someone dont like music hardest thing suspect many presenters feel persist know arent getting gig prepared take medicine might right might ready may full itcontractsriders industry standards guarantees years putting shows still pay guarantees established artists something beginning touring artists must prepared even nontradit ional venues general dont expect guarantee unless playing place rely cover charge door make money time likely get least door venue liquor sales ifyou offered one happy guarantee develop bigger following house concerts exception noted usually great gigs everyone almost always financial guarantees artist hosts ask reservations house concerts payfrom anywhere someone like guy clark living room show saying dont ask guarantee remember developing stages important getting music whatever get guarantee presenter takes big hit might want consider backing fee make suffer trying favor taking risk booking alternative venue tricky situation vibe good youprobably want maintain good relationships presenters matter many folks turn thisunderstanding work ways think presenters always ready pay full guaranteeand artists always ready give slack well artists sell seat room never guarantee small doesnt even matter yet leave around guarantee good draw situations riders think riders sheets attached riding onto standard contract outline artists special requirements gotten hand todays touring industry artists making ridiculous requests beer certain kinds food mms certain color etc keep riders relevant production requirements sound lights etc many places sound afford wise invest least sixchannel pa mains monitors take road get higher levelof touring small national clubs refuse accept ridiculous riders everyone plays venue understands times small nontraditional presenter bust tails get gooddeli tray take care artist see go waste expect bottled water beer pop food involved dont bust th eir chops unusual requests requesting rock star treatment silly general beginning level ludicrous counterproductive making look like brat lessening chances future support nice yourpresenters presenters cordial music right reasons take care getting help final notes want find nontraditional places play start getting booking agent early stage going hard unless friend wants help least starting getnational reviews music big booking agent folks mongrel music fleming tamulevich keith case etc going interested nevertheless starting thinking anagent relevant networking required find one starting trusty ol acoustic guitar tow would make sure go annual folk alliance conference even dont think folk artist grassroots workin music going visit website wwwfolkalliancecom find ou great association lucky enough already help early stages career remind everyone call shots never ever give soul musi c away anyone claims connected make prove trusted expect work hard want integrity play musicand make living ready slow build always remember ani difranco isnow captain ship one telling musicwith nontraditional venues although numbers great rewards realize even play people sometimes share music friends last years south southwest music conferenc e chuck might said important thing week gold platinum one record one person time nice jerk numbers arent want small nontraditional presenters always work profitable presenters usually aboutselling booze willing help ou develop audience made money ellis paul years well good luck crazy booking business remember great songwriter jimmy webb said great song great song written sold twentyfive year veteran music business severa l areas including retail records journalism publicity concert promotion consulting greg johnsons passion alwa ys performing songwriter many years retail central oklahoma decade austin leading supporter singersongwriter scene johnson involved careers many today best singersongwriters including lucinda williams kevin welch jimmy lafave micheel fracasso ellis paul red dirt rangers many others experiences enabled greg open blue door venue oklahoma city one countrys leading venues performing songwriters continues run greg also freelance journal ist work appearing austin chronicle austin american statesman depression oklahoma gazette oklahoma today magazine bdmusaolcom phone booking festivals fairs events jeri goldstein performingbizcom rights reserved dont rely major festivals fill gig calendar many town city county statewide events take place throughout year events book local regional talent along big name acts research citys website county governments website states tourist department website us chamber commerce website sure would fantastic play big festivals perhaps one summer even summer unless list least festivals one festival tour make need find gigs fill summer dates build audience market value start getting map regions w want tour planning explore outside home base would first pick states google state website looking department tourism states arts council tourism would search fairs festivals andspecial events specific cities mind want play check city website often org rather com check citys chamber commerce site special city events sponsored local businesses another great site finding small festival events crafts fairs festival network online also lots different festival events check festivalscom also check copy theindie venue bible find festivals fairs area many cities foundation often part city government responsible organizing entertainment events charlottesville va example downtown foundation responsible presenting fridays five downtown pavilion free public event gets whole town concert every friday evening april october performing groups paidthrough city fund event give local regional national touring acts chance toplay audience sometimes numbering kind gig definitely develops future fans opens opportunities return gigs venues around citythink beyond major festivals genre already know begin thinking finding outdoor events general public flock warmer months open wide range possibilities wineries concert series festivals corporate sponsored community events city festivals concert series parks recreation events national park sponsored concert series civic center major events corporate organization conference events familiarizing regional events dont forget check area arts magazines weekly arts newspapers local arts councils resources often recipient listings upcoming events calendars variety community presenting organi zations many listings need submitted many months advance order included pecial upcoming events calendars research coming summer gets presenting organizations late season youll least information well advance next presenting season advance research potential net contacts info many publicly attended festivals fairs events within local region beyond help build strong fan base heres great summer gigs jeri goldstein author bo oking agent musicians performing artists guide successful touring nd edition updated agent artists manager years bookcdrom information programs available ava ilable wwwperformingbizcom phone email jeri jgperformingbizcom tips getting fair dates corporate gigs les vogt entertainment consultant rights reserved corporate party fair gigs come referrals respected associate passing along positive information job well done tips getting share first step find books events cases exclusive fair buyers party planners event managers destination management consultants like everything else musicbusiness getting gigs often establishing maintaining relationships specificorganizations cater industry hospitality fair associations tourism offices many similar entities often offer memberships anyone related field membership fee range per year sometimes additional fees att end networking events small amount pay compared income make land contract need find creative ways make people aware benefit hiring much fair dates corporate events pay depends greatly location number people attending event ultimately negotiation skills however count onmaking two five times sometimes even much local club date would pay know several noname bands make ten thousand two hour performance make fee structure flexible butdont make low quote price hard raise future bookings first contract could set precedent dont sell shortconfirm backline sound equipment provided either client venue third party sound company bringing equipment handle requirements directly venue already sound system get specs perhaps make trip advance check equipment ability execute flawless performance ultimately responsibility likelihood getting booked client securing potential new clients attendance depend excuses never erase memories look professional executing thorough contract covering event specifics including fees hospitality obligations obligations parking arrangements load inload times locations time sound check make special effort sound good first impression best also wise request deposit better performers paid upon signing contract tosecure engagement include clause regarding insurance corporations hire consultants hirebands rent venues liability sometimes difficult determine contract indemnify youfrom liability band legal business name added events insurance policy additionally insured finally assume appropriate bring guests event necessary bring girlfriend boyfriend ask ahead time provide guest list inthe contract surprises corporate gigs always understanding audience members type event playing dete rmine band dressed black tie beach party theme playing dancing featured st age show background music big stage find big wigs inject proven participation humor direction ifthe appropriate occasion arises information helpful constructing suitable set list overallexecution plan gig music important professionalism set apart rest arrive time start time fun smile lot accommodating client either one hired one hired one hired special request friendly easy deal show internaldisagreements public keep hospitality rider requirements reasonable often meals drinks provided ask need demanding rider requirement list often turnoff apotential buyer lose gig aware purpose event mingle guestsaudience unless approved directly person hired resist selling merchandise soliciting additional gigs party attendees someone solicit keep agent applicablewho hired loop cutting commission often cut future gigswith possibly others matter well perform send person hired personal handwritten always nice thank note following engagement went well request letter recommendation include promo kit soliciting gigs periodically call client remind still interested andavailable functions need music ch ristmas cards andor post cards impressive gig locations wonderful reminders birthday cards creatively find correct birth datesfor clients working fairs corporate events test professionalism require best live expectations youll smile way bank les vogt lead singer vancouve rs first rock n roll recordi ng band contact wwwme mbersshawcalesvogt lesvogtshawcathe solo restaurant gig guitar la carte dan lambert guitar nine records rights reserved qualifications considerations playing solo gigs restaurants style style probably important repertoire play play jazz standards folk tunes classical pieces poprock songs brazilian south american stuff play mostly tunes theyll work play style works venue throttle back bit create ambience conducive dining talking like basically musical wallpaper basic mundane requisites like dressing part creating disturbance youre setting tearing people probably eating keep equipment minimum dont bring extension speaker cabinet use bigger gigs owners put lot thought look feel establishment dont want bunch electronic gear cluttering joint also want amp right next tell exactly loud volume criticalget steady customers complain loud youll need one thoseuncomfortable discussions owner like called principals office restaurant owner hasnever asked turn club owner yes restaurant owner prepared im hired lunch rush noon need set minutes least need get minimum jostling around stay go deal worked owner one venue see large crowd scheduled quitting time enough customers warrant staying longer everyone wins make dough restaurant gets music need diners get extension theambience inconspicuous finish inform owner im done tell thanks go back tear quietly couple minutes poof like ghost im gone availability didnt start playing guitar thought would groovy play restaurants hey ive hadenough crappy jobs know job guitar hand better graveyard shift aluminum extrusion plant restaurant gigs fit perfe ctly schedule teach guitar day till later afternoon lunchtime jobs work great im playing gigs weekends week seem able work kinds jobs fine one reason tend beearlier average nighttime club gig music play tunes catchy melodies vary rhythms keys textures pieces try keep things interesting gigs stretch lot others tune tune tend blend one song another providing nice backdrop sound literally try kind tune like usually sneak new stuff couple familiar onesits great way debut new material wont get lot crowd reaction gig actually dont notice feedback isnt yelling screaming yahooing concert stuff ou play well people let know love come theyre done eating say much liked music also im playing watchpeoples feet theyre tapping along im ive done job oh yeah ask owner selling cds front counter offer cut cd dont want one tellcustomers compliment instead accepting tip put gentle hard sellabout recordings dress dont forget ask owner dress show flexible courtesy restaurant gigs wonderful way generate extra income also create exposure talent music long willing adjust music suit venue dan lambert committed highly regarded sixstringer curr ently based el paso texas usa reveals playing style folkjazz liste ner readily experience recent album blue hand utilized guitars include martin custom wi de neck tony revell custom acoustic lambert playing guitar since holds barred declares hi career aspiration continue making living music performing recording teaching definition guerrilla gig wikipedia free encyclopedia rights reserved guerrilla gigging type concert performed nontraditional setting arranged unusual fashionit became associated punk rock indie rock noise rock bands britain united states duringthe early mid bands perform events sometimes referred guerrilla rockers two major elements characterize guerrilla gig first similar concept flash mob involves band artist performing unexpected sometimes unannounced setting designed accommodate live music bus subway train parking lot building lobby second characteristic involves arranged quickly without typical processes publicity advance ticket sales usually announced various internet message boards well text messages sometimes lastminute flyers often viewed example punk rocks idealistic philosophy aimed achieve underground artistic success without commercialization avoiding mainstream corporate record labels applied via modern communications technology way would possible advent internet popularity online forums socialnetworking sites made possible bands immediately disseminate news gig thousands people hours performance atminimal cost bypassing traditional print radiobased methods publicizing concerts earliest example guerrilla gig january beatles played gig entirely unannounced roof apple studios savile row london performed several takes ir newest songs would appear let album passersby street looked confusion third take get back kicked police due noise complaintsdevelopment britain british bands became known guerrilla gigging early technique first developed concentrated social geographical nature london music scene made possibleto generate favorable buzz ensure attendance events libertines among first use internet technology accomplish often announcing gig hours show providing cryptic instructions fans meet given place await escort flat admission price would collected concert would take place living room basement others provide another example performed brief shows tube trains su bways london underground mixed groups fans startled passengers another famous instance singer badly drawn boy earned passersby busking outside londons waterloo station day going largely unrecognized public united states colorado group friends forever rhode islands lightning bolt examples american bands embraced new extreme diy culture wikipedia biggest multilingual freecontent encyclopedia internet million articles languages still growing retrieved enwikipediaorg definition basement show wikipedia free encyclopedia rights reserved basement show show often punk rock hardcore variety ld basement residential home rather traditional venue basement shows normally held variety reasons chief lack suitable venue area convenience relative ease host give much back local scene community shows hold important symbolic value diy ethic punkhardcore culture shows completely avoid sort corporate sponsorship thereby keeping event pure therefore considered antithesis selling basements suitable smaller bands audience fewer people bands even written songs sounds better basement devil electric basement shows also much fun often double parties many people continue hang show thus great social events meetups casesplaces drinkyet despite symbolic value basement shows declining steadily since several reasons cities become stricter enforcing noise regulations fire codes making basement shows increasingly difficult people becoming less willing hold often theft vandalism occur house show held availability venues increasing basement shows cannot hold enough people bands get larger nevertheless basement shows still occur often stage local shows gettogether local kids touring bands cannot find suitable venues play wikipedia biggest multilingual freecontent encyclopedia internet retrieved house concerts gr eat opportunity fran snyder concertsinyourhomecom rights reserved house concerts one important trends independent music today musicians across thecountry discovering great way connect new audiences performing peoples homes theres something house concerts intimacy really allows deeper connection audience connection often leads strong merchandise sales lifelong fans perform solo duo small trio playing minutes mostly original material little amplification donations person attend house concert community currently made hundreds loosely affiliated folk acoustic music fans generally interested folk contemporary folk singersongwriter bluegrass countryamericana celtic perform rap hard rock cover tunes electr onic music wont find much interest house concert presenters time also many current house concert hosts prefer book acts theyve seen often go music festivals check acts play nearby clubs since mostpresenters book shows per year hobby job many stay booked pretty far advancesome positive trends people discover house concerts every day h ouse concerts becoming popular way see live music great source new fans artists internet easier ever artists concert hosts find artists actively growing market every time play house concert good chance turn interested fan house concert host new host might enjoy experience much starts booking artists growing house concert community open different kinds artists poets childrens performers instrumental flamenco guitar act fit living room might eventually find fan looking alternative bars noisy cafes venues provide manydistractions tvs artists heads house concerts might great new source gigs pursue get started learn house concerts put whats expected whats optional many opportunities currently exist region start fans best opportunity artist get bookings quickly well attended make nice profit remind every time send emails house concerts include link articlesite get information host one living quarters arent adequat e find friend family member neighbor put one arent ready full minute show consider boo king artist really admire book opening act talented performer comfortable close crowd telling stories songs hanging new fans owe explore opportunit ies fran snyder singersongwriter based lawrence ks love house concerts fran snyders music heard wwwfransnydercom house concerts new way reach new fans bruce haring author destroy career music rights reserved besides usual nightclubs concert halls bars gazebos growing movement toward house concerts beauty house concert entertainment purest form unlike nightclub rules pretty much whatever wish request smoking drinking dont need lot ofequipment huge sound system start whatever time wish end whenever biggest reason audience chat members theopposite sex drink many hundreds annoyi ng things people bars youre performinga house concert necessarily take place living room although thats usually first choice barns basements pastures backyards popular forums event suitability key consideration fourpiece rock band works lot better barn living room similarly wispyacoustic performer better front living room audience pasture urban environments apartment center hall become performing venue choice process house concerts pretty well understood participants typically fan music decides want turn people know artist decide contact artist set house concert deal works like artist typically guaranteed certain amount money door charge instituted food drink may may part deal artist comes performs gets chance sell new cd merchandise mingles newly fans gets cut door typically half although generous patrons particularly havebeen hitting wine show known fork entire bankro always ask intermission house concert tough sustain attention long periodsin intimate venue also provides opportunity upsell audience new cd merchandise house concert patrons glad take advantage opportunity supportan artist theyve built strong connection last minutes chaos gig ending many may slip door buying half time theyre focused motivated naturally performing nontraditional venue drawbacks may lug equipment several flights stairs apartment building cant crank volume coliseum levels room perform may acoustically perfect may find seated stool thats great forholding plant certainly uncomfortable performer may also given houses come equipped stage find uncomfortably close proximity guests creates certain sense intimacy also breaks barriersthat may may willing see fall particularly true hitting wineduring show remember wont carrying way people public venue youll entertain two hours close proximity youll get know ways venues simply cant providedespite caveats shows great wa spend evening entertaining anywhere people setting artist usually treated reverence unlike birthday party gig theyre hear tune background ise number organizations across country cater house concerts usually putting word fan base generate attention house concerts generated word mouth connections attract audience friends family house concert usually performed away typical performance areas thus may see venue first time walk door like performing situation wise set ground rules front plan introduce break available facility expectedget writing like club date settlement go smoothly time finger pointing debate door takes managed someone entourage po ssible house concerts intimate arenas develop ability talk audience guest someones home nothing make happier little homework throwing references house people audience bruce haring managing director diy convention teaches artists entrepreneurs create promote protect distribute independent film music book show features prominent artists executives talking paths success appeared new york los angeles nashville many cities wwwdiyconventioncom haring auth several music industry books including destroy career music avoiding common mistakes musicians make lone eagle publishing order copy visit lone eagle publishinghollywood creative directory website wwwhcdonlinecom house concert booking tips artists fran snyder concertsinyourhomecom rights reserved attend house concert possible theres better education become excellent amazing many people delude want proof american idol personal show youve done research regard host valuable human wonderful thing arts even wont book humble understand matter good always people arent turned music reasonable understand hosts limited schedules never able book every act like consistent people busy sometimes messages dont get returned hurts feelings doomed every host different wise follow twice month get least received package back occasional polite reminder im touring area november aquarter keep wearing welcome get thank noresponse year respectful move generous consider hosting house concert artist admire think karma deposit proactive theres quicker way get house concert bookings educate fans consistently emails website links announcements stage accommodating house concert host different needs concerns learn honor make sure understand needs professional without corporateddoonntt ignore especially b lose heart things dont happen quickly hardly anything good ever c underestimate travel costs travel time forget build mailing list important selling cds e ignore musical tastes host want bluegrass better bluegrass call f expect guarantees must ask gentle prepared nog expect fill hours one album material h forget ask petssmoking allergic dependent either desperate shows always showsj forget people want fun music depressing stage persona better k underestimate intimacy house concerts artists uncomfortable close audience l assume host fill room without help ready help promote house concert series open public assume room board included anything else matter remember ask hosts website ciyh profile says looking artists timedo say fran snyder singersongwriter based lawrence ks love house concerts fran created wwwconcertsinyourhomecom site dedicated creating opportunities artists perform gigs wher e people listen site free use artists may join year promote act site also funds nat ional press campaign increase popularity house concerts fran snyders music heard wwwfransnydercom setting house concert tr ritchie singersongwriter rights reserved house concert hows kawn sert n live performance assemblage music enthusia sts musical artist artists private residence equivalent setting sometimes held conjunction festivities ie potluck supper song circle jam session unique opportunity experience favorite performer close personal without musical amplification artificial ba rriers performer listener superior alternative noisome crowded hardtogetto venues downtown rural andor suburban communities sometimes option hearing live music locally interesting addition itinerary touring musician lively economical antidote nehahs nothing ever happens around syndrome obvious choice could natural love hearing music live setting make living playing music next time come town dont house concert youve ever hosted new years eve party friends organized garage sale thrown together neighborhood potluck necessary skills required little booklet designed cover bases outline details stepbystep take begin lets rocket science trust meon fingers one hand everything youll need enumerated fingers one hand assuming least four fingers find place concert spread word set room host show finding place well doesnt get much simpler well show living room thats theyre called house concerts right attendance usually runs house concerts good sized living room say x larger sq ft business move furniture aroundand get lot bodies space size might snug one charms house concertsare inherent coziness still place small worry sorts nonhouse possibilities ive done nonamplified shows book stores music shops publiclibrary rooms art galleries school rooms community halls grange halls church basements barns back patios informal character houseconcerts make adaptable number environments purposes though lets assume room sufficient size im coming tour months weve set date show spread word start talking house concerts still fairly rare many areas country idea turning home temporary concert hall novel concept lot people people experience concert home setting usually become enthusiastic converts fact might time cautionary disclaimer may find onetime fora producing house concerts enjoyable evolves regular semiregular series worse things could happen begin letting people know concert discover house concerts well suited smaller closely connected communities promotion simply word mouthyour audience typically upwards people know friends start talking friends relatives people work invite neighbors block tell childrens teachers family doctor checkout clerk market mechanic works car tellersat bank anyone come contact day today basis think might enjoy live music let know someones going come perform conc ert right living room maybe youll want potluck supper beforehand circle friend include musicians maybe youll want jam session concert let people know remind tv hasnt completely usurped culture yet make postcards containing relevant concert information description music date time much suggested donation whether youre planning potluck jam session etc include phone number reservations later directions carry car bag purse hand also mail invitat ions youre internet proficient put together mailing list send email notice beauty email isthat send several reminders regarding show reservations et c another thing works well youre hosting show neutral outofhouse setting toprint flyers post around town bookstore window market bulletin board library laundromat local music store wherever theres foot traffic simple courtesy always ask permission post things usually people dont mind week following show make rounds remove people appreciate efforts something else tape couple flyers inside rear side windows car lot people look curiosity go daily errands keep one postcard near phone home reminder mention concert everyda phone calls concert held neutral setting broader job advertising youprobably wont need concern last suggestions flyers around town carswindows concert going take place home youre like people youre probablyhesitant throw open home anyone alternative space comfortably go largermore diverse audience stay calm timely words advice breathe breathe relax take easy whole idea make good thing happen enjoy youre publicity stuff doesnt happen overnight occupy every waking moment wide circle friends probably wont take much advertising fill house far timelines go heres gene ral plan moving things along month show make postcards start letting people know concert word mouth thing handouts initial email announcement two weeks postcard mailing like put flyers appropriate event want get really ambitious especially house concerts arent norm community maybe get touch local newspaper article timed appear week show performers pretty well versed promotion concerts help everything youll need along lines postcardand flyer blanks press releases photos etc post updated email announcement reminderthe week show make last round phone calls remind everyone come one email minder give pat back job well done note keep running account whatever expenses ou accrue plus receipts youll reimburse concert performer may want receipts business expense tax purposes big day arrives tip avoid lot hectic lastminutedetails feeling little prep work days beforehand remember want able enjoy concert dont run ragged might set room concert way stagecreate stage area performer concert room front fireplace french doors open corner room arrange seating face stage lighting place floor lamp small table reading light near performer sit stand usually suffice even better job oflighting lay hands one two utility clamp lights available almost hardware store fit watt bulbs devise way mount maybe camera tripod ceiling light fixture clamped convenient curtain rods make sure direct toward performer seating lets think minute enough chairs con sider places might obtain loaners school church library etc even tell people bring forget chairs arrange people lounge floor combination course always rent folding chairs last resort theidea keep production costs minimum hosting show house concerts typically consist two sets music minutes short break minutes people stretch legs chat refreshments visit facilities purchasethe artists cds etc people assembled settled youll lcome everyone introduce performer something simple like good evening everyone thanks coming tonight fortunate us wonderful musician performer lets get started please welcome break time break might want light refreshment hand things like coffee tea sodas chips dip etc also ask friends bring home baked goodies well fact good idea enlist avolunteer oversee chore remember dont volunteers usual perk grant free admission people help night show refreshment coordinator person collect money door handle cd sale artistbreak refreshments couple coffeemakers service keep demand make sure usual condiments hand cream sugar honey plenty cups want eliminate lot dishwashing use paper cups napkins plates might well set agood example also set basket sign reads donations treats help offset expenses break make short reintroduction artist sit back enjoy rest show money thing averaged per house concert breaks paid attendance people per registrant per say average good place start trying formulate financial expectations number ways compensate performance youre financial position could simply pay pocket variation pool resources friends toward thissame end common way reimburse though comes attend concert way suggested donation registration fee dont let terms confuse semantics since houseconcerts defined private performances private residences fall outside boundaries ofcommercial statutes apply public clubs c oncert halls regarding licenses entertainment taxes call registration fee suggested donation intents purposes asa ticket price cover charge admission fee different name animal rose name simplest way deal money thing simply collect door night concert risky financially aesthetically due noshows youre paying performer directly far best way via prepaid advance reservations way youll know exactly many people expect helps answers several questions eliminate couple problems one provides keys seating refreshment needs two people prepay less likely cancel last minute even still get compensated noshows noshows alltoocommon fact life bane house concerts attrition rates unusual even people lemnly promised oath assorted deities theyll things come work late kids get sick theyre tired whatever happens nothing disappointing expecting full house half ofthe chairs go empty doubly worse youve refuse people wanted come youthought full house minimum takes audience least people generate good energy really successful house concert unless youve sold via presa les always continue accept reservations paid unpaid moneyin hand proof soldout show people reluctant commit topresales registration explain firstcome firstadmitted situation way theyll guaranteed seat presale registration show one thing make easier offer incentive say discount presales admission versus full price door another way encourage presales set account paypal cantake credit cardspaypal paypal convenient way anyone accept credit cards credit cards give convenient means making prepaid reservations know several house concert producers use paypal thispurpose check website wwwpaypalcom event end evening youll taken x amount instances youll extract expenses send way remainder additional considerations heres things consider course getting ready show coproducers theres law says enlist friend two divvy work makes lot fun time start friday saturday shows things get way weeknight sunday show start things halfhour hour earlier perhaps co nsider late afternoon show sundays especially conjunction potluck picking sessionmore later smoking nonsmoking early discuss preferences performer r egarding smoking usually house concerts nonsmoking affairs accommodations typically porch back stoop patio feel craving show break afterwards kid situation since shows happen close quarters children cause considerable disturbance dont capacity sit attentively two hour concert general rule good idea encourage people arrange sitters children age twelve parking adequate parking neighborhood accommodate extra cars secondary benefit inviting neighbors usually wont take iss ue parking situation feel like theyve included loop make sure guests dont block driveways fire hydrants otherwise complicate life others performer accommodation performer need place stay town w hether arrangement someone else think performer distant relative old college acquaintance make place spare room couch den show performer coffee morning lay towel andwashcloth important note performers extremely allergic pets others adverse reactions tobacco smoke youre talking perfo rmer accommodations remember ask theyre susceptible irritants also youll providing meals make sure know carnivoreomnivorevegetarian affiliations early expandable concert might feel like going turn concert daynight affair potluck jam session cookout etc know musicians coming concert invite bring theirinstruments another charm house concerts easily evolve loose communal music exchange showhow workshop frequently songwriting workshops conjunction concerts theyre informal sessions usually two hours length groups participants around per person format roundrobin discussion well critique worksinprogress talk finding songwriters authentic voice explore ways developing melodies discuss develop arrangements effective performance answer music music business related questions anytime people interested holding workshops im happy come town little early stay little longer hold session surprise ending guess done thats youve seen easy spread word house concerts coming thing im convinced theyre going come popular time goes live increasingly isolated culture people hungry authentic experience community want part something real house concerts however humble gesture maybe little part reality illustrate people make things happen right wherethey without necessity lot hype ex pense music art kind magic still afoot world lets toast making things happen lets bring home songwriter tr ritchie twotime finalist kerr ville folk festivals new folk showcases headline performer top honors napa valley ca sisters jubilee co folk festival songwriting competitions double showcase songwriter featured walnut valley festivals new artist showcase kansas also one dozen finalists chosen among twelve hundred applicants showcase music mountain stage newsong festival west virginia information visit wwwtrritchiecom folk club audience guide jeremiah mccaw ezeduzit rights reserved whats alfie new folk club experience heres general guide works folk music never gone away always strong presence however since great folk boom high profile still still making music filled ourhearts souls theres bit reawakening general public recent times suppose someof reaction empty calorie musical content disco years dark times thejoyful discovery charms vitality celtic music also fueled revival audience exposed wide variety music performers devoted oldest traditional song forms childe ballads well whose choices run recent music tom paxton phil ochs even contemporary singer songwriters like jewel billmorrissey john gorka folk music say sorry theres one definition satisfy everyone audience ask respectful performers professional caliber first timers scared wits love music want toshare please listenone satisfying aspects folk clubs opportunity see new performers trying wings first time may greatest value hat venue musicians ready bring instruments songs basements front public playing bars may payalthough usually poorly audience generally far intent conversations rowdiness performers listened think thats one greatest attractions jeremiah mccaw lives brantford ontario canada folk page created site give shape folk folkoriented activity south central ontario area share love folk music wwwjeremiahca jeremiah also member ezeduzit acousticbased trio although focused primarily old timey material repertoire ranges traditi onal contemporary even original instrumental vocal music wwwsympaticocajimhodgef creating local gigs mark w curran author getting gigs musicians singers survival guide rights reserved many traditional venues methods getting gigs jammed competition often difficult make headway particularly crowded market solution create gigs none existed thus act gig ways found useful feel free invent four wallingtwo walling act concert fairly new business model emerged new economy fourwalling twowalling venuesthis involves renting corenting club space theater advertising promoting well ticket sales take part ticket money depending arrangement venue one extreme example las vegas almost showroom performers rent casino showroom either production companies partnership producing entity sometimes partners casino sometimes purposes talking going venue community renting facility money great act great draw disastrous people dont show public fickle one never predict numbers may turn see event many concert promoter gone bankruptcy way successes fourwalling act tribute acts small theaters high risk gamble cant afford roll dice dont friends made money producing tribute shows even name acts theaters even tell sometimes lose much win producerpromoter responsible ever ything would amazed many details go producing even smallest show contracts sign insurance policies printing advertising promotion tasks endless number jobs must performed exact timetable screw could lose shirt goes well go well lets say rent seat venue plu house sound lights stage personnel add another box office services miscellaneous things like insurance catering add advertising costs say another band opening actso example sell tickets even thats profit must factor many weeks prep takes produce promote show must sell every seat make kind profit half capacity youve broken even believe fun putting months work money show bad turnout performing top unfortunate position work ass perform still lose moneyremember go way great feeling selling show walking away decent profit process able play large stage appreciative concert audience many factors variables affect turnout greatly weeknight less ideal saturday ideal holiday weekend avoid rainingsnowing night economy downward cycle war yet another foreign country pricing overpricing tickets theaterwelltrafficked flyers lobby sufficient enough time attract patrons attending shows included season mailer even arent presenting show part season public sensitive issues prevent venturing cocoons kind event add many choices people spend time entertainment dollars even staying home far preferable going enduring traffic crowds potentially bad show home theater gaming systems almost every home plus internet distractions see getting people go show become difficult task best lets say single acoustic performer large following since costs band take ticket money book smaller venue seats still charge could walk away tidy profit since cost theater rental less smaller venue youwouldnt paying backup band offset risk might consider two walling venue meaning split profitloss equally venue theater simply split rent ticket money club might consider taking door ticket money club gets drinks food way see turnout maybe take act nearby town try four walling another venue find smaller theaters willing help larger ones fact los angeles many larger theaters strict policy help promote committed promoting season shows often feel help fledgling promoters pulls focus away projects also aware many smaller theaters little staff rarely afford someone help market show act major following presold element tribute act think fill seats might perfect situation successful fourwall proceed caution area lose money hurryif decide fourwall small theater make sure start early sixtwelve months nice window theater well attended patrons throughout year see flyers lobby theater least somewhat open helping market show get saturday night show weeknight hold prize drawing order get audience join mailing list theater include season mailing theater include newspaper advertising promote show using flyers email posters start promoting least months advance show date find local businesses sponsor show offset costs finding sponsors contribute show ex change ad program often make difference loss profit finding sponsors tough time consuming job become difficult pursuit top duties may able find someone within sphere influence make phone calls local business behalf solicit donations exchange percentage four walling satisfying way build audience make profit offer great way get name local community allows sell merchandise show make sure money put aside c four wall number theaters different regions within driving distance one overnight stay shows become successful schedule annual concert expanding circle around home base radius article excerpted book getting gigs musi cians singers survival guide mark w curran available wwwnmdbookscom mark w curran lo angelesbased professional musician singer well wellknown expert field music marketing author sell music profitably sell recordings online getting gigs wi thout agent available nmd bookscom cant find gig get street kevin minihan eastwood band rights reserved rule number one aspiring musicians practice makes perfect well yes kind practice ill spell need noyou must practice playing live front audience hear frustrated moans many sa ying cant get gig use practice well friends simply true excuse want take opportunity crush way get gig day week underutilized practice performing streetsno excuses person band play street true easier solo acoustic performer advancement battery powered amplifiers even pas old excuses play electric guitar bass player dont hold ight anymore would suggest band play acoustic set ease set must play electric get battery powered equipment immediately small gas powered electric generators ar e quiet inexpensive days play options endless anywhere large number people best area people seeking entertainment town cool entertainment district area popular clubs restaurants located means pick corner part town outdoor cafes try set within ear shot town example commercial development movie theater right next row bars restaurants shops people types areas open listening music plus theywill money pockets hopefully use tip purchase cd prominently displayed next even set corner next arena national band fits genre music playing leverage fans hundreds possibilities use head come new ideas hang potential fans hang watch two things need wary cops criminals call local police department city hall check citys laws street performances exampl e cities allow performers certain types city owned property although would probably ask leave dont want risk getting ticket also need careful avoid shadier parts town dont tempt crook taking hard earned tip money stay well lit areas play high traffic locations use common sense dont want standing late night dark street small bills lying yourfeet dont make easy target robbery get enjoy secret benefit beside obvious benefits earning tip money making cd sales getting valuable live practice another benefit surprise incredible boost self confidence get firststreet performance lets face playing unknown environment seem little frightening first sing first note get first tip cloud nine youve mastered playing street able play anywhere complete confidence get play kevin minihan musician writer jack trades master none residing questionable outskirts dallas tx plays bands never gets enough sleep playing music writing enjoys sharing experience knowledge musicians along writing articles websites kevin plans write series books order help others achieve dreams succ ess music businessthe art showcasing rick goetz elektra records rights reserved working ar seen literally thousands bands last several years actually tried counting bands seen one point try talk boss giving raise didnt work thanks asking let make early disclaimer saying little scientific showcasing process article meant foolproof plan get signed showcase really collection experiences worked worked people past see whatgets signed becomes hit less think understand record industry believe even side fence confusion frustration crazy business weve chosen saidthese things hope youll able get article ar people looking performance label showcase checklist things accomplish labels chasing way around done right showcase terms troubleshoot make sure showcases run smoothly awareness factors influence decision making process ar representative music business executives getting ready showcasegetting label attention mom really likes new demo time call record company ideally three things would strong ly recommend getting whole shopping showcasing process team management lawyer place professional radiofriendly sounding demos demonstrate waiting major label funding anything else start career pressing selling records getting airplay marketing internet touring country etc musician last years realize aforementioned tasks easier said done promise three things guardian angels endure showcasing process done incorrectly proces challenging humiliating going puberty team ok paper sounds easy back step one supposed find decent team well science set ru les give bring point point b say playing clubs developing following meet talk every band manager promoter encounter strength developing act people know people able trade favors ask big local act home town management theyve encountered lawyer like managers lawyers seem find new clients existing ones viable way encountering potential team members also research managers lawyers agents successful would understand genretake meetings everyone give time day even nothing comes meetings keep friendly contact people never know might need one another something one thing keep mind great bands make great managers lawyers arereally much trouble building team perhaps spend time focusing perfecting craft writing better songs playing better shows building following words build come demos ok ill work putting team together least right things attract right team members guy babbling good demos hes writing abou showcasing ive found good demos usually important factor finding major label record deal efficient way generating enough label interest get showcasing stage career myadvice front beg borrow steal words whatever takes come cash tomake good demos start showcase try find local studio engineer producer whose work sounds radioready maybe another bands demo like try towork research everything spending money recording remember majorlabels radio driven part business selling live show ive seen bands could barely play live get record deals demos sounded ready radio cases showcase really formality record co mpanys mentality even suck live cant tell radio ive even heard bands great demos signed without ever seen label rep hand ive seen amazing live bands come decent recordings material day remain without deal starting career hell supposed start career im lacking funding time contacts get ballrolling arent bit unrealistic say except already know record business hell recent years burden artist development shifted record companies management artists dont like dont agree really way yes unfair yes hard hell getthings going career without major label resources yes able start career without help major much sellable commodity come showcase time look way ar person investor co mpany artist band corporation team senior management sta ff pitching corporation people like position acquiring corporations think successful corporation already beyond blueprint demo phases already demonstrating vi ability marketplace much likely want invest future experience thing predict future sales business existing sales hard hell done think kid rock sold well records label signed lava atlantic already streetteam mbers received decent amount coverage national periodicals company great job record nothing would replaced years legwork addition kind legwork may put stronger bargaining position negotiating deal dave mathews mc hammer got better average royalty rates lure themaway already profitable independent careerslabel interest anyway stop longwinded preamble tell im rock outin front record execs right minute promise first want say word gauging labels interest project important know people stand show showcase hard tellmusicians often misunderstand intentions interest level guess id better explain meanswhen say something wow im gonna honest herei know im going regret later goes say please send demo means want hear someone told good iced band something right doesnt mean anything speak ive listened point youll know whats say well let know next time play new york means well demo good great maybe live show earth shattering might talk demos something kindof means keep touch let know things progr ess also indicates excited enough get plane go check yet doesnt mean call travel agent book tourasap interest level isnt quite point yet say ok ill come see next show even town means im pretty excited either loved demos fact youve demonstrated project making money way someone else business trust convinced project needs immediateattention doesnt mean person need impress like ar reps need approval upper tier get anything signed say guys great id like get boss come see often statement means decision label id sign since see response man upstairs depending reaction decide proceed doesntguarantee man upstairs like hought convincing cynical bastard jr task wait meet cynical bastard sr said reps wouldnt proceed unless think boss understand project major label interest like venereal disease tell youve got wont doubt mindsetting showcase ok major label interest requirement showcase understanding level label interest ishelpful tell showcasing please youve patient lawyer manager ta ke copies demos album send closest industry contacts looking feedback need likely material get listened quickly sent lawyer manager one shouldfollow see received andor reviewed id stress materials sent closest contacts first way get someone likely listen carefully provide honest detailed feedback criticism closest c ontacts letting know wouldnt even travel across street check projec might want consider going back drawing board working demo material feedback decent however means invite show time sit team figure labels would idealhome youve already sent material people team know best would recommend making sure packages sent labels perceive best fit project ifluck timing talent maybe get people check outrules big rock show say get couple labels interested things go perform theirhometown mine better showcase rehearsal studio venue bring mydrunken friends show guest list label gives option place mine default onenightstand logic response always place ideally hometown venue comfortable front many fans find showcase likely stressful nomatter home town fa miliar venue better able predict little pitfalls playing live get sound check soundman good promoterclubowner move set time back line lik e venue equipment need bring everything get sound check make sure know tip soundman town try bring soundman least find one comes highly recommended wherever wind showcasing another good reason avoid coming label territory crowds new york los angeles record labe ls located suck people rarely go check new acts tend cool move show real appreciation also matter night choose play new york la always national ct another buzz band youll competing another thing consider ar representative tends feel less work seeing band venue thats one usual haunts downtown manhattan los angeles believe help may given decision play ideal circumstances common story showcasing bands seen first representativ e scout hometown flown new york los angeles play senior officers company sometimes record label staff brutal experience really dont know tell prepare picture youre room filled mostly strangers know nothing except work record label theres alcohol usually smoking one looking pick someone like theywould ordinary show bar somewhere sole focus tention mob jaded record executives friend mine band showcase entire label staff last year one horrifying experiences id ever heard sterile rehearsal room like one describedthe band waited label president living legend arrive halfhour uncomfortablystared several dozen new york hipsters band finally greeted label head acouch placed ass carried within spitting distance stage label head satexpressionless arms folded bands entire set could prepare well iguess thing think practice know set forwards backwards stand deliver circumstances another option worth considering performing st udio know put good show exactly easy natural advantages youll hav e time sound check everything set way want youll far control appeals youthe importance fans legion loyal fans dont afraid bri ng every last one showcase difficult thing pack venue even cover unless youre something right go town check band im watching crowd much watching performance funny thing ar every passing day job become less like ordinary consumer example havent purchased cd paid see performance months honestly im almost interested average yearold kid thinks thin kthe president label work told story seeing band several years ago went multiplatinum act didnt get fact hated rather bored middle packedshow wandered around talked people crowd band every person talked toswore band next coming christ allowed ar representative brought band attention sign went sell millions millions records obviously factors involved rabid fans show night played huge part signing dont fake often find showcasing lessthanideal circumstances best toimprovise make forced sterile rehearsal room bring candles elements stage show room liven bit means someone knows set operate lights lighting really help show remember likely playing room zombiefaced record execs tend move lot even simple strobe light wonders make feel like something room moving talk label bringing case beer friends rehearsal room cant imagine would mind nothingelse might make feel comfortable imagine helps grea deal careful playing drunkenfriendsinarehearsalhall card however ive seen harm good works right itll bunch people enjoying music beer ive seen itappear forced seems like band instructed every member audience freak andoverreact every song might trying helpful careful audience coaching general go see show bands territory im expecting see wellpromoted packed show best example show see one hint f something looks staged saw band thanking group young girls handing bills long loudly demandedband autographs middle conversation total buzz kill set lists spontaneity obviously one live would recommend writing set list several weeks showcase practicing exact way intend play make sure comfortable showcase set hat could play hand grenades lobbed also short sets tend work better long ones would say play strongest andor mostcommercially viable material showcase particularly rehearsal hall find songs record company focusing ordinary show bit flexibility even leave crowd wanting pray get encore always good sign put song getting best feedback middle maybe latter half set ar people notoriously late would even go far wi th rehearsals script inbetween song banter venue real show always announce projects name twice durin g set way theres mistaken identity dont afraid call mailing list cd info always like know aband isnt shy selling records organized enough keep mailing list mean go overboard stage banter song titles cool mention crowd interaction always plusbut one really wants hear life story besides job right stage people ask youfor life story set guest lists guest lists industry people shouldnt big deal reason another cause problems one plus showcasing rehearsal hall wont deal fragile egos bullshit whining comes putting together guest list make arrangements venue areplaying beforehand dont discover late guest list crowded come pocket extra people list know front wont getting large list dontworry ar people expense accounts used paying cover charge showwill sold really cause problem youre selling club shouldntbe giving shit size guest list anyway make sure industry guests theguest list getting know younger scouts ar people far wealthy ifyouve got ar assistant scout helping throw bone canif youve got space put people nice courtesy dont make sure communicate people invite list anyone would let nominal cover charge deter probablyisnt worth time anyway labels leverage say things going well several people interested invite showshould play labels one another get better deal would advisable get project themiddle bidding war cases much good thing numerous occasions seen bands managed get majority ar community new york one shows andthen blown case anyone day would say try bringingpeople shows smaller groups maybe even one one always luxury ifthere multiple labels interested seeing showcase new york los angeles youcan one showcase different groups people without making less impressive ive found many people show certain show b e critical performance find asking band really worth hy pe know childish packed showcase buzz band kind like going see one blockbuster movies spends millions advertising gets dozens huge corporate sponsors movie might good rarely meets expectationsbecause hype never quite good great movie kind stumble upon major ar turnout show doesnt always lead disaster though sometimes theattendees step deal band goes whomever feel comfortable orwhomever offers generous deal times however many labels interestedin band band find middle bidding war obviously enviableposition doubleedged sword one hand band many different options choose also inflated perception obstacle surviving hype generate biggest bidding wars last several years bands su ch radish rubyhorse hayden flick furslide names sound familiar trust say quite obscure music like majority bidding war acts bands go perform like collective ar community thought would believe heightened expectation placed bands something failure band cost label great deal money released unconscious perception label staffis perform better average new release since always case seems thatpeople quicker dismiss bidding war record even selling moderately well bewarethe hype bestcase scenario get offer one label see leverage offer better offer labels luck get modest amount competitive deal offers table reread last two sentences aloud thought would good time mention ideas stated article opinions rick goetz elektra records anyone else anyway touchy subject must careful treat deal memo get respect deal memos get pulled table time dont think take time flaunt fact continuing shop even though label x put money mouth get offer dream label seems team like reasonable deal maybe sign get career offer label bottom list maybe delicately put spin pitch labelswhen say delicately mean dont call everyone ar community try stir things call labels expressed interest date label made offer let know information deal table band available forever warned take long looking options might loose deal memo table careful get second label make offer look improve stakes interested parties long many offers much hype dont risk pitfalls biddingwarband never said little friendly competition wrong warned youre middle negotiations dont exaggerate one label offering one music business twisted little social group unlike high school people talk gossip frequently seem least one two degrees separation one another good chance tell onelabel offering moon isnt true little lie uncovered screw yourrapport one labels one last comment rapport ar person label crucial try understand hisher position within label ie level seniority determine whether communicate understand ther also ask vision hope somewhat lines acompetitive bid situation person label communicate better important could decide land also happy youll youre buck little campers youve made far real trooper think ive run silly anecdotes halfbaked witticisms job showcasing find right label project process get many free fancy dinners hope continue making good music let many obstacles deter dreams goals please bear mind process like marathon asprint dont loose hope rick goetz senior director ar elektra records part atlantic records group wwwatlanticrecordscom attending open mics jams open mic performers guide jeremiah mccaw ezeduzit rights reserved stage scary place even supportive friendly environment folk clubs circuit one first things realize get perform alone upthere person working sound board integral part performance guitar youre holding words theres thing solo youre involved cooperative effort sound person good sound person bring best per formance enhancing strengths downplaying weaknesses general make sound better thought possible three people life aggravate barberhairdresser bartender sound person possible talk himher beforehand questi ons may theyre friendly approachable susceptible flattery hey else fails try sinceritymaterial recommend three songs ready case someone one ones youve prepared playing songs real advantage happen time time generally considered poor etiquette repeat song thats done already evening doesnt happen avoided wherever possible remember youre among friends particularly first outing pick songs overly difficult goodness sake literally st ay within comfortable vocal range first time scary enough without deal tricky vo cal instrumental part lots time opportunity bravura stuff later set get stage take position comfort able hopefully youll practiced position youre intending play whether st anding sitting yes really make difference let mc sound tech arrange mics shou ld work fairly close microphone bit daunting hear voice amplified first time natural tendency back resist bill crawford says eat mic best working distance microphone inches less inches better hands width also closer mic better bass response try keep working distance consistent end feetaway mic sound man going assume youre going stay case adjustthe gain mic distance suddenly lean forward sound levels go rightthrough roof didnt really want per forate audiences eardrums another advantage gain ie youre working close mic theres much lower likelihood feedback occur course major disruption performance andhonest theyre nice people didnt really want responsible turning brains topudding guitar doesnt onboard pickup itll miked let person setup arrange point try maintain consistent position relative microphone may notice mic wont set direct line soundhole guitar dontaim soundhole squarely youre performi ng tend promote overly boomy bass even feedbackgo hearing amplified make back psychologi cally well physically resist well let voice go im saying must sing loudly saying sing fully crash burn one ways first hesitant tentative second going missing first guarantees failure got chanceat second way gives shot success even youre target well least tried andthat counts lot people youll performing get fullest tone let thesound person partner remember take care volume levels thats job give thebest audience deserve okay stage youre nervous getout youve determined youre going go youre prepared possibly guitar tuned well know tune went stagedidnt encounter one fella tuned guitar carefully home packed carefully case put trunk car wintertime doncha know got cold took folk club went stage without retuning oy sound wouldja believe oriental tone scale reasonable facsimile thereof obviously didnt realizejust susceptible guitars changes te mperature humidity swear instruments detune even look crossways well one thing start perform take couple seconds gather remind breathe really start wi thout full breath never get caught happened im confessing much audience left breathlessby performance repeat earlier phrase go jeremiah mccaw lives brantford ontario canada folkp age created site give shape folk folkoriented activity south central ontario area share love folk music although focused primarily old timey material repertoire ranges traditi onal contemporary even original instrumental vocal music wwwsympaticocajimhodge live performance first open mic interview open mic host spook handy anne freeman aspiring songwriter rights reserved af usually happens open mic im new songwriter im making first visit open mic happens next first thing someone wants play open mic know open mic means definition changed last years people ca distinctly different things open mics traditional open mic synonymous open stage key word open means anyone wantsto go ever want true open mic usually show starts pm peoplewho want perform need sign pm mc either pull names hat call people perform first come first serve cases way things still workthe way run show lot people new jersey run shows sign advance usually shows booked week advance instance today wednesday already nexttuesdays show booked usually let people book one show time advance book one two three weeks ahead one show would important performer get touch venue find sign important venue owner know policy signing theopen mic sometimes venue operator tells people wrong thing signing thats notgood anybody af many songs person typically perform open mic thats good question another thing want find arrive venue prestigious venues godfrydaniels venues new york city majo r cities usually one two songs depending many people show might three songs might also wait four fivehours perform open mics requiring sign advance might get minute spot show minute spot generous one ive found thats think spook handy show talent showcase want give people chance time get theexperience good question ask many ongs get play usually one two check af technical issues example might room full people guitars arrive prepare one thing respect stage area dont come put instruments stage unless thats policy usually youre going put instrument somewhere doesnt prevent people sitting also want tune guitar get venue might go tune youretraveling venue also want tune go stage hats good thing remember probably want tune guitar another room youre making noise whileother people playing af something mc host would able tell could go host ask place tune put guitaryes youre going place youve never questions like definitely ask mc youll know todo one thing ive seen ive talked open mic operators mcs dont like someone coming making assumptions things things like walking stage adjusting thesound system plugging guitar board let people run show equipment ask policy af person performing open mic first time expect experience theyre standing stage introduce audience talk song singing start playing summary etiquette foropen mics songwriters aware well first time youve played expect pretty nervous laughs friend mine first played open mic go run around block kept running around block grabbed go stage itwas way could deal nervousness ask mc going introduceyou anything wants know announce th e crowd q mc typically announce performersyes typically announce next performer might say first time performing dont want someone ask mention lawyer forgot four five weeks later hasnt come back since af thats bad im sure sometimes hard remember details people request story like shows important remind mc specific requests important thing beginner remember dont rush spend seconds get adjusted make sure sound levels ok dont want monopolize time want get balanced focusedbefore start performance ive made mistake past going without sound checkand started playing halfway second line first song realize sounds horribletake time make sure youre comfortable physical environment soundenvironment anne freeman founder president aspiring songwr iter started ventur e aspiring learn songwriting consequently songwriting music bu siness founded aspiring songwriter first vehicle discover share resources songwriters company represents journalistic work aspiring songwriter capacity serves editor chief music business ejournal musicdish wwwtheaspiringsongwritercom spook handy performed concerts years performances written hundreds songs recorded cds th due coming months compositions performed dozen musicians pete seeger says theres songwriter new jersey really understands write good song says something important name spook handy song vote funny point wwwspookhandycom tips hosting successful open stage kristen schuldt hydraulic woman rights reserved offer prize weekly winner always brings people tempting venue sponsor cash prize least try couple months way raise money would charge per entry give winner pot end go idea want line friends regulars judges like american idol orthe gong show get interesting judges keeps crowd involved set cozy stage something different lighting important lately weve setting couple couches lamps feels really homey venue chip half run ad every months musicians always scouring local papers opportunities dont need run every week fun every performer gets fish prize done someone behind divider wall puts prize end fishing line something awful like oldcassettes dont want dollarstorecrap something good like free drink oranother performers donated cd etc turn whole night last hour jam regulars start learn others songs without trying hard list easy learn chord songs jammers pick three friends actually formed band jamming together acouple months may get karaokelike could encourage singers show even dont play instrument give list pick ask songs might know learn easily consider hiring house band play rhythm guitar really need drums bass ive pleasantly surprised talented musicians commit time little money keep advertising free way post internet message boards bulletin boards music stores local musicans wanted ads tell city newspaper local arts paper run events section make sure theres posters venue music kristen schuldt hydraulic woman crosses lines rock blue acoustic electric hydraulic woman currently performs number live venues minneapolis st paul surrounding area wwwhydraulicwomancom jam etiquette victoria bluegrass association rights reserved joining existing jam listen tune two background join think keep ifnot play quietly background ensure instrument tune youre new digital tuners aware calibrated purpose jamming make bluegrass music fun play loud fast show good player listen others jam make sure blend music singing dont practice break solo jam circle oure playing melody someone elses turn take break someones singing youre stepping toes note major difference bluegrass celtic oldtimey jams dont hog jam give everyone chance play supportive turn pick tune let everyone know name tune key form instrumental odd unusual chord progressions timing rhythm issues best rewarding tunes generally accepted keys songs however usually done key selected singer said best pick key tempo suits tune abilities theother jam participants capos put taken tunes wait seconds people recheck tuning dont want take break particular tune make obvious stepping back circle letting person left know one wants start break half way throughif cant hear break words song ar e playing loudly tone every bit important volume volume getting particular tune dont play work harmony singing listening skills listen rhythm tune song get groove stick find youre good time stop playing beat two feel rhythm next impossible pick rhythm without stopping first dont eyes glued instrument look around communicate eyes body lot communication jam subtle need alert catch th e signals listen listen listen listen bass room whole dont listen neighbors may leading astrayfamiliarize nashville numberi ng system common bluegrass chords communicate chord changes players preceding article created victoria blueg rass association victoria bluegrass association vba wwwvictoriabluegrassca vba bas ed victoria british columbia organizes suppor ts tuesday night bluegrass jam open stagefeature nights instructional workshops special concerts young musicians bursary local bluegrass radio programming newsletter ten commandments jamming jeremiah mccaw ezeduzit rights reserved thou shalt ever forsake beat ii thou shalt arrange thyselves small circle thou mayest hear see musicians thou shalt listen thine ears songs attempt play accord group also open thine eyesbetimes look thee lest visual sign someone endeavoringto send thee thou shalt play softly someone lifteth voice song playing harmony whenthou knowest thou art iii thou shalt play tune tune thine instrument well tune often thine electronic tuner lest thesounds emanating thine instrument unclean iv thou shalt commence cease playing tune together one noise ye make joyful noise heinous tinkling goeth fits starts unclean abomination whensoever musician sticketh forth foot though afflicted cramp fatted calf thoumust complete rest verse cease v thou shalt stick thine foot else lift thy voice crying last time thou hast one begin song played sufficient times one began tune endeth one signs tune go like old testamentuntil listeners say hark soundeth samevi thou shalt concentrate thou shalt confound music mixing part b part songs proceedeth according ancient law aabb thou sinneth regard make mistake unclean thou mayest atone ceasing play reentering tune proper place playing vii thou shalt ever mindful key banjo tuned play many tunes key banjo isbut lowly instrument must needs retuned time key change viii thou shalt speed slow accidentally playing tune abomination see commandment ix thou shalt thine self commence noodling tune musicians know unless asked unless thou art teaching tune abomination musicians hold theeguiltless shall take thee computer lists yea even unto third fourth generation x thou shalt fun play well jeremiah mccaw lives brantford ontario canada although focused primarily old timey material repertoire ranges traditi onal contemporary even original instrumental vocal music wwwsympaticocajimhodgef performing gig manners boost appearances venues annette warner coffeehousetourcom rights reserved one musicians doesnt think manners comes venues time started easytomanage tips mind manners gigging new venue returning old one always make sure confirm gig prior leaving town youre travelling mistakes happen schedule changes occur even last mi nute venues toss new performer aside given opportunity book returning favorite guaranteeing crowd may dropped ball calling cancel even double billed gig without letting know protect make sure still scheduled cancellation happen ask new date right away maybe two dates venue potentially generous state never appear rude inconvenienced attempt make venue feel bad haunt later youll irritate make hard want work bepleasant kind even may gritting teeth screwed entire weekend nothing else youve shown ar e professional tactful business person venues musicians asked admitted getting caught awkward trap becausethey failed confirm avoid altogether call dont even depend email call ask loadin time frame follow find going late load especially show restaurant youll want call venue soon order find okay loadin late witnessed musicians turned away gig arrived late restaurant specifically required loadin setup completed two hours prior peak dinner hour even though musician would able tostart gig time lateness inconvenient restaurant ask venue booking manager preferred times stick ask venue particular drink specials event announcements would like announced pa sets shows care business want help increase register evening also ask artists playing next nights announce dates appearing audience come back around good way better better come back around time research next perform ers prior playing youll something personal add write telling intend promote ask something special theyd like announce thats good friendly networking takingcare next thing know theyll call want details announ ce stage gig people cuz rocked forget announce reminders tipping wait staff bartenders really appreciate acts end evening tip wait staff even didntbring anything stage nothing says shouldnt playing therewaiters talk amongst impressing big part game ask venue owners coming back tell friends play clean stage area bottles put chairs back used leave things found better exit venue youll stand believe assuming liked venue add venue holiday card list send thank card first gig let know appreciated look forward comingback even dont want gig easy enough available itsnot easy recover unappreciative againyoull stand give venue cd overhead player many venues play especially ones made best impression return visits introduce one new artist think would fit venue giving cd artist venue think wonderful thoughtful profession people looking rewarding personally supportive colleagues make sure recommendations goodones need develop venues respect offer customers raffle prizes night play games like first one buy newest drink menu gets free tshirt always come prepared give away things atyour gigs really make difference easy remember promote safe driving designated driv ers often feel necessary least per show community responsibility reminding intoxicated music lovers shouldnt drive simple make effort remember names staff name stage billy behind bar makes fabulous margarita guys go grab one lisa fabulous waitress everyone remember tip well makes evening personal staff cant help like someone calls name stage time starting stopping gig end night come crowd still going strong ask manager want play longer dont stop cold empty place without showing care enough ask w hat would like appreciate thoughtfulness dont hesitate barter youve done fabulous job maintaining crowd offer stay another hour certain sum money whatever applies fair would happy let playall night long making money dont assume want continue whatever avoid taking breaks starting pick takebreaks keep short paid play drink sit around addition founding coffeehousetourcom annette freelance sales copy writer web resource developer business awesome webs also enjoys du ties part time event planner booking music entertainment manager several local festivals organizes promotes wilmington nc based successful awesome live performance songwriting competit ion th year owner warner entertainment live entertainment publicit planning agency wwwawarnerentertainmentcomthe art performing daylle deanna schwartz author start run record label rights reserved musicians often wonder people love music yet theres low attendance g igs unfortunate talent creating great music studio doesnt always cut stage front live audience good performer separate skill needs honed much work songwriting singing playing instrument take good live performer personality stiffly sing song perfectly people may get bor ed put youre singing smile let personality showthrough people enjoy connect audience look ive seen performer glance around stage loo k everywhere people watching make eye contact people front talk audience songs sing feet energy movement let passion music move around stage give energy audience feels performance isnt singing well people watching give something watch theyllenjoy fun get stage fright practicing good way get work professional learn handle seem enjoyingsinging playing audience enjoys watching mo make mistakes keep going wont care aware playing small room different dynamic playing large one bigger room need emote performance ask honest feedback every gig friends try bartender sees acts club promoter give feedbacksheets people fill anonymously need get input people dont know best gig contracts written agreements best proof agreed book gig simple onepage contract clarifying promoter agree provides better shot gig gosmoothly email confirmations offer protection real agreement must signed pen hitting send button even faxed signatures dont hold well artists fax agreementimmediately send signed copy snail mail create agreement find online tailor gig colleges tend many venues dont avoid getting caught short venue asksyou send onea nonrefundable deposit preferably days gi g protects provides front money expenses try include many amenities food drinks lodging etc agreement venues wont agree many cant hurt ask also include specifications may need soundand venue agrees provide awful arrive gig learn theres mic drum kit promised isnt wr iting better chance getting venue accommodate needs remember ask ye shall receive ask everything negotiate fair agreement daylle deanna schwartz music industry coachconsult ant speaker author bestselling start run record label dont need record deal survival guide indie music revolution real deal get signed record label billboard books daylle also publishes daylles news resources free music industry newsletter selfempowerment quarte rly also free daylledayllecom wwwdayllecom wwwidontneedarecorddealcom resources advancing music industry really grab audience marc platt singersongwriter rights reserved many times gone see performer talks talks songwriting called professionals boring audiences way years tales songwriting prowesswhile ive one jaded guys standing back club making wisecracks also beenon receiving end peoples criticisms fact us one time fall trap boring hell listeners artist entertainer develop craft communicator dont blab songwriting many wouldbe singersongwriters fall bad habits time comes liveperformance really nothing talk songs tell us wrote damn thing endure want go ticket seller get money back want know wrote song come ask show say something like yes wrote one available cd purchase buckstalk life personal experiences hell lot interesting hope like one first single years ago blah blah blah thing makes interesting history quirks things people relate dont tell show dont tell people talented recite resume show good intrigue ability expre ss communicate songs think songs mini commercials talent people ask ou purchase cds music intriguing enough honest people intrigued music feel honest genuine audience going onin life material reflection experience performance deeply trust youreveal performers sometimes hard time talking problems even triumphs im tell audiencesare dying hear really think really feel things think people love reality television read people magazine like hear g ossip insight want way relate onstage unique opportunity let people share things make want know person art example recently record release party gig wife came sang song held cd said buy lot cds seven months gonna need crib one line says lot humanizes artist everyone relate baby needing pay things make point move talk yes aware sometimes easy go far regard get point learnto edit big concepts one two lines dont tell whole story song take life give audience enough insight words dont need toknow everything dont lecture audience sharing thoughts life one thing careful spouting political opinions remember going gig good friend lectured audience evils certain political candidate agood idea get politics religion likely turn people trying reach dont know backgrounds audience member alienate wont get back trust one dont trash honest doesnt mean belittling per formance cant tell many times walked friend hisher set asked felt replied hated sound couldnt hear messed second verse third song idont want hear crap want discount previous minutes make feel like wasted precious evening negativity show gratitude instead critical selfdeprecating could say thanks coming great time really glad see meant lot people pried beloved couches burned valuable gasoline spent hardearned cash admission couple overpriced cocktails came see ou play express gratitude gig good chance want come back see perform marc platt los angelesbased singersongwriter since taught performance workshop north hollywood kulaks woodshed since platts musi c appeared tv shows queer eye straight guy enews true hollywood stories album awesome available online information visit page wwwmyspacecommarcplattmusic ways musicians increase tips bard marc gunn bards crier rights reserved listening npr day r eport tipping restaurant industry one list tips wait staff increase tips got brainstorming surfing net ideas boost tips combined lots performances renaissance festivals helped develop list ways musicians improve tips introduce name often musicians forget introduce stage make sure tell audience band name really boost tips also introduce individually let people know individual youll see greater tips go audience tip jar really cant passive comes getting tips walk audience somevisual reference says tip tip meet audience level take time talk audience members level holding iscussion stage puts wall instead go audience talk face face kneel theyre atable youre eye level tip jar gain fan also improve tips make appearance personal wear kilts gigs kilt adds personal touch links us certain culture makes people take notice course dont go route instead find piece clothing reflects personality boost tips recommend favorite cd multiple cds audience always ask favorite tell one recommending arti sts like adds twofold advantage helping audience find music like helping fellow musicians smile bright confident smile bring fans back lots big tips involve audience music joke game next time youre stage see happens joke around audience personality glow tips chat fans name music fans love nothing recognized bands love best remembertheir names feel much attached music feel like friend friends tip better courtesy touch audience youre socializing audience touch nonsexual way whether shake hand pat shoulder back brush agai nst wait staff find even boost tips toouse tip jars visamastercard logo according studies done restaurants seeing logos enough encourage customers tip know sounds crazy give try may pleasantly surprised results give audience something return tip people love feeling like theyre getting moneys worth many people dont realize tip bands give something return could something big sticker magnet simple abusiness card might include cds hey feeding sweet tooth pieceof candy whatever case little gift mean big tipping results draw picture similar note give business card draw make comment piece valuable result bigger tips make tipping part show wait end set ask tips sing song tipping get audience involved tipping process shouting something offer prize first tipper integrate show itwont seem like youre begging money rather youre making fun tip thank audience gig would complete without audience thank taking time watch perform feel personal touch respond ask money bonus tipping suggestion change five dollars never return five dollar bill always give back five ones allows customer tip dollar bills returned wil l rarely get tip returning bill turn tippers general good return ones change less want customerto least two ones give back tip bard marc gunn brobdingnagian bards helped thou sands musicians make money musical groups bards crier music marketing promotion ezi ne texas musicians texas music biz tips get personal advice visiting wwwbardscrier com free howto music marketing assistance finding truth thro ugh stage personas gilli moon warrior girl music rights reserved best bands record meaning album great live bands get signed cause great demo havent enough experience begun explore dynamics musicians developing act putting good cd together way musicians play live clothes wear stage way relate audience stand stage patter songs whole live stage persona performing life felt little top performance grab peoples attention quickly learned early playing smoky pubs australia peoplewho really didnt care performer wanted drink beer song liked sung along get attention top entertainer stage persona became important thing meit took along time take seriously artist remember early days sydney would go deep sweat preparing show get right clothes right makeup right hair color every hair color imaginable brown blonde red white mahogany purple even blue many styles short punky l ong frizzy early nineties thought needed little bohemian little hippy little punk lot attitude always wanted show midriffwear big loop earrings fancy shoes black still learning art performance though fi rst started performing original songs live shy funny also time performing cover bands dynamic contrary cover bands could play part imagine original artist like donna summer stage could imitate original artist original material shy uncomfortable playing piano singing time found really difficult thing think lyrics play chords sing tune remember therewas audience front needed attention closed eyes lot got states learned let go starters able whoever wanted scratch reinvent speak decided brave little worked worespandex dresses four inch wedge heel silver glitter somewhere body especially glitter cream cheeks shoulders even wore wi ngs throughout temperamental angel album tour persona able take flight anartist always diamond rough music songwriting voice got stronger least gotattention signed tribe records even dressed man year stage tha fun developed band called jessica christ pushed envelope gender issues actually wanted audience remove gender association songs promote lyrics words important elements changed stage gender kicks direct idea label order us get media attention came id start plaid trousers jacket buttoned short cropped bluehair salvador dali curly mustache face singing sweet love songs full rock rolltoo half way second song id literally strip reveal short body hugging dress always keeping black high boots jessica christ real breakthrough stage persona releasing inhibitions something said going top stage really confront fears learn let goas soon let go fears nerves wh ich disguised behind costumes become different persona inner natural self exude remember gig gig melrose avenue west hollywood packed girls guys front lighters swaying air girls looked awe felt power woman sta ge gave strength guys curious sexuality felt sensuousness love didnt matter crowd started hooting hollering id change attire never missing beat song itwas electrifying feeling really let loose didnt care people thought sexuality tied expressing music perform se xuality naturally exudes entertainment image development years musicianship vocals got tighterblog entry june weve jessica christ band playing traps around la great crowds great crowds take good band sometimes rude club managers sometimes great promotersplaying live la somewhat challenging never really know whos going come see given night people mint pico couple weeks earlier club packed gig ive battling ideas flowing head music hadso many deep emotional events taken place past year new songs veryautobiographical like hear beginning middle end relationship one sitting edgeis interesting miss nice girl im coming alive following jessica christ era temperamental phase promoting first us release label warrior girl music album temperamental angel conjured lot imagery ideas present stage rebel n angel way sung performed sounded wanted bring different personalities complex individuals many personalities masks song called naked sensuous title track really spoke multipersonalities angel devil least dealing different parts us blog entry march spent last sunday trotting old train tracks downtown la sticky black plastic dress darksunglasses dont mess boots white wings train came filming rest footage temperamental angel music video wrapped saran wrap naked living room love getting naked got home gig hollywood jeff gordie ric played mike galaxys industry showcase felt went really well sold quite cds plusaccumulated new fans jeff wore wings ric adorned pink feather bower thsong love hollywood wear whatever want stage fact thepeople audience tonight simply freaky colored hair angel wings blue warriors honest hunky adorable band funk groove without gilli moon knocking socks everyone makes gilli proud mother goose whisky go go never saw anythinglike last thursday even though theyve well everybody paint flying gordie guitarist enjoyed body dress swaying thats mine heads nodding boots kicking voice warbling music well take away moon quite funny gilli moon sweet piano ballad gal turned almost heavy metal blackboots still calm sultry naked comes press seem enjoy controversy came woman album warrior girl wearing combat attire popular green army camouflage pants boots cool spunky tank top gave room run around stage also painting lot stage call sensuart id erect large clear piece ofperspex plastic stage get brushes paint id stand behind clear canvas painting lots offemale nudes faces band would solo jam painted band members many timestoo lot fun ive run gamut stage personas helps develop artists story removes fear every gig special live image changed started touring began seriously touring across united states promoting temperamental angel album keep affordable went solo without band meant responsible everything getting venue organizing music playing keyboards fingers certainly got lot stronger entertaining strange crowd selling cds although always hadhelp fans friends packing certain point got tiring put big showwith costumes theatrics started first tour small color wheel light revolvedand changed lights performed sold phoenix arizona second weeki ended taking shoes singing songs keyboard beginn ing finding true self stage longer wore outfits frizzed hair even put top makeup years road consistently traveling every stat e country became less less concerned costuming stage persona didnt time tired became concerned songs vocal music performance authentic authenticity ultimate goal live performer audience doesnt feel truth cant relate road huge awakening dont problem band going glam rock top image feel every band go process many positives especially developing want learn let go stage image thatswhat people relate power grown accustomed notion doesnt matter look act inside ive seen worst bands dressed full stage presence lights costumes props works left unimpressed talent songs ive seen humble artists getup jeans tshirt makeup frills truly gr ab attention powerful stage presence talent story grass roots ive become laid back real positive feedba ck ive received show music course ten year overnight success story im spring chicken ive learned lot one get chops stage long time make look natural days especially fourth album extraordinar life ive really tuned songs writing remember story around whenever sing go back time every time live emotion audience feels able touch souls magnificent doesnt matter wear matter exude passion matter deliver eye contact isimportant contact general audience important humility important taking seriously important remember seeing celine dion concert sydney whether like music encourage anyone see perform live check live videos amazing stage entertainer must people concert every one us eating palm hand silent riveted spoke like person room sung life stories hersongs fabulous sense humor know say songs never ends song shes ready notice shell finish ng note maybe arm outstretched maybe eyes closed band stop everything silent hang suspense shefinally drops arm could even seconds final note applaud weve beengiven silent nod decides song ov er audience slaves superb loved stage persona journey im sure mo come express live always admired madonnas finesse reinventing image every album makes like idea love making concept albums album tells story theme plot journey take theaudience live performance matching essence album madonna great atthat never afraid push envelopestage costumes great ice breaker bring across artist story concept developing image crucial course without costumes touch peoples hearts youre theright path much controversy developing artist image music business media love grab story kind business doesnt like guess like see music look want able market something independent artists image around album concep website live performance persona even character general public tie artist believe persona artist crucial telling story creating buzz always remain authentic true self keep changing evolving tap passionate self truth passion everything friends make difference quick flybynight fashion trend versus eternal lifelong rock star get gillis book professional artist key survival success world arts gilli moon artists genres book certainly ch ange thinking professional artist may doubt art may feel pres sured industry may feel har dship roller coaster ride professional artist combines selfempowering practical guide surviving succeeding arts key business principles spiritual nourishment whether musician singersongwri ter actor screen writer author painter film director etc book fo r info buy wwwgillimooncomthebook improvisation surprises th e key great cover band kevin minihan singersongwriter rights reserved youre cover band band happens play cover tunes first congratulations everybody gets started musicians enjoy familiarity choose stay path fact coverbands often make money per show original bands playing songs every show mention songs youve heard everyday last years cause major burnout within band dangerously audience cover band raise bar well audience answer improvisation surprise first lets discuss mean improvisation cover songs im sure youre thinking wait arent cover songs supposed note perfect recreations original version well yes yes audience wants able recognize sing along favorite songs take little poetic license tweak songs yourbands favor fastest way put someone sleep play average cover great song simpleexample technique would changing solos song guitar player really shred come original solo highlights abilities could also add unexpected break cover song try playing quietly section music rise rousing crescendo play around songs make playing old sets interesting wil l make audience sit listen think average joe audience hes heard song playing million times radio subconsciously knows every note sudden ears bra ins notice something different wrong different really pays attention mission accomplished lets look radical increasingly popular surprise version cover tune mean taking old favorite totally reworking changing solos possiblychoosing totally different tempo ex slow usually fast song musical style ex play country song metal style change anything everything musically keep words however fine line need aware first dont every song show remember paid play covers dont play way gig throw reworked song maybeonce twice set youll get desired affect always fun watch light bulb come insomeone face finally realize song actually playingso keep loose fun use original versions songs guide make songs people come every show comment loved version favoritesong people start showing gigs next thing know youve got following demand higher pay changing cover tunes great way separate band pack kevin minihan musician writer jack trades mas ter none residing que stionable outskirts dallas tx along writing articles websites kevin plans write series books order help others achieve dreams succ ess music business get moving singing bette r move body mark baxter voicelessoncom rights reserved sir isaac newton said body rest tends stay rest dont know much science words serve reminder desire perform never become reality youre sitting home dreaming hardest part musical journey first step fear brings lot questions canfreeze feet place whos going help one likes voice ready problem questions like cant answered hand wish hope want way become experienced performer get perform would great ifthere map follow truth everyones path stage different throw away thatcareer compass get moving practice routine always good direction start vocalize youll trust reflexes plus getting know voice well pay time shine remember nobody everything great singers sing strengths order find yourstrong points youve got sing every day explore variety music youll end bunch songs highlight assets even cant imagine situation would need rehearse tunes often keep fresh opportunities golden prepared dont wait reason practice get moving another observation isaac newton body motion tends stay motion means get butt moving far easier keep moving start auditioning gets easier audition start singing public easier keep singing public expected youll take many wrong steps gain momentum direction makes sense use audition gig opportunitiesthat know arent right practice thos e care future whats important jump every chance sing whether think youre ready people whats really stalling fear theyll choke moment truth youre petrified stage fright rob dreams desires still two words advice get moving thats right time movement metaphor first sign performance butterf lies get physical nervous pacing fidgeting isnt enoughit takes organized activity pull mind away fear best thing dance coordination required perfect distraction dancing isnt thing light exercises simple going walk make sure take large steps swing arms nice wide get heartpumping want work hard enough trigger perspiration hard enough sweat walkingdancing exercising body important take control nerves get movingat twenty minutes showtime slow heart rate reducing level activity things calm begin usual breathing vocal warm exercise routine slow inhales count ten great way start long sustained comfortable singing notes focus mind coordination voice still shaky sustain single notes using buzz zzzz sound keep volume low youre feeling relaxed temptation push youre nervous strong extra force irritate muscles around larynx youve gotten experience performing youre dealing mild case butterflies simple arm leg back stretches enough get loose runthrough warm routine matter mu ch stage experience though one gets away without something performance superstars super beginners everybody get moving fuss movement seems uncool consider youre embarrassed move stretch front people imagine much youre holding back perform stage fright nothing ashamed anxiety means care isnt good thing worst thing sit panic pretend youre nervous youre fooling anyone especially take advantage around performance andforce loosen front difficult may easier working yourinhibitions stage point talk nervous setting career motion creating great physical environment sing best counts getmoving often biggest obstacle performers time clock always motion always us takes years develop talent months promotions click weeks rehearse show days learn song top take many hours get handle nerves sing since itsimpossible squeeze three hour preshow routine twenty minutes best err side ofcaution allowing plenty time show may seem like luxury enough time certainly misery find wa rmed place sing balance check book extra time remember responsibility create career momentum properly prepare every show times wasting dont make say mark baxters client list includes steven tyler aerosmith gary cherone tonic cast members rent members vertical horizon regina single billboards pop char amiee mann peter wolf j geils mighty mighty bosstones quicksand expanding man loudness gigolo aunts cara jones japanese new age combustible edison del fuegos thanks gravity talking imals discover thousands singers garage hopefuls grammy winners learned marks depth knowledge unique approach vocal improvement mark baxter offers private video less ons singers levels visit website wwwvoicelessoncom performance power yvonne debandi sing smart vocal coach rights reserved singing acting song singer actor uses singing voice tool every musical phrase tells story also affected shared body language facial expression diction vocal dynamics idea performance preparation include analyzing song material determine songs heart song really say paper emotions b est expressed general loud soft crisp warm consonants vibrato notthis part vocal study important learning vocal line rhythm lyrics gives foundation sincere performance study underway begin working mechanicsneeded sing song conquered basic mechanics beginning sing song performance mode artistry really beginsconsider motivation melody line adjust voice according ly also adjust rest character body language facial expression diction dynamics match sincere message following type training concept help provide sincere performance remember hit performance stage little energy focused mechanics singing practice regularly basic mechanic actions second nature track runner consistently think rightleftrightleft order run race probably would come first practiced enough able focus concentration enjoying voice conveying message make sure point important sincerity singing live performance clear consider many singers might considered average rat ed technical scale receive standing ovations encore calls singer performed almost perfect mechanically received polite respectful applause engage audience sing sincerely battling stage fright hear name called knees begin tremble begin breathe heavily mouth goes dry singers nightmare tips first remember actor performing song shy difficulty getting stage remember different sides personalities obviously side enjoys music wouldnt position first place let go give character theright take time perform like acting exercises build character want audience see bottom line perception everything performance aspect help people build perception whether enjoying control perception get breath control bottom line lose breath control due nervousness undermined voices foundation going long song keep mind days performance sure engage cardiovascular exercise possible stop anddo jumping jacks several times throughout day also recommended addition yourregular vocal warmup jumping jacks low impact cardiovascular activity around thirty fortyfive minutes prior performance stay hydrated also practice getting breath control nervousness begins soon begin feel panicky feeling heart rate increase take deep long low breaths type breathing send brain message everything control short fast breathing alarms brain puts body instrument alarm mode obviously conducive giving performance life take control body breathing combat dry mouth try find something create saliva nervous use knowledge times crises may putting finger mouth may suckingon tongue swallowing several times may even consider product solu tion like entertainers secret throat relief help times desperate dehydration recommend product always suggest learn natural solutions safeguard learning sing vocal journey usually ry personal one learn love enjoy voice dont like way sound sure express emotion performanceso others enjoy listening believe learn use voice along unique characteristics best advantage finally focus important throughout entire performance distraction usually full body experience ive heard statement made athletes middle really good athleticperformance got game moment wonder mom made time get goodseat friend heard hit note su ch power remembered lock car door longer got game control central performanceso stay focused telleveryone else mind get lost nex three minutes deserve time audience yvonne debandi nats member magnacum laude graduate renowned florida state university school music educating singers musicians since creator sing smart hard vocal training method cofounder az educational network primary focus providing vocal education masses development unique innovative vocal education tools well networking working closely many vocal educators began training singers around world using online training curriculums distance training programs great succ ess known true pioneer vocal education industry wwwsingsmartcom az singing tips teri danz vocal coach one world music rights reserved athlete singers need train body like athlete body instrument put priority taking care body rest food warming sing building maintaining instrument b breathing knowing breathe singing basic technique diaphragmatic approach important use back muscles support fill airinto rib cage back throat creates baseline support level called holding upthen take smaller breaths phrases need c control control singing combination techniques breath control resonance pitch placement holding able ride air elementsof control like riding bike balance things contribute effortless singing drop jaw relaxing dropping jaw pop singing key reaching notes effortlessly making range transitions supporting ends range e eat energy proteins essential maintaining energy si nging singing takes energy many performers lose energy halfway set end pushing stressing vocal cordsf fatigue fight fatigue singer huge enemy fatigue sap technique working many singers strain vocal chords push range get hoarse get variety ofother problems get tired antidote rest selfcare g get best way create style singer youre beginner work nurturing people coach play coffeehouses open mics sing friends get started h hydration stay hydrated drink lots water lemon takes energy lubrication sing initiate look opportunities sing like tiger watch opportunities work able take j jaw relax jaw called dumb duh feel unnatural keep jaw loose dropped best way get smooth sound effortin singing also allows get exact placement pitch replicate k keep eye ball dont get discouraged voice isnt youd like takes time develop instrument singing complex performing art everyone whos successful done work time another keep going youll keep growing l less strive justice song interpretation deliver message vocal gymnastics prerequisite great vocal performance mouth sounds using mouth sounds creek cry give voice resonance presence chest voice knowing use mouth sounds properly critical especially getting record quality many singers mistakenly put sound nose practice putting sound mouth placing theway nose forcing sound mouth feel difference body assist youwith correct placement n efforting concept using body instrument efforting involves holding standing straight support air body proper placem ent pitches dropping jaw riding air relaxing groove open stance open stance audience holding standing straight shoulders head jaw relaxed head straight forward eyes open focused point arms relaxed wide watch bono jagger aretha get idea p placement knowing guessing pitches placed critical control singer actually body help remembering pitc hes placed stage cant hearhave monitors etc knowing placement allow ou stay pitch matter happens around youq quit pushing feeling powerful singing powerful singing two entirely different things efforting pushing chest singing louder hitpitches creating pushing sound throat may feel powerful actually sounds worse easy go pitch sound strident even painful hurt voice crack etc sing way r riding air riding air concept set actions extremely helpful singers riding air means holding air body supported sendingdirecting sound line point imagine across room part mental image part body muscle memory stance last part mouth placement riding along palate sing sing sing sing everyday arent group sing car take classes importantly vocal exercisesthey maintain instrument build look steady singing gig take feedback direction teachable sometimes people guide us dont know way sometimes peopleare dead wrong trust intuition learn trust take like leave rest v vocal exercises vocal exercises critical maintaining build ing instrument underestimate warm vocal chords ways singing song cannot lip rolls good way start warm routine done variety scales w warm critical great performance must warm muscles rule thumb least minutes vocal exercises minutes singing perform lot could ta ke less time perform infrequently warm longer otherwise warm audience worse find congestion range weakness problems stage rather privacy home w work overcome youre sick tired congested enough warm time allows make good decisions song selection actual set list x x factor youve got solid vocal technique let personality spirit shine voice window soul vision technique needs support vision overtake aretechnically control clear intent even single word move listeners tears messenger youre stage studio perfect never works focus communicating song sharing experience audience easy make mistakes us greator z get zone singing mental spiritual emotional physical pursuit takes preparation focus energy prepare mentally performance take time get quiet focused sing warm visualizeyourself giving great performance teri danz pro recording artist vocal coachproducer record credits national press band played cool november femmuse hard rock show debut cd tower records info go teri danz wwwteridanzcomthe importance vocal health yvonne debandi sing smart vocal coach rights reserved many singers believe perform regularly need worry vocal health singing properly unfortunately like unexpected fall tree cause broken bone aches rains rest life one impromptu karaoke performance improper vocal belt high note cause irreparable vocal damage common condition resu ltant situation however vocal hyperfunction muscle tension dysphonia hoarseness vocal tone created air bursts cleft created vocal cords vibration occurs create clear sounding tone vocal cords need come together solidly completely membranes surrounding tissues swollen contain lumps tears hoarseness occur damaging effects infrequent hoarseness usually permanen hoarseness sign significant vocal abuse fatigue ignored week discuss basic techniques prepare vocal cords singing prevent vocal damage tip warmup voice sing like woul dnt jump running tenmile race without first stretching warming muscles give voice courtesy good idea develop regular routine repeating effective warmup routine singing event help prepare voic e specific tips get started relax body proper breathing exercises wake airflow diaphragm hum yourfavorite song vocal sirens slide dow n singing range syllable ee imitating sound siren tip vocal hydration extremely important drink lots water sure drink room temperature water singing drinking anything room temperature water shocks vocal cords cold water tenses muscles like jumping coldswimming pool whole body drinking warm water substance relaxes muscles also important note water must absorbed body redistributed voice organ drink water day long might also consider quality vocal hydration substance likeentertainers secret throat relief help tip know limits dont try sing high low especially right bat allow voice prepare type action kind like highjump track meet start comfortable range extend tip avoid abusing voice throughout day dont talk extended periods time b dont talk loud noises machinery workplace loud musicc avoid whispering actions stressful voice cause vocal fatigueperforming basic exercises remembering thes e basic facts reduce risk vocal damage help enjoy better singing performance keep sounding like frog afterwards using professional vocal warmup training program recommended fun easy way ensure yourvoice ready perform day day yvonne debandi nats member magnacum laude graduate renowned florida state university school music educating singers musicians since creator sing smart hard vocal training method cofounder az educational network pr imary focus providing vocal education masses development unique innovative vocal education tools well networking workingclosely many vocal educators wwwsingsmartcom breathing si ngers vocalists yvonne debandi sing smart vocal coach rights reserved introduction breathing properly singing important foundation technique every tone create carried airflow breath control air flow control willhave singing tone imagine kite flying high air airflow consistent kite fly smoothly steadily top air current airflow inconsistent kite bob dive rhyme reason yoursinging tone much like kite provide strong steady airflow vocal tone theopportunity ride strongly smoothly ears airflow uncontrolled inconsistent voice break waiver purpose narration teach breathe properly purpose breathing exercise increase breathing capacity control beginning breathing exercise variation plea se note bringing oxygen body accustomed sometimes result lightheadedness dizziness please take care stand close something offers support need steady conferring physician isrecommended beginning exercise routine breathing breathe properly singing must breathe low bottom portion lungs engaging diaphragm rib cage back expand houlders upper chest remain still rise try inhale deeply exhale completely inhale exhale try time inhale four counts hold breath four counts exhale four counts wait four counts inhaling lets three complete sets counting exerciseremember inhale deeply properly singing inhale hold exhale wait inhale hold exhale wait last timeinhale hold exhale wait basic exercise easy one every day plain fact exercise breathing control voice li ttle time practice master breathing control make progress challenge increase breathing count best results mix match numbers size singing phrase never practicing alldifferent airflow situations ideal breathing correctly needs habit meaning need correctlywithout thinking beginning really want concentrate proper technique bonus tip sure youre breathing right uncertain see little experiment helps sit chair keeping back straight lean put elbows knees take deep breath feel back rib cage expand sit work duplicate feeling expansion ring around entire body yvonne debandi nats member magnacum laude graduate renowned florida state university school music educating singers musicians since wwwsingsmartcom wicked cold big gig tips singers works teri danz vocal coach one world music rights reserved youve got big gig wicked cold flu especially lots congestion bad news worst singers body instrument youre ill stressed compromised way itcan impact performance directly good news still sing perform cases without audience knowing bigger challenge normal performance key prepare take care modify get best performance po ssible tribute skill training professionalism pull vocals convincingly matter compromised feel cold flu sinus infection type illness gig number things really work good assessing situation critical sick ill actually need see doctor instance type gig time takes longer warm day gig many sets venue schedule around gig much time hav e take care rest prior gig clearly assess situation lots things first lets look remedies specific steps take deal remedies ago dentist recommended putting lipton tea bags gums decrease intense inflammation lipton tea tannin root soothing miraculously aching relieved works voice congested stressed youre ill use warm faster works cant seem get voice throat clear also try throat coat tea medicinaltea slippery elm root commercial products also work two tree voice lozengeswwwthayerscom wwwthayerscom vocal eze throat spray wwwvocalezecom try music storesguitar centerthe following recommended tips really work assess damage means vocal exercises see exactly wher e range notes compromised usually cold extreme nasal congestion dropout high end dont force range youjust need find real problems rest rest rest fatigue enemy singers worse youre sick sleep dont sing rehearsal talk parts strain voice band fine vocals simply marked warm gently drink lots lipton tea warmups worked countless gigs also drink lots water stay hydrated rule thumb normal gig least minutes vocal exercises minutes singing may need gently youre sick consider changing set list exclude demanding rangy songs also trim set list possible better less songs small range force voice cracketc professional less stressful approach quit pushing feeling powerful singing powerful singing two entirely different things singing way youre sick congested compounds problem use decongestants per need basis like use hour ones experiment theyre working im dried singlubrication essential singing keep mind coughs even worse singers reflex hard suppress use cough suppressant take lipton tea gig feel like break cough better come risk coughing fit original gig one except band knew difference sick sure eat proteins essential maintaining energy si nging many performers lose energy halfway set end efforting pushing stressing vocal chords takes even energy sing youre well health sound quality reasons use microphonea hot bath steamy shower loosen congestionand gentle come plan b c find something works whatever takes get functioning gig reputation depends people able depend pro attitude show thevery best show possible despite obstacles teri danz pro recording artist vocal coachproducer record credits national press band played cool november femmuse hard rock show debut cd tower records info go teri danz wwwteridanzcom drunken melodies kate hart detroit women rights reserved night special television amazing roy orbison memories opening came flooding back rather faint recollections came seeping day stood coliseum front eleven thousand people horribly hung bonnie raitt stood side thestage roy band waited backstage numbly went schtick blues mamawalking stage bonnie grabbed hand said sing th e blues whats really wrong picture took answer revealed inbody wasnt spirit golden moment couldnt grab hold ithad happened someone else even sit years later writing article eleven years sobriety belt wish could remember details evening wearing feel singin front people roar crowd sound feel like thats really boils downto isnt moment human beings especially artists get done singing front band humping hard think going die singing notes fall front ofyour face audience hanging onevery note realize lucky last long song supposed booze drugs keep center things feed therockets back keeping reentry course stop sometime honey reentry aint pretty picture want put rockets back chase magical moment around sure recreate gone bed rhythm night intense frantic coming great gig pioneer square show moved fast hard stay center f trying make manageable point life st ill trying control flow things evening couldnt get drunk right away tired choice let go feel madnessthe crowd bar part beat change making impossible separate moving parts finally wake drunken stupor years later realized gathered pieces past present worries future created monster head belonged someone else looked mirror didnt recognize anymore could undo two bolts side neck find new head one familiar look would able stopscreaming inside like dr frankensteins creation monster taken life outterrorizing countryside bars little girl almost drowned spent thirty years music business today wont touch caffeine sugar cigarettes drugs alcohol starch walk meditate incorporate tai chi life come believe amgoing artist true vision clean connected someplace hair become sensitive connection even cup coffee disrupts place truthcomes plugged connected whatever hell want call wouldnt trade anyamount whiskey worldbut time necessary play didnt work anymore play like bad poker handjust sure time going win lose care going lose hand begin look forward one morning youare lucky like wake know c ant anymore none works must something else another life part dreams originally booze anddrugs stole happens life truly begins allowing music finally begin play kate hart nominated several grammys recipient nominated awards including nama award best blues recording wc handy awards washington blues society awards detroit music awards wwwkatehartbluescom dealing stage fright beat stage fright jocelyn brady suite rights reserved everyone suffers stage fright time time ways subduing sensat ion fear heart pounding sweat dripping eyes head implode thoughts failure step onto stage fear forgetting lines turned reality freeze imagining laughing sound familiar stage fright something everyone deals seasoned hollywood celebrities fourth graders reading first book report fear performing public grips ages walks lifebut people manage make look effortless scholars say among shy folk overcame timidity greats like abe linco ln thomas edison albert einstein even stars like kim basinger michael dougla talked openly battles crippling ailment michael douglas remembers initial fear stage fright used sit drama school waste basket offstage throw go onstage conquered took long time point youre alone despite instantcureinabottle populace thinks overnight cure fear performing stage simple step take ease butterflies stomach bombs take deep breaths key relaxation yogi masters known centuries science breath studied eastern philosophies way american entered global vocabulary unfortunately oursociety often overlooks simple lifechanging essential practice tend think breathing issomething neednt think happens automatically fact yogic breathing helped millions people stave high blood pressure heart problems stress take long inhale counting five exhale counting ten think breath traveling inte rnal organs soothing like cool breeze hot spot lights imagine breath releasing tension muscles allowing smoother blood flow oxygen travel frozen stump upon shoulders try taking ten deep breaths moving stretche make faces may sound silly sweating like fire preparing first monologue remember people audience dont like wa tching failure uncomfortable want see succeed get apprehension sill exercises scrunch face tight ball muster facial muscles cont ract release stick tongue open eyes wide stretch face like trying scare away inlaws insanity see fun warm vocal chords worst thing public speaking everything gets tensed finally manage let word pass pursed lips sounds like excited squirrel dropped prized chestnut avoid embarrassing squeaks start simple voice warm upsnow pant like dog little dog took big long run breaths pen diaphragm stabilize breathing take deep inhale exhale keep lips loose closed let hummmmmm next recite silly tongue twisters favorites acting classe lips teeth tip tongue one pronunciation try unique new york three times get stage body voice warmed youre ready go dont freak instead take deep breaths remember audience looking best side besides theglare spotlight probably wont see em anyway always vert back good old pretend theyre naked trick ever pretending act superstar always wanted one belts tunes shower dances around living room naked know want jocelyn brady freelance writes writes suite wwwsuitecom offers offers creative catalyst ghostwriting sales collateral copywriti ng storytelling marketing conundrums wwwjocelynbradycom thejocelyngmailcom sure fire ways overcome stag e fright speaking performing reverend michael bresciani rights reserved prayer meditation cant ever hurt use try clear mind tips concentrate saying finding something focus room podium head quick road failure concentrating external matter attention divided everyone see clearly red blinking light head one hundred percent attention subject music anything else leaves zero percent wasted fear faces nerves also goes without saying nevergiveany attention time another great false detractor youre hurry shows lack confidence go time must approaching expert levels field take unspoken compliment ask one single question begin speaking ask one important question th entire audience could say saying consider answe r carefully always arrive answer none playing american irish folk music con stantly reminded repertoire one thousand songs wasnt trying feed ego reminding one fact ask audience many people could one thousan songs would get answers time get speak reminded years schooling hours ofpersonal preparation scores published articles two published books ego answer important question bottom line since one say saying get waste time anyone thinks could would podium wouldbe audienceget emotional stuff doesnt move wont move anyone else either immutable rule presentation singing interpretation twinkle twinkle little star pour ou speaking nocturnal habits fire ants gesticulations reverberations tremors ridiculous say think one greatest influences days performing music man never met never heard even one note music influence came remarks heard others make agreed shows amazing becau se overwhelmingly emotional caught soon discovered got wrapped emoted music even thought performance poor audience try youll like use humor everyone good telling jokes humorous storie almost everyone knows least one two good ones nothing breaks ice quicker humor get laughing early already invoked least one basic human emotional response provoking others great deal easier dont comb joke books looking thebest jokes think jokes heard others say recently key twofold pick joke humorous story somewhat related presenting pick joke alone think funny use jokes seen bringing others belly laugh use humor worked publicdomain dont overdue humor angle people recognize filler material easily side coin ignore useful tool trade laughter great equalizer audienceand speaker get personal far good advice rule ignored become difference success failure watched skilled musicians never addressed audiences performance mayhave impeccable end met little acclaim ive heard speakers know subjectforward backward left people yawning fidgeting missing often always personal touch must get rapport going audience personal level get nothing else going take cue stand comedian storyteller ask mundane questions wait someone answer acknowledge gesture murmur one new york heydoes ever stop raining washington let see many tonight youre raise hand didnt rais e hand question heck often started saying thank tonight goo see hear music get every one shocked giggled roared came toattention sound silly make mistake works see crowd one person science available prove little tool works assured never fail always speakto audience talking one single person makes feel personal individual feel difference shrinks crowd perceptional level youremember perception often better part reality moves entire matter one one whowouldnt admit comfortable talking neighbor stranger wholecrowd approach performance address succeed rev bresciani leader nondenominational ministry new orleans area written many articles past thirty years periodicals guideposts catholic digest author two books available amazoncom alibris barnes noble many plac es rev bresciani wrote hook line sinker church teaching published publishamerica baltimore md also wrote book recently released xulon press entitled american prophet message questions answers second coming christ rev bresciani website wwwamericanprophetorgconquering stage fright speakingtipscom rights reserved experience stage fright speaking pres entation assignments take heart alone actors singer musicians dancers athletes frequently afflicted syndrome biographies well known celebrities often reveal continuing acute stage fright even decades recognition success also recognize varying degrees stage fright one end simple excitement adrenaline preparing performer excel near death experience somewhere middle cross point wh ich performance becomes impaired state nerves reading article chances crossed point one occasion read order begin conquering stage fright first need recognize approaching crossover point differ individual individual may also affected type ofperformance event example people find facing audience thousands nothing butperforming small group turns jelly others find audience friends intimidating strangers secondly must know take immediate remedial action almost everyone experiences stage fright time polished speakers see learned take control stage fright experience mixtur e preparation physical skills positive attitude master able conquer fear preparation preparation absolutely vital includes material audienceevent analysis physical setting may know subject know audience significance occasion knowingcan significant cause anxiety practice video audio recording helps visualize performance develop muscle memory researchers confirmed use video tape preparation public speaking singing reduces anxiety improves performance develop inconspicuous personal relaxation ritual singers musicians dancers often behind scenes presenters usually stage performance would look bit odd tai chi yoga standing head improvise prompt anxious forgetting sequence material useprepared flip charts pictures wall slides presentation software physical skills public speaking physical activity stage fright emotional reaction restricts physical abilities unlearn unwanted physical reactions associated stage fright must practice performance audience enough mastery requires distributed incremental learning one possibility obtain regular speaking experience less threatening environment engage professional coach orenroll class seminar could also consider joining local toastmasters club practice canaccess kinds intelligence appear physically relaxed enthusiastic confident even though notpositive attitude mold attitude around successes remember success feels like looks like even perform less stellar fashion remember parts outstanding people overwhelmed stage fright negative attit udes imagine everything could go wrong develop litany negatives replace negative attitudes positive ones positive attitude leadyou seek help may need improve negat ive attitude shackles personal professional life think things share audience benefit decide beforehand fun experience perfor mance act faith believe body perform practiced whether speech song dance athletic competition speakingtipscom one webs bestknown reso urces learning public speaking presentation skills wwwspeakingtipscom stage fright donn marshall university puget sound rights reserved freaked words good friend describing experience playing finalist mandolin competition major festival practiced long hours knew wanted done many times done well preliminary round well enough made finals stepping onto main stage something dreamed years nervous hit wrong note first measure first tune point mind fingers froze experience degree may recognize butter flies gut profuse sweating dry mouth frequent trotting lavatory portapotty rapid short breaths quick heartbeat see others nervous chatter short te mper giggling avoidance conversation prior going stage everyone responds bit differently almost everyone experi ences performance anxiety us much serious problem jitters become debilitating stage formal sense one andolin player recently shared experience anxious playing public nervous even playing around wife even sleeping people performance anxiety extension anx iety experience areas lives prior preliminary round recent mandolin contest overheard friend whipp ing amazing rendition kentucky mandolin expressed support observing playing heard would first prize contest year earlier nervously replied history choking pressure situations pointing freezing college exams outcome didnt make past preliminary round largely due incapacitating anxietywhat fortunately several approaches effe ctive management performance anxiety ill offer sampling help aware possibilities first suggestions manage anxiety involve changing think anxietyprovoking situations order shift way feel example people anxious responses tend catastrophizeor anticipate worst possible outcome react actually happening heres example kind thinking im r eady next solo everyone notice ill look foolish ill feel humiliated never chance play public kind pressure could best related common thinking pattern causes disruptiv e anxiety tendency toward perfectionism setting impossibly high expectations aiming high helpful motivating aiming beyond reach condemning oneself getting prescription feeling like miserable failure sufferers set high standards little chance feel satisfied performances thus fill dread fear advance public outings first step changing disruptive thoughts recognize feel anxiety building use cue mental scan telling going catastrophe pressuring excessively practice alternative thoughts break anxietyproducing patterns instead must play perfectly everyone laugh try substi tuting im going best know people really hope well friends family going love matter well play thefirst thought likely increase anxiety actually distract best second calming help focus performance strategies identified focused shifting th inking order influence feelings several helpful strategies behavioral involve engaging types action address feelings anxious symptoms know something approaches since obvious called practice lets face substitute knowing material going perform fact learning piece continuing practice results overlearning allows performance limited drains concent ration playing begin feel automatic still quite musical even ad lib overlearning relevant patterns provide comfort zone playing ways practicing intentionally help manage anxiety first practice playing loose hands arms tighten translates anxiety take time slow speed playing good form unnecessary tightness experiment posture instrument peace instead wrestling around next pay attention breathe practice hose difficult parts slow breath deeply steadily throughout piece hold breath section tremolo triplets find continuing ta ke rapid shallow breaths breathing might helpful practice breathing exercises lots options learning forms ofmeditation zen deep breathing yoga help build skill focused relaxation want smooth flowing musicianship practicing thes e skills help stage anxiety anxieties dramatic ways one effective approaches dealing anxiety confront fact well known avoiding anxiety typically serves maintain since never learn feared stimulus manageabletherefore anxiety peaks time play people get every chance get play others even means crash burn learn survivebut even better learning one piece find relatively simple well within reach skillwise get trusted friends together ask play piece give success experience one email friend mine wrote going one players camps key put situation players abilities playing constantly week time camp discovered wasnt nearly selfconscious playing others thats diving one whole class strategies reduce performance anx iety referred desensitization basically means take every opportunity play situations cause anxiety know experience anxiety grabs stage try pr acticing conditions near youll find performance possible preparing coffee shop gig maybe actually go stage play couple tunes advance show without audience heres cool thing many people benefit imagining hemselves successfully engaging feared behavior reducing anxieties noticeably actually set foot stage make approach work must first relax close eyes breath deeply aware feeling relaxed imagine clearly canplaying part imagine see hear pick feels like hand remind yourselfto breath deeply picture performing feeling comfortable stage repeat imagination practice daily youll likel experience less anxiety performance comes along real life may heard technique common practice among top athletes learn practice complex routines minds performance aid equally helpful performance oriented activities fears eyes get friends together play informal group go local open mics pretty sure supportive audience errified want well appreciate efforts even flub course many people turn form substance help manage anxiety common would alcohol many incarnations stories musicians becoming dependent widest range substances imaginable legion addition risk dependence addiction relying alcohol drugs get zone unreliable example effect alcohol highly dependent recently weve eaten well rested overall stress levels etc however utilization prescriptive medication help control performance anxiety proven helpful course medications known betabl ockers originally developed help regulate heart rate manage blood pressure discovered assist many whos e performance anxiety extreme become physica lly incapacitated prior going stage one email correspondent offered real hope using betablo ckers treat extreme anxiety wrote stage fright extreme cited lack skill combined type personality contributors use betablockers provided muchneeded relief plus wrote stage experienceincreased acceptance level skill allo wing playing become fun needed use betablockers years real success story summary spending time managing performance anxiety form practice important working tunes whole effort aimed improving skills communicating music anything interferes deserves attention us relish thought practicing scales arpeggios helps us play betterwhat works likely worked past preparation big tests school help manage fears best apply experience might help playing take know develop systematic intentional plan addressing performance anxiety remember goal eliminate anxiety wouldnt suggest anyone become detached numb zombielike stage appropriate amount anxiety performance aid helps motivate us best anxious care experience meaningful us find able make progress toward managing performance anxiety consider seeing experienced mental health practitioner help develop systematic approach addressing fears might consider taking mandolin lessons learning aid might consider working professional assist performance aid importantly dont ignore anxiety discover negatively affecting performance enjoyment start taking steps learn work let know discover donn associate director counseling services university puget sound wwwupseduxxml works managing performance anxiety bluegrass group heywire singersongwriter trio late harvest getting past first thirty seconds yvonne debandi sing smart vocal coach rights reserved audition performance situation times necessary introduce sure get started right foot sometimes thirty seconds make impression practiceintroducing front mirror analyze first impressionno matter silly feel learn opinions feels right tip state name dont ask ever heard introductions make wonder name asking practice yourdelivery tone make sure inflection rise end sentence making sound like inquiry tip slow nerves often cause speed speech pattern without even knowing begin speaking take deep breath andthen speak slow clearly good articulation tip mind body language dont fidget stand comfortably one foot slightly front weight balls feet arms hands remain relaxed side unless effective hand motions donetip eye contact look confident even dont feel quite way underneath make good eye contact audience comfortable withmaking eye contact try looking audiences head using technique often think talkingsinging directly yvonne debandi nats member magnacum laude graduate renowned florida state university school music educating singers musicians since creator sing smart hard vocal training method cofounder az educational network pr imary focus providing vocal education masses development unique innovative vocal education tools well networking working closely many vocal educators wwwsingsmartcom stage fright anne minnery recording artist rights reserved one people suffer dreadfully stage fright f ind fine minutes going stage stomach starts churn soon hear name called mouth suddenly goes completely dry worse start sing find stomach fluttering chin quivers first song seem settle second third songs full control tried everything think get stage fright attended lectures read books looked internet ideas talked singing coaches thing really seems work iscomfort comfortable setting club know members audience seems help used sing happy hour piano bar greenwich village new york called roses turn thebeginning prior problems mentioned sang comfortable ibecame found symptoms seemed disappear except dry mouth still mysinging teacher told bite inside cheek bite inside mouth try get bit ofmoisture going nothing seems work discovered another horrible tendency allow mind wander singing really talk force stay focused song beginning end read people worried forgetting first lines song getpast part let guard run risk forgettin g middle part describes tee found works helping get st age fright control done rehearsal necessary know patterns moves nerves dont seem bad mentioned earlier know place feel comfortable surroundings helps however many times going occasion get used place play mostly get gig show perform use tools disposal sister entertainer tons confidence completely ease speaking audience work audience better anyone else know asked never stage fright told know get best singer room best person entertain coming person quiet unassuming stage rightshe knows best gets stage takes command stage totally ease performance rehearses material well stage second nature stageshe knows lines well something unexpected happens doesnt live show able handle move told audience deserves best performer andthat comes performer providing best wonderful singing coach told well rehearsed performance knew song well knew happy birthday know song well heart walls started crumbling around us singing could still carry moving harmsway told know every song well happy birthday songmake mine first songs e ntire repertoire songs another trick told always eye parameters room stage frontor side back well said could done quickly entering stage areaand saying hello audience reasoning singer would space andgive sense control comfort getting better focusing noticed learned hard way must stay completely focused words meaning every song sing heart mouth words touch meaning song dont lose focus much good trick learnedwas actually say words song loud rehearsal song story message toconvey speaking commit better memory heart hope sharing story stage fright helped suffer thing probably many never suffered fear stage like article may even worse case many books dealing stage fright recommend great internet site run art nefsky online help available wwwnefskycom give try fun great ideas hope helps anne minnery country singersongwriter cds credit anne featured enjoyed status songs mpcom ampcom francempcom wwwminnerycom live performance calming nerves catherine l tully indiemusiccom rights reserved everyone experiences nerves performance people learned ride wave feels like excitement adrenaline junkies thrive others fee l pinch jitters sometimes situations even seasoned performer ju st plain nervous larger crowd ever something like exgirlfriend boyfriend audience learn get past butterflies give best bet matter finding works take breather part nervous mental physical self plays role taking deep belly breaths technique works well get rid tension breathing belly taught tai chi profound effect body learn feel body starts get tense respond taking nice slow breaths counteract feeling best part technique anytime anywheredistract focusing whatever making nervous make much worse dont keep peeking crowd practice song eyes closed added concen tration talk fellow band members call friend distract minutes break cycle thinking refocus mindelsewhere stewing add problem pump take inventory successes instead thinking might fail nerves stem someone audience need impress feeling pressure visualize going go stage wow stead worrying might well seeing well minds eye help boost confidence develop routine routine comforting get case nerves try develop set things every performance know time things less likely focusing energy worry ing going stage busy preparing blow steam really feeling tense little somethi ng physical take edge try jumping jacks run place minute strike yoga pose get rid ten sion getting active works walk awayif nerves really got fe w minutes step outside get little fresh air sometimes scene gets pumped shaky walking away minute help rid stress go back take deep breath leave make sure get back listen musicians love music get nerves set grab headphones kick ba ck let music take away anything know get work doesnt necessarily mellow sure someone comes get time go something simple play solitaire put makeup exact order every time fold pr brochures anything easy repetitive soothe jitters keep slow steady pace stretch basic stretching routine relax doesnt anything complex one every time eventually come associate unwinding make sure dont push hard though dont want pull muscle take stag e think things relaxes times probably work something soothes adapt preperformance routine take look see find something really works home even vacation apply backstage dont let nerves get best waiting perform figuring works may take tries get system going youll lot happier long run lotless likely get wrapped case jitters catherine l tully freelance writer photographer see work wwwmoonbeamdigitalcom onstaff indiemusic ach ctullyfreelancezonecomhow turn shaking knees nice vibrato bray singersongwriter rights reserved remember reading somewhere number one fear women death fire number one fear men public speaking followed death fire firefighter handle running burning building songwriter getting stage scare bejeezus go figure theuncomfortable feeling get perform long issue fact core reason itook brief hiatus performing lasted well decade earthquake knees gobi desert mouth iron butterfliesthe symptoms fun ive playing guitar writing songs thirtyfive years still haunt past years ive begun feel comfortable would relief one people born stage day really bad gig may borne stage angry mob thats something else ent irely longest time thought matter perform ance anxiety worrying would forget lyric flub guitar part going stone cold blank front hundred people believe done beuncomfortable extreme certainly adds butterflies dont think basis problem fact perfect world least one perfect attitude would add theexcitement living edge stage lately ive gained insight issue im hoping allow become even comfortable time goes came flash light like back draft understand like goodsized camp fire smoker doesnt realize butane lighter set high never done house concert looking forward first one pictured going int strangers lovely home sitting living room front small group smiling people thought nice intimate setting utterance word bells went like fire alarm like doorbell rung panicking victim intimacy oh gosh intimacy guess might seem obvious revelation one made sense longeri thought ive never considered person intima cy problems years ive tons intimate relationships ive enjoyed reveled grown intimate relationships one thing common opportunity get know people first become comfortable come conclu sion could trust drawing closer need know whether spittle lip crazy potentially dangerous way bad habit putting much jalape\u00f1o sauce cheerios like unclebob either one ok maybe theyre thing nice know get stage course different thing though may know people audience sure dont least well one drooling front row really sure want sing hat painstakingly crafted song whose underlying symbolic meaning psychological damage caused small large yourwell get idea things dont even tell mother mother taught emotions perfectly cceptable express long mild happiness halfassed enthusiasm anything else anathemaas sensitive singersongwriter course saw counterproductive worked stifled passion could evoke overcome inabilit emote brother calls snaffsensitive new age fire fighteri think might oxymoron years songs become acceptable way express emotions take sadness example trouble expressing daytoday world embarrasses still despite work write sad song real tearjerker like mm hand line sprayed working house fire youunderstand like half cup coffee tossed smoldering ashtray perhaps bottom eighth ofa warm beer thrown face bar ir ate strangely beautiful woman youve never met deep green eyes doesnt like suggestive way leering love cats broochstrategically located onher lapel anyway get release sadness without admitting chinks thearmor speakgetting back intimacy problem go play song front complete strangersnot friends family dog knows deeply glorious transparent weaknesses others distant alien faltering ways thats hands sometimes shake play guitar people going judge music nothing nothing less theyll able see things theyll know sad johncommitted suicide horny saw girl tan k top riding bicycle queen street rain perceptive astute might even figure yum secret eating disorder dogs thats im skinny none seeing mitigated understand ing deeper seeing weaknesses juxtaposed strengths overlying view context makes life point view tends make mildly fearful stout women high heelsso mean performer know ill continue get nervous worry breaking strings dropping picks going tune forgetting lyrics leaving fly open know noteveryone going like thats ok family stuck besides dog loves know im coming particularly poignant line always trouble remembering sad song homeless people devilish aspect inner psychology internally blurt idiot forgot pick soy milk health food store marys breakfa st tomorrow boy going pissed bottom line facts accept im songwriter feels need perform songs sensitive emotional well tough concreteheaded slightly middle aged people cruel also incredibly accepting supportive great deal joyto hopefully given saying feel really feeling guess long run apparent performing isnt going go away best thing dois learn accept including yu cky emotions despite front row droolers perform honesty people built bullpoop detectors deserve itif things maybe wont worry much people think ill able execute relaxed fullhearted performance singersongwriter bray works ronto firefighter support musi c habit award winning songs heard cd decisions check website buy cd youd like wwwsympaticocadonbraybetter playing chemistry beta blockers blair tindall mozartinthejunglecom rights reserved record ruth ann mcclain flutist memphis used suffer debilitating onstage jitters hands cold wet thought id drop flute ms mcclain said recently remembering performance national flute convention late heart thumped loudly chest sheadded mind would focus head felt fire tried hide nervousness buther quivering lips kept performing sensitivity nuance however much tried relax concert nerves always stayed doctor provided cure prescription medication called propranolol first time tried said never looked back fabulous feel normal performance ms mcclain grandmother teaching flute rhodes college memphis started recommending betablocking drugs like propranolol adu lt students afflicted performance anxiety last year lost job college officials declined comment article said time recommending drugs fell outside studentinstructor relationship charged ms mcclain asked doctor medication herstudents mcclain taught rhodes years says merely recommended consult physician obtaining prescription ms mcclain hardly musician rely bet blockers taken small dosages quell anxiety without apparent side effects little secret classical music world dirty drugs become nearly ubiquitous ubiquitous fact use starting become source worry drugs godsend crutch something artificial music help produce isnt anxiety natural part performance could cl assical music someday join olympics athletic organizations scandals involving performanceenhancing drugs beta blockers cardiac medications tranquilizers sedatives first marketed united states disorders like angina abnormal heart rhythms one commonest propranolol made bywyeth pharmaceuticals sold brand name inderal blocking action adrenaline andother substances drugs mute sympathetic nervous system produces fear response perceived danger sabretoothed tiger lincoln center audience even skillful experienced musicians experience fear legendary artists like pianists vladimir horowitz glenn gould curtailed careers anxiety cellist pablo casalsendured thumping heart shortness breath shakiness even performed theadvent beta blockers artists found often eccentric means calming new york pianist charged peers cents attend society timid souls salon whichparticipants distracted one another mock performances others resorted superstitious ritual drink ortranquilizers pianist samuel sanders told interviewer taking valium performancewould bring wild panic mild hysteriamusicians quietly began embrace beta blockers application stage fright first recognized lancet british medical journal survey conducted international conferenceof symphony orchestra musicians represents largest orchestras united states revealed percent musicians used drugs ps ychiatrists estimate number much higher propranolol saw lot musicians using alcohol valium said mitchell kahn director miller health care institute performing arts describing years work metropolitan operaorchestra groups believe beta blockers far beneficial deleterious noqualms prescribing use drugs still largely secretive inderal like viagra woodwind player major orchestra said one admits using implication weakness robin mckee acting principal flutist san francisco symphony agrees saying bad reluctant talk using greattool indeed effect drugs seem magical beta blockers dont merely calm musicians actually seem improve performances technical level late charles brantigan vascular surgeon denver began researching classical musicians use inderal replicating performance conditions studies juilliard school eastman school rochester showed drug lowered heart rates blood pressure also led toperformances musical judges deemed superior fueled placebo dr brantiganwho plays tuba denver brass sent findings kenneth mirkin frustrated juilliard student whohad written help kid always sat lastchair viola said mr mirkin whose bow bounced audition nerves two years later spot new york philharmonic played years never would career music without inderal said mr mirkin hour tryout took milligrams last two decades use beta blockers generally met approval medical establishment stage fright specific time limited type problem said michael craig miller editor harvard mental health letter dr miller also amateur pianist noted beta blockers inexpensive relatively safe affect onl physical cognitive anxiety theres little downside except whatever number taking drugs drugs established seemingly permanent part classical music world musicians physicians beginning question acceptability safety efficacy ethicsof using one concern many musicians use beta blockers without proper medical supervision survey orchestra musicians revealed percent musicians taking beta blockers got themfrom friends physicians mr mirkin philharmonic violist first obtained inderal father took angina others buy touring c ountries sold counter stephen j gottlieb professor medicine published study effects beta blockers newengland journal medicine says beta blocke rs obtained medical examination since people asthma heart disease could develop problems like shortness breath slowing theheart rate onetime use low doses beta blockers safe healthy people dr gottlieb said adding fatigue hallucinations tingling vivid dreams listed side effects physicians desk reference would unusual using inderal occasionally risks far seriousfor use beta blockers consistently ta ke milligrams inderal day musicians typically take milligrams isolated dosesbut performers object beta blockers musica l rather medical grounds take drug job go get another job said sara santambrogio plays cello eroica trio chemically assisted performances soulless inauthentic say detractors like barry green author inner game music greene former olympic diving coach teaches juilliard students overcome stage fight naturally sound may technically correct somewhat deadened men say angella ahn violinist member ahn trio remembers fellow students juilliard took beta blockers lost little bit intensity said ahn doesnt use thedrugs said want percent indeed high stakes involved live performance part makes thrilling performers audiences little onstage anxiety may good thing one function adrenaline provide extraenergy threatening challenging situation energy harnessed produce particularlyexciting musical performance performance anxiety tends push musicians rehearse confronttheir anxieties work beta blockers mask musical emotional obstacles musicians also grappling ethics better performing chemistry auditions even nerveracking regularperformances avail drug better chance success drug testing apply performers athletes job applicants somecompanies look logic ban drugs sport apply music auditions said charles yesalis professor pennsylvania state univer sity studies performanceenhancing drugs issue receives little attention unlike athletes classical musicians seldom called representbig business ventures nike offered musicians ad contracts dr yesalis said people would payattention speaking athens olympics august steven ungerleider sports psychologist author fausts gold said betablocking medications prohibited events like riflery competitors use drug slow pulse fire heartbeats avoid jolt drugs banned number sports including motorcycling bob sledding freestyle snowboarding dr miller harvard physician points beta blockers differ significantly steroids usetestosterone increase muscle mass strength speed inderal enables rather enhances byremoving debilitating physical symptoms cannot impr ove tone technique musicianship compensate inadequate preparation ms mcclains firing demonstrates use beta blockers students particularly delicate issue openly use drugs believe responsibility mention students suffering fromsevere stage fright im looking welfare students cannot good conscience tell beta blockers said ms mcclain adding would careful represented information future teachers believe coping performance anxiety essential part classical music education early use beta blockers deprives students chance confront stage fright robert barris bassoonist cochairman music performance studies faculty northwestern university encourages students address roots anxieties avoiding psychologicaldependence chemicals unlike previous generations musicians students draw rich array nonchemical treatment options new field performingarts medicine includes centersacross country many treat stage fright therapies range inderal holisticapproaches like hypnosis yoga aerobic exercisebut several musicians interviewed article expressed impatience treatments seem slow uncertain compared instant gratification convenience offered betablockers holistic solutions take work time effective whereas inderal quick fix mr barrisconfirmed happens takes inderal prescription heart ailment said works combat soporific effects drug might musicianship putting extra energy concerts one wants listen secure accurate disconnected performance added jim walker former principal flutist los angeles philharmonic recorded movie soundtracks says preparation best medicine still describes inderal advocate caveat drug approved physician best students university southern california said nervous deliver representation well really play might stand benefit beta blockers absolutely legitimate recommend inderal student whos unable perform nerves added id never heard story ruth ann mcclain id far blatant recommending blair tindall professional oboist writing mozart jungle groveatlantic press wwwmozartinthejunglecom elaine aradillas contributed reporting article ar ticle originally appeared new york times october generating cd sales shows selling cds gigsa case study rogues marc gunn bards crier rights reserved weekends back brobdingnagian bards performed austin celtic fe stival shared stage amazing bands top list rogues first met rogues last year texas renaissance festival since ive big fan killer bagpipes drums phenomenal ability sell cds work magic stage sell tons cds special well rogues proactive comes selling whi le many bands setup table say go table buy cds rogues take step send sales ladies fans remember kansas city renaissance festival played pub sing began playing music sales ladies danced music picked baskets cds grabbed coupleheld high rogues invited audience go buy cds lasses walked throughthe aisles rest entire performance rest us stage watching shocked amazement untouched sales table rogues sold dozen cds repeated performance austin celtic fest ival shared booth rogues festival asked sharon told varies different parts country texas direct approach works magic florida older recreational audience gets angry sales people disturb show key realize sales team part show dont stand silently holding cds disappear learned first show weekend integrate sales people show get dance isles clap hands singalong audience follow lead help attract attention thecds sell proactive dont wait fans come may never go youll sell cds make fans process bard marc gunn brobdingnagian bards helped thou sands musicians make money musical groups bards crier music marketing promotion ezi ne texas musicians texas music biz tips get personal advice visiting wwwbardscrier com free howto mu sic marketing assistanceconfessions master cd sales woman sharon wothke rogues rights reserved head sales person band think would one talk rogues definitely unique indulge good sales person know way guys play music definitely biggest factor sales quotient music described infectious smoking hot everyone good time sales usually pretty good people come renaissance fe stival band still lions share gigs come expecting buy cd bagpipe music therogues converted many people form music words create unique atmosphere conducive sales guys job making great music kes job lot easier available approachable people looking like part show people feel comfortable coming started beginning employing use roaming basket effective groups successfully copied approach sellers walk around holding product people see sellers try blend show pushy visible personally enjoy interacting crowd spoofing beingsaid stage telling jokes make audience laugh talk nice everyone even ifthey dont buy cd simply enjoy people trying ambassador band may buy today chances think buy cd another time straight masters mouth take great music great live performance roaming sales people baskets cds sellers hold product show sellers blend interact show well great performance interactive sales crew start selling cds gigs rogues also employ salespeople sellers work commission bonuses built individuals sales total reaches certain amount giving salesperson commission motivates sell product giving flat rate minimum pay days work sales good case band usually pays day commission sales total whichever greater modern venues highland games ce ltic festivals found sales table extremely successful way increase sales especially combination roaming salesperson using appropriate pub gigs sale table someone roam tight space like pub would seen aggressive invasive rogues encourage salespeople friendly competition two sellers fine long feeling team spirit sellers help one needs change stock larger crowds sales people needed sheer size crowd tremendous impact sales get many people standing sitting close together excited music like ripple effect onc e sales start flowing everyone seems jump buying bandwagonat one particular show maryland renaissance festival crowd huge three sellers able maximize full sales potential good indication able tap salespotential standing one spot moved entire show soon asi finish one sell another person comes buy cd call standing sweet spot people come already wanting buy cd job try figure quickly possible cd cds would best suit looking always try point fact order morecds website mail order listen music online band members wife always trying promote band take business cards people want hire band potential gigs direct husband randy business manager band reward sales people commission set sales table venues encourage friendly sales competition people sell larger crowds enjoy ripple effect take business cards gigs hand every opportunity mrs sharon wothke first foremost fifth cog rogues traveling circus rogues inception continues vital part organization designs dances keeps guys organized bard marc gunn brobdingnagian bards helped thousands musicians make money musical groups bards crier music marketing promotion ezine texas musicians texas music biz tips get personal advice visiting wwwbardscriercom free howto music marketing assistance tips selling cd gigs igs guitar forum rights reserved ive well lately selling cds every week sell per month website heres things ive learned selling gigs dont bashful used ashamed trying sell cds dont know feelings come know used mumble end ofthe show oh way talk want buy cd ridiculous never worked ive learned say loud proud great cd sale buy one show lp send kids college new cd sale youll like lot feel free buy bulk society people respect hard work creativ ity show boldness theyll happy help support adventure dont apologize smile say thanks lot enjoy make transaction easy people want quick easy transaction best investment ever made buying bunch displays fromdisc makers make sure poster attached display clearly displays price products people ask much unnecessary step thats way transaction taped two displays together attached big piece foam board back foam board short description cd along prices people read different cds ive attached small money box slot side display end selling cds showplacement put display right stage table near people see start thinking buying cd youre playing always change get stuck making change one person people waiting might drift dont want invest bunch displays disc makers f ind permanent wooden cd stands wwwcdstandscom article posted originally igs guitar foru igs created provide safe place beginners well advanced players learn expand musicianship take musical chances thanks incredible staff enthusiasm students succeeded creating one premiere guitar worksh ops world wwwguitarseminarscom sell cds april singersongwriter rights reserved taken four years performances ear combined fans word mouth sell units says april referring sales selfreleased album strong willed woman selling cds small feat major label artists often dream selling discs national distribution behind independent artist limited distribution major label marketing power behind combination hard work talent classic marketing strategies april moved nashville live breathe ongwriting submerse music business hired national membership director nashville songwriter association international worked chapters world making valuable con tacts along way additionally said served grassroots coalition ascap bmi sesac naras cma nsai top publishers town fight legislative issues life copyright extension digital infringement one thing every successful artist weve intervie wed common realize importance mailing list april mailing list fan club almost paid members explains fan club fee year included autographed photo subscription quarterly newsletter membership card special merc handise offerings like chances win concert tickets spoke join posse fan club every show performed review article interview newsletter proved especially helpful promotional tool used keep fans speed shows album releases personal notes group would hand thousands year every show would always get cd orders back aside gig sales orders newsletter april get creative distribution bring sales originally sold cds cassette via consignment watt avenue downtown tower records soon started selling local record stores western clothing stores etc even placed beauty supply stores another promotional tool april found extremely useful music video proud video tempted produced man gl oria estefans videos originally done get eye major label done found getting better gigs booking agents loved felt like getting artist cmt mething coolest thing one time performing vegas displayed multimillion dollar screen see vegas strip lights incredibleher parting thoughts musicians stay true first enjoy sing write project fans try force music people tell also cant please everyone try thats many genres music someone doesnt like sound thats ok doesnt mean youre good opinion fun april seasoned performer opening major coun try artists legends past years four years row six piece band texas rangers band artist year april inducted hall fame singer songwriter proving fans industry professionals believe talent well wwwaprilnashcom aprilinnashvilleaolcom th article first appeared disc makers fast forward e newsletter selling merch shows double gig r evenues selling merch tony van veen disc makers rights reserved longestablished fact easier lucrative sell existing customers find new customer read business book marketing attend sales training seminar noshortage expert advice sell existing customers artists bad habit calling fans well fans forgetting rea lly valued customers customers wonderful habit buying stuff career filled unpaid gigs gigs beer money gigs gas money one sure way make sure walk away every performance cash pocket called merch table itswhere sell whatever sell fans ehh customers cds posters stickers buttons popular bestselling item wearable merch everyone loves merch dont customers love advertising cool wearing cutting edge brand chest back sleeve head ar tist could better someone pay advertise brand items artists sell gigs wearable merch tshirts baseball trucker caps hoodies baby doll shirts long sleeve ts skullies sell bette r anything else sell even better cds fans feel coolne ss rubs wear garments name become smidge cooler soon walk front door tshirt appealing thing merch dont need notoriety start generating revenues dont need famous dont need songs recorded leased cd need desire perform live gigs booked else going find customers cool design youre performing live people buy merch long cool lame merch waste money want customers covet items sale ready take merch plunge plenty merch vendors ranging local silk screen printers national companies tricks buying merch tips make buying experience breeze buy merch wi thout getting burned choosing items fans wear youll defin itely want standard tshirts represents merch sold feel free add garment items sometimes offering unusual items appealing fans greater variety merch sell greater opportunity togenerate real revenue whats better selling someone tshirt selling tshirt baseball cap design decide design merch heres advice keep simple doesnt mean uncool means intricate designs dont necessarily translate well silkscreen printing want something eyecatching memorable also keep mind silkscreening onto garments like printing paperthe simple iconic design easier translate tshirt hat addition simpledesigns tend appeal larger varied audience base maximize potential merch sales byoffering design appeal people possiblechoose ink colors choosing ink colors based design color garment printing unlike paper printing usually possible full color printing merch maybe thats classicand memorable tshirts one two colors choosing multiple garment colors make sure take extra time ensure ink colors work well garment colors choose dont want end picking yellow ink specifying yellow shirt three things know deciding ink colors every color choose theres screen needs made printer charge screen colors screens higher costs printer charge per color print colors shirt itll cost per shirt onecolor design want print light color ink say yellow dark garment say black printer often need first lay base white known flashing overprint yellow means second screen possibly fee second color printing st color white ndcoloryellow choose design locations garments print multiple locations front back sleeves hat look really cool ill give advice weve giving keep simple every color location add ther e additional cost involved check printer choose garment colors printers let mix garment colors order ie select shirt order smaller lots black white red pink shirts need keep ink colors mind red ink awhite shirt work may work black shirt though white flashing may required probably wont work pink shirt definitely red one simplicity rules start one shirtcolor black good start chosen three quarters artists choose sizes color usually split order l xl garment additional charge xxl larger sizes usually cost check printer basic tips cover merch buying decis ion points start contacting merch vendors things aware well design templates recommended design software programs theyll want use ther e many brands shirts ranging cheap noname brands stay away premium costly name brands like erican apparel usually heavyweight cotton shirt trick sell merch youve bought merch youve got maximize sales fortunately selling mucho merch easy follow commonsense tips make every selling opportunity youre stage mention cool merch sale table back mention much better said affordable trust keep secret merch sale wont sell anyprominently display merch table high traffic area gigs close entrance exit often good maybe even way rest rooms want area lots potential customers see display items attractively keep prices reasonable youre independent artist chart topper yet sure list prices clearly next items youre selling sell range garments standard tees baby dolls long sleeve hats opti ons offer customers youll appeal sell cds heres theory easier sell existing customers find new customer becomes real make sure person working merch table sales person nd actively tries encourage customers looking cd also take look tshirt offer bundles sell cd shirt sell savings people love getting stuff free offer something free purchase poster sticker maybe even copy old cd whose sales cooled tell audience first people buy shirt get free copy last cd tell youll signing cds table later anything get folks come merch table accept credit cards friends cd baby excellent program allows get credit card swiper take gigs help sell lot merch wwwcdbabynetswiper play lot gigs play merch youll sell make sure remind audience every time merch sell make sure whoever selling merch also wearing merch nothing looks cooler roadie full gear go far getting crew printed back get psyched work hard give merch whoever booked club always cool owner wearing stuff next time come perform goes djs program directors industry folks run friends wearing merch hang front venue show nothing like creating buzz show even begi ns folks walk around venue gear dont underestimate power friends family spend money give away merch gifts holidays wear merch mall soccer practice school get ideayou long haul arent give stuff away beginning come back end selling merch close nobrainer artist get frequently leading gig revenues doubling merely apparel sale think cant afford merch think cant afford merch sale next performance tony van veen president disc makers dru mmer performing touring merch always outsold albums large margin finally got hint took day job disc makers year career proud last introduced full li ne custom merch services artists available wwwdiscmakerscommerch make money wylie gustafson merchandising scott mccormick disc makers rights reserved one reasons weve become successful theres market nashville major labelshave forgotten thats independent labels come filling niches majors forget despite playing style music long forgotten nashville wylie wild west shows years hard work brought respectable indie success theyve appeared regularly country music television thenashville network grand ole opry last two releases way west voted bestindependent country album year afim total yodel picked rounder records distributed mercurypolygram however even record deal major label distribution constant touring merchandising puts wild west show top profitable venture makes u able tour says gustafson one things didnt see potential unt il got business itnow think every band pay attention aspect business make break point sell cds hats tshirts refrigerator magnets photos bumper stickersin last years cds become main item people c ouple bucks spend buy bumper sticker signed photo also website developed mail order business run home internet nice fans place find records since independent label kmart doesnt carry product lot people areas kmart main shopping place cant find cds stores go internet search place orderweve refurbished website trying make simple user friendly find best put theleast amount information people download oesnt clog gustafson estimates percent wild wests merchandising currently comes onlinesales percent proven fairly simple achieve even though business runs honor system isnt set accept credit cards far fee credit card sales seems prohibitive heexplains fans send check mail cd four years weve doingthis weve never yet bad check people call want cd ill send one even get check always send paymentweve nothing good experiences tour sales account bulk bands merchandising income according gustafson percent venues taking cut sales varies percent percent venueshurt us says ruefully time pay seven dollars cd another percent house dollars selling cd almost worth venues take much advantageous us playing happy since bigenough band able negotiate bite bulletthe wild west found pays offer quality items band sale dont always go whats cheapest go something lasts gustafson asserts doesnt cost much cotton good quality shirts deal companies quality product reliable stick people count summer go lot product sell need shirts need get fast possible group hasnt encountered conflicts local tailers selling shows rounder always behind us making easy us recognize opportunity good show people inspired buy product right continues gustafson make point telling people show well selling merchandise table well signing autographs people love thatit gives chance meet us talk find theyre liked show think thats rea lly important part touring meeting audience relating themmaking feel know little bit better time youre heading roaddirect contact also helps understand people like something always strive whether music talking relate entertain way thats real good experience scott mccormick production manager disc makers business since disc makers nations leading independent media manufacturer offering wide variety products services including stateoftheart automated printers duplicating systems well complete cd dvd replication custom packaging independent musicians filmmakers businesses wwwdiscmakerscom fo r tour dates music clips info wylie wild west show check thei r website wwwwyliewwcom tour merchandise stands tshirt gigi swanson mg incentives rights reserved think tour merchandise might envision major label artists playing large arenas selling everything tiedye tshirts bumper stickers embroidered baseball caps case rolling stones famed voodoo lounge toura custom motorcycle even independent artist run business like big acts utilizing added revenue stream sourcecustom merchandise arti stperformer selling experience fans buy souvenir experience form cd clothing buttons posters etc music fans come home something tangible ticket stub usually something wearthe custom wearables market plenty choose lets focu long held wardrobe staple tshirt better promotion walking billboard advertise generally inexpensive produce made goodquality materials last long time better healthy margin profit sales wearables least offset even cover travel expenses package cds tshirt added value sales centive offering half cd purchase use door prizes thank sound guy waitress clubs play applies coffeehouse chur ch house concert gigs even play free earn money build goodwill name recognition dont think selling tshirts visible established acts playing selling cds sell shirts jump pointers make promotional dollars work youthe popular tshirt basic crew neck low cost style people familiar far color options concerned sky limit least expensive standard whitethen heathersnaturals darker colors besides basic tee branch differentstyles retro ringer tees baseball ragl tees new styles made women scoop necks babydoll tees new layered looks prefer cotton heavyweight tees oz range lo ng term durability brands gildan hanes jerzees common favorites years heavier fabric knitted tighter enables better screen print especially using detail four color process plus typically cut larger hold better multiple washings must think tastes end user image trying promote thats fashion often comes knowing audience key example one rap group clients goes extra large size heavier weight tees whereas rock group client sells mostly light weight smaller tight fitti ng alternative tees cost look achieve supports brand image check online stores different recording artists get sense fans buying see might work audience makes tshirt sell isnt style size color logo design logo art needs readable convey image want promote keep mind something person want wear comes printing logos opt gel sugarglitter suede reflective metallic glow dark ink one color colors screen printing using one color ink one position shirt economical pay art screen color use well extra handling shirt includes flipping print different side artwork may require added film screens rep licate complicated designs keep simple go certain look make sure get thorough quote proceed logo art needs graphic format generally saved eps file many imprinters charge hourly rate prepare art isnt standard isnt vector art complicated designs printers carry standard pantone colors also offer colormatching inks added charge many shirts buy real price breakpoints industry start units amount isnt practical everyone find reasonabl e shirts unit range even less plan right funds still short know bands purchased coop shirts another band sponsor local nightclub basically sold space shirt share subsidize cost helped promote partners time get shirts sell range see quick return investment taught music business classes used illustrate power selling tour merchandise students way typical major label recording artist might make little sale cd would sell five cds make margin sale one basic tshirt tha ts major labels affiliated merchandise companies added revenue stream themselvestour gig merchandise incorporated overall marketing plan fits right preparing press kits driving traffic website getting people door selling cds right product promoteyou long gig keep eye future articles promotional products trucker hats anyone gigi swanson started entertainment division three years ago left teaching administrative duties director music business program mcnally smith co llege music located twin cities commutes companys minneapolis st petersburg office recently opened satellite office nashville mg incentives inc company specializes promotional products company worked advertising firms corporations years order shirts sell event django bohren seatthole shirts rights reserved variety reasons might need tshirts pins logo bumper stickers article focus need sell stuff youre band according rolling stone magazine britney spears expected make much per concert merch sales alone shed keep thats sixty thousand dollars britney per night math youll see course big l tour shed make lot money billboardcom reports ozzy osbourne raked million merch sales course bands arent point yet youre playing decentsized venues youve got cool shirts band sort following theres reason cant make way merch sales door selling cds fine smart thing offer affluent fans something extra tshirts pullover hoodies girlie shirts panties logo give people chance havesomething like support time dont worry sounding like youre selling hyping merch onstage doesnt show youre money hungry wont begging gas money get next show knows time youve sold shir ts concerts might become big britney spears django bohren owner seatthole shirts django b een design printing business nearly years hes got many projects belt fingers many pies seatthole primary source excitement two strange fetishes says django office supply aisle target making custom shirts oneinch buttons vinyl bumper stickers anyone everyone needs fetishes pretty standardwwwseattholecomsell gigs nob odys gonna ya tim ziegler lostrockcom rights reserved something sell cd tshirts upcoming gigs youll get lot bang sell hard basic selfpromotion selling gigs entails basic principles tell youve got might feel cheesy announce sale stage wait audience digs song say sale way doesnt make feel like pro stitute sure announce upcoming gigs repeat info couple times performance make surethey know merch set make sure announce website address display kit youll need display wares theyre physi cal youll need make display beforehand least materials tape sharpie paper etc example cds tshirts bumper stickers sale either make elaborate stand cardboard display make sign item saying much costs playedwith san marcos tx band richardson seeds night taped tshirt cd tothe club wall along sign prices also lay merch table club tshirt poster put audience see youre playing get helpits important somebody selling breaks show help comes form one single person willing sit merch display sell stuff helps person speak native language felon sex sells course hot girlfriends boyfriends merch booth increase sales get friends free better try giving somebody cut percent everything sell price well finally important set prices well bands theory band stuff get circulation youll sell long run sell cds tshirts affordable give away bumper stickers free many theories pricing keep mind merch sell people get know possibly come see live shows lostrockcom music website promotional tips dependent artists idea behind lostrockcom simple market damn music created austin resident tim ziegler site tells promote band get gigs become rock star achieve nirvana lifetimewwwlostrockcom live concert recordi ngs usb sticks ryan jarrett blogryanajarrettcom rights reserved recently blogged new company planning sell reco rdings concerts usb sticks leave venue since ive actually found articles proposing similar idea dates back although believe slow starter nowadays usb sticks surpassed floppy disks even cds popular way physically move data around plus much higher capacity used toand physically robustthis excellent way making money ever live recording artist makes usually one live recording sold cdsdvds think people would love recording gig actually rather buy recording record store one random concert usbkeys could customized artwork curr ent tour contain video footage photos show inturn would make collectible let artists promoters monetizetheir events effectively also one eye commercial bootleggers concert recording available buy legally weakens appeal strength bootleggers product illegal copywhich probably going poorer quality official produ ct think immediate delivery recorded even whether rock concert opera sporting even play west end musical likely becom e prominent technology becomes efficient costs come easily imagine able take home recording formula onerace football match theme parks instead picture taken roller coaster carriagetips brow biggest hill track board cameras record whole ride wellas external cameras recording carriages progress always digital rights management drm plays par ive found definitive answer whether recordings sold drm suspect labelartist decide case reported canadian group barenaked ladies selling concerts without drm usb sticksalong albums format live recordings also available purchase online without drm ryan jarrett consultant specializing network desktop designsu pport microsoft officevba scripting years commercial experience freelance since information contact ryan ryanryanajarrettcom blogryanajarrettcom getting people shows get people gig george howard artists house rights reserved must first pick right gig often artists everything book gig club find playing two men dog monday night counterproductive chances willnot invited back club play second time makes sense build following organic manner look alternative venues house parties college gigs churches even openmics ly refine live show begin building fan base end essential collect info rmation email snail mail attend shows often enough simply pass around mailing list may want consider burning three song cd give people sign iling list way youre giving incentive sign mailing list importantly youre giving tangible souvenir gig encourage burn copies friends youve played enough nontraditional ie non club gigs developed decent mailing list begin thinking booking professional gig gig club book gig work really begins ou notify people whose names emails youve collected upcoming gig must also try maximize gig ways imperative instance notify local media press radio upcoming gig try get whatever coverage gig may well listing paper anannouncement college radio station addition reminder know music also serves purpose putting band name front media repeatedly cause take notice eventually lead substantive press radio coverage course use new tools well myspace facebook social networking sites effective ways alert people upcoming gigs caution regarding new tools must core things build following organically great songs etc see sust ained longterm benefit tools like myspace youve successfully played club gigs begin timing gigs often bands play home market really shouldnt play home market unless youre gb band course month id advise every three months make every gig event ifyoure playing every weekend cant eventful time betweenhometown gigs get play cities course repeat youve done home town cities within driving distance one way accelerate find artist band asimilar career place musical style trade opening slots draw people home town theres artist town stylistically similar also draw people go open town let open home town way canspeed process developing following nearby wns keep ever expanding circles away home base pretty soon youll touringill leave one failsafe way get people gig make emotional connection play follow guidelines ive listed youll build real andcommitted fan base former president storied rykodisc label founder slow river records george howard accomplished musician producer executive educator currently holds posts assist ant professor management loyola university instructor lecturer berklee college musics berkleemusic program editor frequent contributor artists house author getting signe insiders guide record industry publishing aimed educating aspiring artists succeed music industry game times seems rigged wwwartistshousemusicorg tips nurture fans jeri goldstein performingbizcom rights reserved building audience growing fan base golden ring success none industry executives labels management firms booking agencies media retail ignore demanding loyal fan base job number one case nurture audience enough simply someone come one show want sign long haul plan around want fans grow order happen need care providing something show tips get fans involved excited committed act show gigs often bring others shows mailing list benefits mailing list snail mail address email address must want target yourmarketing directly indicated interest music dont use list name gathering device though use help fans feel like special participating insomething special create individual signup cards placed seats tables handed door ask returned intermission drawing cards someone win cd tshirt logoclad item groups get signups anticipation winning something infectious thisat gig becomes something fans look forward informative mailings share newsy items industry something involved concerned well group information upcoming performance dates new merchandise items creative information perhaps share words new song build excitement material going next cd offer special mailing list sales discounts fans feel special mailing list receive special considerations drives people sign mention stage accessible audience intermission show invite people merchandise table stage let know youll merchandise table would love meet dont shy promoting merchandise table eventhough merchandise table placed conspicuous spot direct invitation builds crowds clambering stuff intermission stand near merchandise table sign autographs meet fans make known available meet greet fans feel closer dont run dressing room back doormeet winner show make special announcem ent would like personally greet winner drawing sign prize get people signing mailing list cards establish opportunities fans get free tickets shows bring guest fan brings guests single show get pair free tickets either show next works especially well produce shows control ticket sales free ticket opportunities free ticket opportunities work nicely promoted mailing list offered special mailing list members create five six song cd offer lowcost sale waiting record deal fans asking music make something available tobuild buzz whet appetites charge make back cost quickly saving rest money marketing projects full recording send mailing list advanced sample mp new songs working recording session keeps loop makes feel like part process suggestions get juices flowing hopef ully spark additional creative ideas main point let fans know much appreciate support develop longlasting career fan loyalty grows feel part history challenge keep fans mind come new promotions new tours consider fans turn remain loyal enthusiastic eager help expand audience jeri goldstein author bo oking agent musicians performing artists guide successful touring nd edition updated agent artists manager years book cdrom information programs available ava ilable wwwperformingbizcom phone email jeri jgperformingbizcom developing home base suppo rt build national success jeri goldstein performingbizcom rights reserved great advantage concentrating majority development hometown plan forfuture tours new territories always believer starting career central place like hometown town nearby would conduciv e career development expand outward systematically central point picture stone dropped pool waterripples cascade outwardfrom center stone landed approach hel ps build fan bas e business skills stepbystep strategic mannerlets examine benefits developing home base support build performance confidence home base provides supportive environment test new songs performance styles hometownfans want succeed encouraging new effort artists quick say nothing like playing cd release concert hometown fans younetwork artists locally open mic nights songwriters groups offer avenues creative growthtesting critique first fans grow creative groups turning upcoming gigs fatten theaudience fans also among first promote fans accomplishments grow build local reputation creating allimportant buzz needs begin somewhere fertile ground begin process home base performance confidence grows play often solid foundation fans forms work within concentrated area hometown word spread quickly ct unique something new exciting say loyal audien ce begins grow might counted attend shows consistently solid followi ng built hometown possible expect fans follow nearby towns begin expand touring local reputation tendency filter beyond home base fans share excitement newfound acts cite many examples major recording artists touring today started developing loyal home base support one closest examples living charlottesville va dave matthews band grew solid home base foundation moving parts southeast region allwatched solo gigs local bar moved regular tuesday night gig local club band expanded strategically around charlottesville throughout southeast region rest history remains committed charlottesville today entire organization still lives operates ofcharlottesville consistently pump funds back community support local businesses andcharities grew original development charlottesville home base thecommunity offered loyalty fans helped band gain local regional national reputation dmb support community return keep costs touring expensive touring long distances whither already slim budget concentrating home base performance dates youre spending unne cessary money hotel meals gas since sleeping home guarantees low sometimes nonexistent additiona l travel costs deplete motivation well budget hot tip play home base performances consider creating savings account future tour dates area take percentage home date profit place savings account time comes launch regional tour youll funds invest daily routines remain familiar comfortably go business familiar surroundings gigs home based interruption daily routines brief time pack go play gig ratherthan days preparation road short tour continue working larger plans projects within normal supportive environmentdevelop business skills seek practice performance ski lls supportive environment need opportunity practice business skills become proficien working within home base allows golden opportunities may work booking phone techniques build confidence negotiate local promoters draw upon network musi cians gig information less stake circumstances rather intense road touring situations ease way better venues develop various aspects performance career business savvy home based also begin create network potential financial supporters sponsors constantly touch local businesses organizations becoming familiar act take first steps contacting proposals success homefront much easier attempt proposal regional state wide national business organization develop marketing knowhow better way become familiar marketing game practice home base youare already aware various print media outlets probably know radio stations intimately wont spend much time researching order begin marketing campaigns isunfamiliar probably gleaned one musician friends growing network developing marketing template home base relatively comfortable easy youhave working system home base easily app lied distant touring markets bit research thrown new market apply concent ric circle expansion plan use home base media contacts begin networking markets near likely features editor daily paper knows name features editor two towns road similarly hometown radio television contacts toss names help get foot door nearby towns youve established working relationships hometown media network open expansion use contacts youve worked hard develop become supportive efforts id like help determine much home base already developed might build upon successes first important take realistic look current position within community wherever decided call home base ive provided questionnaire help complete questionnaire concrete assessment current situation able toclearly see next steps necessary move toward goals think would helpful use similarform every year revising start current position time increase venue capacities touring radius career develops keep track systematic manner enabling achieve success level systemat ic approach ensure move manageable pace rather skipping levels might prove daunting unprepared keep mind overnight success long steady process reaching one goal time often takes manyyears dont hear hard work successful group historical retrospective produced mtv vh similar media outlet take time complete questionnaire honest even answers portray vision career wish immediately successful sooner begin working realistic picture sooner take necessary next steps im prove upon situation youve completed questionnaire alone members group share outcome anduse catalyst generate suggestions new strategies within groupassess home base support built local fan base yes somewhat list three things done accomplish local media recognition yes somewhat list three notable media events support media recognition network local performers may communicate yes somewhat list three performer resources regularly communicate outside performing group ensemble steady ongoing loca l performance venue venues yes many times per year many venues sell smaller performance venues seats yes sometimes almost type venue playing average ticket price time day shows much merchandise sell dollars per night sell medium size performance space town yes sometimes almost type venue playing average ticket price time day shows much merchandise sell dollars per night sell one larger performance spaces town yes sometimes almost size type venue playing average ticket price time day shows much merchandise sell dollars per night called upon local community eventsyes somewhat often often enough list three community events estimate distance base suppo rt extends miles entir e county three neighboring counties beyond becomes regional many people mailing list many home base review answers number issues may interest consider instance increase venue capacity notice whether type venue changed kind impact change ticket price time show many buying tickets grow larger venue make sure audience following venue notice drop attendance review venues location whether ticket price gotten hand start time inconvenientfor particular audience issues addressed altered necessary understand driving change audience response growth spurt promotional requirements need adjustment reach larger audience keeping pace needs media outreach extended accommodate larger venue capacity may need add paid advertising marketing plans whereas smaller venues required less extensive less expensive media campaign relying free promotion posters press releases calendar listings radio interviews may also need create incentives aticket giveaway cd giveaway local radio shows mp download giveaway linked emailcampaign deciding move larger venue tried increase appearances smaller venue perhaps monthly gig smaller venue would help bu ild audience less risky test fan base perhaps playing often moving larger venue reducing number plays town may next best move increase demand expand fan basehave explored alternative venue opportunities hel p increase local reputation build fan base find struggling maintain st eady audience level even smaller venue may need try alternative venues get one currently play stepping outside venue consider right one may discover new fans act fans may follow venues check city papers chambers commerc e local universities fraternities sororities downtown foundations local organizations charities events taking place near future may paid entertainment may necessary us e alternative venue si tuations shore local support move next level within home base networked local musicians create cobill concerts asked opener help transition larger venue less risk low sales joining together one two ormore local artists create larger event expand audience tapping acts fan base turn tap everyone benefits joint effort make yearly assessment part growth proc ess help make calculated innovative decisions spark future successes develop local regional touring strategies happy assessing jeri goldstein author bo oking agent musicians performing artists guide successful touring nd edition updated book cdrom information programs available ava ilable wwwperformingbizcom phone email jeri jgperformingbizcom band touring using gig swapping james blakely golistenlivenet rights reserved beginning bands usually play local venues great exposure build local fan base comes point bands life time move beyond playing local club music needs heard people outside city many bands hesitant make step important play outside area exposing sound areas builds reputation problems start money trave ling expensive housing feeding band members looks enormous good investment one best ways get gigs cities gig swap gig swapping elementary sense contact band another city find venues play give information venues city get involved actua lly let band open local club open club even get gigs anyway gig swapping help getthat exposure different cities first need contact band another city w ould find another music scene near havent played search online bands city would try find band plays genre styl e music since bars clubs want play plus want ex pose fans music part swap giving fans exposure band viceversa helping promote show city exchange way wont playing empty hallonce find band looks suitable shoot email would make sure choose band good fan base started playing city would also pick one try find five agree could fill whole week gigs make money back traveling surprised open idea local bands even link article explain talking whatever decide say would make short better open dialogue togiving orders make sure parties understand agreeing going help promote let open get gig make sure everyone stands deal way wont problems make good business relationship james blakely creator online music community golistenlivenet cooperative audie nce swaps break new markets jeri goldstein performingbizcom rights reserved acts looking expand audience beyond k nown markets need open new options one idea swapping audiences another musician band idea perfectly suited acts astrong following market heres works first find artist new market would like expand whose work like think would compatible second make sure artist sele cted strong following desired market attempting break new market makes sense artist sell tickets market order work would optimal selected artist interested expanding market suggest artist book promote least one gig perhapseven number gigs market strong fan base team negotiate dates press generally whatever takes whatever normally promote gigs fullest group provide heir press materials cobill show publicity include visiting group even try arrange print radio interviews group negotiate percentage minimal guarantee plus percentage act make sure understand take larger fee greater percentage since audience work introduce group market return expect group market introducing audience many benefits expanding audience manner entering new market following little leverage negotiate decent fees alone major budgetdrain opening new markets swapping audiences enter new market mo mentum provided group likelihood making money selling merchandise gaining larger number mailing list names contact return dates since hometown group legwork advantage hitting possible media outlets area well performing appropriate venues spells success rather chance often tours tountested markets resulted huge investment expense small turnouts audience swapping reducethe risks creating favorable collaborative effort everyone gains chance learn new market build reputation expending little energy save hard work exchange tour host groupwhen considering method audience expansion important select group similar work ethics want sure ex tend every professional courtesy market would certainly benefit lax efforts promote market therefore suggest asking following questions sure group considering right one audience expansion project often perform home area want sure play often enough built loyal following last performance dont want schedule performance heels one played make sure enough time last gig demand see group many paying people draw concert obviously want group whose income support cobill ever perform events free public large crowd may gather example cities produce free concerts parks downtown malls lets know expanse popularity market size venues normally play give idea whether tour area financially feasible splitting fees seat venues may hardly worth trip whereas cobilling larger seat venue may accomplish youraudience expansion goals nicely size mailing list area nearby surrounding areas small mailing list tour may worth effort select artist whose fan base substantial booking good know point person group agent may somecommission pay publicity want connect publicity person get materials well arrange interviews may also offer suggestions best promote group get coverage local press radio ever feature article written local papers relates question well group recently covered gig media may reluctant offer space act however cobilling act may receive lions sh publicity order breathe new life hometown band careful one could work make sure hadnt recently feature article main paper questions relate host band well choose dates concerts considering want gain efforts marketsive seen many acts use method gain new audiences factors well suited audience swapping boost career new market smoothly trying open market ownthe real key holding newlywon audience follow return tour dates good luck jeri goldstein author bo oking agent musicians performing artists guide successful touring nd edition updated currently consults artists agents managers consultation program manage rinabox presents performing biz seminars workshops conferences universities arts councils organizations book cdrom information programs available ava ilable wwwperformingbizcom phone email jeri jgperformingbizcom three methods getting openers support act slots jeri goldstein performingbizcom rights reserved one method expand audience serve upport act known main act multiple tour dates open show larger act choice slots many acts vying sometimes get lucky right place right time interested process rather thanchance suggestions go landing choice performance slots whether attempting open single date considered supporting act full tour three methods follow may help land slots contact acts selected logical compatible choices instances may know compatible band personally friends members would direct route getting tour single date unfamiliar anyone act next step would contact acts management emerging acts still building following much established often hot list new acts scene select potential support opening acts get hot list first youneed contact acts management check tour schedule upcoming recently played dateif playing locally check venue look musicalcom reach management tell intere sted considered opener support act let know familiar act think would good addition show offer send current press materials latest recording support materials detailing youractivities realistic may one many acts attempting considered make sure represent well process may take time develop relationship cts management persistent keep touch contact provide updates career tours take shape payoff may immediate may well worth wait selected right actcontact booking agency acts may management may booking agent would next contact approach agent similar manner would management build relationship agency may also serve entr\u00e9e looking agent act consider logical compatible acts ou may open likely agencys rosters would also logical choices represent actcontact venue booking person determine would like play specific venues certain markets become important identify venues may find impossible get date havent pr eviously played venue asking opening act slot may way gaining entrance find acts booked upcoming shows venue booking contact identify acts mentioned ones might compatible act suggest bookerand ask considered opening act send pr omotional material often check acts management agency ask acts management contact case need establish contact begin process management agent suggested would first let venue booker make initial contact venues ability arrange opener certain acts sometimes receive strict instructions acts agent regarding acts policy openers begin let venues know int entions may keep mind appropriate situations arise opening act often frowned upon bad slot however opening act strategic position plan appropriately dont believe opening anyone serves well important consider act act com patible order play appropriate audience want expand audience choice main act ought one whose audience wouldlike eventually make tips consider search appropriate main acts select act least one two steps ahead market aim high act playing arenas playing seat clubs unlikely achieve opening slot even get open much larger act ability really use occasion fullest advantage may hampered fact probably ready want act large enough draw room budget get paid something select act within genre music attempting gain country fan base select coming country acts play rock hip hop blues etc select appropriate genre select acts opposite sex instances example single female singersongwriter often would select male act rather another female singersongwriter would work male acts doesnt always hold true especially situations many acts know decide join together create special multiact tour theother exception may cases solo male female act opens group sex select acts may personal familiarity even friendship start people know know like music greater likelihood open sharing bill make sure added date time included media promotions added flyers posters help build reputation areas dates played money openers support acts may great depending main acts budget venue budget relationship main act circumstances fee low negotiate ashigh percentage possible merchandise many openers make low fee theirmerchandise sales large receptive audiencedont stay time stage clear arrangements main act set start end times prompt get called back encore check main act heading back stage encore leave theaudience wanting rather wanting get stage try arrange welcoming introduction connection main act helps linked main act way example please welcome xyz band one abcs favorite new talents audience made aware respect main act opener audience usually enthusiastic opener make friends main acts sound engineer unless travel sound engineer house sound engineer usually one designated mix opening act get know main acts sound eng ineer perhaps mix sound well sometimes may pay something often worth money landing support act tour boost career notch two make make sure notify media support tours getting tour itinerary listed appropriate trade magazines online sources issue press releases get cds many radio stations along tour route possible may right time explore hiring radio promotions company get airplay getting opening act slots support tour one many strategies used expand audience begin process making list acts might consider appropriate main acts time goes act develops list need updating time like present begin strategic audience development process jeri goldstein author bo oking agent musicians performing artists guide successful touring nd edition updated book cdrom information programs available ava ilable wwwperformingbizcom phone email jeri jgperformingbizcom" +} diff --git a/Universal-Music-Canada-2017-Discontinued-Letter-and-List.json b/Universal-Music-Canada-2017-Discontinued-Letter-and-List.json new file mode 100644 index 0000000000000000000000000000000000000000..c5407ccc5befa2576ce43f5156bda33729468886 --- /dev/null +++ b/Universal-Music-Canada-2017-Discontinued-Letter-and-List.json @@ -0,0 +1,5 @@ +{ + "filename": "Universal-Music-Canada-2017-Discontinued-Letter-and-List", + "department": "Manager", + "cleaned_text": "victoria park ave suite willowdale ontario mj h phone december decembre universal music commercial partners \u00e0 tous les partenaires commerciaux de universal music please note discontinued selections universal music domestic catalogue prepared alphabetical listing artist well numeric listing customer must current standing universal music order receive full credit please forward discontinued return requests local universal music sales representative friday march authorized discontinued products must returned distribution centre later friday april complete list titles available httpwwwumcreleasebooksca please contact local universal music canada representative questions veuillez prendre note que la liste suivante repr\u00e9sente les s\u00e9lections discontinu\u00e9es du catalogue domestique de universal music nous avons pr\u00e9par\u00e9 une liste par ordre alphab\u00e9tique par artiste ainsi quune liste par ordre num\u00e9rique un client se doit davoir un cr\u00e9dit courant en bonne et due forme avec universal afin d\u00eatre admissible \u00e0 ce cr\u00e9dit veuillez faire parvenir toutes les demandes de retour des produits discontinu\u00e9s \u00e0 votre vendeurs chez universal music avant le vendredi mars toutes les autorisations de produits discontinu\u00e9s doivent \u00eatre retourn\u00e9es au centre de distribution avant le vendredi avril une liste compl\u00e8te des titres est disponible au httpwwwumcreleasebooksca si vous avez des questions contactez votre repr\u00e9sentant chez universal music kind regards bien \u00e0 vous regards adam abbasakoor vice president commercial affairs universal music canada catalogue numb er artist title description configuration scannable upc upc foot phenomenon compact disc frannwp cclive concert compact disc b frameswhere ends compact disc broada funny thing happe compact disc live jewschristmas jews compact disc bbgcd l esotericdcbars deat compact disc tegcd l esotericspeaking real wo compact disc tegbrkcd lbeyondwelcome shaftvill compact disc b thenot onlybut also compact disc campa camp compact disc dog lot like birdsconversation compact disc aarseteconnected compact disc aarseteelectronique noire compact disc b abairmlife less ordinary compact disc uopj abandon shipsgeeving compact disc etlcd abattoirvicious attack compact disc abbaring ringcd dvd cd dvd abbasuper troupers digital video disc abbathank music compact disc abbadocthe symphony edicd compact disc abdul paulforever girl compact disc tao abrahamslgrape grain compact disc absuabzu compact disc accademia bizantinaha ydnconc compact disc alphabetical artist alphabetique par artisteuniver sal mu sic discontinued listing liste de produits discontinues following titles discontinued effective immediately please return requests submitted friday march authorized disconti nued products must returned distribution centre later friday april \u00e0 compter de maintenant les titres suivants ont \u00e9t\u00e9 discontinu\u00e9s veuillez sil vous plait avoir soumis toutes demandes de reto urs pour ces produits au plus tard le vendredi rs tous les produits discontinu\u00e9s autoris\u00e9s doi vent \u00eatre retourn\u00e9s \u00e0 notre centre de distribution au plus tard le vendredi avril catalogue numb er artist title description configuration scannable upc upc adamsbtil die compact disc adamsbtracks yearsdlx compact disc cdroun adamsj wmood indigo compact disc cdroun adamsjafter dark compact disc cdroun adamsjfrom heart compact disc adamsrdemolition compact disc cdroun adamst clevelandlive th compact disc adderley cat lighthouse compact disc adderley cfiddler roof compact disc properbox adderleycdis cdx compact disc adkins trdreamin loud compact disc adkins trsongs compact disc adkins trvideo hits vol digital video disc b adkinst 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disc coz varradiancefavorite marches compact disc coz varradiancea classic wedding compact disc coz varradiancemost laxing cla compact disc coz varradiancesacre classics compact disc coz varmost popular tv themes c compact disc coz varmost uplifting classics compact disc coz varradiancedinner party clas compact disc coz varradiancemorning lift compact disc coz varradianceclassic unwind compact disc coz andiamolove ital compact disc coz andiamolove italy dvd digital video disc coz varultimate romantic str compact disc coz varromantic adiagos cdx compact disc cp amp livemurder discote compact disc cpl greenskeeperslive like wa compact disc cr karl schwonik quarvisions fro compact disc cr april wineback mansion compact disc cre williamsjindiana jonescompl compact disc cre sinatrafmy wayth annivers compact disc cre sinatrafstrangers nig compact disc cre sinatrajobimthe co mplete rep compact disc cre sinatrafcomplete sinatrabas co mpact disc catalogue numb er artist title description 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november catalogue numberartist title config scannable upc upc yzlcd varbustin new wave ne compact disc cded varcajun country compact disc egr varcanciones de siempre esenc compact disc cd varcappuccino bar lounge v compact disc cdroun varcaribbean voyagebrown gir compact disc cdroun varcaribbean voyagecaribbean compact disc cdroun varcaribbean voyagecarriacou compact disc varcassic recitals compact disc ccd varcha cha party compact disc dis varchildrens favorites vol compact disc pop varchill house cape town compact disc pop varchill house tokyo compact disc varchristmas albumalagnar compact disc b varchristmas classics ftrudo compact disc varchristmas classicsjingle compact disc varchristmas family classics compact disc dis varchristmas favourites compact disc varchristmas greatest hits compact disc abr varchristmas kids compact disc tc varchristmas memories cd dvd syn varchristmas memories cddvd cd dvd odr varchristmas traditionmusic compact disc varchronic millennium compact disc 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festival vol compact disc b varcruel summergood musi compact disc qldvd varcruisin country hits digital video disc crasdvd varculturama audiovisual digital video disc mvda varcut ins volume one compact disc vardance classics compact disc vardance hall compact disc page november catalogue numberartist title config scannable upc upc dvd vardancehall bashment digital video disc vardeath venice compact disc vardecca recordings v compact disc wm vardeep sexy compact disc vardeep river songgeorgia compact disc miw vardeep sea blues dvd digital video disc cd vardelta blues boxed set compact disc dis vardisney bossa nova compact disc vardisney music block party compact disc dis vardisneymania compact disc dis vardisneys happiest celebrat compact disc vardmitrihvorostovsky compact disc mw vardoowop lovers compact disc vardream songs night songs fr compact disc vardrive thru rushmore reco compact disc vardrive thru dvd vol digital video disc vardrive thru dvd vol digital video disc vardrive thru extravaganza compact disc vardrivethru pure volume compact disc mvdv vardrum pads th anniversar digital video disc mvdv varearache eye digital video disc dvd vareast coast vol digital video disc tortvcd vareist aris compact disc egr varel pop el rock cubano es compact disc varelevenstring baroque compact disc varessential christmas sea compact disc page november catalogue numberartist title config scannable upc upc varevening stargerman opera compact disc dr varfaithfully yoursunauthori digital video disc lib varfarm aidkeep america grow digital video disc varfavourite harp cti compact disc varfavourite pno cti vol compact disc ccd varfeeling sentimental compact disc ccm varfifty hits compact disc rpmsh varfire fury bobby robin compact disc tscd varfolk music greece compact disc varfor love compact disc varfor dreams compact disc sacd varfrom isles courts sacdstereosurroundcdaud varfunk classicst compact disc b varfuture idols compact disc vargpeterson worldwide compact disc vargenuine houserockin musii compact disc vargenuine houserockin music compact disc b varget happythe harold arlen compact disc cd vargoa tunes cd compact disc b vargold jazz divas compact disc b vargold ol skool jams compact disc b vargoldquiet storm gold compact disc bzcd vargot light mac compact disc dr vargoth box digital video disc dr vargoththe ultimate collecti digital video disc dr vargothic industrial madnes digital video disc page november catalogue numberartist title config scannable upc upc vargrammy nominees compact disc b vargrammy nominees compact disc cd vargreat cover versions refer compact disc dcw vargreat outlaw valentine na digital video disc inakhqcd vargreat voices vol compact disc vargreatest classical xmas compact disc rspcd vargreatest gospel hits compact disc vargreece compact disc vargreece compact disc sdr vargreen revolution compact disc abr vargreetings nashvillec compact disc vargulda plays beethoven compact disc tc varhalloween collectors edit digital video disc pwrcd varharmonica blues orgy compact disc b varhayrenmusic tigran man compact disc mvdv varheads dvd digital video disc mvdv varheads dvd digital video disc hsm varhenry stones hidden di v compact disc hsm varhenry stones hidden di v compact disc dvd varheroes heavy metal digital video disc idvd varhi de ho movies digital video disc bzcd varhigh rollers compact disc utvmvd varhip hop digital video disc drb varhip hop hall fame digital video disc b varhip hop hits volume compact disc randb varhistory new orleans v compact disc page november catalogue numberartist title config scannable upc upc properbox varhittinon sixa histor compact disc varholiday entertaining compact disc mcad varhome blues compact disc hsm varhooked blues compact disc pop varhouse affair vol compact disc pop varhouse music milano compact disc varhousemix compact disc dvd varhoy como ayer digital video disc cdids varibiza greatest ch compact disc cd varibiza chillout moods vol compact disc b varicon celebrates black hist compact disc abr varif toothpaste tasted like compact disc iewsj varimtimate encounters compact disc varirish trad msicthe east c compact disc rpmsh varit takes two compact disc iam varits music artistsit compact disc varjackass compact disc varjanacekthe excursions compact disc ccd varjazz days end compact disc ccd varjazz weeks end compact disc varjazz clubthe swinging big compact disc egr varjazz de cuba esencia de cu compact disc varjazz et cinema vol compact disc mw varjazz lovers compact disc varjazz masters volume compact disc dvd varjazz voiceladies sing jaz digital video disc page november catalogue numberartist title config scannable upc upc ccd varjazz weekend compact disc varjessye norman sings sacred compact disc zeddcd varjoey negroin begicd compact disc sdr varjohnnt hanson presents puc compact disc varjust like paradisetribute compact disc varjz joyverve xmas compact disc varken burns jazzthe story compact disc dr varkick aunauthorized digital video disc bzcd 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varlive san francisco digital video disc hjr varliving hardwest africa compact disc zeddcd varlocked vinyl cecd compact disc egr varlocos por el mambo compact disc cded varlone star blues compact disc varlord ringsat dawn compact disc varlos bandolerosthe first compact disc varlouisianacatch train compact disc varloungeseriously good musi compact disc varloungethe departure loung compact disc varlove moodsthe romant compact disc dis varlullaby goodnight compact disc varlyricist lounge vol compact disc varmaestro compact disc varmarches polkas compact disc varmasters bow compact disc b varmaximum heavy metal compact disc varmaximum rock hitsstraight compact disc varmelodramen compact disc lv varmerry christmas baby compact disc page november catalogue numberartist title config scannable upc upc egr varmi salsa tiene sandunga f compact disc hsm varmiami funk volume compact disc hsm varmiami funk volume compact disc hsm varmiami funk volume compact disc hsm varmiami funk volume compact disc hsm varmiami soul sisters compact disc sacd varmichael murray stsulpi sacdstereosurroundcdaud varmisty mountain hopled zep compact disc acd varmorgenstern trio compact disc varmototrax compact disc b varmotownthe complete nos compact disc varmovie classics compact disc varmozart massage compact disc varmozart menu compact disc varmozart jubilee editio compact disc varmozart jubilee editio compact disc varmozart jubilee editio compact disc varmozart jubilee editio compact disc tri varmrsaxobeat compact disc cgr varmsfitshate mistre compact disc ccdcd varmusic george gershwin compact disc cd varmusical tribute johnny compact disc varmusiksprache der welt ii compact disc varmy figure skating album compact disc dr varnever enoughunauthorized digital video disc qldvd varnew ladies countrydvd digital video disc page november catalogue numberartist title config scannable upc upc mg varnew orleans traditional vo compact disc varnew years concert compact disc varnew years concert compact disc varnew years concert c compact disc varnight guitars dvd compact disc hupdn varnoise first punkervision digital video disc varnova bossared hot verv compact disc hp varnyc subwaysongs compact disc xxicd varo canada compact disc varodyssey compact disc sub varone dropnew roots attack compact disc varoperas vol compact disc varoperas vol compact disc varorchestral works compact disc mvda varounk rock karaokecddvd cd dvd dr varour forefathersa protopun digital video disc varour special waytribut compact disc dr varout bottleunauthor digital video disc alp varout mouths mk ii compact disc drb varoutlawz worldwide digital video disc bzcd varoutside law compact disc zeddcd varoverdose hostcd compact disc egr varpara que tu lo bailes cole compact disc varparay conducts french orch compact disc ccd varparty mix compact disc tsq varpeople take warningmurder compact disc page november catalogue numberartist title config scannable upc upc varpiano concertos hungar compact disc varpiano moods compact disc cmh varpickin nancy sinatra compact disc cmh varpickinon eric clapton v compact disc b varplainte calme compact disc dis varpooh friendship day compact disc b varpower ballads number compact disc varpuccinipuccini golddvd digital video disc cfdvd varpunk broadcasting system digital video disc dr varpunk take digital video disc mvdv varpunk england digital video disc mvdv varpunk london digital video disc mvda varpunk rock karaokedvdcd cd dvd varpure dvd digital video disc varpure blues compact disc dr varpure decadence dvd digital video disc varpure disco compact disc varpurely acoustic compact disc egr varquiero hablar contigo cole compact disc mvda varrarest rare girl gr compact disc lv varrarest rare girl v compact disc abr varreason believea countr compact disc varred hotrio compact disc bzcd varreefer madness compact disc inakhqcd varreference sound edition v compact disc varreggae compact disc page november catalogue numberartist title config scannable upc upc varreggae christmas christ compact disc varreggae classicsthe greate compact disc mvdv varreggae babylon digital video disc pazz varreggae jamaica stylee compact disc varreggae pulse christmas compact disc dvd varreggae rockerssunsplash digital video disc ca varreggae showdowngiants digital video disc varreggaetonthe cuban revolu compact disc ccm varremember babycameo par compact disc rpmsh varremembering roots soul compact disc zeddcd varremixed love jcd compact disc dr varriding edgeunauthoriz digital video disc varrise black flag compact disc varrock roll doctora tri compact disc varrock relief compact disc b varrock dock exclusive compact disc mcbbd varrockin little christmas compact disc dr varrockyour socks offunautho digital video disc varromantic adagios ii compact disc abr varrudy redneck reindeer compact disc egr varrumberos de cuba coleccion compact disc varsalsa explosion compact disc varsalsaseriously good music compact disc varsantas bumper christmas compact disc tk varsaw vi compact disc varsilent nighta christmas c compact disc page november catalogue numberartist title config scannable upc upc mvda varsinging winter wonder compact disc varsir george soltithe first compact disc rpm varsmash derby compact disc varsmooth jazz compact disc varsolitudes th annifrench cd dvd egr varson de la loma fiesta edi compact disc dr varsongs cassavettesan digital video disc ieg varsoul church dvdx digital video disc wnrcd varsoul steppers dvdcd dvd bns cd varsoundbombing ii compact disc ccdcd varsounds spring compact disc varsouthern rock christmas compact disc tdvd varstaindtaintedunauthoriz digital video disc dr varstar baby scrapbookunauth digital video disc syn varstars come christm cd dvd ieg varstax double feature dvd digital video disc stxcd varstaxthe soul hiphop compact disc inakcd varstereo hortest cd vol compact disc cd varstereo hortest v compact disc vit varstone sourstring quartet compact disc varstrat pack digital video disc varstudio one showcase v compact disc bzcd varsugar bowl compact disc zeddcd varsupafunkanova vol cd compact disc properbox varswing tanzen verbotenswin compact disc properbox varswinging hollywood hillbil compact disc page november catalogue numberartist title config scannable upc upc cd vart alan lomax collection compact disc vart alan lomax collectionbl compact disc vart alan lomaxdeep river compact disc cd vart alan lomaxprison songs compact disc cd vart alan lomaxsouthern jour compact disc vart spanish collectionarago compact disc vart ultimate ballads compact disc vart verve story compact disc cd vartelarcs got blues compact disc vartelluride bluegrass festiv digital video disc lv varthat beach boy sound compact disc lv varthat beach boy sound compact disc abr varthat christmas feelingcd compact disc varthe sopranos album compact disc b varthe best blues rock son compact disc varthe best metal compact disc lib varthe best sound stage digital video disc varthe best compact disc varthe british coming compact disc varthe british coming v compact disc varthe chill lounge compact disc varthe collectioncdltd e compact disc varthe decca sound cd compact disc varthe flight bumble b compact disc varthe fox hound compact disc bzcd varthe iron horse compact disc page november catalogue numberartist title config scannable upc upc hsm varthe last disco paris compact disc properbox varthe louisiana hayride compact disc bmrnva varthe music nashville ori compact disc bhh varthe real deal compact disc rspcd varthe roots soul compact disc varthe sofia recital compact disc zeddcd varthe soul disco vcd compact disc zeddcd varthe soul disco vcd compact disc b varthe state im compact disc mvda varthe ultimate torch compact disc varthe ultimate wizard album compact disc b varthe voice america compact disc varthe waltzecstacy myst compact disc ahs varthe wasted years compact disc flmdvd varthis aint moms hard digital video disc varthis crucial reggaedub compact disc varthis crucial reggaesum compact disc vartighten trojan reggae compact disc abr vartimeless christmas compact disc vartippetvocal music cd compact disc lv vartis season freez compact disc er varto elliott portland compact disc vartodays best music compact disc vartodays best music compact disc vartodays best music compact disc egr vartodo chachacha fiesta edi compact disc page november catalogue numberartist title config scannable upc upc b vartotally kids compact disc ccd vartranquillity compact disc cd vartribute aerzte compact disc vartribute edith piaf digital video disc vartribute miles davisdvd digital video disc vartrojan sisters box set compact disc vartunnel trance force amer compact disc hsm vartwelve inch clas vol compact disc hsm vartwelve inch clas vol compact disc hsm vartwelve inch disco class v compact disc hsm vartwelve inch disco class v compact disc vol vartwisted cabaret vdlxd digital video disc vol vartwisted cabaret vol compact disc ctg varultimate bboycity vs cit digital video disc varultimate classical chill compact disc varultimate voices compact disc varun tresor dans mon jardin compact disc varun veritable artiste compact disc zeddcd varunder influence twcd compact disc zeddcd varunder influence vcd compact disc zeddcd varunder influence vcd compact disc varunderground show vol digital video disc dromdvd varuniversal stories dance digital video disc drb varurban spotlight dvdzineu digital video disc sdr varvancouver complication com compact disc sf varvans warped tour greatest compact disc page november catalogue numberartist title config scannable upc upc verw varverve remixed compact disc varverve remixed ii compact disc tk varvideo assault vol digital video disc varvirtuoso harp music compact disc varvoices century compact disc dvd varvol want dvd digital video disc dvd varvol want dvd digital video disc dvd varvol reggae jammin digital video disc bhh varvolume compact disc dis varwalt disney takes compact disc dvd varwest coast vol digital video disc dvd varwest coast vol digital video disc dvd varwest coast vol digital video disc varwilhelm kempffthe complet compact disc wnrd varwoodstock diary dvd digital video disc tsq varwork hardplay hardpray h compact disc varworld great british cla compact disc bzcd varyou done wrong compact disc varz hit mix compact disc varz streetmix k compact disc varesethe complete works compact disc oct variesvariousmaman chans compact disc various trojan slack reggae box compact disc b various ar hits compact disc various ar green applescom compact disc b various ar rock compact disc page november catalogue numberartist title config scannable upc upc various ar sunday scho compact disc various ara christmas songboo compact disc b various ara fine romance compact disc various ara pop n country chr cassette various ara pop n country chr compact disc various arair guitar anthems compact disc various aran old fashioned ch compact disc various arat last timeless compact disc various araussie stars compact disc 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thin lizzystill dangerousliv vinyl lps virus jello biaframojo nixonprairi vinyl lps virus subhumansnew dark age parade vinyl lps virus th inbredlegacy fertility vinyl lps virus th inbredlegacy fertility vinyl lps vnllp colemanofree jazzlp vinyl lps vnllp davismbirth colp vinyl singles vnllp davismascenseur pourlp vinyl singles vnllp bakercmy funny valentlp vinyl lps vnllp parkercbird dizlp vinyl singles vnllp coltranejblue trainlp vinyl singles vnllp adderleycsomethin elslp vinyl singles vnllp bill evans triowaltz flp vinyl singles vnllp coltranejmy favouritelp vinyl singles page november catalogue numbe rartist title config scannable upc upc vnllp colemanosomething elslp vinyl singles vnllp rollinsssaxophone collp vinyl singles vnllp bill evans treverybodylp vinyl singles vnllp bakercit could happenlp vinyl singles vnllp silverhhorace silverlp vinyl singles vnllp thelonius monktheloniusl vinyl singles vr sun kil moontiny cities vin yl lps warplpx flying lotusyoure dead lp b vin yl lps wrp maximo parka certain trigger vin yl lps wrp grizzly bearfriend lp vinyl lps wrp flying lotusla ep x vin yl lps wtm soundtrackthe dark knig vinyl vin yl lps zeddlp varunder influence tw lp vin yl lps zeddlp varunder influence v lp vin yl lps zrklp ukrainians thenever mind lp vin yl lps page november" +} diff --git a/WMG-Business-Model-Summary.json b/WMG-Business-Model-Summary.json new file mode 100644 index 0000000000000000000000000000000000000000..5a8cb9a2c7d2bda33298316d5e40d1d3dcf2b732 --- /dev/null +++ b/WMG-Business-Model-Summary.json @@ -0,0 +1,5 @@ +{ + "filename": "WMG-Business-Model-Summary", + "department": "Manager", + "cleaned_text": "busin ess model canvas warner music group key partners artists itunes cinram physical media distribution physical media distributors retailers wholesalers etc online mobile providers venues paraphernalia manufacturing expanded rights synchronisation spotify mtv network tv radio etc key activities music recording music publishing marketing promoting licensing managing cash flow extraction debt reduction attracting developing retaining artists songwriters creating new business models products eg remixes digital distribution key resources artists songwriters goodwill brand copyrights songs fan clubs websites expanded rights value propositions music experience ie new artists live shows provides music including specific artists recorded live digital synchronised formats ie part tv shows movies radio etc paraphernalia ie manages specific well known artists fan clubs live shows expanded rights custome r relationship customer segments artist websites individual customersfans fan clubs segment digital physical synchronisation agency live customers segment baby boomers gen x gen licensees synchronisers expan ded rights selling paraphernalia publishers generate royalties older fans buying pre recorded channels music ie stones account digital channel eg internet recorded music sales online mobile ie itunes physical channels eg retailers wholesalers live venues eg concerts free int ernet radio eg spotify cost structu royalties artists producers song writers copyright holders ar artist repertoire fan club costs product costs manufacturing distribution selling costs marketing promotion costs general administration costs revenue streams recorded music revenue physical live broadcasted performances etc music publishing revenue synchronisation radiogram tv merchandising etc licensing fees note reve nue generated international sources" +} diff --git a/digitaldollar_fullreport.json b/digitaldollar_fullreport.json new file mode 100644 index 0000000000000000000000000000000000000000..a50e93f2e93d429feeb7a7427c83ceb842008f76 --- /dev/null +++ b/digitaldollar_fullreport.json @@ -0,0 +1,5 @@ +{ + "filename": "digitaldollar_fullreport", + "department": "Marketing", "Manager", + "cleaned_text": "dissecting digital dollar part one streaming services licensed challenges artists facedissecting digital dollar published music managers forum produced cmu insightswritten chris cookeprinted headley brothers ashford music managers forum big thank many people contributed insight information research helped produce report including amanda harcourt andy edwards andy malt ben mcewen brian message cliff fluet eric mackay fiona mcgugan horace trubridge indy vidyalankara james barton jane dyball john simson jon webster lee morrison maria forte nick yule nigel dewar gibb perry resnick randy grimmett richard kirstein sophie goossens tahir basheer tom frederikse part one dissecting digital dollar sets instigate inform debate amongst artist management wider music community part two report discussions follow mmf online details report themmfnet mmfuk cmuinsightscom cmucmu dissecting digital dollar page introduction dissecting digital dollar part one streaming services licensed challenges artists face section one executive summary section two music rights controls section three ownership royalties section four performer rights er section five monetising music rights digital section six digital licensing section seven manager survey section eight issues introduction page dissecting digital dollar music managers forum music managers forum represents artist managers uk turn represent successful acts planet since inception mmf worked hard educate inform represent uk managers well offering network members share experiences opportunities information work continues mmf also focusing providing collective voice time change giving real meaningful value members artists helping unlock investment opening new markets encouraging fair transparent business environment digital age cmu insights cmu service provider music industry best known media free daily news bulletin cmu daily premium services cmu digest cmu trends report cmu insights provides training consultancy music companies companies working music includes regular seminars events programme cmu insights great escape uks biggest music business conference heart europes leading festival new music cmu also runs education programme new talent called cmudiy providing workshops online resources aspiring artists songwriters music entrepreneurs author chris cooke cofounded cmu continues contribute title business editor written music business daily almost fifteen years leading expert sector often comments developments media notably bbc degrees english law particular expert music rights closely documented evolution digital music chris also heads cmu owner cm unlimited publishes cultural recommendations service thisweek london edinburgh festival magazine threeweeks edinburgh helps run award winning pr training charity taylor bennett foundation enabling ethnic diversity communications industry cohosts cmu tw podcasts recently debuted first spoken word show chris cookes free speech dissecting digital dollar page executive summary various reasons confusion complicated nature streaming deals record industry music publishers always license way way services licensed royalties processed vary country country streaming deals ultimately revenue share arrangements making exact payments per usage less predictable specifics many streaming deals secret due nondisclosure agreements key contracts led development new licensing arrangements often done poor job communicating stakeholders evolving new licensing models record companies music publishers collective management organisations navigate copyright laws music industry conventions specifically developed digital distribution recorded content mind assumptions made perhaps hindsight require consideration either lawmakers courts wider music community least unified approach across industry across world section one executive summary rise digital created challenges opportunities music industry challenges around piracy widely documented working legitimate digital services also challenging music rights owners especially seen shift downloads streams licensing platforms requires new approach business last decade music rights sector busy evolving new licensing models new industry standards starting emerge however issues remain debate whether fundamentals specifics new business models best possible solutions whether created beneficial stakeholders music community others even standards emerging remains much confusion wider music community exactly streaming services licensed calculated digital service providers must pay money processed shared music rights industry executive summary page dissecting digital dollar dissecting digital dollar order inform debate uks music managers forum commissioned report review explain music rights exploited past digital licensing evolved issues need tackled spoke indepth leading practitioners across music digital legal sectors surveyed artist managers five markets represent artists signed three major music companies independent labels way music rights work varies around world partly differences copyright law partly different practices conventions evolved market variation challenge digital sector many services aspire truly global also poses challenges explaining music copyright works general level different rules technicalities terminology may apply one country significant differences emphasis called common law jurisdictions like uk us civil law systems like france spain although tried market neutral describing basics music copyright report arguably starting common law possibly uk perspective try clear key differences exist different systems music rights digital platforms works copyright provides creators controls exploited profit copyright ultimately providing creators certain controls create either point principle andor encourage enable creativity allowing creators business partners exploit controls profit exactly controls copyright owner enjoys varies country country commonly include exclusive right make distribute copies creative work adapt work rent communicate perform public copyright makes money third parties wish exploit one controls third party must get permission licence copyright owner licensor usually charge licensee fee grant permission core music rights music industry controls exploits various kinds intellectual property though core music rights separate copyrights songs lyrics composition sound recordings civil law systems might refer separate author neighbouring rights copyright law music industry routinely treat two kinds copyright differently within business music publishers generally control song dissecting digital dollar page executive summary copyrights controls exploiting burn copy track onto cd exploiting reproduction control song recording copyright music publishers call mechanical right perform song gig exploiting public performance control song copyright play track radio exploiting communication control song recording copyright synchronise track tv show exploiting reproduction control song recording copyright actually synchronise track communication control song recording copyright tv show broadcast download stream track exploiting reproduction control communication control probably specific making available control song recording copyright vary country country example us reproduction rights licence required downloads performing rights licence required personalised radio services executive summary page dissecting digital dollar copyrights record companies control recording rights important anyone wishing license recording song means need separate deals record companies music publishers labels publishers may different ways deal licensing process differ depending usage labels publishers go licensing one licensee often depend aforementioned controls said licensee wishes exploit example wish exploit reproduction distribution controls might called reproduction mechanical rights may licensed different way wish exploit performance communication controls might called performing neighbouring rights different use term neighbouring rights sometimes rights owners license collectively opposed individual rights owners licensees direct relationship happens labels publishers appoint collective management organisation cmo license behalf may done practical reasons copyright law instigates compulsory license meaning rights owner cannot refuse license certain scenario even though licensees still obliged pay royalties collective licensing usually subject extra regulation statutory body court ultimately empowered set royalty rates main exceptions example sync labels commonly license reproduction rights directly performing rights collectively whereas publishers often license sets rights cmos possibly different cmos uk mcps prs respectively important know controls copyright unlike kinds intellectual property copyright usually registered statutory authority make identifying owners tricky copyright law usually defines default presumed owners new works though rules vary country country different songs recordings default owners also usually transfer ownership least control another party usually return money called assignment licensing agreements result whatever default ownership rules may say songs either owned least controlled music publishers recordings either owned least controlled record companies singer songwriters involved creating songs recordings usually separate deals separate companies covering respective song recording rights though important distinction make comes songs songwriter may actually directly appoint cmo control elements copyright music publisher control elements uk songwriter assigns performing rights prs rights publisher publisher contractual right share performing rights revenue actually control element copyright dissecting digital dollar page executive summary controls different music rights label sends artists studio write record new music song recording created song copyright recording copyright owns thisby default usually songwriter songwriters though often transfer ownership andor control parties owns thisdefault owner varies according local copyright law could label artist though artist often transfer ownership andor control another party rights copyright provides number controls songwriter commonly transfers controls collective management organisation controls publisher uk performing rights cmo rights publisherwhat rights copyright provides number controls usually transferred record label however artists separate right equitable remuneration er performing rights revenue cannot usually transferred label cmo passes income publisher songwriterpublisher pays royalty songwriter according publishing contractlabel pays royalty featured artist according record contractcmo passes performer er income featured artist sessions musiciansperforming rights song copyrightother elements song copyrightall elements recording copyrightartists er right performing rights income cmo prs ukmusic publisherrecord label artists cmo ppl uk publisher either licenses direct via cmo mcps ukcmo handles licensinglabel either licenses direct via cmo ppl ukcmo collects performer er default ownership equitable remuneration rules way different elements song right split varies country country course artists songwriters dont create sent studio label executive summary page dissecting digital dollar finally copyrights coowned particularly common song copyrights collaboration common songwriting song coowned licensee usually need permission every stakeholder make use work creator performer rights artists songwriters often assign good copyright recordings songs record labels music publishers especially true new talent need corporate partners make risky investments careers form artistic development content production marketing cash advances artists songwriters still retain rights relation recordings songs record publishing contracts particular right share revenue generated work maybe also rights consultation approval veto addition contractual rights artists songwriters may also enjoy rights directly copyright law commonly called moral performer rights recording artists common performer rights relate approvals performer equitable remuneration approval must usually gained record artists performance exploit recording artists may also often enjoy automatic ie noncontractual nonwaivable right share certain though revenue streams associated recordings often performing rights income licensees aware additional creator performer rights coexist actual copyright likely controlled corporate entity digital licensing physical product domain record company exploited sound recording copyright licensed rights exploit accompanying song copyright relevant music publisher publishers usually via collective licensing system cd provided retailer rights ready exceptions digital domain download stores streaming services need separate licensing relationships record companies music publishers andor respective cmos labels generally license online radio directly though personalised radio services may also licensed cmo territories especially us compulsory licence applies publishers license digital services collectively though big publishers sometimes license anglo american repertoire directly albeit via joint venture vehicles cmos extra complication downloads streams exploit reproduction rights performing rights copyright publishing side important two elements copyright often licensed separately remember uk prs controls performing right publisher reproduction right outside us publishers usually try provide digital services combined rights licenses means reproduction performing rights dissecting digital dollar page executive summary controlled different entities two entities need work together example publishers license digital direct must partnership cmos control performing rights recordings side label able license elements copyright though convention performer equitable remuneration often due performing rights income reproduction rights income making fact elements copyright exploited relevant except labels argue specific separate performing right first introduced mid called making available right digital platforms actually exploit exempt performer equitable remuneration artists agree streaming deal streaming services licensed less way deal rights owner streaming platform ultimately revenue share arrangement month streaming service works percentage overall consumption came one label publishers catalogue allocates percentage overall advertising andor subscription revenue sales tax rights owner pays cut based preexisting revenue share arrangement every deal different usually secret though labels generally see revenue allocated catalogue whereas publishers see overall streaming service aims retain addition core revenue share arrangement rights owners usually seek minimise risk streaming service pay minimum rates example per play guaranteed certain income based consumption oblivious streaming services revenues rights owners also often demand upfront advances streaming services labels may seek equity start services kickbacks money flow payment streaming royalties complex streaming services generally assume whichever label provided track owns copyright pays label share revenue minimum guarantee whichever higher label usually obliged share income artist subject terms said artists record deal labels pay artists share digital income physical income maybe percent much debate whether fair artists predigital record contracts argue incorrect interpretation original agreements every record deal different usually artists receive minority cut income commonly labels initial ongoing costs paid exact terms set record contract confusion artist management community ongoing costs many labels deducting digital income publishing side streaming service usually know publisher publishers rights one song therefore streaming service reports consumption licensor rights owner calculates due invoices streaming service needs ensure isnt executive summary page dissecting digital dollar invoiced twice song two licensors arent claiming song publishing sector paid money needs split performing reproduction rights happens next depends country uk performing rights income goes prs pays songwriter publisher reproduction rights income goes publisher sometimes via mcps pay share songwriter according publishing contract issues interviews conducted part research coupled survey artist management community identified seven key issues music industry must address division streaming revenue division streaming income stakeholders fair includes split streaming services music community recording song rights reproduction performing rights artist label performer equitable remuneration making available performer rights many countries say artists due equitable remuneration performing rights exploited however mentioned labels argue digital services exploit specific separate performing right called making available right equitable remuneration due income artists agree acts pres record contacts argue labels cannot exploit right anyway without specific approval digital deals nda culture labels publishers cmos created templates streaming service deals revenue share arrangements minimum guarantees advances equity kickbacks artists managers often kept dark arrangements rarely consulted merits component deal many feel artists unfairly excluded profits generated advances equity benefits offered corporate rights owners safe harbours optout services streaming services carry content provided label partners others including youtube soundcloud allow users upload content rights owners request content removed allow remain promotional purposes cases youtube choose monetise platform services rely called safe harbours us european law avoid liability copyright infringement hosting unlicensed material users uploaded question whether safe harbours designed purpose whether existence optout streaming services kind distorting wider digital music market data music industry process unprecedented amounts data revenues royalties increasingly based consumption rather sales lack decent copyright ownership data also hinders efficiency especially publishing side almost dissecting digital dollar page executive summary certainly big data solutions problems challenge lead activity labels publishers cmos share crucial copyright ownership data control collective licensing labels license digital services directly publishers often use cmos various reasons artists songwriters often prefer money go cmos rather labels publishers though argument always efficient way process revenue data either way artists songwriters often feel excluded debate pros cons collective licensing adapting new business models one biggest challenges everyone music community simply adapting new way business sustained listening rather first week sales matter successful tracks albums deliver revenues longer period time rather via shortterm spike adapting new way business arguably fact life though stakeholders may shielded others short term negative impact questions said aim report inform initiate debate seven issues identified pose fifteen key questions wider music industry discuss consider answer digital income split music industry digital platforms streaming revenues paid music industry monies split two copyrights ie recordings songs downloads streams exploit reproduction communication controls copyright ie reproduction performing rights income allocated two elements copyright record label owns copyright sound recording pays royalty featured artist terms record contract royalty label pay downloads streams compared cds kind digital services exploit conventional performing rights kind exploit specific making available right copyright law specific point performer equitable remuneration apply streaming services including exploiting making available right record labels need specific making available waiver artists exploiting recordings digitally record companies music publishers demand equity digital startups share profits subsequent share sale artists songwriters terms record companies music publishers demand large advances executive summary page dissecting digital dollar new digital services share breakage unallocated advances artists songwriters terms record companies music publishers demand kickbacks new digital services share benefits artists terms right beneficiaries copyright allowed know songs recordings monetised new performer right ensure information made available artists songwriters representatives safe harbours european american law revised companies like youtube soundcloud cannot benefit however good takedown systems may may music rights industry rising challenge processing usage data royalty payments streaming services data demands artists songwriters making labels publishers cmos central database copyright ownership ultimately required streaming services best licensed direct collective management organisations direct best solution societies actually control elements copyright artists songwriters actually told solutions adopted biggest challenge music industry simply adapting new business model pays based consumption rather sales much longer time period artists songwriters better adapt dissecting digital dollar page music rights controls copyright ultimately providing creators certain controls create either point principle andor encourage enable creativity allowing creators business partners exploit controls profit key music rights music industry owns exploits two distinct sets copyright copyright songs lyrics musical compositions known author rights civil law systems generally referred publishing rights within music industry copyright sound recordings known neighbouring rights many civil law systems generally referred recording master rights music business distinction important various reasons countries copyright law apply different rules publishing rights recording rights example us fm radio stations must secure licences pay royalties publishing rights owners need pay similar royalties recording rights owners section two music rights controls publishing rights songwriters composers music publishers rights administrators performing rights cmos reproduction rights cmosintroducing music rights sector recording rights artists record companies distributors label cmos artist cmos music publishing sector record industry music industry controls plenty kinds intellectual property including audiovisual artistic literary works core music rights report focus us record industry currently lobbying change move line rest worldmusic rights controls page dissecting digital dollar even case music industry treat publishing rights recording rights differently often license different ways especially true comes called collective licensing whilst many music rights businesses deal publishing recording rights usually separate autonomous companies anyone wishing make use recordings songs need deal entities whilst many artists involved creation songs recordings often work different companies exploit two sets rights negotiate separate publishing record deals two completely separate businesses convention key elements two deals usually differ publishing deals tend generous songwriters record deals artists reasons explain music rights industry therefore split two music publishing industry controlling exploiting song copyrights record industry controlling exploiting recording copyrights copyright controls copyright law provides rights owners number controls piece content used copyright law usually refer controls controls uk copyright law calls acts restricted copyright terminology varies country country use word control clear neutral term exact list controls also varies around world sometimes differs publishing recording rights uk system lists six distinct controls identified one form another copyright systems follows reproduction control true copy right gives rights owner exclusive right make copies work distribution control provides rights owner exclusive right issue copies work public rental control provides rights owner exclusive right rent lend copies work public adaptation control provides rights owner exclusive right make adaptations work performance control provides rights owner exclusive right perform display work public public usually defined widely cover pretty much anything outside private home car communication control provides rights owner exclusive right communicate work public traditionally means broadcast also covers communication digital channels reproduction control distribution control rental control adaptation control performance control communication control dissecting digital dollar page music rights controls latter sometimes referred specifically separate making available control depending user accesses content music industry reproduction distribution controls similar often grouped together called reproduction rights mechanical rights use former neutral term report within music business term mechanical rights tends associated songs recordings music industry also usually groups together performance communication controls similar calls performing rights neighbouring rights use former neutral term report neighbouring rights increasingly popular phrase record industry term confusing different definition civil law systems mentioned copyright control controls exploited one time important rules set copyright law may differ depending specific control play even isnt case music industry routinely treats manages control set controls differently copyrights make money copyrights make money third parties called licensees want exploit one controls want copy work adapt perform communicate copyright owner exclusive right exploit content ways third party needs seek permission permission usually granted return payment licensees may want exploit one copyright one control one time example third party wants make copy recording song exploiting separate copyrights recording song therefore need secure permission third party wants stream track exploiting reproduction communication controls survey artist managers acts represent involved creation songs recordings copyright designs patents act section though right usually limited rights owner control subsequent resale copies first issued providing additional copying required resell principally applies physical copies copyright law routinely provides certain scenarios permission fact required private copies critical analysis parody usually called copyright exceptions exemptions fair use fair dealing rules vary country countryreproduction control distribution controlreproduction rights performing rightsrental control adaptation control performance control communication controlmusic rights controls page dissecting digital dollar recording song copyrights need ensure right permissions secured direct collective compulsory licences third party wants exploit copyright work must get licence permission copyright owner owners basic level licensee must identify locate rights owners negotiate terms rights owner usually demand form payment return granting licence rights owner usually ask whatever sum money like though assuming seeking deal rights owners constrained market realities licensee realistically afford important licensee specific deal done beyond commercial constraints countries copyright law generally seek particularly regulate directly negotiated deals collective licensing however circumstances music industry chooses license collectively large number rights owners decide instead direct deals every individual licensee put rights one pot appoint standalone organisation license behalf organisations often referred collecting societies performing rights organisations pros collective management organisations cmos generally use latter term cmo agrees terms licensees often whole groups licensees together collects monies due distributes income back rights owners often though always based songs recordings used music industry generally chooses license collectively practical reasons mainly reduce legal administration costs set licensees either large uses lot music perusage perlicence income relatively modest direct licensing would simply impractical unenforceable would likely lead music used without license resulting lost income overall record industry music publishing sector routinely license collectively though separately radio stations clubs jukebox operators public spaces play recorded music publishers also usually license collectively live performance songs public reproduction distribution recordings published songs though precise rules vary cmo cmo territory territory challenging generally copyright ownership registered statutory body international copyright treaties say registration required onestopshop copyright ownership database provided music industry though always rights owner may simply wish deal likely artist songwriter involved creating recording song may contractual veto right stops corporate rights owner entering certain kind deal without permission artist songwriter may exercise veto ethical reputational reasons record companies music publishers appoint separate cmos even though many licensees need exploit sets rights countries record industry publishing sector societies may offer joint licensees though still exception rather norm dissecting digital dollar page music rights controls regulation collective licensing legislators generally support collective licensing despite market power arguably gives cmos convenience provides potential licensee nevertheless approach create competition law concerns rights owners license one licensee nowhere else go secure licence could potentially lead anticompetitive behaviour reason collective licensing usually subject regulation usually includes provisions licensing negotiations escalated copyright tribunal similar authority power rule royalty disputes therefore ultimately set rates licensee must pay collective licensing rules vary country country compulsory licenses countries copyright law instigates number compulsory licences specific scenarios rights owners obliged issue license example rights owners often obliged license radio stations via compulsory licence record labels us obliged copyright law license personalised radio services pandora licences apply rights owners still due payment use content lose right walk away deal negotiations obviously weakens negotiating hand somewhat rights owners usually provide compulsory licences collective licensing system often obliged law copyright courts statutory bodies ultimately setting rates ownership royal ties page dissecting digital dollar unlike forms intellectual property copyrights usually registered statutory authority rather copyright crystallises work fixed material form providing certain criteria met copyright law provides rules guidance default presumed owners may ie work fixed copyright crystallises default owns copyright rules vary country country according kind copyright defaul ownership rules generally lyrics musical compositions default owners lyricist composer ie creator author cowritten works coowned parties though creators decide copyright split contributor main exception work created employee part job description often called work hire us case employer may default copyright owner depending local rules sound recordings default ownership rules vary copyright system copyright system countries individual company funds ie pays recording rather performers appear default owner resulting copyright funders usually record labels often referred copyright law producer shouldnt confused studio producers also worth noting performers default owners coowners recording rights statutory provisions work hire clauses within contracts may take effect making employer ie label default owner assignment although law provides default ownership rules default owner usually transfer ownership copyrights existing future parties usually return money many systems allow full transfer ownership usually called assignment even possible germany copyrights licensed entirety perpetuity third party practically amounts thing record companies music publishers sign new talent inevitably require sort upfront investment eg advance artist development marketing real guarantee return corporate entities usually seek outright ownership copyrights created first contract case publishing outright ownership least elements copyright say ownership controls outlined revenue share others section three ownership royalties dissecting digital dollar page ownership royal ties resulting agreement structured way make label publisher actual de facto rights owner according copyright law local jurisdiction course record company may default owner sound recording copyrights statute anyway agreements written avoid ambiguity copyrights dont last forever usually pretty long terms years release recordings life creator plus years songs new talent record deals label usually want ownership life copyright publishing contracts though rights may revert songwriter point law us agreement elsewhere usually significant period time artist songwriter assigns rights may also successful able renegotiate contracts later date giving ownership coownership copyrights created though usually given first deal contracts contractual rights artists songwriters although artists songwriters routinely assign therefore give copyright works created record companies music publishers likely retain certain contractual rights relation works set assignment contract similar worth mentioning sound recordings side called featured artists routinely retain rights nature contract session musicians appear recordings often paid set fee time future involvement exploitation work featured artists session musicians still enjoy performer rights law section four generally former also benefit contractual rights discuss studio producers often get royalty recordings produce rights may limited royalties important contractual rights relate royalties ie artist songwriters right share money generated exploitation copyrights helped create statutory commercial copyright registries exist countries logging works usually voluntary us certain remedies available court unregistered works though mainly applies domestic rather foreign works transcribed recorded filmed etc though two people collaborate one writing lyrics writing musical composition copyright systems uk outright respective copyright ie copyright lyrics separate copyright composition contribute lyrics score manner whereby individual contributions cannot separately identified would coown copyrights case copyright law andor case law normally provide definition constitutes employee context andor work hire applies may significant differences though happens licensee goes liquidation though day today corporate licensee acts owns copyright multiple creators copyright term usually years last surviving collaborator dies similar exclusive licence perpetuity featured artists musicians whose name names one recording released opposed session musicians simply credited small print record labels generally sign record deals featured artistsownership royal ties page dissecting digital dollar record publishing contract usually state featured artists songwriters must receive share revenue generated work payments calculated paid percentage artist songwriter receives vary contract contract within contract often vary according revenue generated label publisher also usually right recoup often exclusively artists share revenue upfront costs includes advances paid income shared often right deduct ongoing costs revenues royalties due artist songwriter paid extra points note firstly newer record deals may also give label cut revenue generated artist beyond sound recordings live activity merchandise example often called degree deals income streams label shares referred ancillary revenues nonrecorded income contract needs state whether ancillary revenues count towards labels unrecouped costs secondly publishing elements copyright likely allocated actually assigned cmo usually pay songwriter share subsequent revenue directly often means songwriter receives share income day one ie payment subject recoupment publisher recoup investment revenue streams allocated cmo outside us usually direct contract songwriter cmo covering elements copyright assigned society songwriters publishing contract two things assigns elements copyright allocated cmo publisher gives publisher simple contractual right share revenue generated elements cmo controls rights cmo actually controls songwriters paid whether payments subject recoupment varies according operating mandate internal rules society every contract different established artists songwriters usually secure better deals new talent though general rule record contracts tipped labels favour allowing keep majority revenues generated whereas publishing contracts likely favourable songwriter record labels would justify arguing usually take much bigger financial risk publisher especially working new artists worth noting calculation payment royalties labels publishers common cause tension music rights companies artists songwriters work especially artists stopped working label creating new content still receiving royalties past assignment deals many artists believe business partners twisting rules playing system actively inactivity reduce royalties pay label longer requires dissecting digital dollar page ownership royal ties artist create promote new content arguably little incentive interpret fulfill contractual obligations way favours artists shareholders record publishing contracts usually provide artists songwriters right audit label publisher real terms many artists cannot afford enforce right effectively contractual ambiguities many artists nervous pursuing expensive litigation given big rights owners nearly always better resourced fight legal battles artist well resourced labels publishers may agree secret deals avoid test cases court resulting precedent vetoes contractual rights addition royalties record publishing contracts may give talent rights includes rights consultation approval might amount veto provide artists songwriters certain controls content exploited veto right usually requires label publisher get specific approval artist songwriter allowing work used specific scenarios eg advert new digital platform vetoes vary contract contract artists absolute discretion subject artist reasonable established artists negotiate rights deals distribution administration deals course songwriters artists choose retain ownership copyrights songs recordings create many though new talent may struggle find label publisher willing pay cash advance invest artist development content production marketing activities without receiving copyright assignment return equivalent local copyright law artists songwriters require less upfront investment engage services label publisher retaining copyright ownership traditionally known record industry distribution deals music publishing sector administration deals may called licensing services deal many labels publishers provide creative administrative distribution marketing services fee revenue share basis without assignment risk minimised indeed many labels separate divisions work artists basis addition big growth area music rights sector label services domain say standalone companies provide rights management distribution andor marketing services sometimes labels publishers increasingly directly artists songwriters byproduct artists songwriters especially established talent may retain ownership copyrights usually appoint label publisher andor service provider manage represent rights said companies mandated act owned copyrights deal artist songwriter expires ownership royal ties page dissecting digital dollar role collective management organisations aforementioned cmos also act rights owners sometimes actually times agents explained cmos usually involved music industry decides licence collectively rather via direct deals recordings v publishing rights one country record music publishing industries appoint one cmos represent interests collective licensing scenarios record companies music publishers formed separate cmos meaning licensees making use recordings songs usually need seek separate licences least two societies performing v reproduction rights meanwhile publishing sector distinction often made collective licensing reproduction rights collective licensing performing rights autonomous divisions societies totally separate cmos appointed set rights cmos although cmos basically providing services members negotiating deals analysing data distributing revenue status structure membership power societies varies country country record industry music publishing sector key differentiator aforementioned convention song rights domain whereby songwriters outside us actually allocate elements copyrights society rather publisher occurs songwriter giving cmo exclusive global right represent elements copyrights publisher simply beneficiary rights means two things first cmos simply agents corporate rights owners negotiate deals wherever collective licensing employed actually control rights represent second songwriters publishers members society cmo governed board made songwriter publisher members facts arguably make cmos powerful aside uk italy songwriters composers actually constitute majority board cmos european union nevertheless many songwriters believe publishers influence board level true may simply due publisher board members greater business expertise either way society must representative seen representative songwriter publisher members cmos representing song rights structured way us societies operate differently countries reproduction rights managed separate cmos may also differ example uk prs represents performing rights structured described mcps represents reproduction rights board consists mainly publishers acts agent members actual copyright owner record industry record companies control performing reproduction rights labels cmos dissecting digital dollar page ownership royal ties usually act simple agents corporate rights owners wherever collective licensing applies artists normally members societies though artist community country usually cmo collect revenue associated performer rights section four uk us societies represent labels ppl soundexchange respectively also administer performer rights income perhaps important difference cmos assigned rights versus act agents corporate rights owners labels publishers could theory unilaterally withdraw repertoires latter compulsory licences apply course subject societys rules whereas publishers could never unilaterally withdraw cmos assigned rights songwriters collective licensing worldwide collective licensing applies rights owners traditionally appoint local cmos issue licenses individuals companies operating home territory cmos commonly provide licensees blanket licence allows make use songs recordings societys repertoire either fixedfeeperusage revenue share basis participation blanket licences often compulsory society members course prolific licensees likely require access domestic repertoire reciprocal agreements made cmos around world meaning one market local society empowered license songs recordings globe revenues passed onto foreign societies songs recordings repertoire exploited licensee arrangement gives users operating blanket licence permission use vast catalogue songs recordings vast fact even though gaps repertoire rights owner hasnt affiliated society reciprocal agreements two countries yet made many licensees assume licence allows legally use song recording protected copyright traditionally reciprocal agreements usually allowed cmo license repertoire societies home territory society license something nearing global catalogue home country license repertoire worldwide expressly empowered members usually means licensee operating multiple territories must seek separate licences country via local society rights controls required proven challenging digital era many licensees seek operate multiple countries publishing sectors cmos sought provide multiterritory licenses partly response licensee demand europe partly accommodate european commission says societies within european union compete members licensees order comply competition law cmo sources indicate plus panterritorial music services currently licensed across european borders meanwhile reciprocal agreements cmo licensing conventions continue evolveownership royal ties page dissecting digital dollar complexity flexibility copyright law usually seek regulate specifics assignment licensing agreements ownership control individual copyrights divided transferred flexibility good thing results complexity artist songwriter rights owner may assign license copyrights different entities different countries may assign license rights set period time rather full copyright term may assign element copyright control separately different parties rights owners appoint cmos middle men licensing scenarios continue deal direct others entities acquire copyrights usually liberty sell parties line course coownership copyright particularly important song copyrights collaboration common songwriting collaborating creators publishers cmos share copyrights create law doesnt dictate split ownership might instead agreed participating parties one central repository agreements documented may disagreements regarding agreed splits fact data dilemma finding accurate comprehensive data detailing owns controls copyright works significant issue many variables countries formal registration rights numerous companies organisations especially cmos databases recording owns song recording copyrights databases publicly available one database lists every song recording information especially relation splits coowned works may differ one database another central authority deal conflicts efforts music publishing sector form single global repertoire database collapsed last year even succeeded database would covered song copyrights would linked record industrys databases collective licensing regulations individual cmo rules may limit rights owners abilities opt collective dealing though generally flexibility across wider copyright dissecting digital dollar page performer rights equitable remuneration section four performer rights equitable remuneration well providing rights owners series controls content utilised distributed copyright law also often gives creators performers certain additional concurrent controls works help create even especially claim actual copyright works controls often called moral rights performer rights extent positioning rights varies greatly country country though key consideration whether waived record publishing contract waived corporate rights owners usually insist may make rights ineffective real terms evolution performer rights digital era particularly interesting area countries two main sets performer rights exist originate rome convention apply artists participate sound recording including featured artists session musicians cases studio producer depending involvement terminology vary country country refer two sets rights performer approvals performer equitable remuneration performer er performer approvals performers enjoy certain controls relation sound recordings initial fixation recording subsequent exploitation copyright owner third parties controls usually similar identical controls enjoyed actual copyright owner defined section two though also include initial fixation control ie right make recording performance real terms controls take form approvals copyright owner must secure approval performers cases secure assignment performer right artist make subsequently exploit recording approvals assignments usually gained featured artists record contracts session musicians casebycase basis approval sought record company say right make recording performance subsequently exploit even clearly copyright owner according default ownership rules performer er performers also usually right equitable remuneration certain specific exploitations recordings commonly exploitation performing rights ie public performance communication controls course artists may due share income generated performer rights equitable remuneration page dissecting digital dollar recordings contract anyway performer right exists beyond contractual arrangement musician label crucially right usually non waivable unassignable rights owner cannot demand artists waive remuneration right contract whenever recording exploited way subject performer er artist must remunerated usually licensees responsibility ensure remuneration negotiated paid though uk statutory responsibility lies copyright owner recording copyright law often silent equitable remuneration actually means though countries label artist communities agreed income generated exploitation performing rights sound recordings split copyright owners performers remuneration deemed equitable countries artist community establishes cmo cmos featured artists session musicians may organisations jointly labels cmo collects performing rights revenue licensees distributes money members usually prorata based usage uk ppl although owned labels collects distributes performing rights income labels artists artists become performer members society paid share directly true us featured artists receive equitable remuneration income generated soundexchange directly body though session musicians receive cut via middlemen organisations dissecting digital dollar page monetising music rights digital section five monetising music rights digital physical recordings latter part twentieth century single biggest revenue generator music industry sale physical copies sound recordings whether pressed vinyl cassette cd niche formats selling physical copies way record companies main directly exploiting reproduction rights sound recording copyrights labels also license others content mainly compilations samplebased tracks though direct exploitation copyright prevalent labels usually copyright songs embodied within recordings exploiting reproduction rights another copyright owner usually publisher perhaps cmo therefore need secure reproduction rights licence would usually called mechanical rights licence straight cover versions published songs usually provided collective licensing system industrystandard rates compulsory licence applies possibly statutory rate us recording rights record label exploits copyright controlspublishing rights publisher appoints cmo manage controlslabel gets licence pays revenue share cmo label pays revenue share featured artist according contractcmo either pays income minus commission publisher pays revenue share songwriters according contract pays split income direct publisher songwriter depending cmo conventionslicensing royalties cdmonetising music rights digital page dissecting digital dollar labels take risk producing pressing distributing marketing physical releases generally accepted keep majority revenue generated publisher usually receiving less wholesale price record important note physical market one licensee record company label exploits sound recording copyright licenses song copyright finished product record therefore provided distributor retailer rights ready need worry copyright responsibility record company receives retailer wholesale price record sold account publishing sectors mechanical rights cmo royalties label needs pay royalty featured artist beneficiaries according terms artists record contract every record contract different though average artist average record contract would probably expect see record sales income though may calculated various costs deducted monies received label songwriter paid label accounted paid publishing sectors cmo varies country country continental europe money paid label cmo possibly depending contract writer publisher would directly distributed songwriter possibly subject recoupment elsewhere monies paid label would distributed publisher would share income songwriters according contract broadcasting live performance key revenue stream pre digital music rights sector especially music publishers income generated sale licenses companies individuals though mainly companies wanted perform communicate songs recordings broadcasters concert promoters big clients though individual business playing performing music public needs licence noted area record industry publishing sector relied heavily collective licensing rights owners appointing cmos issue licences collect royalties passed minus admin fees labels publishers songwriters artists based theory least often works played licensees regard song copyright performing reproduction rights often split principally cmos control former operate domain licensees primarily looking exploit either performance communication control though licensee also needs make copy recording playing radio station needs copy tracks server reproduction rights cmo may also issue licence recording song communicated performed obviously live performance song recording exploited owner song copyright earns royalties specific digital performing right later dissecting digital dollar page monetising music rights digital cmos charge broadcast performance licences varies according usage feeperlicence feeperplay annuallumpsum revenue share arrangements regularly employed lucrative licensees including commercial broadcasters concert promoters usually revenue share arrangements rights owners benefit licensees business grows royalties unlike record sales broadcast performance income often split equally two sets music rights money allocated recording song copyrights must split labels publishers artists songwriters publishing side convention cmo commonly pay direct publisher direct songwriter recordings side performer er often applies convention income goes labels via cmo artists via society societies mentioned uk ppl handles label artist share means broadcast performance revenue one area income often less split four ways labels publishers artists songwriters important exception us federal law general performance communication control part sound recording copyright result deal record industry radio sector keen reduce royalty payments labels first lobbied congress radio station needs licence cover song copyright sound recording copyright performer rightslicensing royalties amfm radio recording rights labels license via cmopublishing rights songwriters publishers license via cmo artists license via cmo cmo pays label minus commissioncmo pays featured artists sessions musicians minus commissioncmo pays publisher minus commission publisher may pass additional cut songwriter depending publishing contractcmo pays songwriter minus commission uk labels artists use cmo ie pplmonetising music rights digital page dissecting digital dollar federal sound recording copyright late based argument radio important promotional channel record companies labels actually calling general performing right pretty much ever since far without success meaning labels artists earn nothing recordings played amfm radio public spaces within us owners song copyrights enjoy general performance control however license broadcasters concert promoters users music way counterparts elsewhere world aside federal copyright law applies sound recordings released since older recordings protected statelevel copyright law copyright systems generally unclear whether performance communication controls exist sound recordings though recent court rulings california new york suggest states least even though label ever exploited controls terrestrial radio similar date court rulings upheld could result bizarre situation pre sound recordings enjoy copyright protection post recordings us copyright office recently proposed federal law extended sound recordings still copyright overcome idiosyncrasy though record industry would normally support harmonisation case licensing royalties amfm radio us campaign currently focused proposed fair play fair pay act radio station needs licence cover song copyrightrecording rightspublishing rights songwriters publishers license via cmos income artists record labelscmo pays songwriter minus commissioncmo pays publisher minus commission publisher may pass additional cut songwriter depending publishing contract dissecting digital dollar page monetising music rights digital might actually reduce rights unless general performance control federal level synchronisation third predigital revenue stream note sync film tv advert video game producers wish synchronise existing songs andor recordings moving images broadcast performance traditionally bigger deal revenue stream publishers labels though record industry stepped efforts sync market considerably since cd sales peaked late obviously sync licensee must secure licenses rights owners stake song andor recording wish use sync licensing normally begins direct deals though tv sync done via cmos blanket licences countries broadly copyright coowned one rights owner usually refuse license scuppering deal us copyright law one rights owner actually power agree deal providing parties paid share prorata though industry courtesy contractual agreements collaborating songwriters often prevents sync licensee often needs exploit reproduction performing right elements copyright former actually sync audio video constitutes reproduction work latter whenever video recording rights label provides licence recording rights likely referred master rights licenseepublishing rights publishers license reproduction right directly likely referred sync rights licensee label pays revenue share featured artist according contractlicensing royalties directly negotiated sync eg film adverts cmo licenses performing right broadcast screening etc publisher pays royalty songwriter according publishing contractcmo pays songwriter publisher minus commission publisher may pass additional cut songwriter depending publishing contractlicensee needs exploit reproduction performing rightsmonetising music rights digital page dissecting digital dollar played public constitutes either performance communication reproduction rights part deal done first directly publisher label except blanket licences available tv sync sync industry usually refers rights licensed deals synchronisation rights publishing side master rights recordings side performing rights element may also part initial deal commonly publishing side paid via collective licensing system time finished work contains synced music broadcast performed additional royalties due according relevant cmo licence addition fee paid original synchronisation deal additional performing rights royalties apply usually factored negotiations around initial sync deal cuts ways example final product aired screened market collection distribution performing rights income ineffective rights owner may seek premium original deal around reproduction rights sync licensee negotiating directly multiple rights owners theory deal separate subject terms though rights owners often use called favoured nation clauses ensure stakeholders song recording earn fees sync prorata stake copyright clauses mean whichever rights owner deal first could see fees agreed increase licensing royalties tv sync uk recording rights labels license tv sync cmo ppl performer er paid cmo pays label minus commissioncmo pays featured artists sessions musicians minus commissionpublishing rights publishers license tv sync cmos reproduction rights via mcps though managed via prs music performing rights via prs cmo pays share publisher minus commissioncmo pays share songwriter minus commissionlicensee needs exploit reproduction performing rights small number songwriters pubishers actually participate tv sync blanket licence dissecting digital dollar page monetising music rights digital another stakeholder subsequently negotiates favourable terms also often means owners sound recording copyright song copyright see less income sync deal involving recording song unless song much famous recording though theory least publisher generally stronger negotiating hand sync deals much easier licensee rerecord song rewrite royalties value sync deals vary enormously depending budgets licensee prestige songs recordings licensed quite music used deal done publisher label must share income songwriters artists according terms contracts general rule record contracts artists receive significantly bigger share sync record sale income commonly publishing side additional performing rights income subsequently collected cmos split publishers songwriters usual way revenues predigital revenue streams music rights owners include selling licensing sheet music licensing covermount promotional cds licensing music lyrics karaoke services licensing cd rental services including libraries noncommercial licensing eg individuals notforprofits pressing short run cds concerts digital licensing page dissecting digital dollar evolution world wide web growth internet access presented challenges opportunities music industry challenges piracy well documented challenges related legitimate digital platforms license services terms process data royalties challenges yet fully met webcasts first digital services required licences online radio stations ie online services pretty much replicate traditional radio indeed often simulcasts services already going fm webcasts similar broadcasts record industry publishing sector often opted license services collective licensing system ie traditional radio also following broadcast model royalties often split less equally recording publishing rights us exception copyright perspective main difference online traditional radio content delivered digitally broadcaster actually exploits reproduction communication controls copyright whereas traditional broadcast exploits communication control reproduction may take place conventional radio station copies tracks onto servers process needs licensed broadcast involves communication public webcasts publishing rights particularly important publishing side course traditionally reproduction performing rights dealt separately webcasters would rather seek two separate licences one reproduction rights one performing rights often publishing industry sought provide joint licences reproduction performing right cmos separate collaborating us different big performing rights organisations get involved licensing reproduction rights ascap allowed called consent decree regulates operations either way joint licences provided decision needs made monies paid webcaster split reproduction performing right elements copyright may seem like mere technicality given ultimate beneficiaries though countries songwriters receive share performing right income directly cmo cut reproduction right monies via publisher distinction important especially songwriter hasnt recouped publishing contract income coming publisher set section six digital licensing dissecting digital dollar page digital licensing advance rather paid writer webcasting income divided reproduction performing rights varies country country decided industry often via cmos copyright law provides guidance split common split webcasts performing rights reproduction rights though said countries webcasts especially simulcasts fm radio services may treated exploiting performing right example july year bbc decided could longer play songs handful writers members uks reproduction rights society mcps new caching function offline listening within smartphone app meant reproduction rights licence would required suggests webcasting services already offered bbc without caching covered performing rights licence prs webcasts recording rights sound recordings side record labels cmos empowered license reproduction performing elements copyright webcasters technically performer er due performing right element though artists may still receive total income said performer er rules webcasts vary country country key difference sound recordings side us mentioned federal copyright law general performance control sound recording copyright however specific digital performance control added federal law new legislation meaning conventional broadcasters obliged secure licence sound recording rights owners webcasters legislation included compulsory licence noninteractive webcasting services meaning sound recording rights owners obliged license webcasters collective licensing system us record industry existing cmo license traditional broadcasters previously needed one soundexchange set administer compulsory license rates ultimately set americas copyright royalty board worth noting sound recording rights owners obliged license webcasters soundexchange statutory rates licensees opt negotiate deals directly record companies wish rights owners might willing deals webcaster provides marketing benefits addition royalty payments artists paid webcasting domain new law introduced performer er certain circumstances us copyright first time concept hadnt existed america mainly revenue stream performer er customarily paid elsewhere performing rights income sound recordings didnt exist us new law introduced digital performing right said performer er set elsewhere must paid revenue stream webcaster licensed soundexchange technically means label could persuade webcaster license directly could avoid paying digital licensing page dissecting digital dollar performer er meaning could offer webcaster discount earning said labels pursued arrangement major labels informally committed always license webcasters soundexchange labels would still obliged share revenue featured artists contract anyway financial benefits direct deal may significant majors may also aware pr damage could done actively circumvented performer er way final thing note webcasting whereas countries licensing webcasters closely mirrors licensing broadcasters us existing framework traditional broadcast license required music publishers things evolved differently particular publishing sectors cmos generally revenue share arrangement webcasters broadcasters whereas soundexchange often charges perplay fee labels end earning considerably downloads webcasters relatively easy license given many similarities traditional broadcasters first big innovation digital music provided challenges course downloads sold la carte download stores itunes model although many ways itunes music store close real world record store possible digital domain three important differences copyright perspective labels becoming licensing companies publishers licensing retailer instead label making available right consider turn labels become licensing companies downloads labels longer directly exploiting sound recording copyrights reproducing masters instead transferred digital copies recordings onto download stores servers gave download store operator permission give customers permission download therefore reproduce recordings payper download basis labels direct exploitation copyright always primary business following publishers lead becoming first foremost licensing companies b publishers license retailer instead label download market first emerged publishers decided licensing relationships download stores whereas cds label handles song licensing retailer receives finished product rights ready never worry copyright matters three main reasons firstly download stores unlike traditional retailers already licensing game nature relationship labels wasnt big ask licensing relationship publishers secondly many publishers felt theyd receive payment quicker get better sales data liaised directly dissecting digital dollar page digital licensing download store operators rather allowing labels middle men thirdly way publishers could consider new digital business digital business model weigh value song rights business hindsight issues faced today outlined section eight could avoided publishers continued license labels labels provide download stores combined licence called passthrough licence though many publishers still feel licensing digital platforms directly rather via labels better option exceptions principle us compulsory licensing system meant passthrough licence approach adopted download stores emerging markets notably india passthrough licensing agreed publishers logistical reasons c making available control webcast download arguably exploits reproduction right performing right elements copyright specific reproduction control communication control however communication control defined copyright law traditionally related conventional broadcasting easily extended webcasting might apply kinds digital transmission ensure digital communication kind would still restricted copyright perhaps distinguish existing controls covered recording rights record label licenses rights download storepublishing rights label pays revenue share featured artist according contractlicensing royalties downloads publishers license cmos reproduction rights maybe handled separate cmosperforming rights cmo may pay publisher pays royalty songwriter according contract cmo pays share songwriter share publishercmo pays songwriter publisher minus commission publisher may pass additional cut songwriter depending publishing contract publishers license direct shown streaming diagram p us reproduction rights apply downloads licensee needs exploit reproduction performing rights latter technically making available rightdigital licensing page dissecting digital dollar broadcasting rights owners lobbied separate control added copyright law called making available making available right formally introduced world intellectual property organisation treaties european union control two distinct features firstly transmission electronic secondly members public may access place time individually chosen generally treated separate control within music industry usually referred making available right making available could seen subcategory existing communication control formally described uk copyright law since becoming part copyright systems early number questions raised making available notably exactly applies whether labels need specific performer approval exploit right impact making available performer er dealt section eight downloads recording rights outset record industry decided license download stores directly music publishers inititally opted license collectively record industry opted direct licensing mainly la carte download stores generally seen digital equivalent cd market labels always direct control content came physical products publishers licensed cds cmos also itunes initially forced standardised pricing rights owners labels successfully persuaded apple allow variable pricing controlled record company easier manage direct licensing scenario despite licensing game rather directly exploiting copyrights labels generally treat downloads much way cds terms wholesale pricing income processed also revenue shared featured artists even record contracts predate itunes therefore make specific provision download business proven contentious artist community discuss section eight downloads publishing rights webcasting publishers generally provide licences downloads cmos though direct licensing describe discussing ondemand streaming licences often cover reproduction performing right elements copyright even two sets rights ultimately controlled different parties except us download treated reproduction joint licences income needs split reproduction performing rights processed songwriters would receive performing rights revenue direct cmo share reproduction rights revenue would either paid direct via publisher depending rules local society personalised radio download stores still infancy early number startups began experimenting form webcasting content could subject compulsory licences dissecting digital dollar page digital licensing personalised user rather radiostyle webcasting users hear content simple tune tune commonly referred personalised radio services famous platforms today probably pandora personalised radio recording rights us question quickly raised whether personalised radio services could license sound recording rights soundexchange compulsory licence used conventional webcasters labels still nervous innovative digital business models point would obliged license services service providers would pay rates ultimately set copyright royalty board compulsory licence introduced arguably intended conventional webcasting ensure labels didnt block growth standard online radio congress certainly didnt envisage licence would apply fully interactive streaming services like spotify however operators personalised radio platforms argued services fact properly interactive compulsory licence apply law provided compulsory licence conclusive point yahoo acquired personalised radio service called launch tested reach compulsory licence court confirming services kind could indeed operate soundexchange licence paying royalties rates set crb recording rights available compulsory licence via soundexchange though dsp choose negotiate direct label wisheslicensing royalties personalised radio us publishing rights publishers license via cmos dsp choose negotiate direct publisher wishes though publisher cant currently force direct deal current ascapbmi consent decreesservice needs licence cover song copyright sound recording copyright performer rights performer er technically applies service licensed via soundexchangecmo pays label minus commissioncmo pays featured artists sessions musicians minus commissioncmo pays songwriter minus commissioncmo pays publisher minus commission publisher may pass additional cut songwriter depending publishing contractdigital licensing page dissecting digital dollar publishers also licensing fledgling companies collective licensing system made much easier services legally launch us personalised radio market grew early quickly kind streaming service especially pandora iheartradio remain significant country despite fully ondemand streaming dominating europe important note music rights owners come resent way pandora licensed especially since companys ipo made founders rich finances public subsequent seemingly relentless efforts digital company persuade crb collective licensing courts reduce royalty payments exacerbated resentment personalised radio publishing rights american labels pretty much locked licensing pandora soundexchange unless new legislation passed big publishers country sought stop licensing services kind collecting societies forcing digital service providers direct deals arguably pressing issue publishers songwriters current system earn much less record companies however us courts ruled current american collective licensing rules aka consent decrees govern cmos bmi ascap forbid partial withdrawal rights performing rights organisations meaning force pandora direct deals publishers would need start licensing customers performing rights including amfm radio stations concert promoters directly move would pose logistical legal challenges publishers successfully forced review us collective licensing rules us department justice expected conclude partial withdrawal allowed subject conditions though create logistical legal challenges example publishers simply withdraw digital performing rights songs ascap bmi without explicit permission songwriters meanwhile international repertoire licensed ascap bmi reciprocal agreements cmos around world often exclusively mandate us societies act licensors withdrawal would possible without approval likely participation societies would work though pandora previously negotiate direct deals big publishers fearing time imminent withdrawal cmos rights owners secured higher rates incentive meet challenges make direct deals work personalised radio outside us outside us fewer personalised radio services launched always gained traction level spotifystyle platforms though fully ondemand services notably rdio offer personalised radio freemium levels outside us labels may license personalised radio services directly though countries may also allow cmos license services dissecting digital dollar page digital licensing soundexchange would license us even though obliged law done performer er may may paid depending local conventions publishers outside us also initially licensed services cmos similar way conventional webcasts though repertoire may licensed directly way outline next section scenarios income needs split reproduction performing rights may affect songwriters paid ondemand streaming biggest growth area recorded music today fully ondemand streaming digital service providers dsps like spotify apple music deezer rdio tidal google play napsterrhapsody services first began emerge around though napster rhapsody existed earlier different models really took record companies particularly majors seemed change heart regarding digital started proactively investigate consider new approaches monetising content albeit providing dsps agreed sizable upfront demands ondemand streaming sound recording rights soundexchange compulsory licence us definitely applying services record industry worldwide opted license fully ondemand streaming platforms directly though indies either rely digital rights body merlin negotiate deals piggy back distributors existing arrangement fully ondemand streaming services whether advertising subscription funded required different approach licensing labels part unlike cd download market labels charge set wholesale price per sale retailer download store streaming services usually licensed revenue share basis similar way performing rights organisations often license bigger concert promoters broadcasters said streaming service first launches little revenue share dsps fail generating serious income labels build number contingencies meaning deals least four maybe five components firstly core revenue share element labels generally seek revenue generated dsp allocated recordings secondly series minima guarantees label means whatever revenues dsp generates label receive minimum sum money time one tracks streamed possibly subscriber dsp signs well thirdly upfront cash advance whatever happens label knows make minimum sum money one licensing period royalty payments dsp begin advance recouped fourthly startups labels usually demand equity company aware single biggest revenue generator may sale streaming business either existing major tech media firm flotation stock exchange ipo digital licensing page dissecting digital dollar fifthly first deal labels add admin technology fee cover costs providing ingesting content dsps specific requirements dsp ad funded subscription level andor partnerships bundle paidfor subscriptions mobile isp services label likely negotiate separate deal option month revenue usage data need provided royalties calculated separately part deal deal place month thereabouts dsp report label period gone following category dsp calculates proportion overall revenue could attributed labels recordings based proportion total number streams came record companys catalogue b divided e pays label money depending terms specific deal unless minimum rate total number streams multiplied perplay minimum rate indeed minima guaranteed higher case dsp pays sum label instead theory streaming service matures elements original deal become irrelevant equity admin fees probably demanded first deal service becomes successful monthly revenues always exceed minimum payments minima become irrelevant though adfunded services may always whim advertising market revenues fluctuate labels paid must share income featured artists according record contracts downloads labels based artists share streaming income splits already received cd sales either explicitly new contracts interpreting predigital contracts way usually relatively low split commonly maybe percent streams downloads proven controversial indeed even many artists feel labels costs risks reduced streaming domain also argument streaming arguably exploits performing rights reproduction rights performer er paid income however labels argue performing right element streaming constitutes making available rather straight communication public performer er apply case arguments contentious return section eight b c etotal number subscribers total revenues sales tax deducted total number streams total number streams labels catalogue proportion total streams came labels catalogue c divided dissecting digital dollar page digital licensing ondemand streaming publishing rights publishing side streaming distinction reproduction performing rights becomes important role cmos publishing sector initially licensed streaming services collectively still us compulsory collective licensing rules restrict alternatives markets especially europe big publishers started license repertoire principally anglo american repertoire directly however move direct licensing posed challenge discussed outside us publishers control song copyrights outright rather songwriter assigns basically elements copyright cmo instead publisher enjoys contractual share revenue generated elements copyright means whereas record companies easily cut cmos deal making process music publishers power especially licensee needs exploit performing reproduction rights nevertheless digital market matured big music publishers europe decided wanted start licensing digital services directly arguing would benefit corporate rights owners songwriters resulted higher royalties recording rights record label licenses rights download storepublishing rights publishers license collectively via cmos label pays revenue share featured artist according contractcmo pays songwriter publisher minus commission publisher may pass additional cut songwriter depending publishing contractlicensing royalties demand streaming big publishers may license direct partnership cmos cmo may pay publisher pays royalty songwriter according contract cmo pays share songwriter share publisherpublisher pays royalty reproduction right income songwriter according publishing contractlicensee needs exploit reproduction performing rights latter technically making available right probably reproduction rights cmomusic publisher definition angloamerican repertoire vary though commonly includes songs registered cmos uk ireland us canada australia south africa performing rights cmodigital licensing page dissecting digital dollar overall digital service providers would also benefit direct deals could usually completed quicker multiterritory basis big publishers confident direct dealing would result better rates least direct deals would subject collective licensing regulation strengthening negotiating hand unlike us european collective licensing rules formulated response line cases court justice european union said publishers could exercise called partial withdrawal license digital directly continuing license sets users like radio concert promoters though collective licensing system however cmos actually control elements copyright dsps seek exploit publishers couldnt simply start licensing direct instead formed joint ventures one another european society called special purpose vehicles spvs ventures empowered represent reproduction rights parent publishers anglo american catalogue would gain permission relevant cmos also represent performing rights songs means spv negotiate direct deal dsp covers elements songs publishers repertoire deal making led publisher terms must approved participating cmos publishers gone route sonyatvemi via solar joint venture jv prs gema universal via deal jv sacem warnerchappell via pedl jv various societies mainly prs bmg via aresa jv gema kobalt originally via jv stim via amra society kobalt bought continues operate autonomous body bigger indies moving direction via impel initiative works prs digital licences streaming revenue received split performing reproduction rights splits vary country country collected split two sets rights income works way system going direct publisher cmo songwriter possibly receiving share two sources ie publisher society course five publishers negotiating digital deals direct control lot repertoire control direct deals generally cover anglo american catalogue whereas recordings side dsp doesnt deal place smaller rights owners doesnt carry labels content publishing side complicated coownership copyright common ownership data always easy come means dsp may receive recording label deals place publishers control song one indie publisher controls theory dsp shouldnt stream recording fully licensed hard digital service cmos offer multiterritory licences trend growing though licensing way arguably simpler direct dealing dissecting digital dollar page digital licensing know hasnt got licences needs place individual song even aware issue probably wont know independent controls remaining basically means dsps need get licensing deals place pretty much every publisher make things work mop generally done collective licensing system basically dsp europe needs deals solar deal pedl aresa amra individual deal local collecting society every country wishes operate always ensuring performing reproduction rights covered dsps like arrangement though societies trying reduce total number deals digital services required example hub created prs gema stim uk german swedish cmos respectively provide one multiterritory licence covering three societies repertoires including songs represented one spvs prs also manages licensing aforementioned impel rights included hub project publishers deals whether directly collectively negotiated similar labels ultimately revenue share arrangements minimum guarantees upfront advance publishers generally seek revenue allocated songs payments calculated similar way labels though worth noting coownership lack good ownership data creates challenges central database identifying owns controls song copyright songs coowned respective splits dsps generally rely publishers cmos tell due based songs streamed one month dsp provides spvs cmos spreadsheet recording every single stream took place preceding month spv cmo must identify every stream exploited song controls work owed based revenue share minima arrangement according percentage song owns controls back reporting creates two problems first processing level data massive task cmos process unprecedented amounts data total amount increases month streaming services grow many struggled second discrepancies different publishers cmos databases controls songs especially percentage splits coowned tracks meaning dsps sometimes asked pay monies due one stream happens digital services usually delay payment conflict resolved delays payment publisher songwriter aforementioned prsstimgema hub also hopes tackle challenges pooling data processing efforts three societies spvs involved one central pool ownership data disputes splits less likely happen prs stim already data sharing arrangement place called ice nevertheless worldwide challenges remain manager survey page dissecting digital dollar licensing digital services music industry clearly pretty complex evolved somewhat since first download stores webcasters needed licences evolution primarily led record companies music publishers cmos even though artists songwriters may also rights owners certainly beneficiaries music copyrights via contractual performer rights ascertain digital licensing explained artists management teams access information digital deals artists managers given surveyed artist managers across world including uk ireland france australia canada us together work three major record companies independents artist profile firstly questioned managers artists represent kinds copyrights artists involved creating deals done corporate rights owners specifically asked artists manageapproximately proportion assigned recordings retained ownership recordings assigned recordings retained others approximately proportion signed deals specifically mention digital income signed deals mention digital income approximately proportion involved creation sound recording copyrights song copyrights sound recording song copyrights approximately proportion signed major labels publishers independent labels publishers knowledge digital deals asked managers knew key elements digital deals struck labels publishers cmos work specifically streaming services section seven manager survey dissecting digital dollar page manager survey also deals organised structured included know revenue share arrangement label streaming services artists artists none artists im sure know minimum payments agreed label streaming services artists artists none artists im sure know following labels license services collectively ie via cmos services direct ie via cmos whether artists publishing rights licensed digital services via cmonegotiated deals publishernegotiated deals whether artists publishing royalties digital paid via cmo publisher combination two percentage stream deemed reproduction right percentage stream deemed performing right artists cmos digital royal ties next asked information provided way corporate rights owners calculate pay royalties artists songwriters digital income included know charges deductions labels making digital income calculating royalties artists artists none artists im sure digital income clearly presented royalty statements artists artists none artists im sure seen labels pay share digital breakage advances paid dsps exceeded perplay royalties owing one year artists artists none artists im sure manager survey page dissecting digital dollar communication digital deals royal ties managers clearly lacking information key elements many digital deals done corporate rights owners cmos way digital income processed shared asked whether respondents actively requested information whether briefings digital deals provided whether would attend briefings following requested information percentage revenue share arrangements minimum guarantees charges made digital royalties following invited briefings digital income royalties artists labels artists publishers artists cmos dsp invited following would attend briefing artists labels artists publishers artists cmos dsp royal ty splits next asked managers way digital income split different stakeholders something proven contentious recent years discussed detail section eight think fair labelartist split streaming income label artist label artist always depend record contract every deal different labels currently receive four six times streaming service revenues publisherssongwriters think current split fair money split label publisher money split label publisher money split label publisher opinion split money labelspublishers equitable remuneration paid artists digital services downloads streams streaming services download services personalised radio services like pandora dissecting digital dollar page manager survey issues predictions finally asked respondents considered key issues regarding digital rights royalties selecting list issues identified future developments anticipated important issues managers wished tackle record labels follows number respondents said important issue brackets labels increase artists share streaming income labels tell artists representatives specifics digital deal revenue share minimum guarantees advances equity labels provide artists representatives clear breakdown digital income processed charges made royalty splits calculated meanwhile issues managers would like government assist follows number respondents said important issue brackets labels forced share information digital deals beneficiaries copyrights control representatives performer equitable remuneration extended cover streaming services ie including ondemand services spotify services like youtube prevented using called safe harbours order run services content owners optout rather optin terms predictions future said streaming services would single biggest revenue stream record industry though thought streaming services would ultimately replace download platforms altogether meaning majority think two models coexist showing air pessimism thought record industry see growth streaming services come age thought labels would become transparent digital market matures mind thought new artists would continue primarily sign record companies foreseeable future issues page dissecting digital dollar division revenue primary way recorded music commercialised shifted physical digital recently downloads streams much debate monies generated digital services divided different stakeholders ie digital platforms labels publishers cmos artists songwriters various components debate rights owners digital platforms split question one digital income split music industry digital platforms dsps download stores streaming platforms see new retailers meant early digital services first began negotiating record companies music publishers cmos precedent digital services could base proposed business models knew cut pie traditional cd sellers taken resulted streaming services keeping approximately post salestax revenue though worth noting much approximate figure rights owner different revenue share arrangement streaming service meaning dsp might share anywhere revenue attributed one stream streams therefore costly others across board averages though deals rights owners dsps put initial risk latter digital service obliged make certain minimum payments labels publishers irrespective revenue outlined may always apply trial periods completely free user adfunded freemium posttrialperiod premium dsp yet reach critical mass means early days startup streaming service likely making payments rights owners exceed entire revenues expensive business setting new streaming platform nevertheless music community propose streaming services paying revenues rights owners though main dsps unsurprisingly resistant proposal report published earlier year uks entertainment retailers association counts key dsps amongst membership argued mainly loss making streaming services already struggling grow businesses split given infrastructures build advances guarantees pay report contained quote tough enough would shut shop somebody explain nothing nothing demanding dsps take cut average therefore possibly optimistic time though since jay z led acquisition tidal section eight issues dissecting digital dollar page issues company tried portray artistfriendly streaming service indicated willingness pay revenues music industry meanwhile apple music insists also generous industry standard long term perhaps room manoeuvre could go either way recent developments spotify deezer seen streaming services expand platforms include speech video content formers case originally commissioned content streaming platforms become like media companies invest content around music may wish share less revenue music industry though time rights ownersdigital split seems likely stay somewhere recording rights publishing rights split question two streaming revenues paid music industry monies split two copyrights ie recordings songs rights owner deal digital platform exact terms deals secret know sound recording owners likely revenue share arrangement around song owners likely revenue share arrangement means label likely taking four six times publisher disparity new indeed cd domain labelpublisher split would tipped even formers advantage various reasons including facts sound recording copyright owner earns one specific recording song publisher earns every version variation work owner song also earns every time work performed live also enjoys cut live sectors income sound recording copyright term lasts fixed time release years depending country whereas song term runs life creator set period time years depending country meaning song copyrights usually last significantly longer recording copyrights importantly sound recording owner ie label lot work getting cd market pays recording made cds pressed distributed marketing campaign successful result sales publisher paying advance songwriter none risk risk comes reward principally label earned much cd sales publisher however comes uses recorded music broadcast public performance sound recordings main rights owners often receive similar sum money licensees outside us america labels actually receive nothing mentioned digital performing right sound recording copyright may often label get new recordings radio stations club djs assumption record companies taking much lower risk rewards shared equally issues page dissecting digital dollar main something akin cd model applied downloads streams even though could argued itunes digital evolution record shop spotify actually digital evolution radio logic might suggest publisherlabel split inline traditional broadcast revenues paid music industry split equally two copyrights though actually proposing arrangement record industry music publishing sector streaming income many record companies argue arrangement would almost certainly put business even parallels spotify traditional radio labels continue take considerable risk creating new recorded content pump streaming services costs distribution may considerably less digital physical still significant costs associated creating new recorded music marketing releases digital rights administration still requires resource labels also digitise catalogues invest systems get content onto digital platforms labels really taking big risk digital age primarily selling cds wont risks decline digitalonly releases become norm initial setup costs industrys shift digital paid arent many labels partly securing investments new talent taking cut revenue streams beyond sound recording copyright merchandise live income brand partnershipssome music publishing industry starting publicly bemoan level income receiving booming streaming sector songwriters particular become vocal issue last year complaints partly aimed dsps us compulsory collective licensing rules impact publishing royalties digital services pay also questioning disparity label publisher payments streaming music survey artist managers generally supported shift split recording song copyrights becomes closer though publishing sector argue publishers cmos continue focus getting best possible deals respective repertoires rather getting turf war labels given digital platforms license recordings first indeed many go live publishing deals still pending fact revenue already committed record companies dsps deals publishers surely always limit digital services afford pay song rights though quite matter resolved clear though us task one reforming aforementioned compulsory collective licensing rules problem exacerbated publishers cmos opted commercial relationships dsps rather licensing labels letting provide content streaming platforms rights covered remember cd domain label retailer publishers licensee dissecting digital dollar page issues mentioned main reason publishers cmos generally felt separate arrangements dsps would get paid faster would better access usage data hindsight also argument labels would resistant bigger publishers subsequently going direct licensing route digital europe via spv joint ventures cmos record companies generally paid publishers set rates collective licensing system past reasons publishing sector licensing dsps rather labels still sound arrangement means direct commercial relationship labels publishers comes digital licensing leaving dsp somewhat caught middle two sides music rights industry start dispute way digital royalties split different music copyrights except course many music rights firms majors labels publishers commercial link top businesses though music rights companies interests sound recording song copyrights would likely prefer status quo ie majority money coming labels generally record companies pay artists much smaller share income publishers songwriters least publishing income paid direct songwriters via cmos meanwhile record industry large likely hopes publishers songwriters placated line streaming revenues boom even minority split money becomes lucrative though wider recorded music market still pretty flat gains streaming income compensate declines cd download sales may sometime publishers songwriters start feel optimistic digital reproduction rights performing rights split question three downloads streams exploit reproduction communication controls copyright ie reproduction performing rights income allocated two elements copyright recording rights sound recording side could argued distinction academic one record company routinely controls elements copyright artist contracts dont usually distinguish reproduction performing rights comes royalties record contracts likely distinguish sales licence income said performer er relevant copyright systems performer er due performing rights sound recording copyright exploited reproduction rights used however performer er paid digital income date reasons outlined would due performing right allocation digital revenue reproduction right allocation featured artists would instead due royalties set label contract point digital issues page dissecting digital dollar monies allocated two elements copyright would become important labels artists publishing rights reproductionperforming rights split already important publishing side especially us countries monies different rights flow system differently like uk important us reproduction performing rights still licensed separately meaning dsps need seek two sets licenses one cover reproduction rights one cover performing rights uk rest europe publishers cmos provide dsps joint reproductionperforming right licenses way monies paid publishers songwriters differs depending element copyright exploited uk system performing rights income always paid directly songwriter prs oblivious whether recouped publishing deal reproduction rights income paid publisher pays songwriter share according specific publishing contract signed songwriters therefore likely beneficial digital income allocated performing right reproduction right especially yet recoup publishing deal copyright law actually define controls exploited download stream split two controls therefore industry defines splits common practice assume download reproduction performing right stream performing reproduction right download income may split reproduction performing right streaming income may split reproduction performing right though splits vary country country changed time may artist label split question four record label owns copyright sound recording pays royalty featured artist terms record contract royalty label pay downloads streams compared cds much debate since early days itunes digital income shared labels artists much less debate similar split publishers songwriters possibly publishing contracts traditionally much generous songwriters record contracts artists usually labels make much bigger upfront investments publishers every contract different course though publishing contracts always see songwriter take least revenue possibly modern contracts significantly label side indie label deals may offer net split artist common arrangement see record company keep majority core income streams sales v licence convention record contracts royalties paid label artist often differ according revenue stream though side debate possibly underway songwriters seen income drop significantly digital shifts downloads streams dissecting digital dollar page issues label may keep record sale monies generous arrangement may apply income sync distinction often described predigital contracts using terms sale money generated directly exploiting copyright eg selling cds licence money generated licensing deals eg sync created problem record companies legacy contracts specifically mention downloads streams digital clearly licensing rather sales scenario label gives permission digital platform exploit copyrights rather directly making selling copies recordings strict interpretation conventional predigital record contract therefore could require label pay higher licence royalty digital income main happened vast majority labels paying lower sales royalty downloads many streams significant number veteran artists sued record companies point contractual interpretation albeit mainly us landmark case fbt productions v universal music relating stake producers mark jeff bass early recordings eminem signed universal label interscope longdrawn litigation sales v licence point fbt productions case subsequently securing higher royalty digital income stemming eminem recordings universal insisted case set general precedent labels pay licence royalty digital nevertheless countless artists sued higher digital royalties securing class action status litigation meaning artist similar contract record company might able claim higher royalties lawsuits prevailed despite high number lawsuits cases reached court main majors sought settle actions though settlements made public mainly relating class actions generally seen majors offer slight increases download royalties usually provision past royalties legal costs date outcome artists seeing per cent downloads cd sales though higher profile legacy artists may secured preferential rates via confidential ofcourt arrangements worth noting cases focused download rather streaming income relating period time former revenue stream vastly outperformed latter argument stream treated licence sale surely even stronger downloads newer digital royalty lawsuits cover streams well cases yet resolved matter could yet return court risk transparency newer record contracts course clearly set royalties due digital income possibly also separating downloads streams artists may secure slightly better rate downloads cd slightly better rate streams downloads though unlikely achieve anything close split digital unless working independent label always worked net revenue share basis would almost issues page dissecting digital dollar certainly making significantly lower investment outset beyond described contractual interpretation disputes separate debate labelartist split fair digital record companies would argue continue primary risk takers music industry therefore need keep majority recorded music revenue stream investment successfully launches new artist andor album though artists managers like songwriters publishers might argue true extent surely risks less digital physical therefore labels generous share profits managers surveyed said split would fairer argument arguably even stronger legacy artists label recouped initial investment long ago costs getting catalogue market considerably smaller course comes new rather ambiguous legacy record contracts label could argue artist wasnt happy splits receiving downloads streams shouldnt done deal managers surveyed agreed beyond sales v licence debate old contracts digital royalty rates artists labels agree contract new talent needs labels investment may accept terms dont especially like greater concern many managers artists postdigital record contracts transparency quote many lawyer may split streaming income precisely conventional contracts record companies allowed make deductions income calculating artist due revenue share arrangement quite deductions made varies contract contract might include packaging costs cost lost damaged stock fees international subsidiaries record company provide additional local marketing distribution services deductions always point contention artist label especially two parties actively working together new content record company arguably real incentive placate artist may instead seek maximise profits reducing artist royalty payments wherever possible anything deductions become contentious digital era number reasons labels seem continue making deductions things apply physical age lost damaged stock managers question international subsidiaries continue take cut revenue physical digital distribution social media activity example could done global basis label artists home country problems exacerbated secrecy surrounds digital deals complicated different labels apply refer report deductions different ways making hard artists managers track going transparency managers lips years become definite buzz word music rights industry year digital licensing dissecting digital dollar page issues area transparency definitely needed performer er making available mentioned although copyright law define either downloads streams generally accepted distribution recorded content digital channels exploits reproduction performing right elements copyright performing right systems performing rights traditionally cover performance communication controls copyright comes sound recordings conventionally means respectively playing recorded music public space broadcast recorded music fm dab radio channels terrestrial satellite cable tv networks making available right question five kind digital services exploit conventional performing rights kind exploit specific making available right copyright law specific point would seem reasonable suggest communication control covers traditional broadcasting also cover webcasting ie radio tv style services delivered internet mentioned early days world wide web concerns interactive forms digital distribution principally downloads end new specific control called making available right formally introduced world intellectual property organisation treaties european union subsequently added many individual copyright systems according wipo treaty applies electronic transmission way members public may access recording place time individually chosen neither broadcasts online simulcasts tv radio definitely downloads possibly interactive digital channels though interactive digital channels specifically distinction sometimes made effect personalised radio services come conventional communication control fully ondemand streaming platforms come newer making available right everyone agrees confusion fully demand streaming services like spotify also offer personalised radio option within platforms performer er digital question six performer equitable remuneration apply streaming services including exploiting making available right distinction semantic one performer er mentioned countries performer er due performing rights sound recording copyright exploited making available right despite arguably subset communication control commonly excluded streaming service exploiting conventional communication control performer er paid issues page dissecting digital dollar making available right play automatic ie noncontractual payments performers due makes ambiguities around definition stream terms copyright law perplexing performer community depending making available implemented one copyright system two possible arguments current approach first making available apply downloads meaning streaming services exploiting conventional communication control meaning performer er due second performer er due whenever making available right exploited anyway exclusion performer er making available mistake decided performer er due streaming income either classifying streams communication rather making available applying performer er making available right digital services would obliged pay royalties directly performers well labels likely collective licensing system uk would labels obligation ensure performers received er would mean significant shift negotiating power featured artists unable secure better digital royalties labels opening new revenue stream session musicians usually contractual right share digital income would receive er payments way broadcast public performance quite would work isnt clear though developments issue european countriesthe performers making available control question seven record labels need specific making available waiver artists exploiting recordings digitally another area contention regarding making available performer er may apply making available nevertheless included list controls provided recording artists performer rights performer controls labels need artists waive assign making available right contract order subsequently exploit element copyright new artist contracts specifically state performers making available right waived assigned legacy contracts pre date addition making available right copyright law mids obviously contracts cannot include term specifically waiving making available control control time contract written could therefore argued exploit making available right downloads streams record label must first secure new agreement every legacy artist waiving new performer control artists could use moment negotiate better digital royalties however record companies assumed legacy artist contracts already provide right exploit making available control two arguments might case making available subset existing communication control may referenced original contract vague catchall term may dissecting digital dollar page issues included original contract artist waives current future performer controls however many artists dispute points arguing making available distinct performer control vague catchall terms enforceable dispute currently subject test cases two key cases date involved finnish rock band hurriganes swedish musician johan johansson former case hurriganes prevailed legal dispute universal music whether legacy contract could waive performer control exist time contract written though added complication case neither side could actually produce record contract question johan johansson meanwhile lawsuit record company mnw whether despite owning copyright recordings johansson appeared nevertheless right distribute content streaming services exploit making available right recent cases appeals may follow remains seen set precedent finland sweden beyond cases andor future litigation issue could yet confirm record companies assumption regarding making available incorrect digital deals nda cul ture music industrys deals dsps confidential small number people label publisher cmo party specifics arrangement means noncorporate beneficiaries copyrights exploited digital platforms ie artists songwriters allowed know terms copyrights used nevertheless basic structure arrangements known described digital deals ultimately revenue share arrangements dsp also committing minimum guarantees upfront advances possibly additional fees provision equity rights owner despite usually knowing specifics deals many artists managers raised concerns key elements equity question eight record companies music publishers demand equity digital startups share profits subsequent share sale artists songwriters terms rights owners require equity first licensing startup streaming businesses particularly true three major record companies previously referenced indie labels digital rights body merlin noted logic rights owners taking equity new dsps license first time many invest new tech startups assuming profit investment company becomes profitable concern sold existing major media tech business via ipo may biggest profits made startup business stem first transaction thats issues page dissecting digital dollar startups backers profit labels want cut action artists managers understand logic still point contention happens profits made label sells equity stake startup assumption many labels keep profits entirety citing clauses artist contracts say record company obliged pay royalties artists income directly identifiably attributable specific recording artists managers argue unfair label able demand equity first place combined value artists recordings therefore artists share profits equity sale additionally labels obliged share income artists may agree less favourable terms revenue share minimum guarantees income shared artists return better deal equity ongoing legal battle sony music recently said unapologetically perfectly entitled structure deals way wished though many labels would actually counter monetary value equity stake uncertain accessible foreseeable future unlikely forego shortterm revenues return better equity deal nevertheless ambiguities around equity labels dsps value shareholdings could sale takes place happen money mean remains contentious issue many independent labels sign world independent networks fair digital deals declaration committing account artists goodfaith pro rata share revenues compensation digital services stem monetisation recordings attributed specific recordings performances artists managers clear actually mean equity sale takes place position major record companies issue even less clear advances question nine record companies music publishers demand large advances new digital services share breakage unallocated advances artists songwriters terms rights owners request upfront advances often millions dsps leaked sony music deal spotify us provided million advance year one million year two million optional third year advances usually recoupable dsp set time period non refundable revenue share minimum guaranteebased royalties due period exceed advance paid dsp pays million advance next year record companys catalogue generates revenue share minimum guarantee arrangement rights owner gets keep extra logic advances many startups ultimately deliver little way revenue initially ever rights owner wants build guarantees justify going effort deal real terms business likes paid upfront possible dissecting digital dollar page issues artists managers raised two concerns advances first size advances arguably makes hard new dsps enter market service needs considerable funds available pay multimillion advances outset ultimately reduces consumer choice makes hard niche services launch concern also expressed uk entertainment retailers association manifesto document earlier year second issue happens unallocated advances often dubbed breakage example record company deal due based consumption repertoire paid million advance happens label simply bank surplus share artists june three major record companies made commitments share surplus artists universal sony made commitments breakage fell media scrutiny warner committed sharing revenue sometime many independents meanwhile signatories aforementioned fair digital deals declaration said remains unclear exactly commitments breakage mean real terms ie surpluses allocated artists allocations began also noted successful streaming service established advances nearly always recouped dsp surplus therefore may major record companies committed share surpluses artists isnt money share kickbacks question ten record companies music publishers demand kickbacks new digital services share benefits artists terms rights owners may also receive kickbacks equity advances label publisher may able charge administration technical legal fees dsp may receive benefits example aforementioned leaked sonyspotify contact record company received allocation advertising dsps freemium service could use sell equity many artists managers fear rights owners may agree less favourable terms key revenue share minimum guarantee arrangements return extra kickbacks artists must share former excluded latter may simply paranoia part artists managers secrecy surrounds many digital deals adds distrust ndas question eleven right beneficiaries copyright allowed know songs recordings monetised new performer right ensure information made available artists songwriters representatives brings us issue commonly raised artists managers regarding music industrys digital deals demonstrated survey secrecy surrounds arrangement issues page dissecting digital dollar means artists songwriters despite beneficiaries music copyrights allowed know copyrights valued exploited tendency rights owners dsps blame nda culture grown around digital music market seems likely wide ranging nondisclosure agreements surround digital deals originally requested services common tech sector though seems many rights owners overly embraced ndas subsequent years usually citing competition concerns need secrecy course company wants degree confidentiality around commercial deals confidentiality clauses common contractual agreements rights owners might argue negotiating hands would weakened new digital service knew precisely deal competitors secured weaker negotiating hand would detriment stakeholders music copyright however result secrecy surrounding music industrys digital deals artists songwriters despite beneficiaries music copyright dark copyrights commercialised results number problems makes hard artists songwriters properly audit royalties receive ensure paid contractually due makes hard artists songwriters assess whether opinion label publisher cmo behaving fair way assessment could affect artist songwriters subsequent deals agreements makes hard artists songwriters assess whether label publisher cmo securing best deals processing payments efficient way assessment could affect artist songwriters subsequent deals agreements makes hard artists songwriters assess relative value music consumed rival digital platforms facts inevitably result breakdown trust labels artists publishers songwriters andor public criticism digital services high profile artists songwriters may may justified beyond many various issues could argued ethical element debate right legal beneficiary copyright deprived crucial information required calculate exactly benefit due right information moral right contract copyright law right information exploitation sound recording added new additional performer right recent report berklee college musics rethink music programme proposed creators bill rights includes line every creator deserves know entire payment stream royalties eg parties taking cut much meanwhile france governmentled initiative involving artists labels recently resulted code conduct latter words international federation phonographic industry would seek dissecting digital dollar page issues bring greater clarity understanding distribution revenues different parties given ndas already entered competition concerns expressed dsps rights owners justify agreements may well difficult persuade every label publisher cmo share information artists managers say need though right information added list performer rights could force rights owners hands current position management community seems ndas may necessary artists songwriters managers brought inside nda know specifics digital deals course lot artists songwriters managers could argued hundreds thousands people inside nda confidentiality clause becomes unenforceable information inevitably leak would impossible identify leaking possible compromise artists songwriters allowed request accountants access information auditing purposes would overcome though problems outlined would reduce number people party confidential information given accountants usually subject specific professional standards would provide formality information used another option would simply make fundamentals digital deal revenue share minima advance equity public domain given services similar arrangements rights owners often lock deals competitors anyway use kind favoured nation clauses mentioned discussing sync information public domain dsps rights owners operating arrangements success would become wholly users content consumed respectively rather good deal scored outset safe harbours opt services question twelve safe harbours european american law revised companies like youtube soundcloud cannot benefit however good takedown systems may may american european law provides protection internet companies provide tools channels used others distribute copyright works without licence protections originate americas digital millennium copyright act european unions electronic commerce directive commonly referred within industry safe harbours safe harbours work copyright perspective safe harbours intended protect emerging market occupied internet service providers server hosting companies similar businesses liability copyright infringement companies customers used internet access web storage bought distribute copyright infringing material issues page dissecting digital dollar early internet companies argued without protection liability business models would become unfeasible owing difficulty identifying infringing content amongst incredibly high volumes traffic growth internet usage would therefore curtailed condition safe harbour protection internet company system place via copyright owners flag copyright infringing content material internet firm removes content made aware often called takedown systems people music industry often refer dmca takedowns even europe european law rather dmca actually applies quality takedown systems operated websites claiming safe harbour protection vary greatly nevertheless rights owners routinely issue large numbers takedown notices companies us uk record industry particularly prolific domain debate kinds services protection last years especially last twelve months representatives record industry music publishing sector begun argue safe harbours used much diverse range businesses originally intended lawmakers europe us kind business labels publishers mainly thinking userupload platforms like youtube dailymotion soundcloud users upload audio video files dsps servers including peoples copyright work without requisite licenses obtained dsp aggregates content content accessible central home page search engine users organise playlists outcome process sites like youtube soundcloud soon boast music libraries similar often larger services like spotify therefore start compete platforms unlike spotify accesses content result licensing deals record companies userupload services rely solely labels provide music instead labels publishers wish content appear platforms must issue takedown notices andor pursue legal action actual individual uploaders desirable option rights owners perspective makes optout rather optin streaming services labels publishers believe runs contrary basic principle copyright ie rights copyright owner extend beyond mere right content removed hindsight permission always sought copyright work exploited even tricky process said rights owners objecting concept safe harbours outright recognising practicalities led introduction first place rather questioning whether userupload platforms arguably content providers well providers internet services enjoy protection poses number questions us european law currently written provide userupload platforms safe harbour protection operators platforms would dissecting digital dollar page issues almost certainly answer unequivocal yes arguing legal precedent side rights owners might argue current law less clear cut still open interpretation even current law provide services safe harbour protection lawmakers ever imagine services like youtube soundcloud benefiting safe harbours even current situation sufficiently detrimental affect copyright andor copyright industries justify rethink course userupload services actually sought licenses music industry licenses allow rights owners upload monetise content platforms also claim monetise remove songs recordings uploaded platform third parties notable domain youtube longestablished licensing deals many probably music rights owners built system called content id help rights owners monitor remove monetise content uploaded third parties whether content audio official music video cover version published song recording synced third party video nevertheless many rights owners benefited licensing deals remain critical argument goes safe harbours give youtube unfair advantage licensing negotiations basically say content already either license us terms youll left cost monitoring networks daily basis userupload services might counter rights owners always dedicate resource monitoring unlicensed use content youtube could argue content id removes many costs anyway though rights owners would likely say automated rights management system reliable always admin costs associated running even content id account makes harder rights owners walk away negotiating table labels publishers argue results licensed user upload services getting preferential rates creating value gap music rights sector debate takedown systems second element debate around safe harbours music industry sophisticated takedown systems many music rights owners issue takedown notices industrial scale sites claim safe harbour protection recordings removed said sites exact replacements often immediately uploaded users platforms rights owners therefore required constantly monitor sites new uploads issue flood new takedown notices day process commonly compared game whacamole music industry would prefer sophisticated takedown systems recording removed one site first time stays ie site takes measures ensure uploaded sophisticated takedown system must websites operate order enjoy safe harbour protection ambiguity though american courts generally set bar particularly high regards takedown system look like dmca issues page dissecting digital dollar rights owners suspect userupload platforms operate deliberately poor takedown systems business models rely steady stream copyright infringing content example music industry criticised takedown system operated defunct userupload streaming service grooveshark though litigation led services closure centred music allegedly uploaded staff rather users didnt test safe harbour law current criminal action defunct filetransfer service megaupload ever reaches court may consider american law says takedowns specifically whether safe harbours still apply company shown willfully blind users distributing content without licence andor encouraged activity even nominal takedown system place course content id youtube built probably sophisticated takedown system though noted doesnt mean reliable date much effective managing recording rather song rights video platform said youtube continues evolve technology music community might benefit vocal clear would like system takedown system matter achieve userupload platforms fit copyright law review europe music rights industry put safe harbours top lobbying agenda year argues however law may interpreted years safe harbours never intended userupload services like youtube said services effect exploiting loophole law build massive content platforms without paying marketrate cases royalties copyright owners music industry basically asking lawmakers revisit safe harbours ask questions expressed kind services enjoy kind protection impact current situation copyright industries one level issue unites wider music industry trade groups representing labels publishers collective management organisations artists songwriters called safe harbour rules revisited way said side debates youtube likely argue without safe harbours could operate viable business would manually monitor every single upload platform would far cost prohibitive last thing marketing teams record companies want kill youtube one important marketing channels modern music business also argument content id youtube actually helped music industry create new revenue streams monetising previously lost forgotten content users rather rights owners digitised creating new income usergenerated content bedroom produced cover versions consumers sharing unlicensed content numerous ways online could argued benefits rights owners sharing occur dissecting digital dollar page issues platforms rights effectively managed monetised change safe harbour rules really result cutback youtube benefits content id could go though bullish music industry executives might argue youtubes claim could operate without safe harbour protection bluff therefore less lose might seem yes youtube might invest order proactively monitor uploads networks given revenues service presumably generates coupled valuable data traffic provides wider google network think investment company would make least removal safe harbours direct competitors would give youtube competitive advantage better positioned take monitoring duties rivals though even youtube could would adapt revised safe harbour rules tech industry large likely express concern wider impact changes might online businesses social networks users routinely post photos articles owned third parties without permission beyond specifics services like youtube soundcloud music industry may need also address concerns unintended consequences order win debate said part reason rights owners lobbying safe harbour issue perceived value gap argue existence userupload platforms created digital music market userupload platforms freetoaccess monetisation possible usually adfunded many music community frustrated adfunded platforms enjoy much bigger audiences paidfor services generate much less income though seems inevitable digital music market always based around majority consume via lowvalue industry platforms minority use highvalue premium services challenge growing ad revenues increase value free services find better ways convert freemium users premium users either userupload services upselling paytouse packages integrate better premium platforms music industry knows must rise challenge would likely say lobbying safe harbour reform part process though continue concurrently explore ways ad revenue premium upsell user upload platforms increased data question thirteen music rights industry rising challenge processing usage data royalty payments streaming services data demands artists songwriters making labels publishers cmos central database copyright ownership ultimately required mentioned shift downloads streams created significant data challenges music industry whereas rights owners needed know time single track album sold order calculate due retailer download issues page dissecting digital dollar store need know every single time every single track listened every single user resulted flood usage data labels publishers cmos process time whereas line sales data would relate least pennies income often label least pounds listen generate fractions penny revenue data processing subsequent auditing therefore must efficient possible administration costs eat revenue course technology solutions problem rights owners started invest building buying systems steep learning curve highly likely data processing therefore revenue distribution perfect streaming services first started gain momentum indeed music rights sector still tackling challenge labels publishers cmos developing systems often hidden cost many outside seeing streaming much cheaper model rights owners ultimately might short term shifting new model required considerable investment nevertheless artists songwriters continue put pressure business partners domain least considering data processing abilities deciding labels partners cmos work data problem exacerbated lack central database copyright ownership information limits dsps help process problem songwriters publishers outlined dsp assumes whichever label distributor provides track controls recording copyright therefore receive usage data royalties linked recording however label distributor tell dsp controls song copyright central database access information said means dsp provide every publisher every cmo relationship complete list content usage every month rights owner work due significantly increases data every rights owner process well delaying payments whenever dispute two rights owners paid use specific work ie two publishers claim specific song attempts music publishing sector build publicly accessible global repertoire database inbuilt system settle disputes multiple rights owners claim ownership work collapsed last year still moves cmos principally prs gema stim europe combine respective ownership data create regional repertoire database hope similar collaborations take place around world rrds could eventually merged create grd however doesnt currently seem plan make rrds publicly available concerns confidentiality commercial agreements one objection given full disclosure alliances prs gema stim may reduce much data processing takes place month month current system must remain arguably less efficient deprive dissecting digital dollar page issues song rights owners real time data reduces music industry expect dsps collective licensing question fourteen streaming services best licensed direct collective management organisations direct best solution societies actually control elements copyright artists songwriters actually told solutions adopted mentioned sometimes digital services licensed music industrys collective licensing system sometimes direct deals rights owners main beyond webcasts basically online versions radio covered soundexchange compulsory licence us record industry chosen license digital services directly whereas publishers often license digital collectively sometimes cmos control key elements copyright cant cut licensing equation sometimes cmos best song ownership data best positioned calculate distribute royalties though seen europe big publishers licensing direct albeit partnership cmos given collective licensing traditionally used licensees using large amounts music paying relatively low royalties perusage could argue would make sense streaming services licensed way many artists songwriters would prefer approach possibly trust cmo label publisher payments via cmos often circumvent contractual terms enable labels publishers retain income feel collective licensing fairer everyone earns per play fees rather bigger artists rights owners better deal said labels bigger publishers would argue many benefits direct deals collective licensing regulations law cmos rules slow deal making reduce strength rights owners negotiating hand cmos always empowered equipped negotiate multiterritory licences digital services need cmos transparent money processed resulting ambiguities delays pros cons involving cmos though involvement cmos either attractive publishing europe necessary rights societies control possible widespread review statutory regulation collective licensing cmos rules regulations required certainly issues raised songwriters publishers relation digital licensing much cmos rules way dsps business maybe collective licensing digital actually needs separated forms collective licensing former operating global basis latter continues operate territory territory basis sense message implied amra collecting society bought relaunched kobalt seeking represent digital rights publishers songwriters global basis adapting new business models question fifteen biggest challenge music industry simply adapting new business model pays based consumption rather sales much longer time period artists songwriters better adapt one final challenge wider music community simply adapting new business model rather record company setting wholesale price record sold income shared label publisher artist songwriter instead music industry receives monthly cut monies generated streaming platforms divided stakeholders based consumption new model means repeat listening rather first week sales key monies come much longer period time rather via quick spike album launched also means records songs fans listen long period time lucrative whereas previously albums consumers stopped listening soon purchase made much money music industry albums played regular basis years whereas songwriters contributed filler songs consumers perhaps used skip would still earn cut cd model steaming system tracks album actually played earn royalties much stating obvious course except critics streaming music model often apply old metrics new business said outset given streaming service licensing models developed last ten years best fairest efficient way business though however models evolve future labels publishers artists songwriters adapt fact music generate income different ways different timescales issues page dissecting digital dollar dissecting digital dollar page glossary angloamerican repertoire exact definition vary though commonly refers songs registered cmos uk ireland us canada australia south africa assignment ownership copyright transferred one party another often artist songwriter label publisher assignment possible many though copyright systems author rights term civil law systems music perspective means rights songs compositions opposed rights recordings collective licensing music rights owners license one appointing collective management organisation license behalf collective licensing often subject extra regulation overcome competition law concerns collective management organisation cmo organisations represent rights owners license collectively cmos usually represent either publishing rights recording rights may represent reproduction rights performing rights publishing side cmos may actually control elements copyrights represent rather simply representing agent members cmos also referred collecting societies performing rights organisations pros compulsory licence copyright law obliges rights owners provide licence certain group licensees thus limiting rights owners negotiating power rights owners still due royalties usually ultimately set copyright tribunal court compulsory licences usually managed cmos digital service provider dsp term used refer companies provide digital music services including download stores streaming platforms featured artist musicians whose name names one recording released opposed session musicians simply credited small print record labels generally sign record deals featured artists making available right specific copyright control exploited services make content available via digital channels way user may access place time individually chosen applies download platforms probably least streaming services though remains debate mechanical rights publishers usually refer reproduction rights especially exploited labels recording distribution songs music publisher companies control song copyrights called original business publish books sheet music glossaryglossary page dissecting digital dollar neighbouring rights term used mean number different things civil law systems refers sound recording right opposed author right covers songs compositions record industry often used refer specifically performing rights element sound recording copyright sometimes used specifically refer performer equitable remuneration paid performing rights income performer er one performer rights performer equitable remuneration artists including featured artists session musicians enjoy automatic right share sound recording revenues statutory rather contractual right usually cannot waived assigned contract performer er applies certain revenue streams commonly performing rights income performer rights specific rights performers recordings appear coexist rights copyright owner performers copyright owners performer rights include controls fixation subsequent exploitation recordings right equitable remuneration certain revenue streams performing rights specific controls copyright owners enjoy public performance communication works publishing rights copyright songs specifically lyrics compositions record companyrecord label companies control recording copyrights also commonly key investor artists especially new artists recording rights copyright sound recordings reproduction rights specific controls copyright owners enjoy reproduction distribution works special purpose vehicle spv name used refer joint ventures struck big publishers cmos licence angloamerican repertoire digital services representing publishers reproduction rights cmos matching performing rights sync film tv advert video game producers synchronise existing songs recordings moving imagesmusic managers forum unit tileyard studios tileyard road london n ah wwwthemmfnet infothemmfnet" +} diff --git a/fundingtool_BusinessPlansArtist.json b/fundingtool_BusinessPlansArtist.json new file mode 100644 index 0000000000000000000000000000000000000000..b06706f0a1a8abd90613441e4a72810e280dbc40 --- /dev/null +++ b/fundingtool_BusinessPlansArtist.json @@ -0,0 +1,5 @@ +{ + "filename": "fundingtool_BusinessPlansArtist", + "department": "Manager", + "cleaned_text": "creating successful business plan artist following document created strictly interested understanding different aspects business plan several models creating business plans one possible model make sure writing business plan best refl ects artist music reminder business music band promotion marketing successful industry business plan business plan outlines professional goals achieve goals resources need get order achieve goals basically story career business business plan takes idea stage action stage write business plan basic level perhaps important level business plan allow focus thinking set realistic plan realistic goals get moving forward career additionally business plan used bring key players woul like part team key players might include prospec tive managers agents labels business plan shows people thought career planned want achieve goals treat career seriously finally business plans often us ed obtain financing investors banks venture capitalists government etc business plan might included applications factor srias new funding programs preparation writing business plan consider reader objectives research elements business plan write business plan develop outline key sections use realistic financial projections gain feedback executive summary although beginning actual business plan executive summary always written last normally size business plan one page least introduce band describe project briefly make request overview goals prov ide synopsis marketing plan introduction briefly introduce bandartist mini bio briefly introduce project busi ness plan submitted specific project instances area also used make request state making request see first two points mission statement offer audience essence exist basically normally single statement hort series statements would explain essence existence bandartist vision statement ultimate end goal working towards always goal work towards normally single statement well music industry overview really necessary seeking outside funding investment party may little knowledge music industry wish include something like person music industry brief establish hat researched industry suggested format paragraphs bandartist bio history functions including detailed bio band present within bio history band history bio professional read like resume necessary every dateevent bands history area key points want give really detailed history make sure good reason around long time include appendices want introduce individual play ers within band give brief bios refer reader detailed bio player appendix choose leave bios individual band members reference business plan put appendix basically leave mini bios actual document introducing band members also include functions people carry additional actual artistic endeavor example bass player also books shows indicated allows reader get better understanding going carry activities make artist successful also option indicating respective areas carry actual duties example could indicate bass player books shows tour plans section reduce amount information section suggested format charts biosfunc tion paragraphs timelines history key players optional working key players necessary andor important success section would allow introduce indicate role example introduce manager agent accountant booker etc section especially important working someone isnt well known trying establish heir credibility gives chance celebrate someone well known working project want include longer bios people would recommend placing appendix referencing also getting letters refe rence people referencing letters section placing appendices suggested format charts audience area becoming one im portant aspect artists marketing plan knowing audience w ho really know audience really stand marketingbusiness plans audience isnt everyone hould tracking comes shows gender breakdown age income levels optional artists listen purchase cds big audience dont gue ss use statistics canada research make really good estimate events attend else shop could work wi th retail outlets promote internet saavy etc geographical location suggested format charts st atistics paragraphs details graphics branding optional groups spend lot time developing specific logo font writing style colour schemes etc part branding working bands retail outlets supporters build particular image discussed well logo branding important group may want include logo explanation around use logo could also submit graphics logo part appendix reference business plan suggested format paragraphs graphics recording project producer studio ou working also good place put bio producer history studio working key engineer may want also put section artist using key session players may also want provide mini bios reference bio page appendices timelines project fulllength demo ep etc unique project needs explanation material audience need better understanding material recording process suggested format combination paragraphs charts press kit press package comprised anything different pre ss kit outside standard press kit press kit electronic component press kit going used details necessary key players already addressed option attach press kit appendix already required application suggested format paragraphs additional merchandise optional selling merchandise besides recording project ie tshirts hats tank tops etc selling previously released cds basically else making money able justify reason get additional merchandise ie demand fan base sell well price charging lot artists spend enough time understanding costs pricing saw great marketing plan cluded graphics merchandise printed could submit appendix suggested format charts list merchandise items paragraphs introduction justification prerelease promotions optional artists may decide include di fferent topic media relations fan base management created preordered list fans wanting new cd even radio stations contact make aware upcoming recording project tv print interviews lined special events gigs using prerelease promotional event conferenc es planning attend hype project direct emails web site press releases fan base get pumped already identified key players work suggested format paragraphscharts cd release party cd release party held confirmed close confirmed least venue going multiple release parties choose location remember people may know regina sk best place fo r release cd must explain unique pricing schemes using example cd may cost cover may cost someone purchases get purc hase event get retail outlets people c prepurchase tickets show people buy tickets ahead time even buy tickets ahead time events leading cd release party using promote upcoming release ticket sales event contests set example could get sponsor cover dinner local rest aurant throw artist prize package free cover event creative would allow go radio stations contest c ould promote could also lead increased coverage radio tv print mediums using promote event effective postering method postering contests set web site andor email base fans promot e show fan base work discount cd first guests going musical guests event choose artists benefit guests appendices could include press releases going use promotional materials fans details prize packages putting together bios guest performers etc already identified key players work suggested format combination charts paragraphs touring plans word caution lot artists think good enough say going tour saskatchewan western canada eastern canada lot venues play good enough sorry lot research must go developing touring plans first history band played past indicates rapport certain venues included detailed list timeline include appendices need establish touring artist havent done lot touring thats okay better get ready work butt next part section people want touring strategy almost confirmed mean called pyramid winnipeg sent press package stated would interested hiring new release done would even better ou could get letters intent include appendix l east know contact names specific locations able show hav e identified venues embrace style musicdont get game listing every venue think include identified venues try keep chart form thats concise please please indicate established relationship working bookeragent say need prove relationship venue touring reality otherwise touring plans become airy show geographic strategy basically plan start saskatchewan expand prairie prov inces go east starting saskatchewan alberta moving northern united states need show hav e chosen geographic strategy ie strong christi market lower mainland touring saska tchewan lower mainland bc planning tour internationally understand rules restrictions regulations benefits traveling particular country touring artists fit strategy shared bill headlining opening wellestablished act postering strategy postering using street teams basically getting promotion done tour area include media relations see section tour section cover media relations section appendix tour details touring se ction becoming extremely long bios artists working identified key players suggested format charts paragraphs media strategy understand radio stations ou targeting caution include list radio stationsif still want referenced appendix importantly understand play formats needs radio stations press release promot ional plans radio database contests promoti onal giveaways radio djs audiences special events team radio station received support already single know radio stations interested promoting single done letters intentemails included appendix able secure onair interview promotion single tour dates may area radio tracker keep track success past successes radio plans televisi media video interviewslive performances hav e lined get letters intent interest understanding tv programs supporting local live performances started conversations choose programs hat chose important lesserknown programs need show benefit plans print media newspapers periodicals interviewers targeting interesting stories promotional ideas using print media received confirmed support letters si gnificant relationships past serve benefit di choose newspapers periodicals magazines chose important dealing lesser known publications need spell benefits reader making use online edias example mpcom make sure show benefit working company appendix background information lesser known tv print online medias way dont make section large suggested format combination charts graphs paragraphs fan base development todays industry fan base considered important element success artist interest general industry take email list mailing list keep contact fans database allows target region get news career services offer web site ie message boards daily artist journal contestspromotions updated news section email address kind customer service measure fans get questionsconcerns addressed able make use key f ans head street teams certain areas street teams great job postering promoting show wordof mouth etc offer newsletter discounts merchandise fan party caution things offer everything need offer going work best fan base able conduct online surveys invenue surveys learned surveys synops details save appendix basically get fans feel though enough connection buy cds go shows appendix samples fan base development tools optional ie surveys newsletters postcards press rel eases survey result details suggested format paragraphs charts graphs web sitetechnology information may alr eady covered areas business plan thats fine web site becoming key strategy point lot independent artists sections offering web site benefit electronic press kit area bio photos gig listing history contact information separ ate areas industry professionals general public offer fan base devel opment area brief already covered reference section general news area section people sample music area people email offer link join email list general info area provides biohistory band band photos tour dates etc genreaudience wellsuited w eb site talent buyers need work enjoy moving around site ecommerce area se lling cds site process work going manage promoting web site fit rest strategy contestsp romotions general public web site online sources promote web site key links partnerships andor sponsors hat attached web site appendix want include samples web site please reference include appendix suggested format paragraphs charts distributionretail strategy cds merchandise getting end consumer already covered ecommerce web site touring sales mention briefly plan get album distributed stores need show made contacts done research isnt enough say going try get distribution deal hard work get distributed ndicates havent done homework able identify distributi companies would work well show established relations hip must able show generated terest project far retail goes able identify independent stores take product distributor distribution deal important identify retail outlets suppor project even better started discussions ou using lesser known retail stores may want describe store reader may unfamiliar identify promotional activities planned retail stores working retail store standard music store make sure identify fit company appendix letters intent interest suggested format combination charts paragraphs special events optional performing special events working special causes ie working charitable event perfo rming unique opportunity may want list working charity cause also really positive good presented unique perfo rmance opportunity shows community interested able give back community appendix may want include fu rther information event opportunity cause suggested format paragraphs partnerships ot artists optional artists may working closely artistsbands cut costs cross promote etc section place highlight relationships benefits w ill receive community supports one another really strong selling point appendix could include bios ot artists key component operations suggested format paragraphs video production optional video production really timeline marketing plan unto introduce production co mpany producer key players put concept area give reader better idea finished product single video supporting indicate media companies expressed interest promoting video interest right go expenditures creating video become dated justifying chosen spend money video make sense rest business plan promotional plans place video completed making use special llknown guests unique spin video indicate additional investors supporting video plan finance time line included basic one determine production editing release occur appendix could also include detailed timeline appendix letters support video well letter intent production company producer investors included storyboards may also included appendix suggested format combination charts paragraphs songwriting optional artists songwriting key component activities highlighted business plan lot industry professionals place higher value artist write really good songs indicate whether songs written used strictly whether pitching thes e songs artists planning pitch songs ot artists need show well developed strategy tackling planning solicit publishing company able researched going target maki ng contact letter interest publisher definitely strengthen business plan reader wants ensure done homework planning promote songs directly artists community strategy publisher indi cate taking care publishing managed internally working lesserknown publishing company provide background information success publishing company also option giving quick introduction company providing longer background appendix appendix letters interest int ent publishers artists put appendix suggested format paragraphs additional revenue also gives opportunity highlight sources revenue may tapping may include management fees day jobs booking shows bands anything may already covered suggested format paragraphs sponsorsinvestors optional investors would like know sponsors investors involved project seem feel assured investors involved also gives ou chance highlight sponsorship deals able secure dont need get details much investors put show financial statem ents list appendix sponsor investor letters support may also wish provide background information sponsors investors referenced business plan suggested format charts strengthspast successes really chance get strut stuff let reader know st rong points bandartists also gives chance list key past successes milestones already surpassed definitely want reader excited project band already gives chance show tr ack record could show past sales strong successful key gigs awards honours etc suggested format chart challenges also make reader aware challenges currently facing may include financial c oncerns band member relations weak business skill areas importantly show working address solve particular problems challenges suggested format charts goals indicating area goals next months year years five years goal stating ou want achieve want achieve measure success great tool well see track detailed timeline also included appendix make sure reference business plan best format calendar chart plot dat es need achieved assumptionsscenarios area especially impor tant traditional investor stating assumptions basing success financial statements estimate sales formula use estimate costs key people necessary success eventsactions key marketing plan successful importantly indicate alternatives considered assumptions fall order ensure success financial key point business plans although sales costs estimates basing past successes really thought formula really look artists selling ask really realistic call ensure costs set actually make sense around awhile kept track past financial information including section presenting current financial situation well making future projections project also high low medium sales scenario self area may want present reader still positive overall common forms financial reports balance sheet income statement cash flowbudget need included specifically business plan put appendices however summarized financial section costs sales know need money act ual financial request finally institutionsinvestors require provide list collateral go towards loan appendix detailed formulaexplanation arrived figures actual financial statements suggested format paragraphscharts conclusions conclusion summarize band project request successful project reader invest suggested length half page full page suggested format paragraph appendices appendices come end document used provide supplement al information business plan able stand alone take care nice k necessary know neat professional wellorganized final thoughts make sure business plan professional tone professional try positive upbeat always honest show arrived conclusions always check spelling grammar get someone read provide feedback remember business always use third person never first person full business plan done cut paste customize marketing plans different funders investors please remember need include sections outlined document created cover variety genres situations career levels choose sections develop marketing plan fit needs good luck" +} diff --git a/manage ar mark Presents Start Up Guide Music Business.json b/manage ar mark Presents Start Up Guide Music Business.json new file mode 100644 index 0000000000000000000000000000000000000000..e1b9e81e1444d20c06619a08d48b20b9adcefa0b --- /dev/null +++ b/manage ar mark Presents Start Up Guide Music Business.json @@ -0,0 +1,5 @@ +{ + "filename": "manage ar mark Presents Start Up Guide Music Business", + "department": "Manager", "Manager", "Ar", + "cleaned_text": "startup guide music businessthe association independent music aimorgukstartup guide music businesspresents startup guide music businesscontents aim authors foreword introduction brief history music business strategy business startup fundamentals business copyright recording publishing contracts collection societies funding covering initial outgoings core business skills team around artist launch countdown physical release marketing principles new model ownership data promotion live performance synchronisation third party commercial deals international expansion future wellbeing music industry information reading startup guide music businessabout aim aim association independent music notforprofit trade body exclusively representing uks independent music sector makes quarter recorded music market th year aims members range largest respected record labels associated music businesses world selfreleasing artists next generation entrepreneurs music aim promotes supports exciting diverse sector globally provides range services commercial opportunities practical help members enabling innovate grow break new markets larger end aim member businesses include companies beggars group domino records warp records mute records ninja tune pias release music artists including aj tracey arctic monkeys aphex twin blood orange bonobo danny brown hot chip high contrast little simz new order radiohead many many aimorguk guide association independent music limited rights reserved part guide may reproduced copied manner whatsoever without prior written permission except case brief quotation embodied articles reviews academic papers instance full credit must provided prominently alongsidestartup guide music businessabout authors tim ferrone tim ferrone founder owner wrapped music effectively pay go label hire uk independent music sector campaign management service available domestic overseas artists managers labels wrapped music culmination tims nineteen years recorded music business worked various major independent labels artist management ou reach say hello find details wwwwrappedupmusiccomgee davy head legal business affairs aim gee davy joined aim april oversee legal business affairs aim advisor aim members aspects impact law running independent music business previously gee spent seven years prestigious independent record label publisher cooking vinyl group companies including distribution company essential music partner label fatcat records looking across business activity working artists diverse prodigy billy bragg underworld amanda palmer honeyblood daysofstatic gee started technology studying electronic engineering working briefly telecoms sector following passion music industry music law running successful music events promotion business brother number years gee ardent supporter facilitating independent music industrys continued innovation success supporting evolution digital age regular speaker conferences music industry events interface music technology copyrights legal business industry issuespaul pacifico ceo aim paul pacifico musician music entrepreneur educator ceo aim paul worked finance strategy consulting nearly decade moving concentrate building business specific music last years music paul worked artist session musician creative director diverse range artists quincy jones nile rodgers high contrast prior joining aim paul ceo uks featured artists coalition fac organisation music industry represents interests rights artists paul also founding president international artist organisation iao unites artist organisations different countries speak one voice paul continues perform record musician visiting professor artist startup berklee college musics global masters campus valencia spain paul passionate meeting point creativity commerce helping people startup guide music businessforeword daunting start business daunting figure grow expand diversify specialise well guide intended practical nature deliberately remains focussed things things work rather strategic questions also academic doesnt dwell things work particular way whether took approach aims belief fixed starting point music business start performing gigs others putting others writing recording producing music publicising promoting music business landscape patchwork interrelated specialist areas majority music businesses active across number business areas making virtuous circle activity reinforces others uniting thread soon start make distribute try sell recorded music need know business works money flows everyone start somewhere know business works better chances success business grows needs vision strategy might work one might right another therefore clear strategic pathway instead walk path access specialist knowledge need turn example conferences expert tips networking peers potential business partners may access member aim startup guide help cut noise distil essential information need understand various parts business releasing music work fit together need know make work take business start scale read book cover cover start business hope find easier figure get going running dip various chapters become relevant diversify activities review basics make sure missing essentials ultimately book make everything little quicker little cheaper bit easier understand opportunities challenges regardless size business challenges remain part aims role help share knowledge ensure broad diverse music market levelling playing field big established businesses start ups challenge asked sum takes start build successful music business would say work hard substitute play hard love enjoy learn much find trusted sources information help inform way find balance without burnout common paul pacifico ceo aim startup guide music businessintroduction guide welcome new edition aims startup guide music business essential guide get started grow business working music st century intention guide help understand basics business side music outset improve way run existing music business intended definitive guide music industry operate ordered way one process naturally following another realistically combination activities processes occur number different orders often overlapping compiling guide assumed certain order events outline processes could look like please interpret one size fits solution thing exists might helpful think sections guide pieces music industry jigsaw every business fits together unique way suggestion read book full get overall view refer back specific chapters needed tips references along way digging deeper topic finding detailed information need aim also runs conferences training sessions throughout year various aspects covered guide looking detail new developments case studies aims website also hosts number guides specific business topics plus tip sheets explainers videos sessions various aim conferences training workshops startup guide music business brief history music industry need know order fully appreciate workings contemporary music landscape make money particularly useful understand arrived current model whilst might seem exciting relevant please stay course understanding business developed really help know negotiate negotiate sake quick modern music history recap reading next paragraphs time well spent th century music business th century saw rapid development music industry know time recording music purchasable physical product development recording artist star became well truly established model became norm record company entity chose record got record financing process making end result available general public purchase behold record business born staying much several decades resulted wellestablished business framework recording expensive process required lots studio equipment musicians production personnel manufacture distribution required vast amounts factory space machinery reproduce records means supplying wider retail environment marketing promotion required knowhow network relationships series sometimes dubious processes incentivise media support getting records shelves shops required similar breadth contacts often equally unspoken means ensuring got important window display space short artist recognised undoubted star show needed record company pay perform functions behalf reliance model almost complete absence alternative route market meant record companies artists held balance power usually record companies chose sign often would recorded artist would look presented even means general public would commercially engage artist formats evolved years whether shellac disc vinyl record cassette finally onto digital cd key point record company fundamental role process funding enabling artist reach audience often chose exactly music audience allowed hear result record companies exerted rare power dissimilar early movie business star actors exclusively contracted single studios allowed pick choose movies made compelled release whatever output company deemed suitable creative control loosened somewhat years artists flexed collective muscles able take greater control recorded output necessity operating one recording company bulk career remained throughout bottom line artist wanted record release music option deal record label record company meant career physical era certainly high cost therefore financial risk required launch new artist market along necessary relationships resources artist label contracts therefore unsurprisingly overwhelmingly stacked favour record companies would retain rights release recordings generally without rights ever reverting back artist would also claim lions share sales income recoup outlay generate income fund profits well release music complex deals made recoupable advances offset artist royalties startup guide music businesswhich later meant artists income often low kept control record labels time record company broken even made substantial profit back early days really one type record deal artist whats known work hire basis record label signed artists exclusive recording services complete ownership copyrights recordings made artist period signed usually whole period life copyright many independent record companies started making different deals wanted create different relationship artist business differently order attract artists werent able compete upfront fees advances none demonise record companies existed commercial environment fact individual artist needed record company record company needed individual artist result way system worked time also someone take risk front costs taking artist market surprising market started evolve smaller record companies market pressure ie independents quickest change use new models artist agreements relationships generally acknowledged operate balanced transparent basis artists whole process making money recorded music underpinned two primary elements writer writes song publishing company collects income artist records music record company collects income pays publisher use songwriters song worth noting rest music business many ways making money live performance example virtually exclusive domain artist manager record industry making much money record companies often disinterested artists channels monetisation even though played important role process making breaking star performers instance record companies get directly involved merchandise gig ticket sales recording income alone enough turn new millennium approached seemed like always would however rumblings dissenting foreseen disruptive potential internet begun express concern potential influence industry become set ways digital disruption democratisation hardly revelation observe digitisation music industry changed forever boom years cd gone virtually overnight record business reacted far slowly recognise respond threat opportunity online market presented fell decade half yearonyear decline first piracy eventually legitimate download services finally streaming harnessed potential small digital music files could shared via computer accessed within seconds digital files eventually begrudgingly welcomed new formats internet replacements record whilst downloads still exist market vinyl growing cd remains viable product many major markets perceived industry saviour appeared form streaming model whereby music accessed product level overarching subscription worlds music library customer music paid monthly basis artist share income paid small micropayments listen started smaller revenue stream predecessors might accustomed however market saturation still many years away increasing mainstream adoption streaming subscriptions current market recorded music fired startup guide music businesswith optimism absent best part two decades changes brought transition old world new farreaching consequences shape business done today expectations artists commercial partners labels managers publishers first cost technology massively reduced meaning almost everyone access need record music without necessary use expensive studio like abbey road home studios even able record via handheld device may always ideal work often good enough also distribution market opened online services available anyone sign use get music digital stores world media also experienced revolution advent social media millions blogs vlogs podcasts offering way artists connect fans would impossible old world without media industry contacts years artists offered many ways recording distributing music directly profit margins record business increasingly squeezed labels consolidated reduced employee numbers short process democratisation occurred whereby handful key decision makers traditionally decided music release overtaken whole world options creative talent least theoretically choose engage every single step processand relevant decades since artists gained increasing involvement creative side careers first told songs sing look years artists fought successfully increasing creative control careers artists today expecting significant input repertoire image voices literally metaphorically however artists still largely removed commercial side business feels like far cry today artists able pursue careers number ways build team around best suits vision sense increased freedom modern landscape though also doubleedged sword choice incredibly liberating also lead indecision confusion might best right way go making choices means taking responsibility choices adds pressure know increasing number aspects business guide tools though try help make sense things whether starting artist label manager mix roles wherever starting modern music market options options gamechanger know rights consider example one fundamental aspect traditional recording industry model ownership copyright recordings label underlying songs publisher prerequisite traditional deals artist accept rules wanted game old world artists sell assign rights label publisher new world startup guide music businessthe artist doesnt thing power sell rights wish also lease rights license deals longer shorter period time depending deal artist might choose none things instead release music directly options pros cons associated likely course long career artist days number deals probably mix ou need understand rights work build business creates trades major vs independent traditionally deal one socalled major labels thought require artist give creative control future earnings exchange bigger financial investment access major labels global reach infrastructure advantage deal major clearly business powerful organisation flipside business powerful organisation therefore negotiating power probably much reduced meanwhile independent sector tends made smaller niche businesses may less upfront cash greater specialist knowledge particular scenes offer artist higher degree creative control independents also tend less corporate majors often offer contracts whose terms much favourable artist conclusion democratisation market meant traditional record company functions ar recording marketing manufacturing distribution accounting etc owned controlled much little artist want long finance knowledge business skills allow useful know history recorded music business processes contractual arrangements often based upon old model become job artist around recognise every opportunity moreover balance power constantly shifting every deal reflect said operating outside traditional label structure comes risks sourcing costeffective sufficient knowledge skills experience networks core financing expensive business environment enter clearly one size fits model every artist traditional record company signing route remains hugely viable proposition option work often powerful players however increasing importance artists greater opportunity choose nature agreements relationships level commitment required stage long live record company predicting diy opportunity marked death record company many wide mark record companies still key commercial partners artists continue maintain position heart industry survival modern record company small music enterprise indie level large part due passion adaptability expertise leading charge independent recording sector majors international reach leverage market scale backcatalogues key factors taking artist market still expensive process requires degree funding proportionate artists ambitions options opened investment recordings used come record company host alternative funding sources opened grant funding private investment direct consumer crowdfunding whole host morestartup guide music businessy et major labels continue dominate global market whilst independent labels seeing growth market share exist thriving source talent new lifeblood industry clearly record companies vested interest ensure remain relevant reveals part story combination scale leverage relationships skillset make contemporary record company relevant ever nature relationships artists changed importance relationships remains undiminished independent record company sector led charge respecting valuing harnessing affiliation artist community ensuring even balance power healthier longterm view artists career clearly expensive taking record market making profitable exercise positive experience also extremely difficult infinitely nuanced process need strategic holistic approach get right led us contemporary music business landscape embraces capacity adapt spreads skillsets income generation across many revenue streams possible completely breaking open old world idea record company many record labels longer identify title likely offer mix services across industry artists seeking artists primary commercial partner company funds exploits recordings conversely majors spent years buying distributors labels catalogues well targets consolidation wider media landscape often part group companies includes example tv channels also actively invest digital services stores hoping gain long term strategic advantage market ensure music prioritised anyone elses theory potential completely democratised diy industry might sound wholly liberating reality process evolution revolution difficult know everything everything time makes potential record company commercial music partner important option ever artists starting today uk music market context uk consistently remained top three four recorded music markets world competing germany largest within europe uk undoubtedly benefits global strength english language popular music legacy groundbreaking acts uk dominated global charts uk music recognised around world one countries regularly produce artists succeed global stage uks diverse population openness absorbing influence cultures around world kept uk music fresh relevant generation generation reasons uk recognised musical standard bearer brings wealth positive cultural export opportunities fact recognised governmental levels current data suggests download market shrinking rapidly physical market refuses fall away rate many predicted recovering vinyl sales value rose roughly one fifth cd market thought sales vinyl overtake cds next year however downloads physical releases dwarfed continuing influence streaming undeniably true driver record industrys current growth uk overseas growth market potential continued evolution streaming help make big picture look positive individual artist starting important remember streaming earn even minimum wage would generate several million streams every year even still rights nevertheless decade half uncertainty decline sustained market growth clearly comes welcome development startup guide music businessit essential recognise building successful professional career music make living hard means impossible talent application good team around youso gone history come date lets turn attention bigger picture relates understand music business landscape came help guide understanding work recognise value options ever creator entrepreneur potential opportunities freedoms allows potential business consider realities options available practical level given wider landscape help plan focus accordingl try set realistic expectations stage startup guide music business strategy business many people starting businesses creative industries deliberate roadmap outset business begins founder simply active two distinct advantages terms innovation first allows evolve try different approaches figuring works second allows business pressure test viability micro niches new roles services hadnt previously identified tested many lifestyle businesses common music industry majority labels management companies publicists others thrive basis working projects cluster specialist lifestyle businesses form multidisciplinary team experts deliver precisely needed job hand without large overheads big corporation known nichenetwork boutique approach delivery advantage nichenetwork delivery team remains costeffective handpicked bespoke option particular project downside potential lack coordination fewer fixed structures place poor leadership communication make break efficiency delivery opposite nichenetwork known bulge bracket adopts approach looking mop opportunities market requiring fulltime staff generalists well specialists take anything time work bigger scale nichenetworks carry higher central costs upside bulgebracket operators potentially take bigger projects create economies scale client take advantage downside higher running costs often generalist delivery driven processes way things rather specialism focus around particular project outcome developing business important think sit two models building boutique lifestyle business optimum operating size maintain quality profit balance going scale personal touch try identify whether building business highly personalised service delivers whether business grow times size still genuinely deliver standard better answer yes consider carefully planning achieve scale need get choices make limited roadmap scale drastically reduce likelihood experiencing called choice anxiety equally answer feel business building needs personal touch consider services subscribe systems implement prioritise need assist delivering vision vision business built vision ou ideally able describe vision anyone meet within seconds indicator thinking still needs refinement key benefit clear vision unlocks decision making confidence power speed considering expanding business new area ask whether fits vision could part virtuous circle adding value whole could money time energy sink distracts detracts even could make quick buck may worth saying strategic point view every decision take tested vision help stay track build effective efficient successful enterprise say everything succeed vision business often vision flawed need refinement adjustment need revisiting challenging periodically startup guide music businesswhat consider type business want run going nichenetwork bulge bracket building boutique business personal touch systemsbased operation potential scale take time consciousl work vision writing help focus core elements make clear simple use elevator pitch explain anyone meet less secondsstartup guide music business startup fundamentals number fundamentals business place order commence trading music industry without robust framework function business runs sorts risks trading illegally operating way financially problematic inefficient clearly starting right foundations vital fundamentals include legal structure law required specify whether operating sole trader partnership limited company form social enterprise nature business likely dictate implications repercussions tax uk government department responsible collecting tax hmrc need informed youre startingrunning business type business youre running legal structure also necessary find youre likely start charge vat determined whether income pre specified level ou find hmrc guidance starting business website helpful alternatively consult accountant small business advisor qualified specialist accounting practice accounting simplest keeping record transactions essential managing cash flow also making sure know tax need pay deal income expenses vat aspects managing money business well organised understand rules course keep track things often however important area seek outside help employing accountant expensive specialist bookkeepers help keep track money year help keep top things whilst keeping costs lower accountant review bookkeepers work help end year accounts required regulations government provides guide businesses order ensure compliant various regulatory issues health safety data protection mostly straightforward designed help avoid pitfalls provide safe legal framework within operate business name setting company registering sole trader think name trading name used open bank account register company companies house ou always keep business money separate personal finances choosing trading name whether sole trader company advisable research purchase relevant corresponding web domain names social handles time consider appropriate website content accordingly business bank account separate business account necessary clearly separate business personal finances insurance depend nature business well obvious relating property equipment accidents workplace example also necessary insurance place safeguard responsibilities employer well public liability professional liability cover ensure youre protected potential claims negligencestartup guide music businesswhat understand type business setting creating promoting manufacturing distributing providing service etc think impacts fundamentals ensure fundamentals addressed prior commencing commercial activities writing help shape business plan research sources free small business advice central government local authority banks trade associations sources government funded local organisations offer advice helplines startup guide music business business copyright business releasing music actually business copyright want succeed worth spending minutes understanding copyright actually works underpins majority youre likely youre likely earn income intellectual property copyright form intellectual property many ways intellectual property similar physical property way traded except dealing intellectual creation opposed physical object rights attached songs cannot traded designed specifically protect original creators later part record business focused two copyrights underlying song often known musical work technically music lyrics separately often tend amalgamated solitary song copyright sound recording master recording master song written copyright created recorded another type copyright created imagine two lads liverpool writing song together decide call hey jude head famous london studio record song two copyrights created one protect rights song composition lyrics songwriters hence writers messrs lennon mccartney one protect rights specific recording artist case beatles another artist wants record version song beatles release portion money made new recording go back original writers song copyright note used beatles recording song nothing due back artists via recording copyright fact new recording copyright credited new artist covered beatles original version original new version share song copyright two fundamental copyright streams created two distinct business models designed remunerate two types core creators business songwriters artists models music publishers song writers sell assign lease license copyrights music publishers publishers job try monetise rights collect associated income retaining portion pay onward songwriter obviously better known song songwriter value attached works therefore deals possible administer revenues songwriting takes time knowledge admin go get songs used advantages finding right partner songwriters also join relevant collective management organisation uk songwriter publisher cmo prs music see info collect income public performance creating copies physical digital song prs act behalf mcps second use record companies way songwriters trade rights songs artists also either sell assign lease license rights record companies happen recording made record company could fund process making recordings record companys job try find ways make money rights monetise collect associated income retaining portion pay onward artist record companies expertise project managing releases including promotion marketing design manufacturing elements needed best possible chance successful releasestartup guide music businesshow creators make money rights put simply songwriter writes songs benefit protections copyright earn money exploitation copyrights performing artist doesnt write material focussed deriving income exploitation recording tracks monetising associated sound recording copyright driving revenues areas business live performance merchandise etc creator happens artist songwriter receive parallel streams income publishing recording copyrights copyright actuall start uk copyright said commence work created documented recorded writing physical means example making demo recording video even writing musical score aware different different countries example us copyright must formally registered us copyright office owner copyright song nearly always owned creator least initially exception occurs someone specifically employed create song behalf another eg piece commissioned music advert case whoever paid process owner sound recording owned whoever arranged paid payment crucial element recording take place artists signed traditional recording agreements later would normally record company unsigned even signed artists sound recording copyright paid related studio hire catch arranged deal studio free basis technically sound recordings belong studio owner case home studios ownership could theoretically come whoever paid equipment even electricity supply complex area uncertainty owns particular copyright root cause many lawsuits music industry whenever write record people really important set understanding writing contract least email written form establish expectations others sign repost confirm agreement legal advice always sought make sure understand consequences agreement enter whether formal informal musicians union publishes series simple agreements act useful starting points dont lot experience support legal advisor law firms help template agreements often low cost see long term benefit working way artist team long copyright last copyright song ie songwriters uk lasts years death last remaining writer copyright sound recording uk different lasts years end year first released copyright types take care working internationally durations vary country country important properly understand consequences could affect legally financially legal advice sought cover songs moment song commercially released anyone play song live record without seek permission copyright owner long straight cover startup guide music businesswith changes lyrics substantive elements underlying song release cover may need get mechanical licence collection society mcps fact practice prs music prs music website lots information helpline information song used way change made composition structure lyrics require additional prior approval songwriters publishers worth noting dont give permission cases even take long time must permission order use song way cant make available publicly unless often royalty pay return permission could significant complex area get good legal advice specialist music lawyer going ahead sampling procedure clearing use third party sample seek approval songwriter publisher song labelartist sound recording advance release approval required parties order proceed recording portion denied possible rerecord utilise newly recorded version sampled work instead long song structure remains intact see know copyrights business likel invol ved extent wont ownership permissions crucial whilst much value recorded music business lies ownership recordings also possible derive income copyright creation exploitation curation promotion think ahead make sure right permissions place plan get need legal advice number good music specialist law firms listed aim websites friends aim directory many offer discounts low rates aim members additionall universities queen mary university london offer legal clinics cost musicians union also source valuable advice guidance musiciansstartup guide music business recording publishing contracts recording contracts interested releasing music important understand basis recording record deals types recording deal various types agreement arranged label artist broadly split two types exclusive recording deal sees label become sole rights owner entirety often life recordings copyrights license entails label limited set rights release exploit recordings exclusively usually given period ownership reverts back artist licenses little like leasing recordings label renting label many contemporary label deals cover recording capture songwriting publishing even live merchandise aspects artists business tend called deals signing deal important assess rights responsibilities attach transfer rights artist ask business signing expertise areas captured deal signing artist ask expertise investment capital capacity deliver promising contract contract significant impact artist always advisable everyone involved gets expert legal advice music specialist lawyers key clauses two clauses record deal greater importance primarily set baseline income levels due artistthe advance amount money due artist lump sum usually paid front intended cover artists subsistence well recording new material record company paying creation new recordings owned company artist royalty rate percentage income sales due paid back artist contracts specify base royalty payable artist every sale substantial part rest agreement likely outline ways deductions made base royalty rate payable artist major label recording agreements particular become ever complicated lengthy usually requiring many rights restrictions independent deals independent deals tend straightforward increasingly geared towards transparency easiest way work various split revenue record company usually obliged pay artist royalties sales time amount royalties accrued excess value advance notion known recoupment even artist recouped record company still owns sound recordings basis time recording funded process recouped advance royalties paid artist according terms recording agreement territory clause outlines deal limited geographically speaking uk europe world cases defined solar system known universe minimum commitment used specify minimum content deliverable artist contract specify least release obligations label make recordings commercially available whilst still fulfilling obligations release commitment specific soon delivery recording must released usually relates main territory clauses intended ensure obligation commercial release material timely fashion startup guide music businessoptions refer maximum number tracks albums album cycles otherwise known option periods label entitled pick choose artist may offer recordings another label current label used options released artist sometimes possible current labels permission usually cost released earlier tour support commitment relates minimum financial commitment record company fund otherwise lossmaking touring artist offering signing legal agreement make sure take independent legal advice music specialist lawyer remember paying lawyer client agreements may offer seemingly attractive rates get lower lower get small print equally new label take care overcommit artist find position cannot afford deliver promises made even best intentions dont rely generic templates without understanding legal financial implications agreement bind sometimes long time part financial considerations impact relationships artists well reputation extremely important get right publishing contracts involvement writing songs important understand basis publishing deals number different types publishing agreement tends increase songwriter gains reputation top scale might attract socalled admin deal offers administration lowest possible royalty due publisher full publishing agreement favourable income split favour publishing company advance royalty rate dictate basis agreement advance recoupable via writers royalty rate similar recording agreement described although instance royalty substantially weighted favour writer publishing company opposite historically true comes record deals reflecting greater financial risk taken broader range services generally offered record company clauses regarding royalty rate may vary order incentivise procurement cuts ie songs commercially released sync deals music placements tv film adverts video games etc advances spread across term perhaps triggered intervals delivery specified quantity cuts option extensions see due many fewer recoupable costs lodged writer likely recoup far quickly recording artist elements worth noting exclusivity determine type deal writer signing whether exclusive basis works given period singlesong assignment oneoff basis specific song admin subpublished whereby existing publishing entity assigns rights third party territory clause determines whether deal administered overseas either publishers local country affiliate via subpublishing agreement another company rights period duration publishing company able exploit relevant songs though subject variation often set period perhaps ten fifteen years whilst deals endure entire life copyright term ie years death songwriter whilst rights period specific songs term relates actual writer determines length time songwriter exclusively signed publishing company normally period three years additional option periods assessing options company consider degree startup guide music businesswriter recouped advance well minimum commitment clause designed incentivise writer maintain high standards creatively deliver high quantity songs also actively seek many commercial release opportunities possible example minimum commitment five songs twelve month period would necessitate writer written five songs commercially released within year finally rights granted specifically detail exactly assigned publishing company might usually expected encompass performance mechanical income ie income due recorded music sales well sheet music sync fees understand able utilise key contractual clauses recording publishing agreements particular relating advance roy al ties notion recoupability read much deal types structures see recommended reading section end talk many people pros cons different approaches experiences example attending networking events accept perfect contract every deal compromise clear priorities abilities whenever negotiation dont promise anything cant deliver dont understand full ystartup guide music business collection societies important understand ways exploitation copyright result income coming back course record publishing companies handle royalty flow due sales relatively directly straightforward fashion record downloaded artist paid royalty et writers contributed song recorded session musicians responsible recording string section industry support notion every writer artist compensated work exploited via sale broadcast whether via media live performance apply multitude creative entities make modern music business aside artist writer producers performers musicians arrangers step forward performing rights organisations pros short also known collection societies collective management organisations cmos collective licencing performing rights organisations created reasons cost saving simplification procedure uk music industry applying system known collective licensing occurs majority rights owners collate rights one pot appoint central organisation handle licensing behalf resultant performing rights organisation strike one deal rights owners entire groups licensees instance licensees could radio stations tv channels venues cafes bars etc indeed public commercial entity likely want use music clearly far simpler coming arrangement every single use music every single potential licensee equally licensee come enormous amount agreements every party involved ownership every single track theyre hoping use order ensure relevant creatives fairly compensated public performance work several different organisations created tasked overseeing specific use copyright prs music short performing rights society principle role prs music collect royalties users music uk perform broadcast music public collect behalf songwriters composers publishers hence way concerned artists principle means income derived issuing annual licenses businesses organisations utilise music premises agreement paythrough set rates payable use songs broadcast radio television live performance venues b mcps mechanical copyright protection society whilst mcps operates behalf creatives prs ie songwriters publishers sole purpose collection specific amount every time record either pressed sold downloaded streamed majority resultant income paid back songwriter respective publishing company two independent entities merged operate name prs music c ppl phonographic performance ltd effect ppl performs role prs relation sound recording copyright song public performance scenarios radio tv space music exposed number people also collectively licence ppl instance though royalties collected paid relevant record companies performers equally split basis note ppl prs music collect royalties uk also around world series bilateral agreements equivalent organisations territory vpl video performance ltd vpl perform similar function sister ppl organisation respect music videos hence extends anyone featuring music video artist band member backing dancer featured actor etcstartup guide music businessthe ppl prs music licence ppl prs music formed joint venture order simplify process licensing music public performance providing single point contact entity requiring mentioned licenses joint venture allows occur via one application newly termed themusiclicence collected royalties distributed two parent companies pros work broadcasters prs music ppl issue socalled blanket licence main domestic broadcasters entitles use track administered respective pro without seek permission individual songbysong basis turn broadcasters must provide detailed lists music utilised pros pay correct rightsholders note blanket licenses issued uk broadcasters meaning sky one still required procure licences case case basis prominently lucky chosen ones often profitably us tv film industries obliged seek individual agreements use music productions process known synchronisation later public performance broadcast neighbouring rights performance rights neighbouring rights term used describe performance public broadcast tv radio secondary rights attaching recording copyright master right international collection neighbouring rights become ever important source income industry worth spending moment learning little music played radio uk overseas lot good general information ppl prs websites advanced information aim two guides area well video resources website members startup guide music businesswhat understand principle collective licencing applies pa roy al ties copyright type find wa relevant businesses creators ensure works recordings registered relevant collection societies start keep database works recordings metadata dont rel distributor collection society tools systems companies help check friends aim directory aims website come relevant aim events learn thisstartup guide music business funding covering initial outgoings process maximising artists reach requires substantial investment make business model challenging one many developing artists small labels face difficulties set route market whilst requiring substantial funding order break historically much funding development promotion artist came via record company whilst still occurs much later process using plethora tools data available record companies incentivised wait observe artists market potential develop rather commit early back less likely winner way cost earlystage development swung away record companies places responsibility artist develop level attract substantial investment whilst artists days likely get get signed old world availability social media free low cost tools makes process feasible achievable getting music career ground always said creating buzz many ways still typically number different options generating early stage investment grants contemporary music industry benefits government backed grant funding funding form grants available application number different sources example prs foundation arts council england devolved national governments regional local funding help musicians uk music export growth scheme megs department international trade administered bpi crowdfunding artists increasingly taken direct control early release activity options funding process opened crowdfunding remains popular option spite high profile failure year pledge music collapsed particular reasons proves rule essential read small print crowdfunding nature encourages members public contribute towards project offering incentives products purchase often advance creation result process lends direct artistfan relationship many early adopters eager liaise direct creative talent support career crowdfunding allowed artists viable means raising funding way engaging directly relevant loans though loans remain option music business reality artists often struggle get traditional business loan bank course investors also found though lenders charge interest may involve exchange copyright ownership least ensures intellectual property remains within control borrower private investment trying identify speak language business investment tends strength creatives startup music businesses nevertheless third party investment become increasingly viable means funding projects whether artist entrepreneur simply knows someone might want invest via formal investment programmes looking target music instances programme help package artist investment opportunity seek interested parties set terms resultant deal return initial investment investor may well expect percentage stake forthcoming release get share portion artists income across multiple streams given number yearsstartup guide music businessbrand deals music remains attractive glamorous business one industries hugely keen associate order promote products services underscore brand values energise offering artists create cachet third party brands recognise willing pay association resultant promotional value substantial brand owners principle ambition often reinforce brand identity association definition mean partnering newer developing artists considered better fit target audience notion early adoption applies much commercial partnerships mediawell considered frugal budgeting whilst true upfront costs music promotion expensive worth asking much outgoings actually essential expenditure likely add bottom line day age lot free think everything creative simply considering essentials given piece activity might easy ascertain elements could considered necessities luxuries say business benefit investment merely due consideration given investment made consider investment needs range potential funding options open reach accordingl alwa ys read small print full aware obligations repa yment money kept provided clear deal alwa ys seek specialist legal advicestartup guide music business core business skills worth examining greater depth core principles underpin running business brand values allocate plenty thought constitutes brand values business principles importance want product service business context perceived determine everything type service youre offering market ultimate audience considering want reach help reach possible identify target audience whole business community suppliers advisors investors beyond separating personal business finances essential separate business finances personal money dramatically simplify processes accounting tax preparation could also help event things go wrong means separate business bank account whether set company operate sole trader budgeting advisable make effort budgeting likely expenses consider potential income setting new venture ou research lot likely costs incur looking online consulting contacts industry trial error smaller scale experiments pilot projects think whether require premises website build types insurance staffing transport costs likely accrue onetime expenses regularly incurred costs expenses also help define price point make product service available ie order start try generate revenue costs associated making goods labour packaging shipping processing marketing relevant taxes must considered sales projections many coming music business already involved degree commercial entrepreneurial activity music good basis ascertaining sales projections ideally combined research whether anecdotal literal similar businesses consider know might prepared provide ballpark numbers research artists admire identify different levels within industry see making money learn bookkeeping accounting bookkeeping process tracking recording daily transactions whether sales expenses recording impact financial status words helps track show health business given moment cash flow cash flow single important indicator whether business survive small businesses across wider economy music fail due cash flow problems poor cash flow management biggest single risk business matter good music cant afford pay debts fall due risk going bust maintaining good cash flow making sure get paid due get paid able deliver obligations bills fall due remember cash flow position company vary enormously accounting position number reasons perhaps common late payment invoice one business process need prioritise keeping top cash flow golden rules make sure send invoice soon work actively make sure people pay timestartup guide music businesstax business essential recall business need pay tax profits guide worth assuming approximately twenty percent annual profits need set aside separate deposit account order allocate towards tax obligations due accounting artist accounting royalties due artist extremely complex task one even experienced industry veterans tend outsource third party platform days many platforms available several work commission basis cost nothing front well worth using proper third party system helping run administration particularly comes royalty accounting late getting wrong fundamentally damage relationships artist commercial partner writing business plan writing business plan allow road test proposal identify gaps existing knowledge base also essential circumstances seeking attract third party investment business plan overview document describes business intends generate profit also core elements might want think staffing levels premises managerial leadership operating model course financing words comprehensive blueprint relay business intentions given third party identify commit brand values community vision look numbers separate personal business transactions research employ business forecast process identify employ suitable accountant utilise robust accounting procedures consider outsourcing roy al ty accounting specialist company find details companies tools friends aim directory aim website attending aim events looking area write robust marketing plan stick itstartup guide music business team around artist important understand core team might exist around artist support business needs boundaries role become increasingly blurred recent times nevertheless principles remain understanding roles functions team help formulating strategy artist career campaign manager manager maintain strategic overview across every aspect artists career broadly speaking entails enabling artist free possible focus creative element role whilst management oversees business elements role therefore include involvement aspects far reaching ar logistics legal matters marketing promotion artists health wellbeing important clauses management agreement stipulate basic rate commission due happens rate parties go separate ways legal notion attempts ensure manager always acts artists best interests even may prejudice interests manager highest legal duty care known fiduciary duty lawyer guiding rule business collaboration substantial exchange money undertaken issue regarding ownership exists wise consult lawyer whilst generally suggested guidance tends come cheaply anyone first encountering legal document legalease language utilise understand exactly trustworthy experienced legally trained eye add substantial value prevent multitude later issues employed outset money lawyer could save long run almost certainly worth initial outlay music industry lawyers also tend well networked senior levels within industry organisations making valuable allies connectors earliest stages artists career external input assistance often beneficial booking agent booking agents responsibility procure live performance opportunities artist likely form headline shows support slots festivals artists reach beyond immediate locality agents extensive network contacts capacity understand suitable opportunities exist makes potentially valuable addition team tend work exclusively commission basis gross fees live income accountant often paid annual basis via set fees specific tasks accountants optimise business terms corresponding tax obligations also contribute areas optimal business setup selfassessment book keeping vat returns tour accounting even auditing unsure anything financial recommendation decent accountant worth weight gold blurring role boundaries whilst roles arguably specialist position sometimes necessity oftentimes choice roles end getting combined experienced manager well versed legalease key contractual clauses negotiation tactics example might mean rely less lawyer daytoday issues equally also uncommon days lawyers accountants make move management combining technical training commercial skills entrepreneurial nouse benefit clients ever business necessity remains driver invention problem needs solving solution often found consultation right teamstartup guide music businesswhat understand roles responsibilities value manager lawyer booking agent accountant consider respective importance relative business model consider roles undertaking roles musician make sure clear written agreements setting paid outset get specialist legal advice startup guide music business launch countdown timeline timeline simple document outlines key elements campaign sequential order allows anyone else involved process see intending helps teams coordinate makes possible readily highlight unrealistic deadlines gaps process oversights sequencing issues missed opportunities possible synergies areas improvement addition becomes core document around everything else relates every moving part ie person team refer timeline campaigns encompass specific moment time around build principle focus attention normally would start moment work backwards identify deadlines need whether enough time hit first process creating timeline therefore lies ascertaining key moments likely rather initially focussing going work want work likely achievable purpose document likely separated key areas activity outline exactly campaign begins core elements need created delivered scheduling promotional activities offline digital clearly highlighting key impact points aim focus important elements campaign order allow quick glance understanding ambitions well associated sequencing responsibilities digital release one perceptions digital age able distribute information instantaneously reality digital music distribution established processes developed require time might first imagine processes timing procedure depend nature distribution set whether label example independent third party aggregator services available artist vary accordingly may include elements promotional marketing support synchronisation leads data analytics asset creation retail sellin playlist pitching much come fore recent times streaming consumption increased terms importance worth sometimes taking step back making sure good plan place rushing release track album finished also whilst everyone wants get playlists dont forget highly engaged fans build relationship artist worth significantly revenue time whether sales music tickets merchandise almost number passive listeners hear music playlist may never even know artists name official charts major territories longstanding officially recognised chart systems log sales provide weekly update form chart basic process releasing new material automatically make known relevant chart entity important confirm label distributor behalf feel release may chance featuringstartup guide music businesswhat need order distribute digitall three key elements delivering music distributor include music delivered prespecified audio quality standard format accompanying artwork every release format upload piece artwork must accompany particular specification terms size resolution metadata delivery every finished master recording producer responsible also delivering accompanying label copy details owns copyrights person credited involvement recording process track identified every person correctly remunerated timescale digital distribution possible make tracks available within matter days aiming optimum scenario wise allow four weeks ahead release delivering elements distribution system digital release income every digital download fair assume approximately half value every single track sale make way back owner mechanicals vat sales taxes retailers cut streaming inevitably income due back far less individual transaction varies platform country amount paid per stream quantified third decimal place penny somewhat supports much early criticism around streaming simply doesnt pay sufficiently reality streaming provide promotional channel vital source income many starting revenues tiny look build time really start add deliver constant monthly income business clear make decent money streaming requires large quantities streams individual artist better still combined number streams across number successful artists repertoire owner whilst average pay per user much lower rate downloads likes apple music deezer spotify remain far profitable artists commercial partners per listen populated streaming platform namely outubestartup guide music businesswhat understand use begin employ timelining process map core elements campaign sequential order identify choose suitable digital distributor based upon financial model potential procure pla ylist support ensure release artwork music metadata supplied correct specification distributor four weeks advance release order allow retail sell appreciate digital earnings alone enough support individual artist certainl earl stages understand successful artist often relies combination income streams whereas successful label publisher often relies income comes broad catalogue music startup guide music business physical release physical product still relevant contemporary reality many major territories physical sales still account sizeable portion marketplace whilst sales undoubtedly decline many typically older demographic consumers yet adopt subscription based streaming model preferring notion owning something touch see harder grasp concept cloudbased access whilst appears inevitable sales may well continue decline long cds vinyl somewhat remarkably even return cassette tape account reasonable volumes markets diverse prominent uk usa germany japan clearly relevance consumer remain important physical product right artist whilst difficult paint broad brushstrokes typical music fan genre clear consumers certain types music appear likely purchase physical stock others dance artists operating rapidly moving technology embracing environment might well overlook physicals example whilst heavy metal band could well base income model sale physical product one form another therefore well worth researching similar artists releases give least indication potential uptake said much relies upon type quality product means via communicated typically highly engaged audience likely make purchase even moreso direct artist uber fan seeks opportunity actively engage support making likely purchase higher spec expensive product choosing physical distribution partner distributors simply cater physical market typically choosy artists take limited stock capacity need allocate space inventory items likely sell equally physical distributors consider deal digital rights cannot factored proposition decision may well boil whether intent service physical retail whether artist looking conduct physical sales via direct consumermerch space direct consumer sales regards direct consumer abbreviated dc literally meaning selling straight artist consumer without via third party retailer self fulfilling clearly simpler proposition allowing artist team take direct responsibility matters taking receipt manufactured goods whilst facilitates retention ownership process income come associated logistical issues space keep potentially large quantities stock packing shipping every order dealing subsequent customer queries also requires investment capital upfront stock may may sell see section cash flow fulfilment partner could handle process shipping warehouse customer subsequent customer queries exchange percentage income accrued typically around sometimes flat monthly fee also services print press order require payments stock front alternatives may pay much reduced margin sale beneficial impact cash flow might make drop margin worthwhile distribution retail artists realistically able place merch high street shops necessary secure distribution deal uk likely retail outlets broadly break supermarkets mostly chart product major specialists hmv really sole countrywide survivor independent specialists network independent record stores online likes amazon distributor take logistics customer liaison responsibilities startup guide music businessperhaps true value lies retail relationships capacity procure favourable retail space rates indeed simply sell stock physical retail first instance presence profile physical environment almost certainly lead sales retail sellin process selling retail invariably deal dependant whilst retailer simply wont take stock product believe wont sell even necessary strike deal retailers expect discount works premise increasing proportion quantity stock prepared take return distributor might barter better quality racking shelf space position whilst purchases premeditated many remain impulse buys reliant upon entering consumers consciousness therefore distribution partner require promotional bullet points information much promo team limited space environment necessary fight hard placement making particular importance relaying date accurate promotional momentum sales team order justify sales push retail instores many retailers frequently independent stores recognise value artist performance within retail space driver sales called stores store performances act potential call arms customers effectively attend free live performance conducted within local music retail space opportunity see artist perform intimate setting well meet greet sign merchandise highly effective stimulator sales otherwise quiet times day aim publishes members list independent record stores around uk invite artists perform instores well tech specs requirements information would help incorporate tool release schedule marketing planlikel deal terms procuring distribution partner certainly entail signing associated deal order outline core elements relationship principle amongst term duration agreement last type rights whether physical inclusive digital whether repertoire owner needs provide finished goods territories outlining geographical reach terms royalty split digital split would expected lower distributor physical acknowledging reduced logistical effort digital distribution may base starting place around due distributor remainder going repertoire owner costs timescale physical distribution selling physical product invariably starts manufacture many options available independent artist economies scale principle applies process manufacture produced lower cost per unit cost also determined relative complexity product type manufactured terms timing manufacturer turnaround standard cd ought around four weeks receipt elements delivery finished stock warehouse allowing potential stock issues priming distributor retail sell vinyl timings much greater often running twelve weeks instances repertoire owner requests test pressing effectively sample listening copy check quality prior mass manufacture physical items processes also apply broad range merchandise items sold retail via dc artist repertoire owner generally required provide finished stock hence bear cost manufacture upfront also merchandisers work printondemand type basis reacting orders real time albeit inevitable downside unit cost expensive startup guide music businesswhat need order distribute physicall music audio cd manufacturers request music delivered ddp file format alternatively red book cdr tracklisting also time embed isrcs manufacturing process desired international standard system identification recorded music allows individual track numbers permanently encoded track help ensure correct remuneration creators issued ppl labeldistributor uk vinyl files generally provided wav format standard bit rate bitkhz artwork physical product require delivery artwork every element product front back cover booklet inserts cd vinyl labelon body print need designed delivered onto prespecified manufacturer grids order ensure margin design print manufacture error reduced metadata ostensibly comprised information digital release addition physical product specific information vinyl side splits differing catalogue numbers etc physical release income commercial terms physical sales uk based upon retail price ppd published price dealer price per unit paid retailer repertoire owner vary according prescribed price points price points used make product available might considered full price reduced mid price budget price sometimes employed shift old stock numerous additional intermediate price levels vary according strategic aims product format content etc pay back repertoire owner therefore based percentage ppd may typically around half value retail price albeit subject whatever pricing retailer chooses make available customer clearly much rough approximationstartup guide music businesswhat decide selling physical product right artist decide whether retail presence necessary source manufacturing quotes either setup fulfilment partner prepare selffulfil seeking retail presence locate choose suitable physical distribution partner negotiate terms accordingl ensure artwork music metadata supplied correct specification manufacturer less four weeks advance release date cd twel weeks advance vinyl keep distribution sales team speed promotional activity order aid sellin process retailstartup guide music business marketing principles marketing process generating maximum possible awareness via efficient timeframe expenditure marketing message effectively amplified via tastemakers influencers buyin tastemakers rapidly facilitate growth fanbase reality music business handful key gatekeepers carry even greater influence support significant negative reaction severely obstruct progress artists career extreme circumstances effectively finish industry relies people order magnify marketing message reach mass market marketing plan marketing plan mainly focussed means get buyin tastemakers remains key document campaign armoury plan outline likely demographics target audience artist usp unique selling points campaign sequencing impact points retail support core messaging well key content assets also outlines media ideally right specific individuals make targeting magnifying message target audience three pillars music marketing central element marketing plan giving campaign team tools work help make artist sufficiently distinctive amongst backdrop incredibly crowded marketplace many thousands tracks uploaded given day artistic message becomes vital part fight media consumer attention usually relayed via combination three separate interrelating elements music music core campaign sufficiently distinctive outstanding quality order justify effort involved bringing marketthe visuals imagery video content associated artist often first important component capturing given targets attention ideally sufficiently striking instantly engaging also logical visual reference music applies increasing array elements press shots artwork music videos social media content live backdrops much message message often key contrast artists combination many elements often based around artists narrative logical extension music accompanying visuals expressing coherent simple narrative media consumer easily pick owned channels versus third party channels owned channels sense refer artists website well social media channels basis controlled artist safe knowledge immediate team deciding exactly posted different third party owned channels controlled someone else eg media retail etc artist might hope use gain access following requires owners buy support owned channels one space whereby artist control messaging content posted result remain fundamental part promotional arsenal makes artists social channels else artist homepage digital web presence definitive place communicate outside world startup guide music businesscontent planning consumer targeting social media allowing much direct engagement consumer use suitable cta call action ie action want fans users take engage content arguably important element marketing plan conceived early enough process around release used means communicate sort content needs created creative process order facilitate desired cta digital targeting professional plan also contain plan degree detail digital advertising targeting perhaps advertising offline platforms eg print tv radio order find routes target audience communicate useful information similar related artists context support key moments throughout campaign period digital platforms contain relatively sophisticated ways advertise specifically segmented audiences whether reaching existing fans expanding fanbase eg geographical lifestyle based segmentation impact points campaigns tend built around key impact points moments activity boosted maximum impact identifying communicating points occur fundamental planning process hooks rest campaign built giving clear direction certain activities needed whether led media promotions marketing advertising content content content reality contemporary musician comes social media love hate youd better impact always audience places enormous strain artist maintain dialogue presence regardless point campaign reached answer nearly always creation yet quality content share often quicklystartup guide music businesswhat understand hierarchy tastemakers principle procuring support media consumer leaders order magnify marketing message number people create marketing plan achieve detailing content used attract tastemakers ensure plan clearl rela ys interesting distinctive musical visual narrative themes seamlessl relate include marketing plans content required perhaps plans digital ad targeting help engage deliver content consumers recognise opportunity engaging audience social media best wa engage via regular feed interesting contentstartup guide music business new model ownership data ownership data well copyright business music based copyrights exclusive rights things music generates income whether thats song recording preferable outright owner either preferably long possible use music technically exploitation copyrights owners beginning though additional layer ownership audience customer data although marketing effective impact combined capacity copyright owner reach directly artists audience unlike commercial sectors music business product content owner doesnt usually control ways getting product market presents dilemma effective marketing promotion dont truly understand composition behaviour audience though social media opened capacity artist engage directly fan associated data owned artist platform exists content owner distance potential barriers audience whilst also mercy controls social media platform result emphasis switched called dc direct consumer model selling music direct fan effect acting artist retailer content owner owns fan data well first time allows direct artisttofan relationship controllable fully transparent also creates ability remarket principle lot efficient sell music already engaged attempt reach new potential fans owning data one purchase therefore possible see consumer purchased proactively engage merging capacity track buying habits real time possible enhance optimise sales marketing process every stage making marketing efficient potentially saving cost effort data anal ysis alongside growing understanding importance data ownership recognition increased amount data returning digital platforms inspected however often useful learnings data hidden need greater complex analysis revealed also worth recognising data often reveals rarely final question arguably significant decision making mix result ever greater emphasis placed upon highly skilled data analysts recognise significant amongst insignificant interpret said data increasingly meaningful ways build platforms tools present results advanced campaigns combination insightful data analysis meaningful market research tends give best results terms optimising marketing processesstartup guide music businesswhat acknowledge benefit owning consumer data make steps towards already place appl process remarketing order maximise owned data increase sales look sources services data anal ytics appl combination data anal ysis market research optimise understanding consumer behaviourstartup guide music business promotion promotion music industry amplifies marketing message usually series well established relationships traditionally practice promotion involved drilling onto various types areas media based around ambition getting tastemaker support working individuals relevant networks expert knowledge types areas media importance relationships field promotion perhaps music business even digital age exists strength relationships access prs network contacts usually much reason hired invariably comes cost ongoing need curation increasingly overpopulated market means higher tastemaker influencer exists food chain attention sought increases likelihood tastemakers influencers relying small group trusted promotions contacts time order filter otherwise enormous volume music confronted daily basis know targets one key theme resonates regardless campaign namely need wellconsidered targeting tastemakers influencers ensures highest possible uptake also avoids unnecessary practice carpetbombing people regardless stated preferences fields interest earn bad reputation cases make tastemakers trying reach avoid campaigns run even following campaigns appropriate radio radio uk national radio still often sits top promotional tree promotional wins occur substantial national radio playlist reverberate around campaign team though influencer podcasts playlists increasingly become relevant genres already overtaken radio fortunate uk national bbc stations commercial radio network means offering countrywide radio exposure station generally mostly democratically agreed playlisting policy whereby key personnel required meet regular basis decide tracks added list removed well quotas new music diversity policies station predominantly base broadcasting output upon content playlists major show major national networks tends producer dj whose responsibility contribute opinion playlisting process select tracks spot plays depending individual remit role radio plugger specialist promoter radio identify suitable radio targets deliver music importantly actually plug plugging portion makeorbreak element whereby plugger would expected use experience knowledge radio policy personnel work network relationships order sell given track increase chances getting radio airplay possible playlist places initiatives bbc introducing allows artists capacity upload music direct consideration local bbc radio station potential move higher food chain national level radio exposure democratised process procuring radio support away simply relying upon radio plugging regional radio uk radio network also made large quantity smaller regional radio stations delivering localised output smaller geographical audience significant proportion regional radio stations owned handful companies allowing create centralised content rolled across network certain times day also means process plugging startup guide music businessregionally always done particularly localised fashion getting support central company rolls across rest companys network therefore possible gain near national levels airplay handful key regional radio players regional radio support scale though also essential terms procuring early adopter influencer support form local specialist radio stations shows rather trying get national influencers likely receive attention tv tv performance openings contemporary artists dwindled last decades broadcasters moved away specialised musiconly programming leaving handful good opportunities exist tend lean towards major international artists considered likely deliver higher audience figures pecking order uk tv plugging therefore tends focus small number prime time performance slots mostly within format televised awards ceremonies variety shows reality tv shows presenterled chat shows occasional cameo spots soaps minimal number music specialists music video channels remain important part mix artists delivering official music video content sufficient quality though number mainly musicvideo channels also shrinking line growth digital video platforms strangely audience numbers remained fairly consistent initial dropoff following global embracing outube video based platforms channels opening new countries expansion digital tv channels tend deliver well targeted audiences specific music genres certain shows also make provision feature clips video content segueways advert breaks also impactful way finding new audience feature interviews also offer valuable televised promotional outlet artists opportunities leaning towards topical broadcasts tend narrativeled slots particularly impactful way communicating part artists broader message back story support cause particular interest good tv plugger often pr access types opportunities print online press capacity reach large amounts readers longer exclusive domain handful longstanding print institutions many still exist successfully added online offering digital publications formal informal created transformation printed word media blurred lines professional journalism amateur blogging dramatically increasing amount content places find whilst time reducing audience one publication clear promotional benefits developments ability cater considered niche markets smaller pockets interest could never fully serviced traditional print media much reachable via digital means shared interests groupings often makes targeted audience resulting higher rate conversion reader fan targets generally domain music pr likely spent great deal time effort building relationships order maintain direct line communication significant journalists written assets pr compile individual press releases significant moment campaign individual single track releases albums tours major content release announcements etc press release specific overview normally one page length detailing pertinent information journalists absorb deciding want feature part often also contain reference broader narrative previously mentioned startup guide music businessthe campaign message written communicated much greater length detail artist biography bio isnt necessarily detailed history timeline artists life point opportunity identify communicate particular indepth campaign story main opportunity communicate message discussed identified advance relevant artist also main musical content moment crisis management pr also person turn event unexpectedly unpleasant messaging relating artist leaking media circles inevitably situations develop new information comes light socalled crisis management pr crucial effort taking back element control nature surrounding messaging pressfacing person around artist pr field queries times must attempt steer positive outcome possible close coordination artist management others working campaign social media influencers power recommendation social media digital channels expand become significant need curation also spread however key difference nature influencers whose voices tend come less traditional fields journalism instead pubic domain nature social media provides platform anyone voice steer opinion enabling individuals gain enormous followings short space time net result environment populated large quantity socalled social media influencers specialising particular fields whose audiences buy tone voice branding messaging result carry enormous influence younger demographics particular whose opinion likely swayed power recommendation straight advertisingsuch influencers result high demand potential support given message get audience influencer marketing effectively takes place coming together tastemaker product andor service entirely authentic seamless product consistent influencers established brand values lack authenticity likely immediately apparent resulting limited commercial gain weakening perception brand product alike podcasts podcasting delivery specific audio file via digital means part wider programme uninitiated begun become increasingly important part promotional mix along growth influencers movement traditional media social media many turned podcasting means communicating passions opinions entertainment nature podcasts tend deliver loyal followers highly specialised content make targeting particularly impactful authentically linked music campaign streaming promotions major streaming platforms receive enormous quantity new music given week result need help applying sort sorting process tracks choose support whilst several spotify included opened capacity artists teams pitch directly utilising online forms also capacity pitch directly trusted distribution channels sizeable playlist community club specialist dj promo field club promotion remains core part process building local regional support particularly dance music across country specialist prs club promoters long standing relationships great quantities djs clubs across uk largely control means relaying new material generally done advance release tracks dispersed startup guide music businessacross network frequently across numerous different genre mixes maximise potential uptake djs play provide subsequent feedback better performing tracks feature top sections associated club charts indicating evidence broader specialist interest likely audience interest use existing relationships create new ones key promotional tastemaker targets direct media relations alwa ys likel prove beneficial operating via third party identify key promotional tastemaker targets consider hiring promotions personnel particular fields outlined chapter order enlist support artiststartup guide music business live performance live performance income stream live performance always fundamental income source artists wider music business took increased importance digital downturn followed turn millennium partially put core music fans placing increased value experiences subsequent process sharing social media boom research indicating peer group word mouth influence frequently friends social media posts accounts roughly onethird consumer discovery events would seem logical assume live performance attendance also well placed benefit socalled fomo fear missing factor seemingly increasing influence us recent years record labels common practice among major labels income sources reduced included income stream recording agreements socalled deals argument including label spending lot money resource particularly early artists career raising artists profile fronting tour costs therefore benefit live activity may well opportunity without labels efforts opposite argument particularly established artists label significantly contributing fees artist gain already live shows therefore shouldnt benefit independent labels broad range deals available previously discussed guide many avoided including share live income recording agreements leaving income stream artist help artists cash flow sometimes avoid potential areas conflict independents always included live dont agree practice see point principle take share income different good inspect business feel aspect outset reassess gotouring album standard industry practice ensure significant live performances planned correspond record release combination impact points occurring concurrently makes numerous promotional advantages least combined promotional activity causing artists profile peak opportunities consumer aware artist content maximised regardless whether impact point live event recording addition also possibility co ordinating marketing advertising messaging right fundamentals consistency branding visuals including tour dates posters adverts pr perspective live shows also offer added value able invite host key tastemakers influencers order help spread word ever agent artist reached certain profile booking agents often shortened agent role procure live performance opportunities behalf artists agents roster commonly work exclusive basis earning commission five fifteen percent gross live earnings early stages artists career invariably attract low fees make procuring agent somewhat difficult agents commitment requires absolute belief artists long term potential order justify early efforts bring little income form commission industry role promotional element required extensive network reliable contacts relevant territories book regional national international levels broad range contacts allow greatest opportunity securing right kinds performances whether headliner support slots many festival propositions relevant individual artiststartup guide music businessthis never stop artist immediate team finding opportunities contacts activities artist team agent reinforce raise profile artist agents role particularly early stages artists career replace artist teams activities add bringing contacts play support slots whilst artists start careers booking gigs reality reach difficult spread beyond locality agents first role often help spread artists geographical reach expand live fanbase getting support slots playing second third bill support headlining artist part bigger event risk performing afield empty rooms mitigated somewhat relying draw main artist attract crowd bring following still crucial artist immediate team continue promote gigs order artist show loyal fanbase recommended promoter others get repeat bookings headline shows types deal offer seeking grow audience right established following outside immediate locality next opportunities headline tours agents role book route headline tour based logistics ie sensible geographical reach order minimise travel time reduce tour costs venue suitability population density also upon customer location data available typically comes whatever digital platforms artist already using various types deal agent strike headline performances reflecting negotiating position either promoter artist relative confidence capacity sell tickets typically based upon called door deals meaning income collected night door reality also advance ticket sales sometimes referred hard ticket sales used calculate percentage gross ie costs box office receipts split artist promoter less relevant expenses costs expenses typically include things venue hire security insurance sound engineer fee advertising etc broken detail events completion income split artist promoter variety ways flat deals guarantee artist set fee regardless ticket sales versus deal offer whichever higher artist specified flat fee percentage ticket sales plus deal offer guarantee plus percentage ticket sales alternatively straight percentage split offered based percentage ticket sales guarantee shows promoters scenarios different worth asking basis calculation unclear festivals offer added bill particular festival also important part artists profile build giving valuable credibility mention exposure perhaps large new audiences promotional opportunities might otherwise available even importance artist festivals typically position pay higher fees artist might otherwise attract headline proposition shows mention artist pay associated costs putting show festival offers typically flat fee nature among reasons ticket sales cant attributed single artist promoter promoter individual company whose principle role put live event importantly bear financial risk means even event undersells runs loss promoter still pay whatever costs already agreed startup guide music businessincluding artists fee promoter pocket whatever left expenses artist fee meaning risk considered justifiable financial upside successfully selling large venue shows enormous promotional activities typically take form mailouts existing customer databases flyering postering venue elsewhere placement press adverts relevant publications listings gig programmes well contributing towards costs activity social media advertising campaigns live promotion previously mentioned gig promotion responsibility promoter reality much promotional momentum live shows likely come artist sense fundamental principles artist adhere includes putting great show prominent posts social media profiles targets ad campaigns advance pr promotion fall within direct responsibility artist team around artist tour manager principle role tour manager ensure live event takes place planned take overall responsibility wellbeing artist crew effect also eyes ears manager ground without manager attendance every event alongside artist key role play preplanning preproduction elements tour activity helping budget book resources accordingly ensure every logistical element likely encountered considered advance dealt speedily cost effectively possible tour support artists live fees sufficient cover projected expenses performance allowing deductions agent manager commission signed artist likely look record label help cover resultant shortfall principle rights owner likely want artist live performance profile benefit activity also therefore party hopefully cashrich position record companys responsibility fund shortfall form socalled tour support advance inevitably approved considered recoupable cost offset artist income previously discussed label may feel justifiable take share artists live income result merchandise substantial opportunities generating either income promotional mileage touring beyond core element good performance traditionally significant merchandising works basic premise already interested artist ie gig attendees highly likely make purchase ie merch stand artist makes clear whilst onstage also come front house gig sign merchandise meet greet fans likely merchandise income takings increase considerably many venues would expect take split often around ten percent merchandising earnings return providing facility often written performance agreement always involve promoter providing personnel attend merch desk putting live events concept curation develops within recorded music side industry idea expands world live music putting live event relies mostly combination strength performing artists corresponding lifestyle branding communicated potential target audience handling factors substantial impact likely success event entrepreneurs quick recognise transferability curational skills live recorded music startup guide music businessopportunities become involved live events promotion expanded crowded live market important make event distinctive appealing whilst musical choices made send clear message type event audience branding communicated combination elements including everything choice visual assets including logo media partners used promotion venue location encouraged attend nonmusical activities facilities entertainment food drink options relevant type range accommodation degree event narrative also important artist campaigns relays sense identity artist consumer relate understand roles responsibilities value booking agent promoter tour management roles able differentiate headline support slots festivals associated monetary promotional value differing types deal likel entail use knowledge put place suitable live strategy drive artists career forward ensure promotion live events corresponding record campaign mutual benefit utilise suitable promotional means support artists events understand engage additional financial promotional opportunities live events merchandise beyond consider whether existing curational expertise could applied expanded upon within live events contextstartup guide music business sync commercial deals definition sync sync use music accompany synchronise moving image visual production typically film advert television use plus gaming sometimes even live events sync practical terms refers oneoff licence agreement use piece music conjunction another media instances blanket collective license eg ppl prs already place third parties need music established terrestrial television networks uk bbc itv example blanket licences licence available law ppl prs covers effectively uk music place use music represented across output true others sky tv particularly north american television broadcast film syncs desirable visual media industry primarily emotional connection music provides music evokes high emotional connection people potential substantially enhance feeling message syncs music used help convey story already exists pictures adding impact depth music also carries element credibility brands media often excited associated value sync financial value given sync deal varies enormously depending number elements type media film tv programme etc duration frequency music used artists notoriety production budget value purely financial though whilst syncs clear source recording publishing income also exist highly valuable promotional opportunity many syncs right film example kickstarted helped boost artists careers crucial moments area business procuring sync relies substantially luck terms right music particular opportunity right time capacity licensable within often short timescale music supervisors role music supervisor match music particular visual production clear usage ideally supervisor chosen extensive network contacts across music business also equally extensive knowledge musical styles genres current musical trends generally already part existing production entity hired flat fee basis supervisors contact point visual industry music industry hence play vital role process musical placement increasing chances getting sync many record companies publishing companies increasingly distributors sync licensing departments work hard procure opportunities also specialist stand alone sync agencies working close coordination labels campaign teams forthcoming releases form close relationships music supervisors agencies brands prable element synchronisation associated network supervisors agencies many practical copyright owner generate cultivate therefore usually preferable employ company operate sync agency working behalf repertoire owner syncready housekeeping ease track licensed often difference finalising deal independent labels made usp clearing sync quickly painlessly therefore underlying good practices copyright owners put place order startup guide music businessmaximise visibility possibility music synced ideal scenario copyrights track recording song owned one party allowing music supervisor negotiate one copyright owner representative means straightforward rapid clearance process possible usually case least preferable parties open sync deals principle ready respond short time frame musical content potential sync relevance also ready comprehensive detailed metadata possible well track title artist name licensing contact ideally include performers elements artwork isrc reference relevant musical genre well description key moods themes music might prove relevant songwriter information promotional tastemaker uptake always useful relay help convince artisttrack worthy attention also advisable instrumental versions material ready deliver request audio clashes often required alongside main sync use capitalising upon sync necessary also artist take proactive approach promotion around sync activity majority newlyexposed listeners know name artist track heard starts making track easy find audiences easy associate sync music generally available dsps time broadcast availability sync eg release game also sensible capture actual sync visuals share artists socials allow spread consumers may missed initial broadcast fans particular show video game copyright clearance music licensing clearance famously messy affair involve number people companies ambitions perspectives represents good deal least wanting use track sync must seek licences rights sound recording song composition possible use particular track without rights signed typically sum offered publishing recording entities equal value offering one higher provision almost certain invite denial side offered less sync deal terms many points consider negotiating synchronisation terms equally relevant sound recording songpublishing rights owner perspective include actual product whether specific film tv programme video game example context use ideally relayed via synopsis scene overview duration time music featured media type whether placed within framework perhaps cinema online tv online advert mid movie end credits example term long song exploited context relevant territories sync made available indeed geographical restrictions course fee payable copyright ownerstartup guide music businessgaming use music context gaming exploded recent times fuelled technology increased quantities time users spend gaming engrossing nature many games require similarly immersive use musical content timelines creating video games much longer music business uncommon developers embedding music game eighteen twenty four months advance release fees gaming structured somewhat differently syncs either straight buy flat fee lots rights royalty basis per copy game sold though increasingly online gaming monetised advertising selling copies game lump sums payable hitting given quantities games bought advertising television adverts probably frequent likely opportunity sync income copyright owners artist team part decisionmaking process regarding advertising approach whether association particular brand relevant advertorial treatment way damaging artists message reputation brand whether broader connection artist sync sufficient integrity adverts tend mainly overseen advertising agencies highly specific briefs musical feel lyrical relevance budget given ad third party commercial deals brands need music usually brand owner use music way reinforcing brands identity turning artists whose brand meet brand values even film television syncs brands use excitement showbiz value music energise product using promotional mileage way would otherwise much harder without association artist brand association means opportunity connect artist particular set hopefully shared values chance broaden audience first foremost potential sometimes significant income brand partnerships maximised ideally need mutually beneficial add value connect audiences commercial deal terms various points consider commercial deals mostly based around notions control extent sever terms event association turning sour include details specific service artist required provide essence done accompanying exclusivity brands seek restrict artists similar association competitor geographical reach deal extent either party creative control prevent misuse association eithers perspective agreement duration terms conditions respect severance particularly illegal activity arguably likely advent adverse publicity lastly fee including specific points activities trigger corresponding payment startup guide music businesswhat create relevant sync relationships music supervisors agencies third party brand owners also possible aims sync events networking events year ensure filing sync housekeeping done full order maximise capacity harness sync opportunity potentiall short notice consider employing third party sync agency aim proactivel getting better opportunities artists improve knowledge referring aim sync guide resources available attend aims sync session starting looking start approaching syncs perhaps aims annual sync conferencestartup guide music business international expansion digital platforms allow spread content countries without distinction music operates increasingly borderless music environment creating potential artists find new audiences outside domestic territory potential dramatically increases though employment local market expertise help make connections opportunities represent artist local level go overseas decision make sustained overseas efforts complex one often decision chicken egg situation existing overseas label partner may want see evidence market interest territory ahead committing time effort likewise interest likely element seeking overseas partner keys determining overseas activity research opportunity passion research first copyright owner certain existence relevant audience analysis success similar artists ought provide insight certainly combined naturally occurring overseas fanbase evidenced artists social media channels opportunity uncommon opportunities present artist particular overseas markets little evidence support fanbase might form tour support offer successful international artist creative relationship overseas artist online sync festival offer artist band member able speak particular language passion perfectly possible local partner whether discovery recommendation direct approach express enthusiasm artist interest alone sufficient generate momentum situation may existing evidence local uptake obvious opportunity capitalise upon simply degree excitement justifies putting effort route market whilst digital distribution arrangement allows artist cross borders number alternative routes market add additional interest reach rollout via label subsidiary networks many ukbased independent labels distributors network subsidiary companies partner labels distributors major recorded music markets particularly us germany networks allow domestic rights owner capacity preserve copyright ownership benefits independent approach maintaining high degree centralized control campaign process assigning rights overseas label instances worldwide rights selfowned recording agreement limited uk single territory common practice seek sort overseas recording agreement lucrative sign deals territory byterritory basis time consuming requires considerable knowledge territory also advantages assigning rights one label likely major record label always fewer labels work groups territory often share language legal system basis efforts coordinated straightforward organise licensing limited licensing tends occur artist proven track record substantial industry buzz country position strength comes entering license rather assigning recording rights outright license allows copyright owner give right release record given market local label ultimate ownership copyright retained returned period time startup guide music businessthe pa ygo pa go label increasingly viable option proven pedigree enough funding solid team around hire people direct represent local regional level copyright owner bears costs team must knowhow hiring experienced local team ground key markets whilst retaining complete control process direct communication everyone involved model likely keep higher share available revenues need cash available hire people expertise run team effectively remotely could different part world joint ventures joint venture partnerships tend option wellestablished artists labels proven pedigree seeking greater degree control overseas markets yet without incurring expense knowledge hiring form inmarket setup partnering existing company given territory allow greater control process potentially higher degree financial reward straight licensing option compromise comes form parties contributing towards costs though dividing resultant income equally split net receipts basis export practice selling domesticallymanufactured product overseas known exporting viable option repertoire owners looking dip toe given overseas market requires local distribution agreement allows owner claim net income costs distributing due sales complicated option beyond realm guidelocating overseas partners aside reaching likes aim shortcut identifying right international team matter capacity relationship takes association music business impossible undervalue significance networking keeping resulting relationships live healthy understanding local landscape one key advantages overseas team place gaining indepth knowledge direct access local media retail landscape makeup relative importance key partners varies enormously regional individual territory territory level making information fundamental campaign direct media relations important comes procuring desired promotional opportunities afar absence longerterm relationships cultural technical knowledge bring fraught room misunderstanding value market even allowing intelligent planning modern technology generic asset creation simply substitute artist present market given territory fundamental reality campaign team artist even local media become substantially engaged instant artist spends time particular territory moreover prominent media demand presence artist person hence time market almost certainly help procure better quality coverage bespoke content key potential supporters whether media retail value campaign justify creation exclusive content also countries traditional models required exclusive content order build startup guide music businessmaintain audiences nature content vary relatively straightforward delivered upfront written qa streaming playlist example created whilst artist present marketplace exclusive performance interview generic content value artist market presents immediate problem simply cannot one place time conversely still overarching aim every campaign feed many media outlets consumers possible order generate coverage however possible service everincreasing quantity media despite limited artist access servicing media epks electronic press kits files contain broad spectrum digitally delivered materials seamlessly adapted local use giving media outlet appearance direct access artist decide right time become active overseas markets partners form activity take place start build networks attend conferences networking events potential international services partners tend go aim runs number conferences aim connected aim house great escape attract people aim membership also offers discounts many uk oversees conferences events committed allocate sufficient time market resource content creation effort order maximise impact key territoriesstartup guide music business future need know predicting future business difficult thing et order survive must aware need adapt stands reason adjust best allow maintain business also steal competitive advantage current environment provides clues likely directions music business might take vast majority driven technological developments associated cultures arise result also worth realising music business seems function cycles often inventing equally often referring back earlier patterns trends allowing us recognise past give us valuable clues direction future converging digital media digital media seldom operate entirely isolation whilst music synchronisation long allowed placement musical audio accompaniment visual media potential interactive media far greater occasional hit film soundtrack focus moving focussing listeners attention ability accompany activities gaming leading way area us consumed music important know total value global music business utterly dwarfed gaming industry reality gaming long since taken music go subculture youth whilst could seen lessen music music still essential part mix fact music retains value makes highly desirable addition gaming interactive better recognition soundtracking element gaming nature users frequently play several hours time streaming platforms specifically curated gaming playlists gives enormous potential discovery new music gaming consumers prefer heighten user experience addition music ever increasing opportunities target otherwise difficulttoreach audiences data anal ysis collection subsequent use understanding data remains everexpanding area focus virtually modern businesses music otherwise digital environments allow us attempt understand engage ever key dissemination information useful learnings applied commercial benefit data analysis therefore becomes differentiator truly harnessing data virtual augmented reality notion using technology create virtual environments add real world experience exciting potentially limitless clearly cusp dramatic expansion arenas might reasonably consider music play part process key surely lies understanding technology must substantially add experience order create situation whereby user something virtually simply cannot otherwise real world environment area great potential harness example musiclovers unable physically otherwise attend gigs many potential opportunities enhanced storytelling superimmersive experiences artificial intelligence history music business industry curated business genrebased sorting however combination smartphone technology streaming consumption changing towards either mood activity based models likely discover artist song via revision chill concentration workout playlist whilst still require element curation direct focus startup guide music businesswe dictates want listen every single listening experience logged used create highly detailed individual fingerprint user preferences likes dislikes result unique musical dna every single user given digital platform clear humancurated experience subject one made ai artificial intelligence defined usage computer systems performing kinds tasks usually associated human beings purposes particularly related decisionmaking perception track choices fed streaming platforms algorithmbased playlists built collection vast amounts data recognise match preferences similar users reflect tastes back form alternative track suggestions use ai inevitable experience acquired systems becomes ever complex future collection analysis data harnessed conjunction application ever finessed ai systems emerging markets recorded music business dominated certain territories many decades us via japan germany uk downwards markets effective legal technological systems allowed grow flourish equally potentially enormous markets china russia india far greater population sizes didnt systems result represented opportunities piracy far legitimate commercial counterparts one effects dominance western music culture broader global picture global superstars invariably american occasionally british though reasons vary country country generally combination technological ideological governmental commercial developments historical borders musical expansion broken introduces tantalising proposition music socalled nontraditional markets greatly improved platform break globally considering population india alone greater north america europe combined potential impact development becomes obvious full stack media companies music income becomes ever spread across different sources workers within business adopt ever entrepreneurial approaches companies become less singlefocussed mentality result commonly known within business full stack principle rather departments subsidiaries operating independently one another combining across breadth business extreme right way content creation distribution promotion even retail becomes feasible control input stage process hence benefit processes multiple ways startup guide music businesswhat dont fear progress innovation change inevitable learn recognise harness dont jump onto every new app piece software lands desk fail survive making capacity select informed decision important sta date developments current industry affairs due diligence future aim runs quarterl musicmeetstech mixers covers technology subjects conference programme training sessions year make time project forward consider business look like two five ten years time innovation help hinder much need prepared al ter approach business model go make tremendous success businessstartup guide music business wellbeing music industry modern business world would failure address wellbeing make career music whether musicians people working support careers greatly increased cultural awareness mental health real widespread occurrence thankfully many establishments charities organisations offering support advice better way sign turn input longstanding british charity help musicians uk kindly relayed message publication nearly years help musicians uk providing help support opportunities empower musicians stages lives independent charity whose wide spectrum work includes integrated programme combining health welfare services creative development funding ground breaking research mental health helpline entire music industry hearing health scheme aims prevent hearing problems would otherwise bring musicians careers untimely end ou find helpmusiciansorguk musician crisis eg unexpected event illness accident means heshe cannot work work much subject eligibility criteria help musicians uk offer financial support including paying therapy medical treatment well making payments towards household bills living costs help cope working medical help via british association performing arts medicine including assessment specialist health advice treatment required information appropriate health care practitioners taking account needs musician visiting service understand need signposting sources support step change business debt line medical specialists ou contact hmuk also runs mental health helpline called music minds matter dedicated service anyone music industry trained advisors understand complexity working music listen support help time day night offer emotional support advice information signposting specialist services debt legal advice well access help musicians uk grants free confidential available across uk ou contact music minds matter email mmm helpmusiciansorguk also organisations help aim help signpost ou never suffer alone best seek help early possible finally know power friends networks peers help support us pass useful experience information aim encourages networking related activities anyone know vulnerable need emotional psychological support know help hand please reach appropriatestartup guide music businessfurther information information sources aims website aimorguk aims online resources publicly available information wealth exclusive content aim members guides tipsheets explainers articles video content aims conferences training events aim events conferences training events networking socials annual aim independent music awards opportunities substantial discounts available aim members friends aim directory evergrowing number companies offer services people releasing music pr plugging legal accounting data services venues dsps uk governments small business support services govukbusinesssupporthelpline queen mary universitys law arts service free legal advice creative industries lac qmulacukadvicearts musicians union advice guidance legal support musicians musiciansunionorguk help musicians uk music minds matter mental health helpline email mmm helpmusiciansorguk number groups organisations trade bodies music ecosystem focus specific activities genres areas business may also good sources information support principle ones found listed website uk music set provide collective voice across recorded published live arms british music industry lobbying government policymakers promoting shared interests uk music sector go ukmusicorg information recommended followup reading ou need know music business uk edition passman slackers guide music industry phil taggart getting es roger fisher william ury bruce patton music business essential guide law deals ann harrison secrets negotiating record contract moses avalon music licensing bob kohn note us centric dissecting digital dollar cmu insights diy access guide attitude everything traction startup achieve explosive customer growth gabriel weinberg touring mental health manual tamsin embleton fun kill friends john niven black vinyl white powder simon napierbell big life jazz summers another planet teenager suburbia tracey thorn close edge search global hip hop generation sujatha fernandes startup guide music business" +} diff --git a/mmf-aiguide.json b/mmf-aiguide.json new file mode 100644 index 0000000000000000000000000000000000000000..8a2e4596315719130c097cc57e2385b4fb643e3e --- /dev/null +++ b/mmf-aiguide.json @@ -0,0 +1,5 @@ +{ + "filename": "mmf-aiguide", + "department": "Manager", + "cleaned_text": "songwriter dissecting digital dollar themmfnetdigitaldollarthe music managers guide aiinterimthis guide music managers artificial intelligence impacting music industry helping navigate understand opportunities challenges posed ai offering guidance might advise clients looks music community using use ai tools also considers potential threats alongside musicmakers safeguard rights ever sophisticated ai models developed employed called interim guide technology regulatory framework evolving fast going need regular updating please check back mmf website ensure reading recent version music managers interim guide ai written chris cooke sam taylor cmu input expertise simkins russells level redburn atlantic blackstar mmf board team membership published september artificial intelligence new clearly become much bigger talking point last year partly developments evolution ai technologies partly governments lawmakers around world giving consideration might regulate different ai models platforms ai also starting much bigger impact music industry ai tools increasingly used part musicmaking process assist music marketing music business activities meanwhile rightsholders like record labels music publishers starting enter deals ai companies terms defining artificial intelligence term coined stanford university professor stanfords institute humancentered ai say intelligence might defined ability learn perform suitable techniques solve problems achieve goals appropriate context uncertain evervarying world fully preprogrammed factory robot flexible accurate consistent intelligent much research humans program machines behave clever way like playing chess today emphasise machines learn least somewhat like human beings depending define artificial intelligence certain technologies commonly referred ai may may fit definition technologies employing clever algorithms certain level machine learning may truly ai whatever definitions employ certain ai technologies able perform ever sophisticated tasks involve something similar human intelligence big impact economy society large way beyond music industry anticipated certain jobs including creative administrative roles could ultimately replaced ai also concerns ai models might used impact could privacy security democracy time ai creates significant economic commercial creative opportunities though general agreement competent regulation required ensure positives outweigh negatives short longer term section one ai music managers interim guide aigenerative ai context music industry wider creative industries particular interest generative ai specific kind artificial intelligence term refers ai models able generate original content whether text image audio video course music generative ai particularly new become much bigger talking point year certain generative ai models become lot sophisticated especially text image domain meanwhile number high profile generative ai platforms become widely easily accessible meaning many people interacting generative ai models seeing achieve artificial intelligence large choose define generative ai impact tools platforms fall banner may tools platforms commonly referred generative ai dont strictly meet definitionin terms generative ai music also worth distinguishing n ai tools assist human beings musicmaking process n ai tools similar generate music stitching together preexisting musical segments stems based criteria set user n ai tools similar help people generate tracks imitate style sound voice specific artists n ai models actually compose produce original music summer latter group ai models would include metas musicgen googles music lm still quite restricted terms length quality music generate yet clear long take overcome restrictions though given speed image generation ai evolved last year could happen relatively quicklythe music managers interim guide ai music sound time pitch energy rhythm frequency temperature volume timbre duration alternation generating music ai often involves using machine learning algorithms analyse large datasets existing music algorithm examines patterns structures music breaking track constituent parts using information generate new musicsection two using ai many ways music industry already employing ai including generative ai part music making process help generate distribute marketing content better manage rights royalties handle basic legal admin tasks effectively run music businesses artists managers operating levels starting make use ai tools includes songwriting recording musicmakers increasingly using generative ai tools similar assist musicmaking process either help ideas generate elements new work production mastering ai tools used help production process especially mastering process creating new recordings much debate regarding ability ai master recordings compared hiring mastering engineer although independent artists working tight budgets ai tools helpful marketing visual content musicmakers need generate huge amount content around releases marketing campaigns keep fans engaged social media platforms including written content well visuals video assortment ai tools available help process sometimes generating content scratch sometimes reformatting repurposing content different channels uses data management ai increasingly used music industry help data management rights metadata key part music distribution rights royalty management huge amount consumption fan data flows back music industry digital platforms ai used identify issues rights data impacting payments also help industry identify learnings fan data document creation companies including music companies starting use ai generate first drafts business documents including marketing materials also logistical even legal documents ai also used edit pull key information documents compare content different documents although generative ai tools impressive always aware limitations generally use tools create initial drafts always read music managers interim guide ai carefully publishing sending translation ai tools translate copy one language another becoming ever sophisticated various potential uses music might include automatically creating versions tracks languages allowing fans automatically access social media posts marketing content language choice probably check automated translations publication make sure glaring translation errors could embarrass client initial research ideas generative ai also used help research ideas part projects including ideas marketing campaigns general business development ai tools consider surveyed music managers marketeers ai tools currently using ten suggested managers might want check chatgpt lot managers marketers using chatgpt generate initial drafts marketing copy many uses especially make use chatgpt plugins bard generative ai tool google also used generate text prompts grammarly popular tool uses aienabled algorithm review spelling grammar punctuation clarity text otterai aipowered transcription tool good generating transcriptions recordings meetings conversations particularly multiple speakers dreamstudio stability ai good straight forward prompt based image generation tool practice generate great images little effort midjourney another popular ai tool generating images user prompts kaiber creative platform uses ai generate videos images based userprompts gen gen runway useful ai tools video creation voiceswap ai tool designed dj fresh nico pellerin used transform vocals sound like one number featured artists partnered company elevenlabs great tool ai generated voice voice cloning course small number ai tools available mmf compiling maintaining fuller list please let us know found useful also read guidance things consider using ai tools page music managers interim guide aisection three licensing ai training generative ai musicmaking generative ai trained exposed humancreated music may music specifically created training purposes production music libraries commercially released recordings songs tech company trains generative ai model existing music owned third parties make copy music onto servers poses number important copyright questions whole music community company need licence make copies relevant copyright owners assuming licence work income generated shared different stakeholders music industry rightsholder consent ai company need secure consent negotiate licence whoever owns copyright music used train model music industry says firm yes however ai companies argued training ai models covered copyright exception usually exception relating data mining possibly generic concept us law fair use copyright system provide number copyright exceptions scenarios people make use copyright protected works without securing licence commonly includes things like private copying critical analysis parody countries exceptions seem apply training commercial ai model although possibly still tested court example regarding fair use us tech companies argue relevant exception one jurisdiction providing base servers require licence music industry copyright industries lobbying lawmakers many countries seeking clarity regarding copyright obligations ai companies transpire training ai undertaken without licence small number jurisdictions copyright industries lobby policymakers countries interpret amend copyright law way counters fact would mean models trained unlicensed works relying copyright exception could commercially exploited countries exception exists practical terms would mean music managers interim guide ai platforms using unlicensed ai models would geo blocked countries internet service providers could also asked forced block access services search engines delist transparency labelling assuming agreed training generative ai copyright protected works requires licence copyright owners know works used theory possible ai company keep detailed record every work used train one ai model identify specific works provided learning andor influence subsequently generated content whether happening another matter ai companies may store data either efficiency reasons avoid future liabilities ai models also build upon learnings ai models theory complete record works used training still possible data likely lost scenario music industry copyright industries also lobbying ai companies wideranging transparency obligations law would two elements first content generated using generative ai clearly labelled would allow consumers distinguish aigenerated works humancreated works would also allow rightsholders identify works generated one ai model second ai company clearly declare material used train models obligation keep make available complete record works used part training process label publisher led dealmaking certain players music industry ie labels distributors publishers especially major music rights companies already negotiating deals certain ai companies allow ai firms train models using existing music owned controlled music businesses yet clear deals work obviously nature deal depend ai company plans specifically make use existing music ai tools subsequently employed monetised licensing deals negotiated streaming market musicmakers disadvantage managers one step removed dealmaking process deals negotiated rightsholders platforms usually allowed see specific terms music managers interim guide aione deal making hard evaluate broadly fair payments correct however number questions musicmakers managers might want ask labels distributors publishers work n rightsholders license full catalogues large portions catalogues training generative ai work ai companies artistbyartist writerbywriter workbywork basis n deals involve upfront andor ongoing training fee andor share revenue generated ai platform n rightsholder allocate income specific recordings songs ai platform able andor willing provide data assist process money allocated income shared musicmakers n share income allocated one recording song paid artist songwriter ie royalty rate applied role collecting societies yet clear role music industrys collecting societies play uk repertoire prs would involved point process performing rights song copyright exploited ppl would involved case arguing performers right equitable remuneration applied however collecting societies may wider role play depending technicalities ai model works complexities noted around identifying income allocated one recording song music industry sharing income associated new track generated ai income allocated individual works rightsholders easy identify existing works generic direct influence new work revenue sharing managed thousands millions existing tracks influence one way address complexities blanket licensing system even levy system similar private copy levy exists countries managed collecting societies monies distributed directly writers performers according rules set society pros cons approach labels publishers likely oppose going route may something music makers want consider music managers interim guide ai musicmaker consent common music industry artists songwriters assign license rights recordings songs business partners conventional record publishing deals label publisher owns copyrights music songs technically publisher owns elements copyright assigned writer collecting society even artists writers retained ownership rights entered distribution administration agreements label distributor publisher may granted business partner wideranging control music case label distributor publisher might empowered license music controls ai company without seeking specific consent musicmaker providing pay royalties musicmaker due contract however musicmakers managers would argue given novelty potential impact generative ai specific consent sought individual musicmaker music used train ai model music industry large talked lot need ai companies seek consent exploiting existing works part training process labels distributors publishers intend seek specific consent musicmakers independent music companies explicitly stated others implied including universal music announcing involvement youtube music ai incubator august remains unclear general industry position however oblivious position one label distributor publisher might take legal requirement musicmaker consent sought contractual veto rights artists songwriters assign copyrights works business partners labels publishers usually retain contractual rights often includes right consulted andor veto certain uses music synchronisation samples adaptations result creation derivative work rights vary contract contract conventions different record deals publishing deals commonly included consultation veto rights relevant use music ai companies moral rights moral rights provided creators copyright law vary greatly country country usually include right attribution right music managers interim guide aiobject derogatory treatment one work moral rights impacted upon training generative ai mean specific consent creator required worth noting moral rights relatively weak uk law waived record publishing contracts performer rights copyright law provides performers certain rights recordings appear even copyright owner performers approval required make recording performance exploit resulting copyright performers also due equitable remuneration via collective licensing system whenever performance communication controls sound recording copyright exploited performers granted necessary approvals train ai recording performance could uses ai necessitate payment equitable remuneration current system necessary approvals probably provided industry standard record contracts session musician agreements however copyright law could amended grant performers specific approval remuneration rights domain publicity rights publicity rights legal concept allow individuals control commercial use image personality indeed sometimes called image personality rights quite work differs greatly around world rights become commercialised recent decades different sectors within wider entertainment sports industries developed different conventions managed licensed football publicity rights players routinely exploited things like video games brand partnerships consideration given players deal club handles rights players might establish separate company control publicity rights club would enter separate deal company wanted pursue commercial opportunities exploit rights music artists would usually manage publicity rights partnership management basic record deal label would permission exploit artists image order market records releasing would usually involved commercialisation rights however labels started seek wider involvement artists publicity rights usually result music managers interim guide ai new digital opportunities artist representation gaming platforms like fortnite roblox context generative ai publicity rights relevant ai model imitates voice specific artist publicity rights come play uses generative ai publicity rights managed licensed domain extent artists business partners want greater involvement rights important note uk publicity rights currently exist law tort passing sometimes employed stop people commercially exploiting artists image personality though usually applies entity exploiting misleading consumer thinking endorsement artist given publicity rights could become important context generative ai areas like metaverse concept probably introduced uk law data protection rights data protection rights andor privacy rights may well give individual control storage distribution exploitation recordings voice image therefore arguably artist would need provide specific consent recording voice stored distributed exploited example ai company label would likely infer consent provided artists record deal comes standard storage distribution recordings however stretch assume inference context using artists voice train ai model matters legal requirement specific musicmaker consent exists important number reasons n industry large could provide additional control recordings songs even ai companies able find exploit copyright exceptions uses music n would allow musicmakers assigned copyright music business partners still opt ai licensing deals case bycase basis andor negotiate specific terms label distributor publisher regarding income ai deals shared n rights example publicity rights may also allow musicmakers negotiate deals directly ai companies alongside licensing deals struck labels publishers providing new revenue opportunities artist music managers interim guide aisection four campaigns consultations music ai number forums questions issues raised currently discussed considered instigated governments lawmakers music industry organisations creative sectors include governmentled eu ai act european union final stages agreeing new regulations artificial intelligence go effect across member states although act specifically focused generative ai measures regulating including transparency labelling ipo ai working group uks intellectual property office convened working group ai companies organisations across creator copyright sectors inform uk governments position ai copyright uk music council music makers sit group mmf involved debate cms select committee inquiry culture media sport select committee uk parliament reviewing impact new technologies creative sectors including ai published report august congressional hearings committees us congress staged number hearings ai including sessions specifically focused ai copyright us copyright office consultation us copyright office opened consultation seeking input various copyright issues questions posed ai music industryled human artistry campaign global campaign bringing together creators copyright owners multiple creative disciplines initially spearheaded us record industry since embraced globally multiple creative sectors uk music ai policy paper sets key objectives concerns generative ai behalf various uk music industry trade organisations including represent labels publishers artists musicians songwriters studio producers managers council music makers ai agenda featured artists coalition musicians union ivors music managers interim guide ai academy music producers guild music managers forum members uk music also identified communicated number questions labels publishers ensure music makers fully informed properly consulted generative ai business licensing models developed creative sectors creators rights alliance ai policy paper uk creators rights alliance brings together organisations representing creators many different artforms published policy paper ai like uk music policy paper sets key objectives concerns generative ai calls uk government clarify necessary extend copyright transparency obligations ai companies uk society authors ai policy paper practical guidance uk society authors published policy position ai well practical guidance members recommends authors include explicit terms new agreements effect publisher may use allow access work manner could help learningtraining artificial intelligence technologies added might want prevent ai technologies used connection creation exploitation work instance forbidding airendered translation editing cover design indexing audio recordings society also recommends authors check terms privacy settings cloud services use store develop work services default reserve right analyse text images development purposes always explicitly stated could include using work train ai systems us authors guild ai model contract clause march us authors guild published new aispecific model clause recommended inserted publishing distribution agreements within american books sector explicitly states consent granted use authors work purposes training ai guild also advised authors agents check existing agreements terms grant publisher right use work relation training ai generally things like internal purposes research data mining terms agreement said authors agents seek removed equity ai vision statement uk performers union equity published ai vision statement outlines eight principles believes industry adopt relation ai includes music managers interim guide aia commitment around performer consent said artists right consent consent performance voice likeness recorded used reproduced machine learning systems equivalent technology right cannot assigned waived applies perpetuity past current future performances likenesses sagaftra ai policy position june us performers union set position ai letter stated use performers voice likeness performance train artificial intelligence system designed generate new visual audio audiovisual content mandatory subject bargaining cannot unilaterally impose terms individual contracts purport grant rights entitled bargain compensation terms rights granted used position language performers contract attempts acquire rights noted void unenforceable terms negotiated sag aftra rights conveyed one demands ongoing sagaftra strike us studios production companies must provide guarantees intend use ai rights performers protected litigation addition campaigns consultations number lawsuits filed multiple countries test copyright obligations ai companies date mainly pursued book publishing photography sectors key cases including filed various authors openais chat gpt filed getty images imagebased generative ai platform stabilityai music managers interim guide ai section five advice managers using ai musicmakers managers making use ai tools part musicmaking process create marketing content otherwise number things consider reliability although generative ai tools already impressive without limitations need factored example use generative ai create marketing copy always see aigenerated content first draft checking content aware sometimes ai generate factually incorrect statements certain amount factchecking always advisable granting training rights making use ai tools wary rights granting ai company via terms service ai model likely trained prompts provide using tool existing content upload part prompting process make sure aware rights granting ai company working content copyright owner position grant rights copyright liabilities remember ambiguities outlined regarding copyright obligations ai companies current lack transparency regarding materials used train one ai model likely lot litigation ahead domain copyright owners might target users well owners allegedly infringing ai tools platforms may discourage companies especially bigger companies brands making use ai tools short term example reports big marketing agencies yet using aipowered image generation tools fears future liabilities instead waiting copyright obligations ai tools clarified lawmakers courts copyright status generated works much debate regarding copyright status aigenerated works ie ai generated content enjoy copyright protection uk copyright law provides ownership rules computergenerated works suggests works enjoy copyright protection however copyright systems silent assumed music managers interim guide aithat aigenerated works enjoy copyright protection means use generative ai create example artwork artwork may protected copyright would limit ability monetise content artwork considered public domain copyright terms anybody could make use artwork including commercially without getting permission us copyright office stated aigenerated works enjoy copyright protection aiassisted works obviously poses big question much creative input human must using ai tools work considered aiassisted rather aigenerated licensing ai musicmakers locked existing deals musicmakers locked existing record publishing deals via label publisher owns copyright artist writers music wideranging control music musicmaker manager n worth reviewing existing contracts identifying specific rights granted business partner exclusions veto rights included whether means business partner license musicmakers recordings songs ai company without getting specific consent n irrespective one contract says mmf advises musicmakers managers formally inform business partners consent granted use music makers music training ai even consent arguably required contract rights outlined may relevant industry may yet widely adopt position musicmaker consent always required uks council music makers published template letter musicmakers managers use confirm business partners consent granted assumed template next page also available via cmm website licensing ai new deals musicmakers negotiating new deals labels distributors publishers consideration given future use music ai domain n careful granting business partners rights beyond copyright example publicity image personality rights labels seek involvement rights clear specific involvement n seek specific ai approval rights contract use music managers interim guide ai template letter provided council music makers musicmakers managers tailor send labels distributors publishers work making clear advance permissions must sought music used train ai model dear x currently reading potential impact artificial intelligence especially generative ai music community wider creative industries good see many uk music companies organisations embracing human artistry campaign agree copyright protection exists help incentivise reward human creativity skill labour judgement creators copyright owners must retain exclusive control determining content used ensure human creators paid work important acknowledge potential positive impact ai music business also stressing ai companies business partners must respect copyright creator personality rights secure consent musicmakers making use music occur essential tech companies fully transparent train utilise ai models music turn rightsholders transparent licensing deals covering models income generated record currently consent recordings performed songs wrote cowrote delete appropriate used train ai models also consider use works context production derivative works unauthorised adaptation infringement moral rights look forward hearing opportunities music ai domain identify discussing might collaborate pursuing opportunities together many thanks insert name also access template councilmusicmakersorgailetterthe music managers interim guide aiartists music training ai requires explicit consent project byproject basis n seek specific ai transparency obligations contract rightsholder obliged disclose musicmaker work used ai training ai purposes generally includes artists music image uploaded ai platform order create marketing content n ensure ai transparency obligations extend ai companies rightsholder commits artists contract ensure transparency obligations included licensing deals ai companies kinds deal terms yet standard label distributor publishing contracts starting discussed part dealmaking process therefore managers lawyers always ensure things considered deal making covered new contracts mmf drafted sample contract term provide guidance protections managers might seek include new contracts domain intended simply inform contract negotiations managers consult artists lawyer guidance sample contract term follows explicit artist consent must secured music content produced created contract used licensed training generative ai models artist retains control professional name image brand logo face likeness voice signature identification attributes publicity personality image similar rights provided law explicit artist consent must secured rights exploited connection ai model platform debate around music ai rapidly evolving mmf likely update advice guidance regular basis check mmf website latest updates music managers interim guide ai section six next steps campaign music industry clarity rightsholder consent transparency musicmakers managers work wider music industry wider copyright industries example via human artistry campaign ensure n copyright obligations ai companies clarified new copyright exceptions introduced exploited circumvent obligations n clear transparency obligations applied generative ai models aigenerated works clearly labelled detailed record kept made available works used train one model campaign within music industry musicmaker consent deal transparency musicmakers managers campaign within music industry via organisations like council music makers order seek n commitment rightsholders specific consent sought musicmaker music licensed used ai companies n clarity ai licensing deals structured monies allocated individual works royalty rates applied ai income n discussion role collecting societies including complexities around licensing royalty distribution might best dealt via collective licensing approach review campaign stronger musicmaker rights musicmaker management communities review general legal requirements regarding musicmaker consent including copyright law also result publicity rights data protection law may require clarity law andor extension rights including introduction publicity rights uk law confirm position existing business partners musicmakers managers confirm labels publishers work provided consent music used train generative ai models may remain debate consent required label publisher good clear consent assumed implied consider ai new deals musicmakers managers negotiating new deals labels publishers music managers interim guide aimusicmakers managers consider ai tools enhance assist businesses musicmakers managers aware rights granting use ai tools musicmakers managers wider music industry campaign clarity ai company obligations ai companies must seek consent rightsholders fully transparent training datasets ai companies rightsholders must seek explicit musicmaker consent rightsholders involve musicmakers managers development ai business models rightsholders fully transparency ai deals revenues managers review existing musicmaker record publishing contracts context ai managers ensure ai considerations included new musicmaker contracts ai checklistshould ensure musicmaker consent required music licensed purposes training ai models also seek transparency obligations rightsholder regarding use musicmakers music ai also careful granting business partners rights beyond copyright publicity rights clear business partners involvement areas music managers interim guide aiabout mmf mmf worlds largest professional community music managers world since inception worked hard educate inform represent managers well offering network managers share experiences opportunities information community managers based uk global businesses wider network managers globally engage advise lobby industry associates provide professional voice wider industry issues relevant managers mmf runs training programmes courses events designed educate inform artist managers well regular seminars open meetings roundtables discounts workshops artist manager awards themmfnetabout cmu cmu helps people navigate understand music business media training consultancy events media includes cmu daily bulletin setlist podcast online cmu library offer music business training programme deliver training courses music companies organisations consultancy work sees us provide strategic support intelligence expertise wide range clients uk eu around world also regularly produce publish research reports white papers latest trends music business completemusicupdatecomthis interim guide music managers artificial intelligence impacting music industry produced music consultancy cmu music managers forum" +} diff --git a/mngment-mrkt-ar.json b/mngment-mrkt-ar.json new file mode 100644 index 0000000000000000000000000000000000000000..082bf4589eefc7998bf14c1d76bcac7d8f15fde1 --- /dev/null +++ b/mngment-mrkt-ar.json @@ -0,0 +1,5 @@ +{ + "filename": "mngment-mrkt-ar", + "department": "Marketing", "Manager", "Ar", + "cleaned_text": "keith negus music genres corporate cultures music genres corporatecultures music genres corporate cultures explores workings music industry tracing often uneasy relationship entertainment cor porations artists sign keith negus examines contrasting strategies major labels like sony universal managing different genres artists staff assesses various myths corporate culture takeovers affect treatment artists polygram perceived european attract us artists didemi records attempt change corporate culture study three major genresrap country salsanegus investigates music industry recognises rewards certain sounds influences creativity musicians theiraudiences explores artists get international promotion others neglected performers packaged worldmusic negus examines tension raps image spontaneousmusic streets practicalities market asks executives new york feel uncomfortable visit countrymusic business nashville explains lack soundscan systems puerto rican record shops affects salsas position us bill board chart drawing extensive research interviews music industry per sonnel britain united states japan music genres corporate cultures shows creation circulation consumption popular music shaped record companies corporate business stylewhile stressing music production takes place within broader cul ture totally within control large corporations keith negus lecturer department media communica tions goldsmiths college university london author producing pop popular music theory music genres corporate cultures keith negus london new yorkfirst published routledge new fetter lane london ecp ee simultaneously published usa canada routledge west th street new york ny routledge imprint taylor francis group edition published taylor francis elibrary keith negus rights reserved part book may reprinted reproduced utilized form electronicmechanical means known hereafterinvented including photocopying recording information storage retrieval system without permission writing publishers british library cataloguing publication data catalogue record book available british library library congress cataloguing publication data negus keith music genres corporate cultureskeith negus p cmincludes bibliographical references index sound recording industry popular musichistory criticism title mln dc isbn master ebook isbn isbn adobe ereader format x hbk pbk contents acknowledgements vii introduction culture industry genre conditions musical creativity corporate strategy applying order enforcing accountab ility record company cultures jargon corporate identity business rap street executive suite corporation country culture communities musical production latin music industry production salsa culturalmatrix territorial marketing international repertoire world music walls bridges corporate strategy creativity within andacross genres notes bibliography index acknowledgements substantial part book based research funded eco nomic social research council esrc great britain within themedia economics media culture programme award ref l would like thank working esrcwho made possible along various anonymous referees andassessors whose comments reports helped focus ideas andthink project clearly would like extend specialthanks simon frith chair programme provided intellectual guidance practical advice also important feedback encouragement suggestions response questions working ideas research margaret crawford took administrative systems leicester univer sity unknown territory threemonth period planning andduring time away endured assisted number ofdesperate faxes concerning things unpaid hotel bills changeditineraries medicines spider bite would like thank margaretfor patiently coordinating sorting many administrativedetails research also help number personalmatters also leicester would like thank annabelle sreberny much personal professional support prior research thanks oliver boydbarrett prompted focusmy thoughts musical genres grey awayday leicestershire countrysideoliver unwittingly helped set motion pattern ofevents led research book peter jackson helped formulation research agenda providing number insights management thinking notions corporate strategy still leicesteri would like thank university supporting research forprior financial assistance enabled visit japan conducta number interviews uk puerto rico would like thank emilio pantojas garcia welcom ing center social research investigador invitadoand providing intellectual dialogue space reflect upon research material develop ideas specialthanks also due angel quintero rivera chuco much personaland professional support encouragement constructive criticism ofmy writings dialogue many ideas grateful jorge duanywho suggested submit article revista de ciendas socialesand subsequently translated spanish thus earlier versionof chapter appeared vol nueva epoca revista would also like thank journals anonymous referees com ments suggestions thanks jorge giovanetti torres liliana cotto discussions culture society puerto rico thecaribbean generally time new york city would less rewarding without company dialogue dave sanjek bob annie clarida kai fickentscher assisted urban orientation aspects research planning thanks also stuart liebman colleagues studentsat cuny queens providing feedback encouragement inresponse tentative working ideas thanks staff radio cityapartments flexibility friendliness assistance communications uk special thanks nel roman welcoming new york extended family showing parts city would otherwise probably little personalexperience tennessee would like thank paul wells providing access library facilities center popular music middletennessee state university staff library country musicassociation richard peterson dialogue information insightsabout country music city nashville material chapter researched trip japan would particularly like thank masahiro yasuda hiroshiogawa toru mitsui tadd igarashi welcomed intotheir homes shared music ideas food also thanksto takuya iwamura help arranging interviews translation would like extend gratitude following people gave time talk work companies genres themusic business general uk mike alien roxy bellamy minafukue david hughes hiroshi kato jorgen larsen eric longleyjonathan morrish fran nevrkla tina poyser john preston steve redmond peter scaping jeremy silver stuart watson adam white theunited states sarah brosmer brian chin bob christgau kevin conroysue dagostino tim dubois curt eddy john esposito chet flippoharry fox lynn franz joe galante victor gallo john ganoe jeffgreen linda greenberg george grelf david harleston ricardo howelldaniel jason anne latora joe levy fran lichtman roy lott anneviii music genres corporate culturesmansbridge ruby marchand kirn markovchick keith mccarthy david mcdonagh alastair mcmullen bob merlis antonio morenomarcus morton havelock nelson barbara nuessle rigoberto olariagajoanne oriti jim parham hal peterson jr dennis petroskey ronnypugh eddie reeves paul robinson nelson rodriguez michael rosenblatt terri rosi rick sanjek maribel schumacher ajax scott davittsigerson scott siman gene smith tanous neil turkewitz reneewhite timothy white larry willoughby walt wilson tim wippermanand puerto rico thanks lourdes laboy japan yoshihisahonda kei ishimura kei ishizaka akira kuwabara shigeo maruyamakei nishimura shigeki ouchi akira yokota researching thinking writing book tried number ideas formal presentations written work duringinformal conversations benefited feedback suggestions insights number people reading many draft chapters providing useful critiques encouragement suggestions wouldlike thank mike picketing thanks dave laing discussing working ideas pointing number useful directions providing withinformation spotting many errors drafts theircritical constructive comments response draft chapters thank reebee garofalo dave sanjek richard peterson also characteris tically perceptive insights observations helped thinking various working ideas would like thank paul du gayeamonn forde dave hesmondhalgh sarah thornton thanks torebecca barden alistair daniel sally carter elizabeth jones atroutledge crashlanding back highfields year away eased frequently crazy company eamonn hilde simon thanks tooto hari shoba friendship wit wisdom much transatlantic love support practical help throughout research project would like thank brothers chris phil parents maureen gordon finally yet importantly wouldlike thank patria love support wisdom sharing magic realism occasionally bizarre sometimes frustrating neverdull storyacknowledgements ix introduction first made contact record company aspir ing school friend mailed copy badly recorded reeltoreeltape donald jumbo vanrenen virgin records thinking back longlost recording produced acoustic guitars keyboards one live take back room parents house surprised thatwe even received response let alone brief letter accompaniedthe returned tape recall songs promise vocalswere weak advised try record using betterqualityequipment beginning long association recording industry would spend many hours offices ofrecord labels production companies song publishers initially oneof numerous musicians songwriters attempting make themusic business older increasingly wiser sociologistattempting understand peculiar mixture reckless abandon andcautious indecision feature music entertainmentindustry years first tape number us made transition back rooms bedrooms performing regularly pubs community centres youth clubs parties recognized venues become participant member passionate competitive yet convivial somewhat idiosyncratic music scene cowriting school friendsoon joined xray spex briefly achieved certain degreeof fame lesser degree fortune finding working inthe office building society stints numerous bands ended performing lesser known embarrassingly named coconut dogs released couple singles played numerousclubs bars provincial venues sinking ever deeper obscurityand inevitable bustup due stupid arguments areeuphemistically referred musical differences trailed routethrough various solo outings typical early faddish synthesizerprojects moved temporary bands playing ses sions variety people provoked equal doses elation despair time music industry various artist repertoire r people agents wouldbe managers publishers wheelerdealerswere lurking background occasionally stepping foreground verge signing lucrative compared dolepublishing contract songwriting company interested suddenly make financial cuts result earlys recession contact lost job sign witha music business contact manager procure thatelusive solo deal suddenly disappeared telephone calls hispersonal contact number exproduction company eventually provided vague information rather suddenlygone argentina much interest another manager andafter number telephone conversations met dingy bar adjacentto london station presented vision sawmy stage show future direction evoked image smalltheatre audience house lights dimmed thenafter heuttered phrase dry icei stopped listening mind wanderedon projects remember taking train back suburbsin rather depressed state realized one sane sober moments neville shakespeare told journalist turned backon aspirations fortune fame stardom producing ecological acoustic piano music might appear nuclear holocausti still news cutting became apparent something notquite right either music business peripherals thefactories warehouses working support earnings music habit driving crazy desperation ibecame sociologist devoted time attempting understand tried figure sitting alibrary north london recording latest album manhattan armed degree sociology grant study phd revisited many offices boardrooms maybe simply appeared walked rooms pencil hand stared thoughtfully similar rows desks low comfy chairs cooldudes blank security guards boredlooking receptionists hung around back gigs seeking packs r staff andlistened drunken conversations spoke poppaper peoplesifted words journals trade magazines biographies andconnected range sociological ideas retrospect oneof motives studying industry undoubtedly therapeutic ialso two fairly clear wellformulated intentions first would beable impart knowledge wisdom anyone brave stupid music genres corporate culturesenough follow route information might prac tical use thosewhether musician industry worker frustrated fanwho subject deal music industry whateverway second wished contribute academic debates scholarshipwithin popular music studies field study begun creeping intoclassrooms corrupting curriculums sociology cultural studies andrelated disciplines book second attempt understanding music industry works approaching perspective developed sociologist extended argument cre ation circulation consumption popular music shaped recordcompanies corporate owners along numerous peoplewho participate making called genre cultures myconcern interplay uneasy interaction economics music commodity various business strategies organizational struc tures culture practices interpretations ways life musicians fans industry workers ways two oftenblur fuse also interested genre categories inform theorganization music companies creative practices musicians andthe perceptions audiences researching thinking writing issues gradually become aware experiences recording industry musicmaking informedthis project influencing issues decided focus upon theway thought looking back period havebriefly alluded reflecting upon slightly ifonly knew know sentiment realized manyof intuitive assumptions made music industry result ofpersonal experience informed ideas developed moremeasured selfconsciously intellectual way book alsoadd reassessed numerous previous assumptions result research two main ideas trying think researching writing bookgenre corporate strategyand want highlight issues bearing come torecognize creativity chapter provide discussion themes terms specific intellectual debates theories without wishing become indulgent selfreferential want include words personal experiences assumptionthat unique comparable others may haveendured involvement writing songs performing andattempting obtain recording contract least would like toacknowledge ideas putting forward book notsimply derived detached scholarly process research thinkintroduction ing writing come together following rather chaotic pattern learning longer period central issue concerned book genre way musical categories systems classification shape themusic might play listen mediating experience ofmusic formal organization entertainment industry retrospect one two notable exceptions experiences amusician contained within whole series genre boundaries codesand expectations way impact upon musical consumption certainly experiences member bands agreater lesser extent focused goal recording contractwere lived within specific genre worlds first days trying toform band initial recurring question always type ofmusic play followed influences whatdo listen would ask asked meetings thatoccurred result wordofmouth communications answeringadvertisements melody maker reply notices placed record shops responding handscrawled announcements innewsagents windows type question would asked whenwe began arrange gigs didnt matter performance pub wedding arts centre support act another bandthe question always type music youplay attempt refuse musical labe lling coyly playing game dont like classify unlike bandwould help us get bookings would usually result request tohear tape decision could made began playing front public soon became apparent audiences became fans followed usaround would opinions category mightbelong break performance end gig members audience would come various unsolicited opinions makingspecific comparisons still recall play keyboards like guy incockney rebel band sounds like xtcthe boomtown ratsthe beatsplit enz would generic comparisons new wavebut bit soul youre poppy place heavy greatthe band members performing last phrase utteredwere using amplifiers pa equipment would best intentions continually produce distorted sound opinions influenced way band interacted audience weperformed drew set lists practical way recognized boundaries genre expectations interacted andoverlapped got know venues could bitpoppy could get away extended jams improvisationwhere bit heavy rows motorbikes parked outside music genres corporate culturesthe pub club usually clue couldor impor tantly could notinflict audience attempts funk workouts orintroduce reggae rhythms rock n roll standards responses expectations audiences influencing per formances assumptions genre codes also impactupon songwriting style playing like many people wasoften simultaneously member groups performing different repertoiresfor example playing slightly jazzy steely daninfluencedband time member punk bandand dont think unusual although often strategically necessary con ceal double lives reca pre punk days brief period playing heavyish rock band calledappropriatelybullfrog nightmare asked join band membersdid compose material heard somehow someone could write songs couple weeks rehearsals conversations introduced songs band response stillrecall songs good good lyrics melodies abit much like paul mccartney somewhat irritated iwent away brought limited knowledge deep purple bear ariff stolen lou reed put fuzz box wrote rock band cause minor havoc rundown hotel called rock man sion hotel instantly accepted band grasped genre rules years later asked join another band wake punk new wave desperately trying modify theirawkward retrospect rather unique unblended mix old r n briffs genesisinspired whimsies trex boogies instantly founda place angry elvis costello pastiches combinations ifound outlet bad stevie wonder imitations learnt stop thinking chords follow groove playing discojazzfunk irealized punk rock finally allowed leave keyboards behind jump across stage playing electric rhythm guitar badly naturally irony always vaguely aware throughout time lack relationship genre performed band musical inclinations record collections individual musiciansindividual preferences often eclectic defying simple assumptionsabout direct connection musical taste market socialidentities would also apparent meeting getting knowthe musicians bands groups tense collusion collision factions cliques lliances un style often result degree antagonism compromise occasional synthesis thiswas always leading arguments resulting bands continually splitting reforming alternative compromise simply involved goingcrazy going solo many us tried subsequently cometo believe successful bands knew exactly genre theyintroduction playing recognized musical social boundaries stood audience wanted hear see told mostinteresting bands musically least strange unpredictable mixtures messes trying please range audiences band members simultaneously always befound club bar somewhere necessarily mostsuccessful either commercial terms according ability tocommunicate large numbers people usually formerrather latter obtained recording contracts goeswithout saying ultimate genre question wasand isasked byrecord companies way music industry rewardsand recognizes certain genre practices sounds combinations cultures andnot others categorized easily labelled slotted thecultures production easily others one central themesof book concerns music industry broader social networks act divide constrain potentially fluid multiple influences genre crossings issue record company strategy also central book signed record company numerous discussionswith others receiving end various deals would believed record companies coherent strategies maybe back early clear obvious nowcertainly memories member bands signed record companies bring mind images inertia indecision things happening music business disorganized populated byuntogether people label directors always changing mindsand changing staff different r person seat every sixmonths recall days following euphoria accompanied thesigning recording contract time great expectations nothinghappening date release first single cameand went recording delayed forces beyond control release thefirst single postponed distribution company hadceased operating new deal completed poly grambut rest assured committed band firstrelease new deal single long last releasedbut seemed little evi dence marketing promotion managed get independently produced first single played three different bbc radio oneshows word filtered along chain friend friend knewsomeone worked secretary bbc independent promoter subcontracted push single opinionthat piece shit got attractive recordings plugwe told diplomatically record company wasnot radio friendly senior staff record label began reassess music genres corporate culturestheir obligation release second single even reach impending decision proceed first contractual optionclause commit record album informed thatthere problem credentials production duo exmembers wellknown rock band agreed produceour next single met discuss arrangements studios directors record company concerned theseproducers reputation remaining sober studio sowhat collective response rock n roll appreciatedby ones held purse strings even costs could recoupedfrom future earnings introduced another producer whocame qualification played sessions david bowiehe told us nice anecdotes really hit himmusically else would produce us weeks went turned months beginnings serious emotional arguments frustrated band membersand record label thought difficult also became vaguelyclear company financial problems eventually settledwe paid small amount cash spent bygoing straight recording studio putting awful demos good recorded reboundnot best selection songs performed fast many instruments inthe mix lot shouting halfsung ranting accompanying vocalline still recall reaction one r man polydor wepresented tape days later pressing stop button listeningfor less thirty seconds turned us monotone whichmust perfected many years said drum sounditslast years thing maaan time shortly afterwards believed entire mess one big unlucky chaotic cosmic accident without underlying logicreason cause later reconsider view formed opinion another typical series occurrences within themusic business symptomatic record companies function mostof time believe indicative inherent instability music business uncertainties corporate strategiesattempt deal also types fiascos sort ofevents corporate strategies help create reflecting upon experience particularly prefacing sociological account recording industry seems worth highlighting tensions different understandings worldof musical production one side academic tendency developedfrom training modern sociology brings assumptionthat lives people things occur according particular types oflogichence idea identifiable patterns music indusintroduction try practices recognizable motives guiding habits actions musicians recording industry personnel alike humanist sociologist learnt deal fellow human beings rational andincreasingly reflexive selfconsciously aware actions circumstances limit enable us engage one activity notanother like sociologists strongly resist tendency yiewbehaviour terms individuals hidden psychological motives orquirks instead focusing combined actions numerous groupsand alliances seek explain entities recording industry work systematic coherent orderly manner guiding approachis belief type knowledge useful academic colleagues students musicians people within recording industry policymakers anyone seeks participate exercise influenceon processes commercial music production yet time music industry clearly operate supposed doesnt work continually producing hugenumbers failures disorder even according basiccriterion success process generates large amount confusion incomprehension misunderstandings exploitation conflict andanxiety great music manage escape vortex seems inexplicable even magical point moments notions experiential confusion andimmediate emotional response mysteries music rub upagainst confront simply diverge away attempt offer systematic analysis chaos appeals many peoples experience themusic industrynot postmodern feeling relativist anxiety consequence complicated multiple influences potentially knowablenor psychological malady neither socialpsychological stateof equally explicable disorientation musicians experience andindustry workers anxieties embrace chaos confusion real expla nation social life organizational existence denying entiremess amenable kind systematic academic explanation challenge facing sociologist one become acutely aware result prior feeling chaos confusion however position book recording industry might make us feel confused mean cannotrelate disorienting rhythms specific social processes practices organizational arrangements always suspicious simple onedimensional explanations musicindustry operates whether tales corruption commercial ripoff ormodels melodies passing along bureaucratic assembly lines dobelieve possible research study gain useful insightinto complexity people organizations companies alliances andthe historically changing motives influences agendas shape music genres corporate culturesproduction popular music throughout book explain measured comprehensive way corporate contextthat surrounds tiny human dramas already alluded highlight reasons record companies characteristicmix reckless speculation sign band nervous caution whatshall using number sociological ideas toevoke series dynamics social relationships discursive practiceswhich characteristic features music production bearing mind thecomments intention presenting material thisbook neat mode l wish r educe diverse range expe riences drawn closed system production anumber moments shall explicitly attempt connect feelings confusion incomprehensionfor example discussing theconsequences corporate strategies problems faced senior executives chapter highlighting different ways music move across international borders chapter book informed oblique way series personal experiences also draws numerous sources writings authors fall sometimes one side sometimes related division grows dichotomy dividing experientialimmediate analyticreflexive usually pits oftenantagonistically academic writing varieties journalism andfanzine material similar way writings industry management often diverge material found weekly magazinesnewspapers popular paperbacks immediate analysis rallying calls pronouncements big business might shouldnot measured writing academics mayhave developed critical studies activities withinindustry commerce impossible deal subject production music recording industry without drawing upon acknowledging different sources various insights claims limitations dont pretend woven material put togetherfrom sources entirely academic analytical totally coherentand seamless pattern may certain academic perspectivesome parts book thought descriptive journalistic certainly much considered academic vantagepoint many fans journalists differing perspectives notalways discrete number authors successfully written acrossthese types divisions approaches also often converge divergeinteract inform one another example many people within themusic industry hold coherent theories andwhy music industry people within behave way dointroduction theories subcultures indies versus majors record compa nies throwing mud wall found writings academics everyday beliefs trying make sense whatthey within music business indeed drawn theseideas using material derived personal interviews musicindustry personnel leads another issue series ofdilemmas questions think useful raise introductory words years often asked similar question research question goes something like know thatpeople music industry telling truth notsimply lying giving standard public relations line commontype question fact asked many times researchers andinterviewers general asked extra suspicion perhaps people within media music entertainment industry particularly inclined deception lying simple practical response type question argue researcher draw repertoire techniques foundexplained many interviewing textbooks ask question different manner attentive body language signs evasiveness ask question different people check sourcestry validate said triangulation aware ofdifferent perspectives situation seeking sourcesof knowledge topic relatively straightforward needslittle elaboration however issues raised questionsabout truth might gained interviewing posing thistype question interviewing presupposes underlying truth world gain access askingpeople right sort questions way reveal truthif truth exist additional assumption person might interviewing aware knowledge thistruth hence supposition made conceal fromus issues concern philosophical problems nature truth relationship thoughts verbal utterances worldthey seek explain debates whether interviewer interviewee relationship provides means producing information world whether used reveal discover already existing truths fully deal issues would lead way beyond scope introduction wish say something issuehere clarify approached interviewing materialderived interviews first consider interviewing far collection data far concerned producing series standardized questions survey type format asking sam music genres corporate culturesple people interviews specific social encounters individuals occur particular times places relationshipwhich established develops develop theencounter decisively influence material derived interviewinterviews extracting information truths waiting revealed instead interview active social encounterthrough knowledge world produced via process ofexchange involves communication interpretation understandingand occasionally perhaps misunderstanding major part research book used interviewing attempt understand individuals within music industryperceive imagine world working nottaken reality simply constructed reality brought intobeing interview adopted naive realist approach presumed said interview understood reflection reality meanings soughtas much possible place within organizational historical socialand geographical contexts tried locate voices used inthis book way context interview apparent andin order conditions within understanding reality produced become clear way intend voices sim ply speak provide index particular truths andunlike academic researchers seeking develop socalledobjective concepts independent world views people placed within study easily result inrhetorical cynical attempts undermine devalue views thepeople spoken studied ie researcher translates someones words authoritative discourse therhetorical umbrella critical scientific thought since least nineteenth century numerous sociologists philoso phers stressed producing intellectual accounts world simply study observe human action behaviour away comparable natural physical sciences focusing growth plants movement atoms forces influencing flightof jet aircraft instead study social life people already ideas concepts theories world hence production theories concepts social scientific humanistic research inevitably involves process mediation translation wedraw existing frames meaning interpretations circulating inthe world order produce social theories seek understandinterpret theorize develop concepts world alreadyunderstood interpreted theorized various existing conceptseven ideas may strike us rather basic form ofintroduction everyday common sense cannot go find fun damental truth side yet researcher draws upon interpretations meanings already world people might studying drawingupon ideas interpretations developed circulated social scientists interaction lack separation cannot bracketor separate social scientific interpretation meanings people give situations within live idea discussed asthe double hermeneutic work anthony giddens traceableback writings wilhelm dilthey nineteenth century verymuch attempt stress connections vernacular everyday way people interpret understand lives themore technical formal interpretations theories developed bysocial scientists philosophers point two separate one cannot detached elevated moreauthoritative position simply produced ascholarly academic scientific method conducting research previous books apparent people music industry draw uponideas cultural studies sociology musicology linguistics semiotics often mediated journalism courses media cultural stud ies speaking artists recordings videos aspects production distribution much academic writers draw everydaytheories circulated staff within music industry thisthat makes arguments corporate strategies creative activities independent record labels subcultures company cultures identity globalization commodification simply concern academicdebate ultimately leads come experiential confusion favour order explainedunderstood acted upon book written academic reader mind informed type interactions beensignallingbetween scholarly academic theorizing vernacular everyday practical knowledge hope written con tribute sides often fraught divide also interpretative links two terms books structure arranged following chapters build account recording industry production ofpopular music based way specific cultural practices areproduced interaction corporate strategies musical genre formations first chapter provides frame outline theexplicit theoretical ideas informed thinking arewoven throughout later discussion chapter explains reasons corporate strategies introduced strategies involveand considers main consequences chapter focuses music genres corporate culturescritically companies adopt similar strategies also attempt differentiate according ideas company culture andcorporate identity first three chapters provide context profiles rap country salsa follow chapters chapter place musical production within interna tional setting aim chapters introduce number ofthemes issues discussion different types music ratherthan engage type comparison aspects examplecomparing role distribution radio geographical identities eachcase wish highlight specific ways musical production isshaped particular genre cultures highlight broader historical social context within production takes place examplewhen thinking production rap salsa country couldsuperficially note manufactured distributed recorded music companies carry corporate logos use office arrangements accord staff similar basic occupational titles andpromote media formats however way whichthese genres come produced circulated differenttoo often study pop rock generalized indicative ofall industrialized musical production general formal organiza tional similarities often conceal important cultural differences musical sounds meanings dependent upon way industry isproducing culture also shaped way culture producing industry thematic phrase leads directly firstchapter detailed discussion conceptual ideas whichframe rest bookintroduction bibliography adorno culture industry selected essays mass cul ture ed j bernstein london routledge adorno horkheimer dialectic enlightenment lon verso anderson b imagined communities london verso angelero backtoafrica reverse transculturation salsacuban popular music v boggs ed salsiology afrocuban music evolution salsa new york city new york excel sior pp aparicio f listening salsa gender latin popular music puerto rican cultures hanover nh wesleyan university press aparicio f ch\u00e1vezsilverman eds tropicalizations transcultural representations latinidad hanover nh dartmouth collegeuniversity press new england armstrong p limits possib ilities hrm age man agement accountancy j storey ed new perspectives human resource management london routledge bechdolf u dancing latin american music exoticism cre olization cultures paper presented popular music intercultural interpretations ninth conference international association study popular music july kanazawa japan becker h art collective action american sociological review vol pp art worlds social types rpeterson ed produc tion culture london sage pp billig banal nationalism london sage boggs v salsas origins voices abroad latin beat vol pp ed salsiology afrocuban music evolution salsa new york city new york excelsior bourdieu p distinction social critique judgment taste london routledge field cultural production cambridge polity rules art cambridge polity buckingham l tune uncle sam guardian may p chambers urban rhythms pop music popular culture london macmillan migrancy culture identity london routledge chapple garofalo r rock n roll pay chicago nelson hall clarkmeads j ifpi says sales latin markets bill board august p clarkmeads j white roger ames new president polygram music group billboard april p cline c indie country twanging april pp cusic country green money country music ctichi ed readin country music steel guitars opry stars honky tank bars south atlantic quarterly vol win ter pp dane c uk record industry annual survey westonsuper mare media research publishing dannen f hit men power brokers fast money inside music business london random house de wit b meyer r strategy process content context minneapolisst paul west publishing company deal kennedy corporate cultures harmondsworth penguin decurtis ore day vibe december pp duany j popular music puerto rico toward anthropol ogy salsa latin american music review vol pp duffy emi spans globe new world music series bill board february p du gay p consumption identity work london sage ed production culturecultures production open university london sage edwards stein j getting giggy hoodie young black designers giving urban fashions street appeal time vol pp ellison c country music culture jackson university press mississippi estupinan lm canarias decana espanol de la salsa el manis ero aprilmay pp music genres corporate culturesfabbri f theory music genres two applications ptagg horn eds popular music perspectives gothenburg exeter iaspm patterns music consumption milan reggio emilia april may ptagg dhorn eds popular music perspectives gothenberg exeter iaspm system canzone italy today sfrith ed world music politics social change manchester manchester uni versity press pp fabrikant g weinraub b gotten part bronf man plays mogul new york times money business febru ary section p feiler b gone country new republic february pp feld communication music speech music year book traditional music vol pp notes world beat ckeil sfeld eds music grooves chicago university chicago press pp fern\u00e1ndez r course us cuban music margin mainstream cuban studies vol pp fernando jr sh new beats exploring music culture attitudes hiphop edinburgh payback press 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wishart pp work representation shall ed representation cultural representations signifying practices london sage pp hannerz u transnational connections culture people places london routledge harker one money politics popular song lon hutchinson hebdige subculture meaning style london methuen hennion popular music social production dhorn ptagg eds popular music perspectives gothenberg exeter iaspm pp production success antimusicology pop song popular music pp intermediary production consumption producer popular music science technology human values vol pp hesmondhalgh flexibility postfordism music industries media culture society vol b independent record companies democratisation popular music industry phd thesis goldsmiths college university london british dance music industry case study indepen dent cultural production british journal sociology vol pp hirsch p processing fads fashions organizational set analysis cultural industry systems american journal sociology vol hofstede g cultures organizations london mcgrawhill international hosokawa date salsa tiene frontera orchesta de la luz orbibliography globalization japanization afrocaribbean music unpub lished manuscript jackson k americas rush suburbia new york times sec tion e june p jeffrey warners fuchs pledges scrutiny billboard octo ber p jhally codes advertising london routledge johnson r polygram hits keep coming racial tensions record label fortune vol p jones fought law american music industry global popular music market tbennett sfrith lgrossberg jshepherd g turner eds rock popular music politics policiesinstitutions london routledge pp jones tc accounting enterprise london routledge kotler p marketing management analysis planning implemen tation control new jersey prentice hall laing sound time london sheed ward one chord wonders power meaning punk rock milton keynes open university lash urry j economies signs space london sage lee reexamining concept independent record company case wax trax records popular music vol lewis l ed adoring audience fan culture popular media london routledge llewellyn h vibrant sounds cuba spreading world cuban music industry showing signs life billboard may p mcclary feminine endings music gender sexuality min neapolis university minnesota press mackay h ed consumption everyday life london sage malone b country music usa austin tex university texas press second edition manuel p salsa music industry corporate control grassroots expression pmanuel ed essays cuban music lan ham md university press america pp salsa beyond pmanuel ed caribbean currents philadelphia temple university press b latin music new world order salsa beyond r sakolsky fweihan ho eds sounding music subversion resistancerevolution new york autonomedia pp marcus g fischer anthropology cultural critique chicago university chicago press marlowe hermeneutics rap asexton ed rap music genres corporate culturesrap straightup talk hiphop culture new york delta pp martinbarbero j procesos de comunicacion matrices de cul tura naucalpan mexico ediciones ggili communication culture hegemony media mediations london sage mattelart advertising international privatization pub lic space london routledge miege b capitalization cultural production new york international general mitchell popular music local identity rock pop rap europe oceania leicester leicester university press morley chen kh stuart hall critical dialogues cul tural studies london routledge morris c mca purchases interscope gangsta rap issue minimized execs billboard march p mosco v political economy communication london sage murdock g golding p political economy mass communications rmilliband jsaville eds socialist regis ter london merlin capitalism communication class relations jcurran mgurevitch jwoollacott eds mass communication society london arnold pp neale genre london british film institute questions genre screen vol negus k producing pop culture conflict popular music industry london edward arnold global harmonies local discords transnational poli cies practices european record industry european journal communication vol mystical meets market commerce cre ativity production popular music sociological review vol popular music theory cambridge polity presswesleyan university press production culture pdu gay ed produc tion culturecultures production london open universitysage pp nelson h rap evershifting climate rap holds steady grows strong billboard november p newman music city musings labels abound songs duos premium billboard october p bibliography global strategy critical sony executives mottola bowlin billboard may p nunziata year business billboard december p ye ochs e latin crossover thats set shake world music business international vol olivier c polygrams hollywood dream corporate finance september pp pacini hernandez view south spanish caribbean perspectives world beat world music vol pp padilla f salsa music cultural expression latino con sciousness unity hispanic journal behavioural sciences vol palmer r salsa escape cultural ghetto new york times january section part p pareles j small world good new york times march p h parker wuwear urban clothing chain opens store folk va virginia pilot may p payton set source january p perez b political facets salsa popular music vol peterson r production culture prolegomenon rpeterson ed production culture london sage pp production cultural change case contempo rary country music social research vol dialectic hardcore ftshell c ountry music ctichi ed readin country music steel guitars opry stars honky tonk bars south atlantic quarterly vol creating country music fabricating authenticity chicago university chicago press peterson r kern r hardcore softshell country fans journal country music vol philips c charting sony musics future los angeles times business may pp dd pickering history experience cultural studies london macmillan powell k live death row vibe vol february pp pride european equalizer music business international vol p purcell j impact corporate strategy human resource music genres corporate culturesmanagement jstorey ed new perspectives human resource management london routledge quintero rivera ponce danza national question notes towards sociology puerto rican music vboggs ed sal siology afrocuban music evolution salsa new yorkcity new york excelsior pp camouflaged drum melodization rhythms maroonage ethnicity caribbean peasant music gbehague edmusic black ethnicity caribbean south america new brunswick transaction books pp practicas musicales visiones sociales apuntes sobre la sociologia de las m\u00fasicas mulatas la cansi\u00f3n popular vol pp salsa sabor control sociologia de la musica tropical havana premio casa de las americas mexico siglo veintiuno quintero rivera manuel alvarez l la libre combina cion de las formas musicales en la salsa david goliath revista delconsejo latinoamericano de ciencias sociales vol pp ramirez joining party multinational giants see great potential latin music los angeles times washington edition march p b reynolds j rap confab assembles nation billboard november p capitol records setting bad example billboard march p robbins j cuban son form genre symbol latin american music review vol roman velazquez p construction latin identities salsa music clubs london ethnographic study phd thesis leicester university el desarrollo de un circuito salsero la construccion de identidades latinas en londres revista de ciencias sociales nueva epoca rondon cm el libra de la salsa caracas venezuela editorial arte rose black noise rap music black culture contem porary america hanover nh wesleyan university b contracting rap interview carmen ashurst watson ross trose eds microphone fiends london routledge rosen c capitol moves urban division emi staffers laid billboard march p rubin secrets chching spin october pp bibliography russell r edge row music row magazine vol june p russell w editorial information please rhythm music maga zine september p ryan j peterson r product image fate creativ ity country music songwriting jettema dwhitney eds individuals mass media organizations creativity constraint london sage pp salaman g culturing production pdu gay ed production culturecultures production london sage pp samuels rap rap black music isnt either sexton ed rap rap straightup talk hiphop culture new york delta pp sandler big labels ride black music bandwagon variety august vol p sanjek blue moon kentucky rising mystery train complex construction country music ctichi ed readin country music steel guitars opry stars honky tank bars south atlantic quarterly vol winter pp one size fit precarious position africanamerican entrepreneur post ww american popularmusic american music vol popular music synergy corporate culture tswiss j sloop aherman eds mapping beat popular music contemporary theory oxford blackwell sanjek r american popular music business oxford oxford university press schiller h culture inc corporate takeover public expression oxford oxford university press yet postimperial era critical studies mass communication vol pp information inequality london routledge schumacher sampling sport digital sampling rap music law cultural production media culture soci ety vol pp scott dornemann embracing danger avoiding risk music business international vol sexton ed rap rap straightup talk hiphop cul ture new york delta siehl c martin j organizational culture key financial performance bschneider ed organizational climate cul ture san francisco josseybass singer r tradition innovation contemporary latin music genres corporate culturesmusic new york city latin american music review vol pp smircich l concepts culture organizational analysis administrative science quarterly vol snyder artist support groups billboard june p stephenson wh coulter em eds history south vol xi new south baton rouge louisiana state university press tagg p musicology semiotics popular music semiot ica vol pp tate g hip hop dead vibe vol march p thornton club cultures music media subcultural capi tal cambridge polity tichi c high lonesome american culture country music chapel hill university north carolina unesco culture industries challenge future cul ture paris unesco varela c cubadisco cubas new free market salsa wwwsalsasfcomfeaturescubadischtml vincent r funk music people rhythm one new york st martins press wade picardie j music man ahmet ertegun atlantic records triumph rock n roll new york ww norton whalen j rap defies traditional marketing advertising age march p williams r culture society harmondsworth penguin long revolution harmondsworth penguin keywords london fontana williamson j decoding advertisements london marion boyars willmott h strength ignorance slavery freedom manag ing culture modern organizations journal management studies vol yamotei n sleeve notes soro salif keita stern records zimmerman k year turmoil music business international october pp bibliography" +} diff --git 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woodbine street studio especially vinyllp space age recordingspsydel ch irascible media baker chet mr b print vinyl since first official vinyl reissue since chet baker american jazz trumpeter actor vocalist needs little introduction reissue remastered peter brussee herman brood featuring original album cover shot hans harzheim pharoah sanders coltrane sun ra also included original liner notes jazz writer wim van eyle two bonus tracks original vinyl release reissue comes deluxe g vinyl edition obi exclusively record store day uk europe lp tidal waves musicjazz ch irascible media barbieri gato last tango paris record store day exclusive release features new artwork lp pressed pink vinyl housed gatefold jacket limited copieslast tango paris film directed bernardo bertolucci saxplayer gato barbieri realize soundtrack three main ingredients blended among grooves memorable score tango melodies course melancholy orchestra string instruments erotic tension generated gato barbieris saxophone thanks unique style could combine energy feeling like others worldlp ams ost ch irascible media bardo pond ellipse rsd purple vinyl copies worldwide double purple vinyl gatefold sleeve sixth album bardo pond critically revered space rock masterpiece ellipse reissued first time since lp fire records rock ch irascible mediabbc radiophonic workshop thefour albums six cd box set including four main radiophonic workshop albums bbc radiophonic music radiophonic workshop fourth dimension glass darkly bonus discs stone tape changes card wallets bookletcd silva screen ost ch irascible media bevis frond dinosaursdouble black vinyl gatefold sleeve dlc copies worldwide staggering slices trademark psychpop manner sprawling bevis frond classics like new river head available double vinyl first time ever lovingly packaged gatefold sleevelp fire records rock ch irascible media bevis frond valedictory songsdouble black vinyl gatefold sleeve dlc recorded gold dust studios new sense optimism fuller sound lots extra energy nick believed might last ever record addition piano keyboards brings instrumental direction former hawkwind bassist adrian shaw exmarrillion tub thumper andy wardlp fire records indie ch irascible media bevis frond dinosaursdouble black vinyl gatefold sleeve dlc staggering slices trademark psychpop manner sprawling bevis frond classics like new river head available double vinyl first time ever lovingly packaged gatefold sleevelp fire records indie ch irascible media black lips theys person world feat keshablack vinyl copies worldwide black lips pop superstar kesha join forces theys person world lush country ballad fitting tribute traditions nashville rich musical history flip exclusive black lips track left cold culled album sessions fire records indie ch irascible media blanck mass blanck massas blanck mass benjamin john power takes anthemic melodies heroic doses noise pioneered fuck buttons directions sometimes immediate always thoughtprovoking ambient droning electronic music recorded apartment became projects selftitled debut album mogwais rock action label originally issued abstract yet often accessible work fuck buttons blanck mass received favorable reviews well comparisons brian eno ghost boxs roster artists sundowner track album used summer olympics opening ceremony rsd clear vinyllp sacred bones altern ch irasciblerecord store day gsa stand vertrieb interpret titel info format inhalt label genre artikelnummer upcean atch janein\u00fcber wenrecord store day gsa stand media bmx bandits c rsd white vinylsurprisingly available vinyl since release debut lp bmx bandits features norman blake francis macdonald teenage fanclub blake songs cowritten duglas stewart one blake sole original essential twee brilliant britlp glass modernindie ch irascible media brion jon synecdoche new york ostthe soundtrack charlie kaufmans cult movie synecdoche new york starring late philip seymour hoffman released first time white vinyl copies lp fire soundtracksost ch irascible media broken bones dem bonesbroken bones classic debut album dem bones reissued limited black white quad quartered vinyl lp fall outjungle punkmetal lp dat media detroit cobras feel gooddetroit cobras pride finding obscure bside gems making exciting new generations tracks first come black river house recording studio personally built kenny years hard work even refurbish old rca tube console hand similar one used sun studios wild honey recordsrnr ch irascible media doctors madness dark timeslimited edition copies clear vinyl triumphant return dom missing link david bowie sex pistols guardian years imploded backwith album seething lyrical anger passion potent incisive musical dissection modern life contemporary politics released decadelp molecular screamrock ch irascible media dransfield barry barry dransfield rsd green vinyloriginally released polydors folk mill imprint barry dransfields first solo album extraordinary debut comprised inspired original songs 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media hunny yes yes yes yes yes first time ever vinyl blue vinyl lp epitaph punk lp datvertrieb interpret titel info format inhalt label genre artikelnummer upcean atch janein\u00fcber wenrecord store day gsa stand media jansch bert live italydouble black vinyl copies worldwide previously unreleased live recording bert janschs stunning concert mestre teatro corso italy double vinyl housed wide spined sleeve includes download cardlp earth recordingsfolk ch irascible media jazz butcher big planet scary planet copies worldwide black vinyl big planet scarey planet real band album touring unit become really quite ferocious pat fish sound bigger symphonic swirling guitars remastered reissuedlp fire records indie ch irascible media jazz butcher condition blueblack vinyl copies worldwide condition blue sees jazz butcher solo band playing smart pop songs cleverly twisted lyrics ringing guitars sad sax solos poppy kind music thats slightly nostalgic remastered reissuedlp fire records indie ch 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modernpunk ch irascible media monk thelonious palais des beauxarts first time vinyl format thelonious monk american jazz pianist composer needs little introduction unique improvisational style made numerous contributions standard jazz repertoire concert album comes deluxe g vinyl edition obi strip also included exact reproduction original concert poster released exclusively record store day lp tidal waves musicjazz ch irascible media morby kevin oh mon dieu live paris oh god kevin morby live paris formidable opaque red vinyl lp dead oceans indie ch irasciblevertrieb interpret titel info format inhalt label genre artikelnummer upcean atch janein\u00fcber wenrecord store day gsa stand media morricone ennio fistful dollars record store day exclusive release pressed red vinyl housed gatefold jacket limited copiesyear almost nowhere little known regarded director sergio leone transposes western key film akira kurosawa putting together right pieces adding bit intuition lays new rules spaghetti western genre giving way endless series imitationsep btf ost ch irascible media morricone ennio dollars record store day exclusive release pressed yellow vinyl limited copies dollar trilogy sergio leone given new offer another western movie could refuse dollar trilogy sergio leone given new offer another western movie could refuse following rules working film story bernardo bertolucci dario argento directed monumental upon time west featuring american actors henry fonda charles bronson among others ep ams soul ch irascible media morricone ennio upon time westrecord store day exclusive release pressed yellow vinyl housed gatefold jacket includes poster limited copies worldwide previous years film fistful dollars sergio leone thanks success already helped codify massively increase popularity spaghetti western genre together one two lead actors clint eastwood gian maria volontelp btf ost ch irascible media morricone ennio good bad ugly record store day exclusive release lp pressed red vinyl housed gatefold jacket includes poster limited copies good bad ugly neither less perfect soundtrack wonderful western movies third final act dollar trilogy directed sergio leonelp ams ost ch irascible media mouth congress ahhh pollutionmouth congress movie mids comedy punk band fronted paul bellini scott thompson kids hall mouth congress much band nature mid bellini thompson enjoyed ragtag aesthetic recording tape recorder sitting freezer basement putting xeroxed posters neighbourhood buying costumes salvation army using equipment years earlier loved rough edges fit message selfrealization whereas kids hall professionally produced bigbudget television show mouth congress assembly brilliant scraps artfully arranged first single transparent orange vinyl rsd captured tracksindie ch irascible medianahko medicine peopletake power back live lifeguard vinyl record limited edition picture disk includes x poster featuring original art mear includes letter artist includes download card career built reflective deeply personal songwriting nahkos extraordinary new album take power back stands far away profound revelatory fully realized collection yetdep side one dummyaltern ch irascible mediaost balfe lorne bbc national orchestra walesthe musical anthology dark materialstwo black lps gatefold sleeve set alternative multiverse covers printed x doublesided inserts composer lorne balfe bbc national orchestra wales introduces series character themes dark materials new tv adaptation philip pullmans acclaimed series novelslp silva screen ost ch irascible media ost bernard james dracula curse frankensteingatefold sleeve red green lpsworld premiere recordings complete scores two classic hammer films sthe curse frankenstein starred peter cushing baron victor frankenstein christopher lee creature racula made also starred peter cushing doctor van helsing christopher lee count draculalp silva screen ost ch irascible media ost rota nino godfather sleeve w printed inner sleeve white vinyl silva screen ost ch irascible media obsessed theincarnate ultimate edition sun yellow rsd vinyllong print blues funeral recordings new ultimate edition obsessed incarnate completely remastered features addition new tracks packaged new artwork photos allnew extensive liner notes written obssesseds wino tell stories behind longlost gem incarnate released beautiful gatefold double lp package unique vinyl color configuration exclusively record store day rsd eu colour limited copieslp blues funeralstoner ch irasciblevertrieb interpret titel info format inhalt label genre artikelnummer upcean atch janein\u00fcber wenrecord store day gsa stand media ohl oktoberrevolution rsd ein weiterer klassiker deutscher hardcore punkgeschichte erstmals als format gepresst unglaublich kraftvolle musik eing\u00e4ngige gitarrenfortschritte clevere stop andgoarrangements stellen ihre bisherigen ver\u00f6ffentlichungen den schatten bei der verpackung wurde wert auf originalit\u00e4t gelegt vinyl kommt bedrucktem innencover coverartwork der nachpressung das sleeve folgt der originalpressung aus dem jahre dar\u00fcber hinaus enth\u00e4lt diese ver\u00f6ffentlichung auch die \u00fcberarbeitete version der originalbeilage nur st\u00fcck exklusiver rsdfarbeep power pkhc ch irascible media operation ivy energyfirst european pressing classic half white half black limited lp epitaph punk lp dat media pale saints mrs dolphinoriginally released previously available cd japan ad finally giving pale saints early singles compilation mrs dolphin first ever vinyl pressing rsd album rounds tracks early ad eps barging presence god halflife plus track indie compilation gigantic colour sky track exclusive record never pressed vinyl coming hot heels th anniversary edition debut album comforts madness sleeve mrs dolphin also designed tim odonnell based upon original art limited coloured vinyl pressinglp cd ad alternative lp dat media parker bobby soul blueslimited exlclusive pressing rsd units taken years since recording debut vinyl lp compilation issued name great soulful blues singer bobby parker recording titanic hard fair latest cut album present unforgettable vocal performances plus two instrumentals showcase unique way playing blueslp rhythm bluesblues ch irascible media paw patrol paw patrol official theme song record store day exclusive release limited copies pressed bone colored vinyl housed full color jacket limited edition vinyl pressed dog bonewhite featuring four hit children songs paw patrol series including official theme song album officially licensed nickelodeon comes housed full color jacket center labels featuring characters show enjoy rideost ch irascible media pennywise fusefirst time ever vinyl th anniversary orange w black splatter vinyl limited lp epitaph punk lp dat media phoebe killdeer fade line picture disclimited one sided picture disc original track initally released kwaidan records pop ms media pigbag dr heckle mr jiveblack vinyl copies worldwide debut album postpunkfunk group pigbag formed creative jam sessions punks aftermath young group gathered steam convincing expop groups simon underwood join fun mixing punk funk jazz ska reggae afrobeat bewitching brew vinyl reissue first time album wax since lp call voidpunk ch irascible media qasim naqvi betaclear vinyl inkl download code pakistaniamerican avantcomposer drummer cult experimental acoustic trio dawn midi qasim naqvi lp erased tapes pop lp dat media raised fist sound republic first time ever vinyl black vinyl lp epitaph punk lp dat media ross tal giant shirleyfirst time vinyl released cd numerous musicians played along george clinton parliamentfunkadelic mob perhaps mysterious would guitarist tal aka tawl ross available deluxe g double vinyl edition obi exclusively record store day uk europe lp tidal waves musicfunk ch irascible media sarathy korwar otherland new track transparent green vinyl ms leaf label jazzworld ms dat media shakespears sister rsd red vinyl copies first time vinyl third shakespears sister album one lp transparent red vinyl transparent blue following success hormonally million sales siobhan fahey went record third shakespears sister trilogy sexy glam influenced first single drive uk top hit album never released nowlp inpop ch irascible media skye keeping secretslimited edition lp gatefold white vinyl skyes release keeping secretslp skye soul lp datch media slint breadcrumb trail good morning captainouttake versions recorded september two spiderlands songs exclusive comes clear vinyl touch go altern ch irasciblevertrieb interpret titel info format inhalt label genre artikelnummer upcean atch janein\u00fcber wenrecord store day gsa stand media slut feat acid pauli soul hospitalneuer track exklusiven remixen acid pauli consolelimitiert auf exemplare slut indie ch irascible media snapped ankles metres hebden bridgelive album limited edition leaf green vinyl lp dllp leaf label rockpop lp dat media sohn sohn live metropole orkest first release black vinyl lp widespine lp ad pop lp dat mediasoul jazz records presentsvariousstudio one rockersdouble lp green vinyl th anniversary edition classic studio one rockerslp soul jazz recordsreggae lp dat mediasoul jazz records presentsvariouslicensed ska x boxsetlimited edition oneoff pressing seveninch box set featuring ten super rare killer cuts five singlessi soul jazz recordsska si dat mediasoul jazz records presentsvariousbrazil funk powercollectors seveninch box set rare classic brazilian funk boogie samba soul trackssi soul jazz recordsfunk si dat media spacemen threebie rsd yellow vinylyellow heavyweight gram audiophile vinyl lp previously released limited mailorder edition black vinyl threebie live spacemen recording featuring performances gig melkweg amsterdam excluded live performance albumlp space age recordingsindie ch irascible media spectrum forever alien rsd orange vinylorange heavyweight gram audiophile double vinyl lp previously released vinyl british space rock band spectrum project led sonic boom aka pete kember solo artist kember recorded spectrum ear experimentallp space age recordingsexper ch irascible media sun ra egypt xlp boxsetfirst vinyl reissue xlp previously unreleased rare photos extensive new liner notes live perfomances egypt lp strut jazz lp media surfer blood astro coast th anniversary editionwest palm beachs surfer blood fuse sunny surf rock charm indie rock cool buzz around band built quickly hit road art brut japandroids preparing debut album originally released early astro coast warmly received critics introduced surfer blood greater audience anniversary rsd edition comes blue red vinyllp kanine recordsindie ch irascible media telescopes altered perception rsd purple vinylpurple heavyweight gram audiophile double vinyl lp previously released vinyl telescopes english noise space rock dream pop psychedelic band formed stephen lawrie total eleven released albums including debut taste released altered perception collects intricate workings first two albums odd rarity bside thrown good measure never released vinyl nowlp space age recordingsnoise ch irascible media television personalities kind happiness singles double black vinyl copies worldwide two disc retrospective every single track released television personalities tail end legendary songwriter dan treacy gifted teller places world hazy shade focus heading deep introspection diary demise seen half empty glass darkly dan treacy pete doherty hes elliott smith ian curtis honestly genuinely better gifted either pop matterslp fire records indie ch irascible media charlatans uk charlatans uk v chemical brothersoriginally pressed four track promo five track cd us market first time five charlatans chemical brothers remixes available together vinyl remix patrol originally released b side jesus hairdo whilst nine acre dust chemical risk dub appeared youre thinking things single available record store translucent yellowlp beggars banquetalternative lp dat media dead south little light minehouse rising sununver\u00f6ffentlichter song house rising sun cover devilduck recordsbluegrass si dats media delines imperialblue colour vinyl edition americanaukcom readers poll best band winners best live act winners best album winnerslp decor alternative lp dat media pale fountains longshot lovenew enhanced remastered vinyl edition longdeleted pale fountains compilation originally released enhanced artwork beautiful gatefold coverlp marina records pop lp dat media wolfgang press unremembered rememberedthis one real surprise wolfgang press ad fans featuring never heard tracks unremembered remembered essentially final album wolfgang press never exhumed tracks band mastered final studio sessions abbey road sound magnificent art release done longtime ad collaborator chris bigg news albums existence drop rsd announcementlp ad alternative lp datvertrieb interpret titel info format inhalt label genre artikelnummer upcean atch janein\u00fcber wenrecord store day gsa stand media throwing muses purgatoryparadise rsd reissue copies worldwide originally released purgatoryparadise gets reissued double vinyl gatefold sleeve emerging ten years hiatus formidable track opus tangible bliss altrock heroes lp fire records altern ch irascible media variousdennis hoppers last movie rsd yellow vinyllimited yellow vinyl gatefold sleeve incredible success film easy rider dennis hopper given complete freedom direct star bizarre surrealist last movie released last movie recordings released first time ever audio format taken original movie reels featuring first ever performances kristoffersons legendary bobby mcgee plus sublime countryfolk songs john buck wilkin peruvian folk dance music recorded live set peru nothing overdubbed plus provocative movie dialogue dennis hopper sam fuller otherslp earth recordingsworld ch irascible media variousdetroit punk archive end night lp set gram vinyl features songs including twelve previously unreleased tracks detroit first wave punknew wave groupslimited copies pressed third man pressing detroit mi beautiful deluxe tipon gatefold jacket extensive liner notes inserts digital download card morelp hold fast punk ch irascible media variouskiss kiss bang bang rsd double pack coloured double pack coloured vinyl track compilation covers james bond themes dame shirley bassey david gedge wedding present teams louise wener sleeper unused thunderball theme mr kiss kiss bang bang left outsides provide psychedelic take diamonds forever darren hayman imagines goldfinger chorus bond girls dj downfall theoretical girls icy cool synthpop moonraker please fans ladytron black box recorder flying lizards indie ch irascible media various memphis soul limited exlclusive pressing rsd units lp history soul recordssoul ch irascible media various mighty instrumentals soul rbstyle limited exlclusive pressing rsd units junior parker sly stone lonnie brooks ike turner weve got soul meets rb 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moment maximum thrills minimum frills londons warsaw pakt took premise one step recording album live straight direct cutting lathe forty years later needle time stands one authentic documents lean visceral sound london punk rock banner year lp single pack reissued vinyl first time includes insert extensive liner notes mike stax ugly things magazine individually hand customized record cover exclusive rsd releaselp munster pkrnr ch irascible media wipersis real anniversary edition rsd celebrating year anniversary debutlp wipers includes individually autographed concertposter greg sage bonus four songs original tracksessions transparent clear audiophile vinyl pressed rti custom reflective mirror board jacket unquestionably portlands wellloved punk group formed late released debut lp songs stabbing jittery guitar snapped vocals unabashed teen angst full desperation yearning lp stood blueprint wretched youth yrs early given mainstream attention nirvana covered tracks record cobain announced one primary influences group units worldwidelp jackpot recordspkhc ch irascible media wire glimpse wires working practises wire play live different classes pieces performed new songs old songs new old songs also pieces never seen major release reason never fitted album best ideas recorded two sessions one relating red barked tree recorded another relating wires latest album mind hive released hence titlelp pink flag rock ch irascible media zavala malena la yarara pink vinyl rsd versionpink vinyl rsd edition including downloadcode album well abbey road session magazine made artistlp yucatan recordssingso ch irascible alivedalvanius fascinations golden harvestvoodoo lady need love rsd warm launch new reissue label rewarm record store day heading south equator new zealand doubleheadervinyl warm disco dance ga alive dmob call acieed remixes rsd rsd classic pioneering acid house track new remixes serge santiago mall grab rebuke nathan micayvinyl london records house ga alivegiorgio moroder ft kylie minogueright right nowlimited edition grey vinyl containing two unreleased kenny summit remixes club instrumental mixes huge giorgio moroder track right right featuring vocals none kylie minoguevinyl lp good records dance ga alive grid flotation clear vinyl rsd clear grid dave ball soft cell richard norris released groundbreaking slice ambient house soon became regarded time ibiza balearic classicvinyl chemical alley techno ga alive himons aashid gods ep rsd aashid himons classic electonicreggaeboogiefunk track finally gets well deserved reissuevinyl lp music dreams reggaedubdancehall ga alive jungle brothers got like thatthe sly stone sampling scene smashing hip hop track got like launched jungle brothers world housed groundbeaking debut album straight jungle original copies single change hands youre lucky fully remastered official reissue exactly doctor ordered backed rare ultimatum mix aka stereo mcsvinyl idlers hiphop ga alive kraftwerk kraftwerk rsd th year anniversary edition kraftwerks seminal first album gr black vinyl lp full replica artwork shrinkwrappedvinyl lp true choice recordings krautrock ga alive kraftwerk kraftwerk ii rsd reissue kraftwerks sophomore album ii gr black vinyl lp full replica artwork shrinkwrappedvinyl lp true choice recordings krautrock ga alive minnie riperton les fleur oh wayon th birthday influential slice soul celebrated remastered reissue minnie ripertons iconic majestic much sampled les fleur hand numbered limited edition picture sleeve run favoured likes jurassic damu fudgemunk cut chemist famously covered dego backed equally serene oh way original copies selling upwards heres chance slice soul perfection fraction pricevinyl selector series soul gavertrieb interpret titel info format inhalt label genre artikelnummer upcean atch janein\u00fcber wenrecord store day gsa stand alive rah band producers choiceremastered tracks original tapes carefully selected various rah band albums presented double vinyl printed sleeve seminal ss british studio project masterminded richard hewson clouds across moon messages stars many many delightsvinyl lp atjazz record company funk ga alive shakespears sister youre history remixes rsd rsd new classic remixes ies hit youre history shakespears sister vinyl first timevinyl london records pop ga alive la rock jazzy jay yoursthe debut release rick rubin russell simmons seminal def jam label shook world evil bass percussion never released true hip hop collectors dream featuring groundbreaking scratch party death mixvinyl partytime hiphop ga alive various music dreams summer sessions rsd limited edition lp heavyweight g black vinyl vinyl lp music dreams ambient ga bertus batmobile big bat gogo disco sleevebside hammering batmobile together amazing horn section blow away teaser inch follow later year exclusive tracks numbered copies yellow coloured vinyl music vinylpsychobilly mov major babies ch bertus bertus bennett jay edward bur palace amthe palace first collaboration late jay bennett songwriting partner edward burch fronting minneapolis legends titanic love affair bennett key member band wilco often co writing songs bands early releases jeff tweedy power struggle well documented wilco documentary trying break heart bennett fired cameras rolled band working yankee hotel foxtrot time bennett immediately teamed burch palace released streetdate yankee hotel foxtrot hardcore wilco fans loved release immediately started making comparisons real genius wilco bennett vs tweedy bennett passed away suddenly blessings family years death schoolkids records teamed edward burch release palace first time ever vinyl rsd album also includes track darlin also wilcos yankee hotel foxtrot bennett rerecorded song release limited edition colored vinyl xlp gatefold download card includedlp schoolkids roc lpsmr major babies ch bertus bertus black honey corrinecorrine record store day heart shaped vinyl release foxfive recordsroc bhrsd ch bertus bertus black sabbath tribute nativity black tribute black sabbath clear heavy black swirl vinyl lp real gone musichr rgm major babies ch bertus bertus blake tim crystal machine translucent blue vinyllp culture factoryele major babies ch bertus caamp live newport music hallcaamps live newport music hall album recorded night run leading new years eve features live songs capture energy bands electric live set tracklist includes fanfavorite sleep amassed million streams peach fuzz reached aaa radio vinyl color coke bottle clear cover art features photo taylor crowdsurfing taken stage caamp released charttopping album featured billboard npr rolling stone caamp made tv debut jimmy kimmel live performed cbs morning saturday heels album release caamp hit road sold north american fall tour performed numerous festivals venues worldwide live newport music hall captures special moment caamp returned back hometown city columbus bigger theyve ever mom pop musicfol lpmp major babies ch bertus bertuscanned heat john lee hookerhooker n heat yellow grey vinyllp culture factorypop major babies chvertrieb interpret titel info format inhalt label genre artikelnummer upcean atch janein\u00fcber wenrecord store day gsa stand bertus cherry cherry jam tracks previously unreleased cherry material including new compositions recorded copenhagen denmark true aaa pressing original tapes analogue recording analogue mix analogue master gearbox cut meaning premium pressing courtesy gearbox records vintage modern mastering house rpm optimised sound quality hand numbered sleeves limited pressing worldwidelp gearbox recordsjazz gbrsd ch bertus bertus church gold afternoon fix gold coloured vinyllp real gone music usaalt rgm major babies ch bertus bertus clearlight symphony clear light symphonyopaque pink vinyllp culture factoryprg major babies ch bertus cole nat king fall love cd full album gold coloured vinyllp culture factoryjaz major babies ch bertus cradle historya vital document one first bands put serious cracks rocks glass ceiling never able fit mold label executives demanded end quatro sisters pleasure seekers became cradle though suits werent ready forwardthinking sound quintessentially detroit determination blazed trail decades hardrocking women followed choice remain true matter whatcd modern harmonicroc cdmh major babies ch bertus bertus cradle historya vital document one first bands put serious cracks rocks glass ceiling never able fit mold label executives demanded end quatro sisters pleasure seekers became cradle though suits werent ready forwardthinking sound quintessentially detroit determination blazed trail decades hardrocking women followed choice remain true matter whatlp modern harmonicroc lpmh major babies ch bertus bertus dread mikey production imperial majesty gram audiophile vinyl disco sleeve first time vinyl another exclusive mikey dread production tracks special mikey dread vibe limited edition numbered cps coloured vinyl pressed red vinyl gold vinyl green vinyl delivered random rsd music vinylreg mov major babies ch bertus bertus d\u00fcsseldorf d\u00fcsterboys im winter incl exclusive tracks limited edition pcs staatsakt folk staat major babies ch bertus bertus escovedo alejandro la cruzadacoloured vinyl alejandro escovedos critically acclaimed album crossing vocals recorded spanish features guest vocalists well alejandro singing songs crossing spanish double vinyl lp pressed colored vinyllp yep roc lat lpyep major babies ch bertus bertus evans billsome time lost session black forest back overwhelming popular demand critically acclaimed resonance release jazz piano icon bill evans time lost session black forest available deluxe exclusive record store day limitededition copies worldwide gram lp nd pressing newly remastered renowned engineer kevin gray cohearant audio cut rpm pressed rti extensive booklet includes essays acclaimed author marc myers mps studios engineer studio manager friedhelm schulz interviews eddie gomez jack dejohnette plus previously unpublished photos david redfern giuseppe pino jan persson hans harzheim including images taken actual june th session german hasenfratzlp resonance jaz hlp b major babies ch bertus bertus ezra collective samuel lriddim dark side riddimgatefold cover enter junglejazz etj lp ch bertus atvertrieb interpret titel info format inhalt label genre artikelnummer upcean atch janein\u00fcber wenrecord store day gsa stand bertus feminine complex livin loveincl bonus tracks features original album plus originally unissued tracks road paving agency grabbing girl group garage band trip nashville five young girls teach instruments playing along radio initially named pivots end christened feminine complex playing developing local following including radio television appearances created versions popular songs style reflected need express experience girlhood gender bending boys songs simply changed lyrics modifying major characters pronouns creating space inside music able become agents wishes needs desires come appeared nbcs nationally syndicated showcase hosted lloyd thaxton paving way cult status allegorical say way widened entrance historical vacuum generation later would come filled riot grrrl rock n roll camps girls feminine complex good band girls first girls good band lucky us recordings continue hear whycd modern harmonicpsy cdmh major babies ch bertus bertus feminine complex livin lovefeatures original album plus originally unissued tracks road paving agency grabbing girl group garage band trip nashville five young girls teach instruments playing along radio lucky us recordings continue hear whylp modern harmonicpsy lpmh major babies ch bertus bertus fight small deadly space red black marble vinyl lp real gone music usahm rgm major babies ch bertus bertusfitzgerald ella louis armstrongvery best green vinyl cd full albumlp culture factoryjaz major babies ch bertus fleshtones face screaming werewolflegendary garage rockers fleshtones pumping hits four decades earning honor americas garage rock band theyre one final remaining original cbgb bands theyve played andy warhols shortlived mtv show sir ian mckellen read shakespeare jamming last band publicly perform world trade centers windows world however whats incredible fleshtones theyre putting best music yet forty years career evidenced new album face screaming werewolf featuring soontobehits done inimitable fleshtones style alex trebek spilling blood rock roll show cover stones classic child mooncd yep roc roc cdyep major babies ch bertus vertrieb interpret titel info format inhalt label genre artikelnummer upcean atch janein\u00fcber wenrecord store day gsa stand bertus fleshtones face screaming werewolflimited red vinyl legendary garage rockers fleshtones pumping hits four decades earning honor americas garage rock band theyre one final remaining original cbgb bands theyve played andy warhols shortlived mtv show sir ian mckellen read shakespeare jamming last band publicly perform world trade centers windows world however whats incredible fleshtones theyre putting best music yet forty years career evidenced new album face screaming werewolf featuring soontobe hits done inimitable fleshtones style alex trebek spilling blood rock roll show cover stones classic child moonlp yep roc roc lpyepx major babies ch bertus bertus flyin spiderz flyin spiderz gram audiophile vinyl insert debut album featuring singles movies stupid photographs numbered copies pink vinyl lp music vinylroc movlp major babies ch bertus bertus frumpies frumpie one piece frumpies forever incl bonus original frumpie one piece release cd collection tracks previously released five vinyls bikini kill related band conceived singles project vinyl release includes songs cd well one inch released collection frumpies forever personnel band bikini kill tobi vail kathi wilcox billy karren plus bratmobile molly neuman sometimes joined michelle mae went makeup weird war frumpies formed washington dc summer birthed first riot grrrl zines meetings frumpies dubbed revolution summerlp kill rock starspun lpkrs major babies ch bertus bertus glass philip essential box set gram audiophile vinyl rsd deluxe liftoff box set blue foil embossing printed innersleeves page booklet glossy picture best memorable selections naqoyqatsi einstein beach satyagraha akhnaten ao collaborations suzanne vega yoyo ao first time vinyl black vinyl limited edition individually numbered copieslp music vinylcls movcl major babies ch bertus bertus golden earring radar lovedisco sleevenever released tracklisting one biggest dutch hits ever includes exclusive golden earring adapter numbered copies yellow coloured vinylrsd disco sleeve music vinylroc mov major babies ch bertus bertus gong live sheffield green red vinyllp culture factoryprg major babies ch bertus green al green bluesdisc one woman talk girl letter stand accused gotta find new world gonna tomorrows dream get back baby get back summertimelp fat possum rb fph ch bertus bertus hallyday johnny le plus grands succhs colours per disclp culture factoryrr major babies chvertrieb interpret titel info format inhalt label genre artikelnummer upcean atch janein\u00fcber wenrecord store day gsa stand bertus harding john wesley man shadowthe cd package includes original album plus bonus unheard band demos studio outtakes previously unreleased man shadow first edition restores album wess original vision audio remastered original tapes package includes cover art original sessions extensive liner notes may disney pulled plug mammoth records weeks june th release date john wesley hardings man shadow hundred journalists received advance cds hardings new record handful radio stations received single negative love physical copies existed years advance cds fetched untold hundreds dollars eager fan base search wes great lost album though many songs ended adams apple drt records music guide called finest album career make cut jumbled running order cd yep roc roc cdyep major babies ch bertus bertus harding john wesley man shadowfirst time vinyl man shadow first edition restores album wess original vision audio remastered original tapes package includes cover art original sessions extensive liner notes cd package includes original album plus bonus unheard band demos studio outtakes previously unreleased may disney pulled plug mammoth records weeks june th release date john wesley hardings man shadow hundred journalists received advance cds hardings new record handful radio stations received single negative love lp yep roc roc lpyepx major babies ch bertus bertus hay barry jb meijers artone sessionlive directtodisc session recorded artone studio haarlem ft black star im fire blue bayou featuring danny vera limited edition copies black vinylrsd music vinylroc mov major babies ch bertus bertus hopper hugh translucent red vinyllp culture factorypop major babies ch bertus james bobonce upon time lost new york studio sessionslimited g vinyl deluxegatefold set incl extensive booklet essays jazz writer mark stryker jazz detroit engineer george klabin new interview bob james zev feldman interview bob pozar hank shteamer rolling stone plus rare archival photographs mastered bernie grundman cut rpm pressed rti previouslyunissued release studio recordings pianist bob james captured audience wollman auditorium new york city resonance founder copresident george klabin limitededition copies worldwide g lp features james two different trio settings one january bassist larry rockwell drummer bob pozar one october bassist bill wood drummer omar clay performing mix jazz standards original compositionslp resonance jaz hlp major babies ch bertus bertus keenan david alchemy prose live recordingssilver white splatter vinyl david keenans burgeoning reputation greatly aided stellar allconsuming intensity live gigs performing either solo musicians eminently watchable storyteller passionate voice limited edition vinyl release record store day captures intimacy excitement live work collecting songs recorded olympia theatre session concert recent sold gig plus liveinthestudio tracks recorded hometown dundalk eight tracks featured four songs big boys must cry bless mad ones grace state badlands brand new exclusive release alchemy prose live recordings released white silver splattereffect vinyllp rubyworks roc rwxlp ch bertus atvertrieb interpret titel info format inhalt label genre artikelnummer upcean atch janein\u00fcber wenrecord store day gsa stand bertus kid moxie big japanlimited picture disc atlantic curveschub ert musicele ac ch bertus bertus knight area ddaygatefoldlp butler recordsroc bur major babies ch bertus bertus koelewijn peter best give still unworthy gram audiophile vinyl insert previously unreleased english album first time vinyl english incl translated dutch songs flight als ik god youre growing older papa je wordt ouder papa ao limited edition individually numbered copies white vinyl rsd lp music vinylroc movlp major babies ch bertus bertus loeb lisa simple trick happinessg vinyl deluxe tipon jacket poster insert entirety nearly threedecadelong career globally acclaimed singersongwriter lisa loeb exploring variety styles music moving seamlessly creating family friendly albums including grammywinning feel u feel adult focused studio albums like tails firecracker way really latest release fifteenth record date simple trick happiness finds loeb putting forth poignant profoundly personal album exceptional body work lp furious rose pop lpfrp major babies ch bertus bertus lothar hand peopl machines amherst recently unearthed final performance iconic theremin rock pioneers lothar hand people unique unissued takes forma virtual greatest hits band zero digital footprint technically live recordings takes rival studio cuts even include completely unheard compositions finally reach ears hand fans knew could make take machines horsepower version youve heardcd modern harmonicpsy cdmh major babies ch bertus bertus lothar hand peopl machines amherst recently unearthed final performance iconic theremin rock pioneers lothar hand people unique unissued takes forma virtual greatest hits band zero digital footprint technically live recordings takes rival studio cuts even include completely unheard compositions finally reach ears hand fans knew could make take machines horsepower version youve heardlp modern harmonicpsy lpmh major babies ch bertus bertus meteors teenage heart gram audiophile vinyl debut album feat ao singles balls ache mein schmerz numbered copies transparent yellow vinyl rsd lp music vinylpsychobilly movlp major babies ch bertus bertus mew glass handed kites gram audiophile vinyl gatefold sleeve incl page booklet pictures liner notes original album incl singles apocalypso special looking grave bonustracks incl drown dark design red version wherefore unreleased ao ltd th anniversary expanded edition numbered copies black white marbled vinylrsd lp music vinylprg movlp major babies ch bertus bertus ostblack mirror smithereens music ryuichi sakamoto gram audiophile vinyl pvc protective sleeve music original tv series unique sleeve design visual artistambient musician composer carsten nicolai alva noto numbered copies black white marbled vinyl rsd lp music vinylost movatm major babies ch bertus bertus ost turning kates diary gram audiophile vinylpvc protective sleeversd incl unreleased song david bowie american landfill ft kristeen young acoustic version mother courtney love also incl song aubreys ft stranger things actor finn wolfhard music used movie turning featured original soundtrack numbered cps dark red black marbled vinyllp music vinylost movatm major babies ch bertus bertus parabellum post mortem live redwhite splatter vinyl lp culture factoryroc major babies ch bertus paradise lost live rockpalast gram audiophile vinyl mm sleeve embossed paradise lost logo live show recorded bizarre festival germany insert first time vinyl numbered copies white vinyl rsd lp music vinylhvm movlp major babies ch bertus bertus perkins carl live paris last european concertblue vinyl last european concert lp flexi blue coloured blue suede shoes editionlpflexi culture factoryrr major babies chvertrieb interpret titel info format inhalt label genre artikelnummer upcean atch janein\u00fcber wenrecord store day gsa stand bertus pontiac marvin asylum tapesfirst time vinyl marvin pontiac anonymously sent track tape recorder years held esmerelda state mental institution sole statement accompanying release marvin pontiac asylum tapes first release years john luries alter ego marvin pontiac coming prominence wave era part nycs notorious lounge lizards starring jim jarmuschs film law luries quirky compositions pontiac pseudonym developed legendary reputation fans critics alike though asylum tapes initially shared world northern spy proud bring vinyl medium first time lp northern spy exp lpns major babies ch bertus bertus pop iggy kiss blood live paris triple redsplatter vinyllp culture factoryroc major babies ch bertus presley elvis elvis prohibited redyellow splatter vinyl best songs first movieslp culture factoryrr major babies ch bertus presley elvis rock roll collectionfirst french eps compiled mixed colours per vinyl copylp culture factoryrr major babies ch bertus russell gene new direction clear heavy black swirl vinyllp real gone music usajaz rgm major babies ch bertus bertus skyzoo pete rock retropolitan instrumentalsside men like us inst glorious inst truck jewels inst carry tradition inst insthomegrown good inst side ten days inst richie inst penny jerseys inst one time inst eastern conference allstars inst audacity dope instlp mello music grouphiphoprap mmgins ch bertus bertus slowdive slowdive ep gram audiophile vinyl rpm jacket special deluxe alubrush finish ft songs avalyn avalyn ii track slowdive limited th anniversary edition critically acclaimed debut ep numbered copies green black marbled vinyl rsd music vinylpop mov major babies ch bertus bertus smither chris levee chris smithers first vinyl release since chris smither returned hometown new orleans record retrospective five decade career star band including legendary allen toussaint sessions especially productive resulting double cd release still levee dozen songs couldnt fit original release collected levee signature soundsfol lpsig major babies ch bertus bertus soft boys wanna destroy near soft boysultrarare releases limited edition gatefold double titles never reissued wanna destroy become anthem todays political climate features rare disco version im old pervert bside near soft boys features two hitchockpenned originals kingdom love strange well cover syd barretts vegetable man yep roc psy siyep major babies ch bertus bertus spacehog resident alien cream pink splatter vinyllp real gone music usaroc rgm major babies ch bertus bertus sugarhill gang sugarhill gang gram audiophile vinyl gatefold sleeve classic album single version rappers delight exclusive bonus track th year anniversary edition numbered copies yellow vinyl rsd lp music vinyldan movlp major babies ch bertus bertus sumy funkin mind gram audiophile vinylrpm disco sleeve much sought rare dutch funk inch includes long short version remastered original tapes numbered copies transparent blue vinyl rsd music vinyldan mov major babies ch bertus bertus tangerine dream tyger yellow vinyl lp culture factoryele major babies chvertrieb interpret titel info format inhalt label genre artikelnummer upcean atch janein\u00fcber wenrecord store day gsa stand bertus team dresch choices chances changespink vinyl pressed colored vinyl vinyl edition exclusive rsd lp jealous butcherpun lpjbr major babies ch bertus bertus want b uthe new vinyl single aside want b u mixed grammy award winner craig silver bside velvet muscle scream mixed grammy award winner matt lawrence mastered matt colton metropolis studios matt awarded music producers guild mpg mastering engineer year award want b u velvet muscle scream taken forthcoming feature film muscle critically acclaimed new film gerard johnson recently premiered london film festival lead actor cavan clerkin picked best actor award prestigious tallinn film festival november want b u first song matt johnson written recorded using quirky omnichord instrument since day single features artwork matts late brother andy dog also designed early single album sleeves first single released since cant stop whats coming proved one big successes rsd cineolarock englischsprachigcine ch bertus bertus tres vampires tres vampires limited blood red vinyl download card included lp schoolkids got lpsmr major babies ch bertus bertus urine jimmy serj tankian fuktronic collaboration jimmy urine mindless self indulgence serj tankian system gram audiophile vinylvinyl releasersd gatefold sleeveprinted innersleeve ultimate soundtrack british gangster film supported fantastic graphics limited edition individually numbered cps blue marbled solid blue white black mixed vinyllp music vinylele movlp major babies ch bertus bertus vabehind dykes beat blues psychedelic nuggets lowlands gram audiophile vinyl gatefold sleeve rsd behind dykes beat blues psychedelic nuggets lowlands decca incl rare songs shocking blue outsiders haigs dragonfly fool popera modesty blaise ao printed innersleeves liner notes photos credits limited edition individually numbered copies yellow lp turquoise lp vinyllp music vinylpop movlp major babies ch bertus bertus va studio one vaults vol cd studio one reg cdsor major babies ch bertus bertus va studio one vaults vol lp lp studio one reg lpsor major babies ch bertus vertrieb interpret titel info format inhalt label genre artikelnummer upcean atch janein\u00fcber wenrecord store day gsa stand bertus various artists hi tide groove contact funk larry tbyrd gordon love ritual al green come mama ann peebles love left behind syl johnson somebodys case ann peebles something cant shake loose ov wright stepchild veneice slipped tripped feel love ann peebles satisfactorize mind africano open herats pts africano back heart majik full fire al green shes miss wonderful bobby mcclure let know care george jackson little things phillip mitchell look boy jean plum thing ann peebles get back baby al green babe willie mitchell dont lend man ann peebles love come wicked iota one else pts odyssey wheres love donna rhodes pour loving jean plum mon belleamour ann peebles feat bryantlp fat possum rb fph ch bertus bertus verlaines dunedin spleendunedin spleen verlaines first studio album years featuring blistering brilliant tracks doublelp exclusively released record store day via north carolina indie schoolkids records limited edition colored vinyl gatefold xlp download card includedlp schoolkids roc lpsmr major babies ch bertus bertus watt mike secondme quintessence first time mikes version quintessence ever released available single vocal version aside instrumental version bside record store day yep roc pun siyep major babies ch bertus bertus quick live oneredwhiteblue striped vinyl live monterey international pop festival lp monterey international pop festival foundationroc mipf ch bertus bertus willsonpiper marty nightjarnightjar marty willsonpipers church eve noctorum th studio album originally released first time vinyl limited colored vinyl new artwork design inside gatefold download card includedlp schoolkids pop lpsmr major babies ch bertus bertus wishbone ash live dates ii yellow blue vinyl lp culture factoryroc major babies ch bertus young fresh fellows toxic youththe young fresh fellows back electric new toaster toxic youth remember anthem two guitars bass drums well nothing changed except everything hopes dashed men still love music subtitled back egg fellows return began one last roundup infamous egg studios seattle wa produced conrad uno also struck gold presidents united states america heard uno closing studio retiring limelight band grabbed last weekend record couple songs three various shape decomposition couple days later tracks deemed perfect gear summer everythingisfallingapartinthreeminutes planned smash summer single amazingly things gotten worse buzzcocks rezillos concur never bad heralds spring blue jays sad punk pop problemsolving ramonesstyle dont miss heartrending saga rock roll bands series bleed outlp yep roc pop lpyepx major babies ch bertus best music world robyn robyn lp gatefold gramm red colored downloadcard lp embassy punk kor best music worldvertrieb interpret titel info format inhalt label genre artikelnummer upcean atch janein\u00fcber wenrecord store day gsa stand broken silence abw\u00e4rts computerstaat amok koma limedclear vinylrsdedition des deb\u00fctalbums amok koma plus trackep computerstaat im streng limitierten clearvinyldoppelformat exemplare weltweit computerstaat amok koma limed erscheint auf ya tree recordslp ya tree recordspunkwave lp gsa broken silence bfax feat rozi plain bfax bfax project jamie whitbycoles best known drumming kit rozi plain liftmen featuring vocals rozi plain lp discoordination indie lp gsa broken silence bolt ruin obriultna destructive compilation curated bolt ruin released record store day april electronic imprint circuits bolt ruin writes soundtrack overgrown industrial wastelands destructive signal paths seek threshold sound sources collapse beyond repair remaining debris reconstructed pillars dense compositions layers grainy textures deteriorated tapeloops warped voices collide fractured rhythms thunderous bass bolt ruin shredded tracks selftitled debut album pieces constructed new composition debris manner invited five artists let inspiring approach destructive sounddesign crash sourcematerial processes resulted six completely new productions bands included compilation bolt ruin obsequies piano princess fausto mercier julek ploski siavash amini mastering jeremy cox additional mixing glide studios points interest dutch een ratelende speelgoedgitaar gaat de strijd aan met een kapotte printplaat knack focus dutch debut album op zijn album geeft linden het abstracte karakter van aftakeling een gelaat getekend door rouwende melancholie het koude mechanische het cilinderslot op de album cover wordt op een zinderende manier verweven met melodie die voor een broeierig geheel zorgt de weg richting het zwarte gat biedt op die manier een zekere troost indiestyle fans forest swords ben frost haxan cloak raime holy others vessel orphax lustmordlp circuits electronica lp gsa broken silence goldie lookin chain original pyrite material gold coloured vinylgold vinyl limited edition copies worldwide best hip hop group small town south wales back newports goldie lookin chains latest album limited edition gold vinyl rsd glc skilfully combine beats rhymes swearing create ultimate collection rap essentials play loud car boom box annoy mumlp hiphop lp gsa broken silence inn house crew something special inn house crew nucleus top musicians including vin gordon legendary trombone player studio one bob marley wailers grammy winner guitarist jimmy haynes produced collection instrumentals various styles jazz afro beat reggae soul n funklp room sky reggae lp gsa broken silence kraan finkenbach festival der legend\u00e4re auftritt der krautrocklegende kraan feat hellmut hattler peter wolbrandt jan fride und ingo bischof beim finkenbach festival limitierte auflage im gr\u00fcnfarbigen vinylformat exemplare weltweit erschient auf musiklp music krautrock lp gsa broken silence morricone ennio giallo criminale yellow vinyllimited yellow vinyl copies compilation wants highlight dramatic frenetic criminal tense oneiric musical aspect many films musical influences accompanied characteristic cinematographic literary genre called giallo contains famous song heres joan baez rabbia tarantella tarantinos inglourious basterds chi mai ninna nanna blu dario argento cat nine tails outsider lp rustblade soundtrack lp gsavertrieb interpret titel info format inhalt label genre artikelnummer upcean atch janein\u00fcber wenrecord store day gsa stand broken silencenorth sea radio orchestra moon limedred vinyl das dritte album der britischen formation north sea radio orchestra erstmalig im vinylformat erh\u00e4ltlich exemplare weltweit rote vinyledition e musik minimal trifft auf kammermusikalische folkkl\u00e4nge progressiveartrock electronia und poetry f\u00fcr alle fans von penguin caf\u00e9 orchestra michaelnyman high llamas oder incredible string band moon erscheint auf household marklp household mark lp gsa broken silencereedy winstonthe inn house crew black pearl winston reedy renowned jamaican reggae singer known numerous number one hits solo artist lead singer top reggae band cimarons collection original classic cover versions hit songs joined inn house crew consisting many top flight musicians including vin gordon legendary trombone player studio one bob marley wailers numerous top players vinyl lp comes lovely hand silk screen printed jacketlp room sky reggae lp gsa broken silence simonetti claudio demon anniversary edition original soundtrack von claudio simonetti goblin zum kultfilm demons von lamberto bava limited silver mask vinyl copies rustblade soundtrack gsa broken silence various artists sireena jubilee single box singlessingle box limitiert auf st\u00fcck single element crime motorcycle song b perc meets hidden gentleman manitoba single rumble beach purple rain b perc meets hidden gentleman chainsmokers thrill single franz k wir haben bock auf rock b zoff gimme gummi single electric family inca cosma fudge pt b inca cosma fudge pt single iron horses like dirty need filthy b aberrations aftermath sireena va gsa deutsche austrophon gmbh co kgpink cream games people playlimited vinyl edition g pressung pinkes vinylvinyl lp da records metalrock deutsche austrophon gmbh co kgrobert schroeder harmonic ascendantlimited vinyl edition g pressungvinyl lp racket records pop deutsche austrophon gmbh co kgsilent circle limited vinyl edition g pressung blaues vinylvinyl lp da records pop deutsche austrophon gmbh co kgstraight shooter time timelimited vinyl edition g pressungvinyl lp sky records rock edel abdullah ibrahim dream time rsd die lp zum erfolgsalbum welches nur auf cd erh\u00e4ltlich war ltd lp enja jazz ey gas edel barney wilen alain jeanmarie montr\u00e9al duets gunver\u00f6ffentlichte tracks enth\u00e4lt inhalte von pascal anquetil jazz magazine brian morton penguin guide jazzlp elemental jazz gas edel chet baker young chet lp boxset limitiert auf eh ltd lp boxset elemental jazz el gas edel deep purple whoosh streng limitierte vinylsingle ltd vinylsingle earmusic hard rock emu gas edel dexter gordon quartet live chateauvallon single zum rsd ltd single elemental jazz el gas edel duran duran diamond mind live ltd lpstreng limitierte pink transparent doppellp im gatefold inkl lpbonustrack something knowltd g lp earmusic classicsnew wave synth popemx gas edel enders room dear world rsd lp lang vergriffen jetzt exklusiv zum rsd ltd lp enja jazz ey gas edel gamma ray heading tomorrow ltd turquoise lpstreng limitierte t\u00fcrkise doppellp im gatefold ltd g lp earmusic heavy metal power metalemu gas edel gamma rayheaven wait think ltd white streng limitierte wei\u00dfe vinylsingleltd vinylsingle earmusic heavy metal power metalemu gas edel john mayall bluesbreakers padlock blues ltd white lperstmals auf vinyl streng limitierte wei\u00dfe lp im gatefoldltd g lp earmusic classicsbluesrock blues emx gas edel manowar kings metal rsd coloured lp zum rsd limitiert auf eh ltd lp listenable heavy metal lir gas edel manowar triumph steel rsd coloured lp zum rsd limitiert auf eh ltd lp listenable heavy metal lir gas edel manowar fighting world rsd coloured lp zum rsd limitiert auf eh ltd lp listenable heavy metal lir gasvertrieb interpret titel info format inhalt label genre artikelnummer upcean atch janein\u00fcber wenrecord store day gsa stand edel miles davis complete cookin sessions lp boxset limitiert auf eh ltd lp boxset elemental jazz el gas edel nils landgren funk unit live stockholm rsddoppel lp inkl download code das album ist erstmals bei act vor jahren auf cd erschienenltd lp act jazz act ga edel ron carter stockholm rsddopppel lp bisher unver\u00f6ffentlichte bonus tracks \u00fcber minuten weltweit limitiert auf handsigniert und nummeriert limitiert auf eh f\u00fcr gas ltd lp jazz io gas edel stratovarius infinite ltd light bluepurple lpstreng limitierte farbige lp im gatefold lp hellblau lp lilaltd g lp earmusic power metal symphonic metalemu gas edel jimmy giuffre new york concerts g deluxe gatefold edition unver\u00f6ffentlichte tracks enth\u00e4lt anmerkungen von philippe carles bob blumenthallp elemental jazz gas edel pineapple thief uncovering tracks rsd rote coloured lp zum rsd limitiert auf eh ltd lp kscope prog rock ksc gas edel yessongs tsongas yes th anniversary concert ltd yelloworangeredlight blue lperstmals auf vinyl streng limitierte farbige lp im gatefold lp gelb lp orange lp rot lp hellblau seite h etchedltd g lp earmusic classicsprogressive rock emx gas goodtogoalpha omega meets disciplesthe sacred art dub vol white lp rsdlperstver\u00f6ffentlichung des kollabomeisterwerks sacred art dub der beiden ukdublegenden alpha omega und disciples das nur auf cd erschien die cdtracks wurden auf lps vol verteilt jede lp enth\u00e4lt einen zus\u00e4tzlichen unver\u00f6ffentlichten bonustrack beide lps erscheinen limitierter auflage auf wei\u00dfem vinyllp mania dub dub md deat goodtogoalpha omega meets disciplesthe sacred art dub vol white lp rsdlperstver\u00f6ffentlichung des kollabomeisterwerks sacred art dub der beiden ukdublegenden alpha omega und disciples das nur auf cd erschien beide lps erscheinen limitierter auflage auf wei\u00dfem vinyllp mania dub dub md deat goodtogo ambrostauchenprokopetz der urwatzmann rsdder watzmann ruft ist eines der legend\u00e4rsten alben der \u00f6sterreichischen popgeschichte entstanden ist es ein mittelding aus songkollektion h\u00f6rspiel und musical autor manfred tauchen und die mitstreiter wolfgang ambros und joesi prokopetz nannten es selbst rustical das hat mit dem szenario zu tun ein alpines bergbauerndrama vor der kulisse der alpen nicht ganz ernst gemeint aber wirkungsvoll bislang wurden \u00fcber exemplare des denkw\u00fcrdigen h\u00f6rst\u00fccks verkauft ab den achtziger jahren des vorigen jahrhunderts wurde es im deutschsprachigen raum immer wieder auch live aufgef\u00fchrt f\u00fcr ist die definitiv letzte b\u00fchneninszenierung mit wolfgang ambros geplant der urwatzmann quasi eine erste k\u00fcrzere skizze lief als liveh\u00f6rspiel auf dem orfpopsender \u00f6 der mitschnitt galt lange als unauffindbar es darf als kleine sensation gewertet werden dass dieses dramolett nun auf einer limitierten inch schallplatte dokumentiert wurde schallter monkeyaustro pop schall deatch goodtogo amorphous androgynous monster psychedelic bubble ltd g lp rsdamorphous androgynous die psychedelische supergroup um future sound london verarbeitet den neuen track persuade immortal aus dem kommenden album innerhalb ihrer legend\u00e4ren serie monstrous psychedelic bubble exploding mind vielf\u00e4ltigen versionen zu einem sampledelischen multiversumtrip allererster g\u00fcte zu den beteiligten musikern geh\u00f6ren peter hammill paul weller und mitglieder der spencer davis grouop ian gillan band und soft machine kollabos und remixes kommen von atomic simao higher peaks regal worm ua limitierte nummerierte auflage auf g vinyllp fsol digital electronic lprsdtot deatch goodtogo awesome dre cant hold back rsdin den sp\u00e4ten er jahren geh\u00f6rte der detroiter rappionier awesome dre zu den ersten die aus dem mittleren westen auf die nationale szene st\u00fcrmten mit seiner mischung aus politik und hardcore bot er eine einzigartige perspektive und stimme auf dem h\u00f6hepunkt der goldenen \u00e4ra des hiphop eine stimme die nicht vor kontroversen zur\u00fcckschreckte indem sie detroits platz der welt des hiphop behauptete enth\u00e4lt eine downloadkarte f\u00fcr das gesamte album und drei exklusive bonuscuts pr\u00e4sentiert auf transparentem roten vinyl mit obistreifenlp blocglobal hip hop bgbsrvlp ww goodtogo ben lee grandpaw would th anniversary del edrsdanniversary reissue zum jubil\u00e4um von grandpaw would dem deb\u00fctsoloalbum von ben lee urspr\u00fcnglich erschienen bei grand royal auf lp das gesamte album remasterter fassung die zweite scheibe ist eine mischung aus covern demos bisher unver\u00f6ffentlichten aufnahmen sowie songs von einer ep und single ebenfalls enthalten ein hochwertiges booklet mit testimonials von ua mike beastie boys damian abraham fucked und sean tillman har mar superstar gepresst auf birthday cake splatter vinyllp piasnew west recordssingersongwrit er deatvertrieb interpret titel info format inhalt label genre artikelnummer upcean atch janein\u00fcber wenrecord store day gsa stand goodtogo ben watt robert wyatt summer winter ltd rsdben watt die eine h\u00e4lfte von everything girl arbeitete f\u00fcr diese wunderbare ep mit robert wyatt zusammen f\u00fcnf indiepopperlen erstmal seit \u00fcber jahren wieder erh\u00e4ltlich als limitierte rsdedition auf t\u00fcrkisfarbentransparentem vinyl cherry red rock cherry deat goodtogo black ark players guidance picture disc rsderstmalig als single erscheint der gesuchte tune guidance als limited edition picture disc mit artwork originalgraffiti von lee perrys legend\u00e4rem black ark studio guidance ist ein jah shaka soundsystem favorit der von den black ark players aka upsetters den sp\u00e4ten er eingespielt wurde ein sammlerst\u00fcck und ein vorgeschmack auf die im mai erscheinenden reissues von black ark dub und black ark vol north paradereggae vp eu goodtogo bob mould circle friends rsd gr coloured vinyl spielte bob mould diesen gig der als circle friends konzertfilm auf dvd erschien erstmalig erscheint nun eine vinyledition dieser aufnahme neben diversen solonummern spielte bob mould nat\u00fcrlich auch klassiker seiner bands sugar und h\u00fcsker d\u00fc gr doppelvinyl und coloured vinyllp demon recordsalternative demrec deatch goodtogo bobby moore sweet music call anything man get lifted rsdzwei discorarit\u00e4ten des scepterwandlabels als exklusive und limitierte soul brother reissue bobby moores nur als limitiertes acetate erschienene version seines meisterwerks call anything man als kommerzielle erstver\u00f6ffentlichung zusammen mit dem discohit get lifted von sweet music des backgroundvocaltrios der kc sunshine band das hier erstmals auf vinyl erscheint soul brother disco rsdsbt deatch goodtogo bombs hades phantom bell ltd red lp etched sidersdschwedischer deathmetal mit mot\u00f6rheadartig und doomigen stil mit crustwurzeln exlkusive rote lp mit etched bseite zum rsdlp sound pollution black lodge recordsdeath metal blodlp deat goodtogo caribou swim ltd marbled orangered lp rsd jahre nach erstver\u00f6ffentlichung erscheint caribous swim album als limitierte record store day edition im marmoriertem orangroten vinyl inklusive der hits odessa und sunlp city slang electronic slangx ww goodtogo charles mingus mingus ah um redux rsddoppel lp einem klappcover mit aufnahmen die noch nie zuvor auf vinyl ver\u00f6ffentlicht wurden mingus ah \u00e4hm das deb\u00fct des k\u00fcnstlers f\u00fcr columbia aus dem jahr ist eines der konsequentesten alben im jazz oder jedem anderen genre die ver\u00f6ffentlichung ist teil der library congress national recording registry und wurde die grammy hall fame aufgenommen goodbye pork pie hat boogie stomp shuffle open letter dukedie ver\u00f6ffentlichung ist vollgepackt mit klassikern und ist bis heute eine bestsellerver\u00f6ffentlichung f\u00fcr den record store day pr\u00e4sentiert get ah um redux die komplette ah umplatte wie sie sie kennen und lieben mit einer zweiten lp mit alternativen takes aus der session die bisher nicht auf vinyl ver\u00f6ffentlicht wurdenlp get jazz getlp ww goodtogo charly coombes end harvest ltd g lp rsdlimitierte erstauflage des vierten albums des britischen rockmusikers charly coombes mitglied von supergrass new breed und aufgenommen sao paolo brasilien mit musikerkollegen von supergrass und ride ist end harvest ein organischer warmherziger und komplexer ansatz eines modernen rockn roll albums limitierte nummerierte auflage auf g superheavyweightvinyllp finyl vinyl alternative fvp deatch goodtogo chuck mosley first hellos last goodbyes rsdgepresst auf aquablauem vinyl verpackt mit einem deluxeobistreifen und mit einer downloadkarte f\u00fcr das gesamte album chuck mosley ex faith bad brains mit einer livesammlung von songs inkl dem brandneuen track blue heartlp blocglobal rock bgogvlp ww goodtogo clint eastwood general saint stop traintalk run col game rsddas renommierte greensleeves label pr\u00e4sentiert einen wahren gimmick und sammlerst\u00fcck f\u00fcr alle reggae und hiphop fans ein brettspiel f\u00fcr bis personen plus inch single die im dunkeln leuchtet die beiden mcs bzw das deejay duo clint eastwood general saint landeten mit stop train einen veritablen hit england und kontinentaleuropa hier erstmalig auf einer single mit talk run der single von aus dem album two bad dj greensleeves reggae vpgs euvertrieb interpret titel info format inhalt label genre artikelnummer upcean atch janein\u00fcber wenrecord store day gsa stand goodtogo clutch obelisk boxsetrsdexklusiv zum rsd obelisk ist ein au\u00dfergew\u00f6hnlich umfangreiches vinyl box set der band clutch hier finden sich alle auf dem bandeigenen weathermaker music label bis dato ver\u00f6ffentlichten alben doppel lps regul\u00e4re lps und picture discs hinzu kommt eine plattentellerauflage und ein von allen bandmitgliedern unterzeichneter kunstdruck die box schlie\u00dft magnetisch und der silberne foliendruck auf schwarzem sierra tuch gibt dem ganzen paket etwas besonderes dies ist ein sammlerst\u00fcck von dem es weltweit nur einheiten gibt lp weathermak er musicrock wm eu goodtogo coogans bluff cside metronopolis black vinyltrack cseite aber keine \u00fcberbleibsel sondern fette rocksongs die ungewohnt straight f\u00fcr das quintett sind treibend tanzbar und ohne den freifliegenden prog oder fusionrockanteil lp noisolutionalternative garagenois rsd deat goodtogo corb lund cover tracks rsdeine ep mit coversongs darunter st\u00fccke von ua lee hazlewood billy joel marty robbins acdc bisher nur auf cd erh\u00e4ltlich jetzt endlich auch auf vinyl piasnew west recordsrock deat goodtogo craig finn perfect crosses rsdschwarze doppellp mit bseiten und alternativen versionen von craig finns vorhergehenden drei alben faith future want things und need new war lp piaspartisan recordsalternative deat goodtogo damien jurado birds tricked trees rsdlimitiertes hellblaue inch vinyl mit der neuen single birds tricked trees und exklusiver bseite devils davis rsd exklusiv loose musicsingersongwrit ervjsrsd ww goodtogo dave pike jazz jet set rsdmit seinem deb\u00fct f\u00fcr atlantic im jahr hat der jazzvibraphonist und marimbaspieler dave pike mit einer allstarbesetzung eine perfekte mischung aus jazz latin soul und rb geschaffen die sich bew\u00e4hrt hat produziert von pikes h\u00e4ufigem mitarbeiter herbie mann zeigte jazz jet set einen jungen herbie hancock der orgel ein instrument das er selten wieder spielte clark terry der trompete billy butler der gitarre grady tate schlagzeug und viele andere talentierte musiker mit dieser offiziellen neuauflage mit freundlicher genehmigung von nature sounds ist jazz jet set nun wieder auf vinyl limitierter auflage erh\u00e4ltlich solange der vorrat reichtlp nature soundsjazz nsdlp deat goodtogo devils witches guns drugs filthy pictures ltd rsddevils witches feiern ihr j\u00e4hriges bestehen mit dieser exklusiven blackpink splattered vinyl sound pollution majestic mountainpsychedelic rock mmr deat goodtogo dinosaur jr swedish fist live ltd colour edition rsdmitschnitt des auftritts der legend\u00e4ren usband beim vattenfestival stockholm limitierte rsdedition auf orange brown colour vinyl lp cherry red rock pbred deat goodtogo dissection somberlain ltd blue lp etched sidersdeinen mehr als nur soliden grundstein f\u00fcr ihre unsterblichkeit legten dissection bereits mit ihrem erdeb\u00fct neu aufgelegtes sammlerst\u00fcck als blaue vinyl mit etched bsidelp sound pollution black lodge recordsdeath metal bloddlp deat goodtogo dj cam quartet essential green lp rsddie besten tracks des dj cam quartet aus den beiden klassikeralben rebirth cool und diggin plus das exklusive bislang unver\u00f6ffentlichte limitierte lp auf gr\u00fcnem vinyllp diggers factoryelectronic uvn deatch goodtogo doctor massacre rsd gr parisian blaze vinyleine weitere doctor whostory aus den tiefen der bbcarchive die urspr\u00fcnglich im tv gezeigten folgen sind komplett verloren gegangen und existieren nur noch als tapes auf zwei gr lps parisian blaze vinyl kann man das abenteuer des doctors paris im jahr nachh\u00f6renlp demon edselspecial interest demwho deatch goodtogo shinn departures rsd gr deluxe lpinchnachdem shinn einige singles mit den soul agents ver\u00f6ffentlicht hatte spielte er im dez sein deb\u00fctalbum ein dem dann das von jazz stan tracey war beteiligt beeinflusste departures folgte der von seiner explosiven orgel gepr\u00e4gte progrock war ua vorbild f\u00fcr keith emerson der rsdrelease kommt als deluxelp mit hand nummeriertem flipbackcover bonus drei songs und gro\u00dfem seitigem booklet gr und schwarzes vinyllp sunbeam psychedelic rock sbmlp deat goodtogo shinn shinn rsd gr sein deb\u00fctalbum ein der rsdrelease kommt als deluxelp mit hand nummeriertem flipbackcover bonus und gro\u00dfem seitigem booklet und schwarzes vinyllp sunbeam psychedelic rock sbmlp deatvertrieb interpret titel info format inhalt label genre artikelnummer upcean atch janein\u00fcber wenrecord store day gsa stand goodtogo drjohn remedies rsdmardi gras splatter vinyl auf den fersen des sozialbewussten babylons angekommen markierte dr johns album remedies aus dem jahr seine dritte studiover\u00f6ffentlichung unter seiner exzentrischen voodooinspirierten night tripper pers\u00f6nlichkeit und seine erste die nicht von harold bapttiste produziert wurde sondern sich stattdessen den ber\u00fchmten rockproduzenten tom dowd wandte mit einer psychedelischen und progressiven version von dr johns charakteristischem stil des sumpfigen verschwommenen new orleans boogiewoogierocklp get rock getlp ww goodtogo dusty kid ravers diary lpmprsda ravers diary war mit seinen groovigen technobeats und magischen melodien ein meilenstein den nuller jahren kurz nach dem j\u00e4hrigen jubil\u00e4um bietet isolade eine neu gemasterte ver\u00f6ffentlichung auf doppelvinyl anl\u00e4sslich des record store days die einen downloadcode f\u00fcr das album sowie neue remixe neue versionen und alle bseiten aus den maxiver\u00f6ffentlichungen der ravers diary\u00e4ra enth\u00e4lt lpmp isolade electronic isola deat goodtogo edith sitwellwilliam walton fa\u00e7ade rsd mit seltenheitswert ein wirklich rares st\u00fcck das neben dem originalartwork von kultk\u00fcnstler jim flora auch aus einem seitigem booklet besteht mit texten von edith sithwell einer exzentrischen britischen dichterin die ua auch von smiths frontmann morrissey verehrt wird piasmoochi n aboutklassik deat goodtogo ennio morricone peur sur la ville ost rsdennio morricones soundtrack f\u00fcr den franz\u00f6sischen film peur sur la ville aus dem jahr wurde zum ersten mal auf doppelvinyl inklusive einer nd lppr\u00e4mie neu aufgelegt genehmigt von ennio morricone und von den originalb\u00e4ndern neu gemastert mit liner notes von den musikerkollegen und jb dunckel air diese sonderausgabe enth\u00e4lt die ver\u00f6ffentlichte originalpartitur sowie eine zweite vinyl im wert von boni die noch nie auf vinyl erschienen sind dazu geh\u00f6ren zwei titel die nach jahren ihr offizielles deb\u00fct geben ennio morricones zusammenarbeit mit dem franz\u00f6sischen regisseur henri verneuil kommt der des maestro mit sergio leone sehr nahe aus dieser fruchtbaren zusammenarbeit gingen zahlreiche klassiker hervor darunter sicilian clan le casse le serpent und comme icare peur sur la ville aus dem jahr ist wahrscheinlich der h\u00f6hepunkt ihrer zusammenarbeit und zweifellos eine der besten partituren von morricone der thriller mit jean paul belmondo war frankreich ein gro\u00dfer blockbusterhit und morricones soundtrack wurde ebenso ber\u00fchmt lp wewantsoun dssoundtrack wwslp deatch goodtogo entombed clandestine live ltd gold lpposterrsdentombeds klassiker neuaufgelegt als limited gold lp poster lp sound pollution threeman recordingsdeath metal trelp deat goodtogo fallen angels paradise lost rsd gr deluxe lpposterzwei alben brachte die band aus washington und auf den markt fallen angeles haben seitdem kultstatus unter psychkennern f\u00fcr den exklusive rsdrelease wurden ein bislang unver\u00f6ffentlichter livegig und diverse outtakes und demos zusammengestellt ua urspr\u00fcnglich f\u00fcr ein drittes angedachtes album doppellp im gatefoldsleeve mit gro\u00dfformatigem booklet und repro eines vintageposterslp sunbeam psychedelic rock sbmlp deat goodtogo far east family band nipponjin rsd gr orange vinylzur besetzung der band geh\u00f6rte bei entstehung des albums der sp\u00e4tere new age composer kitaro w\u00e4hrend den mix klaus schulze von tangerine dream \u00fcbernahm dessen stammband orientierte sich auch die far east family band nat\u00fcrlich mit weiteren anleihen bei pink floyd julian copes japanrockbibel ganz weit oben angesiedelt kommt das album zum rsd nun handnummeriertem sleeve und orange vinyllp aozoraprogressive rock art rockazlp deatchvertrieb interpret titel info format inhalt label genre artikelnummer upcean atch janein\u00fcber wenrecord store day gsa stand goodtogo fehlfarben monarchie und alltag live rsdlaut rolling stone ist es das wichtigste deutsche popalbum aller zeiten erschienen ist das werk monarchie und alltag von fehlfarben das debut der d\u00fcsseldorfer punkwavecombo hat nachfolgende entwicklungen wie etwa die hamburger schule oder die gegenw\u00e4rtige postpunkwelle mit bands wie messer und die nerven ma\u00dfgeblich beeinflusst auch spex das zentralorgan der deutschsprachigen pop intelligenzia reihte das opus folgerichtig auf rang der besten platten des jahrhunderts nach mehr als f\u00fcnfdrei\u00dfig jahren wurde monarchie und alltag von den original bandmitgliedern allen voran s\u00e4nger peter hein komplett originalgetreu und ungek\u00fcrzt wieder auf die b\u00fchne gewuchtet die vorliegende aufnahme das komplette album live der originaltitelreihenfolge stammt aus dem dezember und begr\u00fcndete im zakk d\u00fcsseldorf das liveformat lieblingsplatte fehlfarben pr\u00e4sentieren sich hier als kompetente spielfreudige immer noch macht und kraftvolle interpreten ihrer eigenen legendelp schallter monkeynew wave schall deatch goodtogo fischerz sit annexe eprsddrei outtakes von den aufnahmesessions zu swimming thunderstorms dem aktuellen album der band um john watts von jetzt erstmals erh\u00e4ltlich piassoreal new wave deat goodtogo flamin groovies live whiskey gogo red lp rsdreissue des livealbums aus der usrockband flamin groovies aus san francisco die aufgrund ihrer rebellischen und antizyklischen haltung zu g\u00e4ngigen musiktrends nie gro\u00dfen kommerziellen erfolg aber daf\u00fcr legend\u00e4ren kultstatus erlangten sie gelten als wegbereiter der powerpop und f\u00fcr viele auch des punk und new wave limitierte lp auf transparentrotem vinyllp diggers factoryrock lolitalp deatch goodtogo francis lai made france transparent blue lp rsdreissue des legend\u00e4ren easy listeningklassikers made france des franz\u00f6sischen komponisten francis lai weltber\u00fchmt f\u00fcr seine love story und bilitis soundtracks und als songschreiber f\u00fcr stars wie charles aznavour dalida marie laforet mirelle mathieu francoise hardy johnny hallyday patricia kaas yves montand edith piaf petula clark und nana mouskouri limitierte lp auf transparent blauem vinyllp diggers factoryeasy listening pllp deatch goodtogo freddie gibbs madlib pinata version rsddiese lpedition von pi\u00f1ata wurde von metropolis mastering london f\u00fcr h\u00f6chste klangtreue mit halber geschwindigkeit gemastert und einem blaxploitationcover exklusiv f\u00fcr den record store day untergebracht diese singlelpversion von pi\u00f1ata dem gefeierten rapalbum aus dem jahr mit features von mac miller earl sweatshirt raekwon scarface domo genesis absoul und vielen anderenlp madlib invazionhip hop mmslp ww goodtogo future sound london cascade ltd numbered g lp rsdfuture sound london ver\u00f6ffentlichen zehn neue versionen rekonstruktionen und interpretationen ihres topcharthits cascade aus dem jahr limitierte nummerierte auflage auf g vinyllp fsol digital electronic lprsdtot deatch goodtogo gaston queen ltd hand numbered lp rsdsoul brother pr\u00e4sentiert die erste vinylreissue eines der legend\u00e4rsten klassiker des funk das deb\u00fctalbum queen des discofunkseptetts gaston aus atlanta georgia mit zeitlosen funktracks darunter den sp\u00e4ter gesampleten tunes clap song und dreams limitierte und nummierte lpauflage ein heiliger gral f\u00fcr alle black musicsammlerlp soul brother funk lpsbrsd deatch goodtogo gemma ray lights zoltar th anniversary edrsdexklusive nur record store day erh\u00e4ltliche limitierte neuauflage von gemma rays zweiten l\u00e4ngst vergriffenen sololp lights zoltar aufgenommen und produziert zuhause london mit michael j sheehy dream city film club miraculous mule pinkes vinyl mit der beiligenden downloadkarte erh\u00e4lt man zugriff auf zus\u00e4tzliche bisher unver\u00f6ffentlichte trackslpmp piasbronzer atrock deat goodtogo gene rising sunset rsd gr orange vinyldie band brachte zwischen und vier alben heraus und konnte songs den uk top platzieren das gleichnamige livealbum wurde im troubador los angeles mitgeschnitten und ist erstmalig auf vinyl erh\u00e4ltlich gr doppellp orange vinyllp demon recordsbrit pop demrec deatchvertrieb interpret titel info format inhalt label genre artikelnummer upcean atch janein\u00fcber wenrecord store day gsa stand goodtogo georg danzer garish weisse pferde rsdweisse pferde geh\u00f6rt zu den gro\u00dfen erfolgen georg danzers deutschland und bescherte dem wiener liedermacher sogar einen auftritt der zdfhitparade die burgenl\u00e4ndische band garish eine regionale gr\u00f6\u00dfe etwa der art von element crime hat weisse pferde nicht einfach nur nachgespielt sondern mit respekt und viel gef\u00fchl zu einem garishtypischen lied verwandelt auch auf dieser stark limitierten single sammlerst\u00fcckalarm sind beide versionen zu h\u00f6ren schallter monkeyaustro pop schall deatch goodtogo georg danzer marianne mendt komm alter pianospieler rsdalle jahre wieder ver\u00f6ffentlichen wir zusammenarbeit mit blacky schwarz dem ehemaligen manager von georg danzer speziell zum record store day sammlerst\u00fccke f\u00fcr fans des wiener liedermachers produzierte georg danzer beim bekannten produzenten ua wolfgang ambros opus peter m\u00fcller acht liedervorschl\u00e4ge f\u00fcr marianne mendt darunter auch alter pianospieler der nach einer musikalischen \u00fcberarbeitung von richard \u00f6sterreicher als komm alter pianospieler zu einem der bekanntesten lieder der austropoppionierin marianne mendt wurde hier sind beide versionen zu h\u00f6ren schallter monkeyaustro pop schall deatch goodtogo gerry beckley discovering america rsdaufgenommen im juni den morgan studios willesden nw london wo gerry beckley als tonbandmusiker arbeitete also sind dies st\u00fccke die er mit hilfe von einheimischen musikern und wahrscheinlich dan peek der zu diesem zeitpunkt london war kurz vor ihrer gr\u00fcndung von amerika mit dewey bunnell aufgenommen hat amerika nahm dann im selben studio horse name auf erstmals ver\u00f6ffentlicht auf sammelbarer vinyl mit einer cdversioncd morgan blue townpsychedelic rock bt deatch goodtogo halo let life ltd numbered rsdexklusive reissue des halo boogieklassikers let als reedit der extended version die flipside enth\u00e4lt die halo single life als neuer exklusiver und rockgitarrenfreier reedit halo waren ein mehrk\u00f6pfiges soulboogiekollektiv der uswestk\u00fcste limitierte und handnummerierte expansion funk rsdhalo deatch goodtogo heptones back top colored lprsddas originalalbum wurde ver\u00f6ffentlicht jetzt wiederver\u00f6ffentlicht auf gramm red vinyl innentasche mit umfassenden sleeve notes musiker roots radics bass errol flabba holt robert robbie shakespeare drums lincoln valentine style scott lead guitar eric bingy bunny lamont rhythm guitar eric bingy bunny lamont piano wycliffe steely johnson winston brubeck wrightlp burning soundsreggae bsrlp deatch goodtogo hitchhikers guide galaxy original albums rsd gr coloured vinylnach dem gro\u00dfen erfolg des h\u00f6rspiels der bbc schrieb douglas adams diese adaption f\u00fcr zwei schallplatten die erstmalig erschienen das mit exzellentem cast eingespielte h\u00f6rspiel erscheint nur exklusiv f\u00fcr den rsd nochmal als wertig aufgemachtes lpset inkl coloured vinyllp demon recordsh\u00f6rspiel demrec deatch goodtogoholger czukay jaki liebezeit jah wobbla full circle triplegatefold x rsdlimitierte djfreundliche x sonderauflage mit versionen von tracks aus holger czukays postpunkplatte full circle einer kollaboration mit jaki liebezeit und jah wobble pil die czukay zu seinen favoriten z\u00e4hlte seitiges gatefold im format mit farbigem beileger sammlerst\u00fcck gr\u00f6nland krautrock lpgron ww goodtogo hugo montenegro hugo wonderland rsdhugo montenegro war ein produktiver komponist und orchesterleiter der den er und erjahren vor allem f\u00fcr die herstellung dynamischer film und fernsehtonspuren bekannt war zus\u00e4tzlich zu den originalkompositionen nahm der geb\u00fcrtige new yorker auch viele einzigartige interpretationen zeitgen\u00f6ssischer werke anderer k\u00fcnstler auf ver\u00f6ffentlichte montenegro hugo wonderland seine interpretation des katalogs der musikikone stevie wonder das album ist vollst\u00e4ndig instrumental und bietet eine v\u00f6llig neue perspektive auf die gefeierten originale von wonder montenegros \u00fcppige arrangements und mooglastige elektronische elemente sorgen f\u00fcr einen genre\u00fcbergreifenden klassiker f\u00fcr den sich stevie wonder selbst eingesetzt hat nach jahren der vergriffenheit ist hugo wonderland nun wieder auf vinyl limitierter auflage erh\u00e4ltlichlp nature soundsfunk nsdlp deat goodtogo humble pie official bootleg collect vol ltd lp rsdlimitierte g doppelvinylalbumedition im gatefold sleeve zum rsd die besten tracks der legend\u00e4ren humble pie von vier konzerten aus den jahren bis lp cherry red rock hnelpd deat goodtogo iggy pop stooges russia melodia transparent red rsddrei songs von iggy pop stooges aufgenommen ihrer heimatstadt detroit mit der rohen und wilden energie des quartetts aus iggy pop den beiden ashetonbr\u00fcdern ron scott und james williamson limitierte auf transparent rotem vinyl diggers factoryrock revep deatchvertrieb interpret titel info format inhalt label genre artikelnummer upcean atch janein\u00fcber wenrecord store day gsa stand goodtogo ivan conti poison fruit grey splattered lp rsdlimitierte deluxeausgabe des er albums des legend\u00e4ren azymuthdrummers ivan mambo conti poison fruit ist ein modernes electronicsambawerk mit jazz beats und houseeinfl\u00fcssen aufgenommen mit topmusikern wie alex malheiros und kiko continentino und produziert von daniel maunick aka dokta venom limitierte auflage auf farbigem vinyl graue spritzer samt beiliegender mit zwei bislang unver\u00f6ffentlichten bonustrackslp far recordingsbrazil farolpx deat goodtogo jacqueline taieb lolita chick orange lp rsdreissue des samplers lolita chick mit essentiellen hits der franz\u00f6sischen s\u00e4ngerin und songschreiberin tunesischer abstammung jacqueline taieb ohne die kein franz\u00f6sischer rocksampler komplett w\u00e4re limitierte lp auf orangefarbenem vinyllp diggers factorychansonfranz vt deatch goodtogo jah wobble british coup rsd yellow vinylder ehemalige pilbassist setzt mit dieser ein brexitstatement mit bord sind die ehemaligen pilmusiker richard dudanski keith levene sowie pop groups\u00e4nger mark stewart dazu youth charlie wardle andrew weatherall und nina walsh radioedit und instrumental dubmix top neon orange vinyllp soulfood importreggae dub cadiz deatch goodtogo jesse dayton texas rpm showdown rsddie exklusive record store inch der texas rpm showdown ist eine hommage zwei der gr\u00f6\u00dften texanischen einfl\u00fcsse von jesse dayton doug sahm und townes van zandt blue elan recordscountry ber ww goodtogo ken ishii feat pacman join pac rsdexklusive als teaser aus dem kommenden album zum j\u00e4hrigen jubil\u00e4um des weltber\u00fchmten computerspiels pacman einer kooperation zwischen dem hersteller bandai namco und der japanischen technolegende ken ishii iambit soundtrack bit deatch goodtogo khemmis doomed heavy metal clearblack splatterexklusive track vinyl der frisch zu nuclear blast gewechselten doommetal kings von khemmis denvercolorado inklusiv bisher unver\u00f6ffentlichtem live und studiomaterial sowie einer unfassbaren version von rainbow dark diolp buck spin doom metal spinlprsd deatch goodtogo killing joke laugh peril rsd deluxe coloured lpder killing jokegig wurde im rahmen der th anniversary laugh peril tour im berliner huxleys mitgeschnitten das original lineup mit jaz coleman geordie walker paul ferguson und youth spielte sich durch ein wuchtiges set mit klassikern wie eighties requiem love like blood oder wardance auf dem eigenen label der band killing joke records erscheint der rsdrelease erstmalig als lp black pink purple vinyl etching killing kokelogo auf seite lp soulfood importalternative cadizlp deatch goodtogo killing joke turn red rsd red vinylvier gesuchte mixe ua auch dub aus der fr\u00fchphase der band und remastert von youth und dem langj\u00e4hrigen engineer michael rendall enth\u00e4lt diese exklusiv zum rsd geplante ep das artwork ist eine neubearbeitung von sleeve designer mike coles nummeriertes rotes vinyllp soulfood importalternative cadiz deatch goodtogo kirsty maccoll peoples heartsbsides rsd grwas h\u00e4tte die unter tragischen umst\u00e4nden viel zu fr\u00fch verstorbene s\u00e4ngerin noch f\u00fcr platten machen k\u00f6nnen zusammenstellung von bseiten ua vom album kite das mit produzent steve lillywhite und johnny marr entstand und diverse hitsingles abwarf ua mit der smithscoverversion havent earned yet baby coloured vinyllp demon recordsrock demrec deatch goodtogo laneous elsewhere flawless rsdlimitierte mit zwei neuen tracks der australischen souljazzband laneous deren deb\u00fctalbum monstera deliciosa gilles peterson worldwide award als bestes album des jahres nominiert ist produziert von nick herrera hiatus kaiyote soul tempojazz shnt deatch goodtogo lee fields lets get groove colored vinyl rsdrecord store day exklusives farbvinyl frisch aus den tresoren von desco records befreit und zum ersten mal seit seiner ver\u00f6ffentlichung im jahr neu gemastert ist es eine ehre die wiederver\u00f6ffentlichung eines der sch\u00f6nsten und befriedigendsten needle drops der letzten jahre anzuk\u00fcndigen ein album das keine einf\u00fchrung braucht aber doch eine wir sprechen von rohem soul und schwerem schweren funk der von einem der besten im gesch\u00e4ft mit souver\u00e4nit\u00e4t gesungen wird meine damen und herren ich pr\u00e4sentiere der klassiker von lee fields lets get groove und grooven sollen sie denn dies ist eine supernova der gef\u00fchlvollen \u00fcberlegenheit es gibt keine gleichelpmp daptone recordssoul dap deatchvertrieb interpret titel info format inhalt label genre artikelnummer upcean atch janein\u00fcber wenrecord store day gsa stand goodtogo magic threes stay lane measly peace rsdkingunderground ist stolz darauf magic threes stay lane zu pr\u00e4sentieren eine sonderausgabe das offizielle zollvinyl des record store day die platte enth\u00e4lt songs von denen einer exklusiv f\u00fcr den rsd gemacht wurde sie ist bei rpm auf eine gezinkte vinyl gepresst das aus nashville tennessee stammende ausger\u00e4ucherte instrumentalistentrio magic threes ist stark von bibliotheksaufnahmen alten filmsoundtracks und hiphopkassetten beeinflusst king undergroun dfunk ku deat goodtogo magnum fully loaded remastered red lp rsdvon tom moulton remastered reissue des latinfunkklassikers fully loaded der ikonischen er westcoastband magnum der mit diesem von cal wade produziertem werk ein killeralbum des funk und soul gelang das neue digitale mastering von tom moulton bringt den kraftvollen stereoklang des albums zur vollen entfaltung limitierte auflage auf amethystfarbenem vinyllp phoenix funk tps deatch goodtogo marc bolan trex shadowhead rsd gr purple vinyldie compilation beinhaltet session takes working master versions sowie mixe aus den extrem kreativen rexjahren erstmalig \u00fcberhaupt auf vinyl kommt shadowhead als gr lp und purple vinyl mit outer und inner sleevelp demon recordsglam rock demrec deatch goodtogo menswear nuisanceth anniv rsd gr orange vinyldie kurzlebige britpopformation wurde bereits vor erscheinen dieses deb\u00fct albums als das kommende gro\u00dfe ding gehandelt tats\u00e4chlich konnte nuisance dann auch drei singles den ukcharts platzieren die exklusive rsdedition kommt als gr lp orange vinyl und zwei bonustrackslp demon recordsbrit pop demrec deatch goodtogo menzingers chamberlain waits rsdauf farbiges vinyl gepresst und mit einem retrotourposter geb\u00fcndelt bevor sie zu den kaisern des punks von s\u00fcdphiladelphia wurden haben die menzinger ihre dienstfahrt den gr\u00e4ben von red scare durchgef\u00fchrt wir haben einige ihrer fr\u00fchen ver\u00f6ffentlichungen und diese lp ist diejenige die sie auf die landkarte gebracht hat f\u00fcr fans von gaslight anthem jawbreaker bouncing souls lawrence arms baysidelp red scare industriesrock cccplp ww goodtogo michael chapman americana rsdder legend\u00e4re gitarrist w\u00e4hlt tracks aus seinen beiden americanaalben aus und ver\u00f6ffentlicht sie auf gramm vinyl mit umfangreichen sleevenotes michael hat auch das foto f\u00fcr die titelseite gemachtlp secret psychedelic rock crestlp deatch goodtogo michel colombier capot pointu white lp rsdreissue des legend\u00e4ren albums capot pointu des franz\u00f6sischen filmkomponisten michel colombier einer zeitlosen mixtur aus pop jazz und klassik mit vocals von serge gainsbourg und pierre delanoe limitierte lp auf wei\u00dfem vinyllp diggers factoryjazz pllp deatch goodtogo michel legrand jazz filmmichel legrand newwave erarsdjazzst\u00fccke des franz\u00f6sischen kultkomponisten aus den scores zu neun nouvelle vague filmen cleo de eva la baie de anges les sept peches capitaux lamerique insolite une femme est une femme les plus belles escroqueries du monde lola und vivre sa vie enth\u00e4lt download codes zu den kompletten filmscores mit einem vorwort von iggy poplp piasmoochi n aboutsoundtrack deat goodtogo mikis theodorakis serpico ost rsdsonderausgabe des serpicoklassikersoundtracks von komponiert von mikis theodorakis der zum ersten mal seit jahrzehnten wieder auf vinyl herausgegeben wird mit neu gemastertem ton klappcover grafiken von eric adrian lee und \u00e4rmelnotizen des filmkritikers jason wood einschlie\u00dflich eines speziellen interviews mit dem arrangeur bob james sidney lumets ver\u00f6ffentlichtes meisterwerk serpico ist einer der ikonischsten filme der er jahre mit einer karrierebestimmenden darstellung von al pacino der titelrolle ist es ein hervorragender neonoirfilm der die postwatergatestimmung der fr\u00fchen er jahre einf\u00e4ngt der soundtrack des films von mikis theodorakis ist ebenso atemberaubend er wurde von dem griechischen musiker komponiert und vom kultjazzpianisten bob james arrangiert und ist eine hervorragende mischung aus funky instrumental und traditionellen melodien die den godfather ost erinnernlp wewantsoun dssoundtrack wwslp deatchvertrieb interpret titel info format inhalt label genre artikelnummer upcean atch janein\u00fcber wenrecord store day gsa stand goodtogo milton nascimento ultimo trem white lp rsdlperstver\u00f6ffentlichung des legend\u00e4ren ballettsoundtracks ultimo trem von milton nascimento eines der gr\u00f6\u00dften songschreiber brasiliens dem auch weitere prominente musiker wie nana vasconcelos joao donato paulinho jobim und mitglieder von som imaginario beteiligt waren ultimo trem behandelt die konsequenzen der schlie\u00dfung einer bahnstrecke im nordosten brasiliens und erschien obwohl aufgenommen erst jahre sp\u00e4ter auf tontr\u00e4ger cd zusammen mit dem ballettsoundtrack maria maria limitierte auflage auf wei\u00dfem vinyllp far recordingsbrazil farodlp deat goodtogo life story versions ltd onesided ice blue rsdremix mit zwei highlights aus dem vielgepriesenen album world citizen der britischen indieband life story das mehrfach pr\u00e4mierte produktionsduo ch\u00f8ppersaurus verleiht ihrem orchestralen pop einen epischen soundtrackcharakter einseitig bespielte auf eisblauem vinyl exilophone indie mlst deatch goodtogo nas gods son rsdauf blauwei\u00dfes swirlvinyl gepresst gods son wurde ver\u00f6ffentlicht und wurde wie zuvor stillmatic von der kritik sehr gelobt nas assistierten eine reihe von spitzenproduzenten wie alchemist eminem ron browz und salaam remi \u00fcber proben von james brown der incredible bongo band fela kuti und beethoven sowie gastgesang von alicia keys kelis claudette ortiz von city high und sogar ein posthumer pac gods son ist seit seiner ersten ver\u00f6ffentlichung im jahr auf vinyl vergriffen aber get freut sich ihnen dieses deluxelppaket anbieten zu k\u00f6nnen f\u00fcr den record store day remastert vom originalaudio und gepresst auf exklusives farbiges vinyllp get hip hop getlp ww goodtogo nev cottee stations remastered rsdremastered und mit bonustracks erweiterte vinylerstver\u00f6ffentlichung mit neuem artwork der deb\u00fctep von nev cottee singersongwriter aus manchester die nur als cd erschien inspiriert vom psychedelicpop eines lee hazlewood und den gro\u00dfartigen simfonien von spiritualized gelang nev cottee hier ein fantastisches solodeb\u00fct produziert von mason neely und carwyn ellis colorama edwyn collins lesson songwriting noel gallagherlp wonderfuls oundindie wsdlp deatch goodtogo new barbarians first barbarian live rsd coloured lpset wollte ronnie wood sein erstes soloalbum promoten und holte sich mit keith richards und ian mclagan prominente unterst\u00fctzung die tourband das konzert londons kilburn gaumont state theatre wurde als woody friends angek\u00fcndigt bislang existierte lediglich eine offizielle cddvdversion des mitschnitts exklusiv f\u00fcr den rsd kommt nun ein lpset mit blue white vinyllp soulfood importrock wdnlp deatch goodtogo nihilist carnal leftovers ltd white lprsdnihilist die schwedischen deathmetalg\u00f6tter die sp\u00e4ter als entombed bekannt wurden mit einer remasteredversion als limitierte white lplp sound pollution threeman recordingsdeath metal trelp deat goodtogonik turner youth space falconsinterstellar energy rsd neon blue vinylder hawkwind mastermind hat sich mit dem produzenten youth f\u00fcr das kurzlebige spacerockprojekt zusammengefunden nach erfolgreichen glastonbury livesets ging man ins studio und spielte einige tracks f\u00fcr die nachwelt ein neon blue vinyl exklusiv zum rsdlp soulfood importpsychedelic rock cadizlp deatch goodtogo norman wattroy faith grace rsd numbered neon red vinylder name norman wattroy mag vielen musikliebhabern erst mal fremd erscheinen wer sich allerdings die bassl\u00e4ufe einiger clashsongs auf sandinista erinnerung ruft oder auch jene von ian durys single hit rhythm stick wei\u00df das kaliber des viel gebuchten sessionbassisten einzusch\u00e4tzen sein soloalbum faith grace erscheint nun nochmal zum rsd als nummerierte neon red vinylversionlp soulfood importrock cadizlp deatch goodtogo odd future tape vol neon pink rsdthe tape vol ist das erschienene deb\u00fctstudioalbum des hiphopkollektivs odd future zu dessen mitgliedern der k\u00fcrzlich mit dem grammy ausgezeichnete tyler creator geh\u00f6rt und frank ocean sowie weniger bekannte aber gleichwertige mitglieder wie hodgy beats domo genesis mike g das internet taco jasper delphin left brain lboy und earlsweatshirt von vinyl und hiphopsammlern seit langem begehrt ist dieses meisterwerk zwei einzigartigen plattenh\u00fcllen neu herauszubringen und auf zwei verschiedenen farbigen vinylkonfigurationenlp get hip hop getplp wwvertrieb interpret titel info format inhalt label genre artikelnummer upcean atch janein\u00fcber wenrecord store day gsa stand goodtogo odd future tape vol neon purple rsdthe tape vol von vinyl und hiphopsammlern seit langem begehrt ist dieses meisterwerk zwei einzigartigen plattenh\u00fcllen neu herauszubringen und auf zwei verschiedenen farbigen vinylkonfigurationenlp get hip hop getblp ww goodtogo pete rock petestrumentals rsdpete rock ist weithin als einer der die gr\u00f6\u00dften hiphopproduzenten aller zeiten bekannt seine name f\u00e4llt oft im pantheon der besten beatmaker neben dj premier rza und j dilla dar\u00fcber hinaus hat pete eine der die weltweit umfangreichsten vinylsammlungen die art der sammlung deren gr\u00f6\u00dfe nur gesch\u00e4tzt werden kann und diese sch\u00e4tzung steht bei mehr als lps unter petes meistverkaufte ver\u00f6ffentlichungen sind ein paar das instrumentalgenre definierende projekte wie petestrumentals und petestrumentals record store day legt er auf seinem eigenen tru soul label mit petestrumentals nachlp tru soul recordship hop trulp ww goodtogo peter bruntnell normal bridgewater rsdloose music ver\u00f6ffentlicht erstmalig das wegweisende und einflussreiche americana album normal bridgewater zum diesj\u00e4hrigen rsd auf vinyl bei der ver\u00f6ffentlichung des albums im juni beschrieb die nme das album ihrem review als einen diabolischen pakt zwischen onkel tupelo und den eagles ausgel\u00f6st durch ein inneres dr\u00f6hnen das die musik \u00fcber ihre scheinbar prosaischen bedenken hinaus zu treiben scheint dar\u00fcber hinaus war es americana album des monats im mojo das album wird exklusiv f\u00fcr den record store day auf schweres wei\u00dfes vinyl gepresst und ist auf eh weltweit limitiertlp loose music rock vjlprsd ww goodtogo pluto journeys end rsdbisher unver\u00f6ffentlichtes zweites album von pluto dessen erstes hohem ma\u00dfe sammelbar ist von der band neu gemastert und von originalmasterb\u00e4ndern die den morganbandl\u00e4den gefunden wurden abgemischt zur band geh\u00f6ren mitglieder von dry ice und foundations ver\u00f6ffentlicht auf grammvinyllp morgan blue townpsychedelic rock bt deatch goodtogo prater wg zwischen spittelberg und handelskai rsdes mag un\u00fcblich erscheinen eine single einer noch g\u00e4nzlich unbekannten band record store day einem internationalen publikum vorzustellen aber wir nutzen bewusst diese m\u00f6glichkeit warum weil wir der meinung sind dass es sich bei dieser ersten ver\u00f6ffentlichung des wiener songschreiberduos verena doublier wiener blond und florian kargl freischwimma um einen instantklassiker handelt der song liegt tonal und thematisch zwischen rock herzschmerzballade und neuem wienerlied bekommt aber durch den ausdrucksstarken gesang von doublier eine eigene dramatische note im herbst erscheint das debutalbum der prater wg diese single wird absehbares ein rares begehrtes souvenir der fr\u00fchzeit der formation werden monkey pop monmax deatch goodtogo raw material raw material rsd gr deluxe lpposterdas britische progpsychalbum gilt bei kritikern als geheimtipp und wenn ein original auf evolution records angeboten wird dann nicht unter eur der exklusive rsd release wurde mit bonustracks aufgestockt ist handnummeriert mit booklet im lp format sowie einem er repro des shopposters ausgestattet lpset gatefoldcoverlp sunbeam psychedelic rock sbmlp deat goodtogosan fransico christian center choirthe sound san francisco rsdbisher nur als privatpressung erh\u00e4ltlich wenn die meisten menschen das musikalische verm\u00e4chtnis von san francisco denken f\u00e4llt ihnen meist als erstes der sommer der liebe ein viel seltener h\u00f6rt man von der stadt durch das reiche erbe der gospelmusik der bay cultures soul ist stolz darauf mit der neuauflage von sound san francisco christian center dieses kapitel der stadtgeschichte wieder aufzugreifen das san francisco christian center war eine der ersten kirchen die ihre t\u00fcren f\u00fcr unzufriedene hippies auf der suche nach einer tieferen spirituellen substanz \u00f6ffnete dieser \u00e4ra gab es neue von der jugend gepr\u00e4gte formen der jesusmusik die die botschaften des gospel mit der rock \u00e4sthetik verschmolzen einer der wichtigsten dieser gospelk\u00fcnstler neuen stils war der san francisco lebende andra\u00e9 crouch der einer der einfl\u00fcsse hinter dieser aufnahme war lp cultures soulsoul coslp wwvertrieb interpret titel info format inhalt label genre artikelnummer upcean atch janein\u00fcber wenrecord store day gsa stand goodtogo sasha scene delete remixes white lp rsdlimitierte remixausgabe zu sashas album scene delete das er inspiriert von modernen klassikminimalisten wie nils frahm max richter oder steve reich ver\u00f6ffentlichte zus\u00e4tzlich zu sechs bereits erschienenen remixes von kiasmos rival consoles plaid matthew dear christian l\u00f6ffler und max cooper enth\u00e4lt die dolp sechs weitere remixe von eat lights become lights stet colin benders throwing snow skanna und sasha selbst alle exklusiv auf wei\u00dfem vinyllp night time storieselectronic alnlprsduk deatch goodtogo sean price small professor latoya jackson rsdp\u00fcnktlich zum record store day freuen sich coalmine records und duck music die zollver\u00f6ffentlichung von latoya jackson anzuk\u00fcndigen dem imposanten k\u00f6rnigen possecut der erstmals auf der lp witness von sean price small professor zu h\u00f6ren ist die aseite wird die originalversion enthalten auf der quelle chris mit ausschnitten aus dj revolution zu h\u00f6ren ist w\u00e4hrend die bseite den back old school remix mit einer anmutigen gaststrophe des ber\u00fchmten texters masta ace enth\u00e4lt um die attraktivit\u00e4t der platte f\u00fcr sammler und hiphopfans gleicherma\u00dfen zu erh\u00f6hen wurde das artwork von dem atlanta ans\u00e4ssigen schwergewicht frko action bronson gucci mane bearbeitet der das cover des justiceklassikers back old school fresh records gekonnt neu gestaltet hat diese sammleredition zoll von latoya jackson wird auf ein auff\u00e4lliges rosa bubblegumvinyl gepresst coalmine funk cm deat goodtogo serge gainsbourg la maison de la radio rsdexklusive lp mit legend\u00e4ren aufnahmen von serge gainsbourg aufgenommen und im maison de la radio zu dieser zeit endete seine blaue phase mit jazz elementen und exotischen rhythmen seinen liedern inspiriert von der left bankrive gauche der usamerikanischen k\u00fcnstlerszene parislp diggers factorychansonfranz dfina deatch goodtogo sleeper bbc transparent blue lp rsdlimitierte lp mit bbc sessions der britischen indierocker sleeper aus den jahren aufgenommen f\u00fcr john peel evening session und mark redcliffe tracks darunter die klassiken statuesque delicious inbetweener und lie detectorlp gorsky recordsalternative sleeplpc deatch goodtogo soft cell mutant moments ep remastered clear rsdremastered reissue der ersten soft cell die im oktober er auflage erschien und sofort vergriffen war jetzt erstmals seit jahren erscheint nach etlichen bootlegausgaben die erste offizielle reissue mit neuester technik digital remastered speziell f\u00fcr vinyl limitierte auf klarem vinyl big frock electronic abf deatch goodtogo soul asylum hurry wait rsdlaut s\u00e4ngergitarrist dave pirner war es eine v\u00f6llig reibungslose angenehme und produktive erfahrung das zw\u00f6lfte studioalbum von soul asylum mit dem titel hurry wait aufzunehmen das mit john fields koproduzierte und den nicollet studios minneapolis aufgenommene album spiegelt den gewohnt eklektischen ansatz von soul asylum wider denn es wurde den nicollet studios minneapolis aufgenommen dem gleichen ort dem die gefeierte rockband ihre ersten alben schon aufgenommen hatlp blue elan recordsrock berlpr ww goodtogo steve earle times like thesedevil put coal rsdaufgenommen w\u00e4hrend der sessions zu ghost west virginia dem f\u00fcr ende mai geplanten neuen album von steve earle enth\u00e4lt diese mit times like einen exklusiven track mit devil put coal ground aber auch ein st\u00fcck vom album piasnew west recordsalternative deat goodtogo suede see next life rsd gr red vinylnach dem ersten split der der band wurde diese compilation vom sis suede information service zusammengestellt gerade mal cds wurden damals ausgepresst und sismitglieder verteilt demos akustikversionen und andere kuriosit\u00e4ten wie eine franz\u00f6sische version von power sind hier enthalten erstmalig als lp gr und rotes vinyllp demon recordsbrit pop demrec deatchvertrieb interpret titel info format inhalt label genre artikelnummer upcean atch janein\u00fcber wenrecord store day gsa stand goodtogotear da club thugs three mafiacrazyndalazdayz rsdin den sp\u00e4ten er jahren waren im hip hop alle augen auf den s\u00fcden gerichtet und der southsound bekam die oberhand nur wenige gruppen waren hei\u00df wie die three mafia von memphis crazyndalazdayz war ein regionaler renner als es unter dem gruppennamen tear da club thugs ver\u00f6ffentlicht wurde aber im wesentlichen eine three mafia voller l\u00e4nge als kern drei mitglieder dj paul juicy j und lord infamous tragen alle zu dem projekt bei die platte wurde mit gold ausgezeichnet und three mafia gewann einen oscar f\u00fcr ihren beitrag zu hustle flow crazyndalazdayz hat noch nie eine kommerzielle vinylver\u00f6ffentlichung gesehen bei der urspr\u00fcnglichen ver\u00f6ffentlichung wurde nur promovinyl herausgegeben f\u00fcr den record store day bringt ihnen get diesen oft \u00fcbersehenen und definitiv \u00fcberholungsbed\u00fcrftigen teil des verm\u00e4chtnisses der three mafia als splatterfarbige lplp get hip hop getlp ww goodtogo terumasa hino part rsdterumasa hino ist ein repr\u00e4sentativer japanischer trompeter seine ganz besonderen platten aus den fr\u00fcheren katalogen werden endlich zum allerersten mal neu aufgelegt original ver\u00f6ffentlicht von love records reissue mit original artwork torfaltenh\u00fclle \u00fcberarbeitetlp trio records jazz ots deat goodtogo terumasa hino journey air rsdterumasa hino ist ein repr\u00e4sentativer japanischer trompeter seine ganz besonderen platten aus den fr\u00fcheren katalogen werden endlich zum allerersten mal neu aufgelegt original ver\u00f6ffentlicht von love records reissue mit original artwork torfaltenh\u00fclle \u00fcberarbeitetlp trio records jazz ots deat goodtogo terumasa hino love nature rsdterumasa hino ist ein repr\u00e4sentativer japanischer trompeter seine ganz besonderen platten aus den fr\u00fcheren katalogen werden endlich zum allerersten mal neu aufgelegt original ver\u00f6ffentlicht von love records reissue mit original artwork torfaltenh\u00fclle \u00fcberarbeitetlp trio records jazz ots deat goodtogo terumasa hino peace love rsdterumasa hino ist ein repr\u00e4sentativer japanischer trompeter seine ganz besonderen platten aus den fr\u00fcheren katalogen werden endlich zum allerersten mal neu aufgelegt original ver\u00f6ffentlicht von love records reissue mit original artwork torfaltenh\u00fclle \u00fcberarbeitetlp trio records jazz ots deat goodtogo alarm celtic folklore live ltd lp rsdlimitiertes neues livealbum der britischen alternativerocker alarm als nachfolger ihres liveklassikers electric folklore live die neuen bislang unver\u00f6ffentlichten livetracks wurden anfang im londoner hammersmith odeon seite und im cabaret club im kalifornischen san jos\u00e9 seite b aufgenommen auch das cover ist dem original aus nachempfunden dass sich beide lps nebeneinander gestellt zu einem doppelalbum erg\u00e4nzenlp st century alternative c deatch goodtogo durutti column idiot savants rsd gr white vinyldas er album des projekts von gitarrist vini reilly erscheint erstmalig als lp gasts\u00e4ngerin dieses sch\u00f6nen im katalog der band unterbewerteten albums war poppy roberts wei\u00dfes vinyl und das hypnotisierende gitarrenspiel von vini reillylp demon recordsalternative demrec deatch goodtogo fall austurb\u00e6jarb\u00ed\u00f3 live ltd gtf lp rsdausturb\u00e6jarb\u00ed\u00f3 reykjavic live erschien im februar auf cog sinister dem eigenen label von fall das album dokumentiert ein gro\u00dfartiges konzert der indie kultband islands hauptstadt vom diese exklusive und limitierte rsd edition ist remastered und nun einmalig als gatefolddoppellp orangegelber splatterfarbe erh\u00e4ltlich lp cherry red rock bredd deat goodtogo fall cerebral causticth anniv splatterzum jubil\u00e4um gibt es cerebral caustic als gr vinyl mit splatter effect vinyl das album von orientierte sich musikalisch wieder den legend\u00e4ren fr\u00fchwerken von mark e smith co vielleicht auch weil gitarristin und smiths exfrau brix smith wieder mit bord war und sehr viel einfluss auf das songwriting nehmen konntelp demon recordsalternative demrec deatch goodtogo hotrats turn ons rsd x coloured vinyldie hot rats waren gaz coombes supergrass und danny goffey die sich den spa\u00df machten songs ihrer jugend zu covern \u00fcberwacht hat das ganze dann noch star producer nigel godrich neben songs von bowie kinks velvet underground sex pistols ua gibt es den bonustrack thumb der nur auf einem soundtrack erschien die rsdedition kommt als exklusive xinch inkl coloured vinyl und vier bonustrackslp demon recordsrock demrec deatchvertrieb interpret titel info format inhalt label genre artikelnummer upcean atch janein\u00fcber wenrecord store day gsa stand goodtogo london suede london suede rsd gr coloured vinyldas sensationelle deb\u00fct mit den singles drowners metal mickey animal nitrate und young wurde den usa unter dem namen london suede ver\u00f6ffentlicht die version erscheint nun erstmalig f\u00fcr den rsd auf gr coloured vinyllp demon recordsbrit pop demrec deatch goodtogo new clarence reid cadillac annie bw tired blood rsderster reissue seit dem originalrelease die legend\u00e4re von clarence reid dem urvater des miami soul sp\u00e4ter auch als blowfly bekannt die single war seine hommage wilson picketts mustang sally und die zweite ver\u00f6ffentlichung des damals jungen philla soullabels aus philadelphia philla soulfunk philla deatch goodtogo pastels advice graduate ship shore advice graduateship shore zwei songs der legend\u00e4ren pastels ver\u00f6ffentlicht domino zum recordstore day als vinyl die songs wurden f\u00fcr die john peel show im maida valestudio der bbc aufgenommen ship shore ist ein song den die band urspr\u00fcnglich mit sandy dirt aufgenommen hatte die neue version ist die version die pastels h\u00e4tten aufnehmen wollen wenn sie fr\u00fcher die ressourcen oder das k\u00f6nnen dazu gehabt h\u00e4tten advice graduate ist ein s\u00fc\u00dfer ergreifender silver jewssong von david berman den die band mit ihm zusammen aufgenommen hat nachdem laurence bell von domino die musiker einander vorgestellt hatte domino recordsalternative rug ww goodtogo residents icky flix ost ltd colour gtf lp rsderstmalige wiederver\u00f6ffentlichung des anl\u00e4\u00dflich des j\u00e4hrigen b\u00fchnenjubil\u00e4ums ver\u00f6ffentlichten albums der soundtrack zu gleichnamigen videosammlung plus interpretationen von klassikern wie constantinople und mans mans mans world diese exklusive und limitierte rsdedition ist nun einmalig als gatefolddoppel album auf orangegelbem vinyl erh\u00e4ltlich lp cherry red rock nrtlpd deat goodtogo unrighteous brothers unchained melodyyouve lost lovinrsdorville peck sub pop und paul cauthen lightning rod duettieren als unrighteous brothers und covern wie sollte es auch anders sein zwei st\u00fccke von den righteous brothers ph\u00e4nomenal piasnew west recordscountry deat goodtogo valentines rds gr coloured vinylobwohl sie nicht ein einziges album ver\u00f6ffentlicht haben muss man der australischen band eine fu\u00dfnote der rockn rollhistorie zugestehen leads\u00e4nger war kein geringerer als der sp\u00e4tere acdcfrontmann bon scott die compilation fasst und b seiten diverser singles zwischen zusammen coloured vinyllp demon recordsbeat demrec deatch goodtogo wedding present shaun keaveny session blue mp rsdlimitierte mit drei hits von 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tord gustavsen oder stefano battaglia sein cello quartet das akustische hiphop trio caf\u00e9 drechsler filmmusik uvm sind nur einige beispiele seines erfolgreichen internationalen schaffens der letzten jahre nun pr\u00e4sentiert er mit seinem neuen opus magnum liminal zone gleich ein ganzes musikalisches universum drei eigenst\u00e4ndigen projekten den sogenannten scopes verarbeitet er mit drei besetzungen und drei programmen die einfl\u00fcsse die ihn den vergangenen jahren st\u00e4rksten gepr\u00e4gt haben vor allem neoklassizismus skandinavischer minimalismus britischer triphop ambient und filmmusik entstanden ist eine traumhaft sch\u00f6ne musik die sich bewusst jeder kategorisierung entzieht caramel der erste teil dieser trilogie erscheint auf dem jazzlabel enja die strikt limitierte lp zum record store day auf monkeylp monkey jazz monlp deatch goodtogo various bonzai power vinyl red x gatefold rsdlimitierte doppel mit hardcoreraveklassikern aus den bonzaiarchiven feat dj 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aleksa zahlreichen featureg\u00e4sten fatima hak baker oscar jerome asheber nubya garcia sowie zwei beitr\u00e4gen des bristoler kollektivs ishmael ensemblelp brownswoo djazz bwoodlp deatch goodtogo various jazz filmhenri crolla andre hodeirrsddrei filmscore klassiker von dem italienischen jazzgitarristen henri crolla und dem franz\u00f6sischen violinisten andr\u00e9 hodeir une parisienne mit brigit bardot voulezvous danser avec moi mit brigitte bardot serge gainsbourg sowie saint tropez blueslp piasmoochi n aboutsoundtrack deat goodtogo various jazz filmmmastroianni rsdmarcello mastroianni music classic italian films enth\u00e4lt musik von piero piccioni armando trovajoli carlo rustichelli und nino rotalp piasmoochi n aboutsoundtrack deat goodtogo various ladies slow disco vol rsdthe ladies slow disco vol limited coloured record store day edition slow disco beginnt das neue jahrzehnt mit einer weiteren musikalischen entdeckungsreise die sp\u00e4ten er und fr\u00fchen er jahre der erste teil der serie erschien bereits und featurete vorreiterinnen der weiblichen pop revolution die hart gegen die m\u00e4nnliche dominanz allen bereichen des musikmachens und gesch\u00e4fts k\u00e4mpften f\u00fcr den zweiten teil hat dj supermarkt sich wieder ordentlich ins zeug gelegt und stellt neben etablierten namen auch wieder k\u00fcnstlerinnen vor die diesseits des atlantiks wohl nur einige wenige bisher zu ohren gekommen sein d\u00fcrftenlpmp arepop hdyareltd ww goodtogo various mixtapes vol mixed bountyhunter rsdlimitierte mc mit djsets des belgischen ravedjs bountyhunter der anfang der er den clubs tgv und rave zone auflegte und dessen erster release der startschuss f\u00fcr das legend\u00e4re bonzailabel war mit ingesamt hardcoreklassikern von yves deruyter techno junkies djf thunderball system traxcalibur bam bam xchange zolex und nat\u00fcrlich dj bountyhuntertape bonzai hardstyle bct deat goodtogo various wick records battle bandcollpmprsdexklusiv f\u00fcr den rsd wick 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vielen anderenlp eone music vertriebrap lp gsa universal music bastille bad blood das deb\u00fctalbum von bastille setzte einen neuen ma\u00dfstab f\u00fcr den englischsprachigen indie die deluxe version bad blood enth\u00e4lt neben dem kompletten hauptalbum noch einige weitere songs die ein zweites bonusalbum bilden diese pressung des doppelalbums auf zwei inch vinyls ist nur w\u00e4hrend des record store days erh\u00e4ltlichlp virgin pop ch best music world universal music black crowes jealous repress original jealous originally released maxi ume rock ch best music world universal music cash johnny classic cash hall fame series early mixes almost years columbia records johnny cash signed mercury records two years later released classic cash hall fame series featured new rerecordings classic johnny cash material including renowned tracks ring fire get rhythm long black veil folsom prison blues walk line classic cash hall fame series captured one country musics greatest sons singing songs made legend first time vinyl exclusive record store day ume mercury records proud present classic cash hall fame series early mixes johnny cashs early mix album mastered newly discovered master tapes mercury vault presented lp format pressed g vinyl highest quality audio fidelity classic cash early mixes musthave cash fans collectors available vinyl anywhere else ever againlp mercury country ch best music world universal music charlatans live like love itin summer charlatans embarked huge tour uk north america penultimate live show december year would grand homecoming manchester evening news arena fine old place lets show right proclaimed tim burgess strong crowd set list enduring songs love key one another north country boy manchester staples weirdo sproston green go show setlist scrapbook memories rock n roll preservation blood band means much many released first time double gatefold g transparent orange vinyl special package comes loaded set original tom sheehan live archive 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coloured vinyl pink soundtrack accompanied crimson wing mystery flamingos british american nature documentary explored massive gathering lesser flamingos tanzania first movie released disneynature label may seemed unusual move time producers film wanted find popular artist liked combine truly striking imagery film would produce led critically acclaimed british jazzelectronic group cinematic orchestra would go compose perform soundtrack produced cinematic orchestra steve mclaughlin score orchestration teese gohl performed air lyndhurst cinematic orchestra london metropolitan orchestra deeply evocative soundtrack multilayered instrumentation captures beautifully story mysterious creaturescol lp walt disney recordssoundtrack ch best music world universal music cross keith ross peter bored civiliansein er britishprogrockjuwel inspiriert durch den uswestk\u00fcstensound dessen urspr\u00fcngliche vinylver\u00f6ffentlichung zu einer \u00e4u\u00dferst sammelnswerten lp geworden ist die band wurde der vergangenheit als british eagles beschrieben und die besetzung bestand aus nick lowe brinsleys bj cole procol harum john cale robert plant david gilmore cat stevens rafferty etc zusammen mit anderen gro\u00dfartigen musikern bored civilians ist eine etwas mysteri\u00f6se geschichte der sowohl cross als auch ross bald darauf von der bildfl\u00e4che verschwanden aber das verm\u00e4chtnis des albums h\u00e4lt ihre namen auf dem sammlermarkt hoch die erste offizielle neuauflage auf lp die rein analog von den originalb\u00e4ndern neu gemastert wurde wird exklusiv f\u00fcr die rsd mit zus\u00e4tzlichen liner notes und seltenen fotos aus den deccaarchiven auf der inneren lptasche geliefertlp decca prog rock ch best music world universal music cure bloodflowers first time picture disc th anniversary rsd exclusive grammy nominated lp set featuring tracks contains download cardpic lp polydor ch best music world universal music cure seventeen seconds first time picture disc th anniversary rsd exclusive features single forest contains download cardpic lp polydor ch best music world universal music damned evil spirits limited transparent green single sleeve gm col lp spinefarm ch best music world universal music def leppard rock n roll hall fame complete five track show def leppards hall fame inauguration featuring guest stars brian may ian hunter young dudes mastered ronan mchugh joe elliottlp virgin emi rock ch best music world universal music n outz magic box ep complement release roll track ep features alternate versions tracks previously unreleased version roxy musics virginia plain ep virgin emi rock ch best music world universal music eminem name bad guys always die single featuring name bad guys always die wild wild west soundtrack interscope rap ch best music world universal music eno brian rams original soundtrack album rams original soundtrack score complete soundtrack film rams produced directed gary hustwit instrumentals previously unreleased written performed produced brian eno record store day exclusive pressed solid white vinyl contains download cardcol lp umc soundtrack ch best music world universal music gallagher rory cleveland callingrecovered depths rory gallagher archive comes cleveland calling previously unreleased acoustic radio session rory gallagher recorded wncr cleveland august th intimate minute song acoustic session interview dj carolyn thomas found small reel released first time specially record store day lp chess rock ch best music worldvertrieb interpret titel info format inhalt label genre artikelnummer upcean atch janein\u00fcber wenrecord store day gsa stand universal music goulding ellie lights th anniversaryellies debut album lights catapulted international fame years ago includes multimillion selling title track ellies cover song elton john celebrate th anniversary expanded seven tracks added record late form bright lights package well six judiciously selected remixes bright lights remixes never vinyl record store day come pressed double lp recycled vinyl sleeve made recycled board reduce environmental impact comes without shrink wrap sleeve opening protected addition second stickerlp pop ch best music world universal music graham davy holly kaleidoscopedavy graham war einer der f\u00fchrenden pioniere der akustikgitarre der viele techniken f\u00fcr dieses instrument erfand und entwickelte darunter akkordfolgen und offene tunings bekanntesten f\u00fcr dadgad er inspirierte auch viele f\u00fchrende musiker wie bert jansch martin carthy john martyn paul simon und jimmy page das holly kaleidoscope war grahams letzte lp f\u00fcr decca und er wurde von seiner damaligen frau der amerikanischen s\u00e4ngerin holly gwyn begleitet die bei einigen st\u00fccken den gesang beisteuerte die vierzehn tracks der lp enthalten f\u00fcnf grahamoriginale sowie eine mischung aus neu arrangierten popul\u00e4ren liedern diese neuauflage der rsd lp kommt mit zus\u00e4tzlichen liner notes und seltenen fotos auf der lpinnentasche rein analoges remastering direkt von den originalb\u00e4ndern und gepresst auf kaleidoskoppaddledeffektfarbvinyl die erste neuauflage auf lp seit der urspr\u00fcnglichen ver\u00f6ffentlichung vor jahrencol lp decca folk ch best music world universal music graham davy collins shirley folk roots new routeseines der besten folkmusikrevivalalben der er jahre folk roots new routes ist ein wundersch\u00f6nes hochgesch\u00e4tztes und oft auch als das erfolgsalbum der britischen folkmusik angesehen das von vielen musikern kritikern und fans auf der ganzen welt bewundert wird die bahnbrechenden arrangements und das spiel von graham und collins sind unnachgiebig und zeitlos doch ihr kompromissloser ansatz war auch sehr innovativ gedruckt auf grm vinyl analog remastert mit vielen tracks erstmals stereo direkt von b\u00e4ndern f\u00fcr rsd mit neuen zus\u00e4tzlichen liner notes und seltenen fotos auf der innenh\u00fclle einige titel werden zum ersten mal stereo ver\u00f6ffentlichtlp decca folk ch best music world universal music inhaler wont always like inhaler ist die band von bonos sohn elijah hewson und eine der gro\u00dfen neuentdeckungen aus uk wont always like b oklahoma late night version polydor rock ch best music world universal music inhaler honest face sie sind ein bisschen wie bunnymen und die fr\u00fchen u noel gallagher inhaler sind noch neu auf den b\u00fchnen europas unterwegs und sammeln bereits millionen von streams auf ihre songs honest face cut rpm b theres place cut rpm polydor rock ch best music world universal music inhaler move ice cream sundae f\u00fcr den record store day erscheinen sechs songs von inhaler einmalig auf drei vinyls mit je zwei songs move b ice cream sundae polydor rock ch best music world universal music jj johnson kai winding jk stonebone jk stonebone trombonists jj johnson kai winding rarest amcti releases recorded ever released japan album available since initial release never available cd streaming long sought collectors original copy lp sell upwards usd addition two leaders features allstar group includes herbie hancock george benson bob james ron carter grady tate ross tompkins release rsd red vinylcol lp verve jazz ch best music worldvertrieb interpret titel info format inhalt label genre artikelnummer upcean atch janein\u00fcber wenrecord store day gsa stand universal music john elton elton john celebrating th anniversary release elton john released record store day deluxe lp featuring classics song border song take pilot album propelled elton john charts record store day release transparent purple vinyl features lp remaster original album lp selected bonus tracks deluxe edition previously released vinyl also includes archive searches two previously unreleased demos border song bad side mooncol lp mercury ch best music world universal music keane night trainoriginally released may night train track ep debuted uk charts marks th anniversary first time made available vinyl record store day release features two additional bonus tracks see features knaan work progress version stop minute pressed gram transparent orange vinyl features digital download cardcol lp island pop ch best music world universal music kennedy dermot without fear without fear ist das \u00e4u\u00dferst gelungene deb\u00fctalbum von dermot kennedy aus irland nachdem die fans jahrelang auf dieses warten mussten kam es im vergangenen herbst umso gewaltiger daher die titel werden f\u00fcr den record store day einer neuen und einmaligen inch picture vinylversion ver\u00f6ffentlichtpic lp island pop ch best music world universal music klaxons surfing void orange vinyl reissue celebrate th anniversary klaxons second album surfing void vinyl since first pressed reissue feature album tracks plus bonus songs originally japanese bonus tracks never lp beforecol lp polydor pop ch best music world universal music knopfler mark metroland first release vinyl soundtrack film metroland british director philip saville well original mark knopfler compositions soundtrack includes dire straits hit single sultans swing plus songs elvis costello stranglers hot chocolate django reinhardt fran\u00e7oise hardy limited edition g clear vinyllp mercury rock ch best music world universal musiclennonono plastic ono bandinstant karma ultimate mixeswritten recorded released days january instant karma become one john lennons biggest popular singles reaching uk usa featuring george harrison alongside bassist klaus voorman drummer alan white keyboard player billy preston first time beatle collaborated legendary producer phil spector would later year work beatles final album let well solo albums john plastic ono band george things must pass audio newly mixed original multitracks artwork faithful reproduction original uk sleeve side instant karma shine ultimate mix side b seen wind ultimate mix apple ch best music world universal music linton kwesi johnson bass culture lkj dubth anniversary lp edition dub poet linton kwesi johnsons classic album released island records additional lp lkj dub featuring dub versions tracks bass culture previous studio lp forces victor remastered abbey road released heavyweight coloured vinyl green bass culture red lkj dub features expanded artwork bespoke gatefold sleeve albums print vinyl yearscol lp island reggae ch best music world universal music loduca joe elfman danny army darkness original motion picture soundtrack sam raimis evil dead film series rolled classic army darkness starred bruce campbell ash featured work composer joe loduca continued score evil dead projects starz series ash vs evil dead ran army darkness musically distinct however secondary composer contribution danny elfman batman peewee simpsons deliver killer theme march deadlp varese sarabandecraf recordingssoundtrack ch best music world universal music marley bob redemption songth anniversary redemption song recreation original limited edition uk released outside uk first time bside features rare band version song live sheriff rainbow theatre concert unavailable vinyl since clear colour vinylcol maxi island reggae ch best music worldvertrieb interpret titel info format inhalt label genre artikelnummer upcean atch janein\u00fcber wenrecord store day gsa stand universal music mccartney paul mccartney released month beatles swansong let mccartney paul mccartneys first solo album notable fact performed instruments vocals aside backing vocals performed linda album rich experimentation original home hit single maybe im amazed album achieved number position us hit number uk charts mark th anniversary albums release album reissued gram black vinyl halfspeed master cut done abbey road includes certificate indicating plus obi strip cover denoting th anniversarylp capitol ch best music world universal music meat loaf bat hell ii back hell roaring harleys screeching vocals million copies sold worldwide bat hell ii back hell certified opus rock opera whose demonic technicolour fully realised double picture disc vinyl makes full use scififantasy artist michael whelans iconic artwork coming years release multiplatinum bat hell back hell doubles humour theatricality meats debut making worthy successor songs written jim steinman album features cast original keyboardist roy bittan drummer kenny aronoff vocal support ellen foley kasim sultan todd rundgrenpicture lp virgin emi rock ch best music world universal music mellow candle swaddling songsswaddling songs ist ein album von das von der irischen progressive folkrock band mellow candle ver\u00f6ffentlicht wurde es war das einzige studioalbum der band und ist im laufe der jahrzehnte zu einer gesch\u00e4tzten und wertvollen platte geworden bei der die neuwertigen originalkopien der lp hohe summen erzielten die komplizierten arrangements und gesangsharmonien haben sie zu einem klassiker ihres genres gemacht und diese rsdexklusive vinylausgabe wird mit zus\u00e4tzlichen liner notes und seltenen fotos auf der innenseite der lptasche geliefert rein analoges remastering direkt von den originalb\u00e4ndern f\u00fcr rsd grm wei\u00dfes vinyl und im originalen klappcoverformatcol lp deram folk rock ch best music world universal music metronomy metronomy forever remixes best remixes current metronomy forever campaign onto including idles take wedding bells bristol bands first official remix created another artist aside wedding bells idles til dev us party remix insecurity michael mayer iz love remix iii bside salted caramel ice cream anna lann remix wedding bells georgia remix lately gerd janson remix flourescent orange vinylcol ep music electro pop ch best music world universal music monty pythonthe album soundtrack trailer film monty python holy grail simply one funniest albums ever released soundtrack pythons first feature length movie debuts picture disc packaging configured terry gilliam record includes addition previously unreleased track trailer film monty python holy grail nipicture lp virgin emi soundtrack ch best music world universal music ocean colour scene one modern th ocean colour scene album slight departure previous two albums reflective soulful pastoral sound well political slant albeit lates psychedelic slant reminiscent byrds small faces laterperiod beatles remastered abbey road released heavyweight green vinyl exclusive limited edition double lp gatefold sleeve formats deleted vinyl print many yearscol lp island pop ch best music world universal music opeth orchid band received massive critical acclaim combination progressive influences annihilating swedish death metal purple marble swirl colored g reissue embossed sleeve must fans collectors alike strictly limited copies worldwidecol lp spinefarmcan dlelightrock ch best music world universal music parker charlie jazz midnight live howard theatrestunning performances recorded live howard theater washington dc march october previously released part larger collection cd cuts available standalone album first time cuts available vinyl first time features stellar band members max roach charlie byrd zoot sims includes original liner notes producer bill potts midnight blue lpcol lp blue note jazz ch best music world universal music refused fit broadcasting live bbc band recorded live five song set iconic bbc maida vale studios performing four songs latest album war music along mash okrather dead classic songs fan flames discontent album presented fans limited record store day lp single sleeve ultra clear vinylcol ep spinefarm rock ch best music worldvertrieb interpret titel info format inhalt label genre artikelnummer upcean atch janein\u00fcber wenrecord store day gsa stand universal music roger waters wall live berlin herald th anniversary one symbolic concerts time rsd releasing limited clear vinyl run landmark berlin version wall roger waters landmark concept album recorded former nomans land brandeberg gate potsdamer platz berlin eight months fall berlin wall live spectacular watched people string special guests makes truly unique recording records boast range stellar talent van morrison band cyndi lauper scorpions jerry hall sinead oconnor joni mitchell transferred abbey road offered gm vinyl opportunity many reacquaint absolutely unique reading pink floyds towering concept albumcol lp emi rock ch best music world universal music rolling stones metamorphosis first official rolling stones rarities collection originally released june try outwit bootleggers release combines legendary outtakes rarities well focusing wealth demos jagger richards composed artists produced andrew loog oldham jimmy miller remastered bob ludwig gateway mastering lacquer cutting sean magee abbey road studios released exclusively g hunter green vinyl includes exclusive ironon tshirt transfer sleeve design alludes franz kafkas metamorphosis story man wakes one morning find inexplicably transformed huge insect release replicates uk version two extra songs things stick mind wastin time original us releasecol lp abkco rock ch best music world universal music roxy music roxy music steven wilsons stereo mixthe final piece roxy music debut album celebration jigsaw originally intended part groundbreaking box set steven wilsons stereo mix epochal work whispered noninclusion onwards full blessing band sees light day strictly limited clear vinyl rsd mastered vinyl frank arkwright abbey roadcol lp virgin emi rock ch best music world universal music sandie shaw reviewing situation sandie shaw one successful british female singers forever famous winning eurovision song contest puppet string dominated uk charts flood pop hits late including three number one singles yet ventured funkier direction fifth studio album shaws first time producing album chose songs alternative artists covers tracks beatles rufus thomas lovin spoonful dr john rolling stones bob dylan release first ever cover led zeppelin song time gonna come sensual voice strong backing band featuring ian wallace king crimson drums gives classic tunes new lease life release features long lost mono mix original album plus second disc bonus material sessions including versions paul mccartneys junk frank mills broadway show hair collected together vinyl first timelp emi pop ch best music world universal music sea girls call die deb\u00fctep von sea girls erschien ausschlie\u00dflich als digitale version die ep enth\u00e4lt ua den titelsong der der erste song ist den die band aus london je ver\u00f6ffentlicht hat f\u00fcr den record store day erscheinen die vier songs einmalig als inch maxisinglev polydor indierock ch best music world universal music shankar anoushka love lettersalongside alev lenz host trailblazing women feature love letters including twin sister vocal duo ibeyi singer cellist ayanna witterjohnson renowned indian singer shilpa rao brooklynbased mastering engineer heba kadry bj\u00f6rk slowdive british audio mastering engineer mandy parnell aphex twin xx brand new track ep physically released rsd ep mercury kx world ch best music world universal music smith sam feel love side feel love side b feel love extended picture disc pic maxi capitol pop ch best music world universal music stevens cat might die tonight single cat stevens song might die tonight album tea tillerman side feature alternative version song film deep end aside reworked specifically film starred jane asher somewhat uk cult classic previously unreleased form colour single light bluecol island folkrock ch best music world vertrieb interpret titel info format inhalt label genre artikelnummer upcean atch janein\u00fcber wenrecord store day gsa stand universal music tangerine dream phaedra tangerine dreams first release signing richard bransons virgin records released february unveiled brooding title track spread across whole side phaedra recorded manor studio inside manor house shiptononcherwell oxfordshire england already celebrated early location mike oldfield created tubular bells produced tangerine dream founder edgar froese also painted image album cover audio taken boxset search hades bonus tracks original album made double lp first time pressed g heavyweight tangerine coloured vinylcol lp emi kraut electro ch best music world universal musicthe comet coming featuring joshua idehen imminent comet coming follow globally successful releases trust lifeforce deep mystery afterlife record store day exclusive vinyl titled imminent side imminent pulsating frenetic number featuring lyrics vocals joshua idehen side b features dj noss remix standout track super zodiac bands impulse records debut impulse ch best music world universal music thin lizzy chinatownth anniversary newly remastered edition chinatown comes second lp previously unheard demos housed embossed sleeve lp mercury rock ch best music world universal music tyrannosaurus rex unicorn first time coloured vinyl rd tyrannosaurus rex album produced tony visconti album features bolan favourites cat black wizards hat born unicorn nijinksi hind childrens story romany soup narrated john peel contains download cardcol lp polydor rock ch best music world universal music u oclock tick tock th anniversary edition oclock tick tock recorded producer martin hannett dublins windmill lane studios originally released may year song us first single island records th anniversary edition includes full length version oclock tick tock original bside touch plus two previously unreleased live recordings bands show marquee london september touch twilight track ep cut rpm pressed gsm transparent blue vinyl full colour gatefold outer sleeve photo gallery inner gatefoldcol island rock ch best music world universal music vaaustin powers international man mystery walt disney recordsmike myers ultramod spy spoof austin powers international man mystery skillfully wrings humor differences similarities isnt surprising soundtrack balances pop hits songs wryly rework swinging styles naturally original burt bacharach songs sound best yet number retrostyle gems ranging funky acid jazz james taylor quartet straightahead poprock edwyn collins susanna hoffs lightning seeds triphop reworking turtles showed wondermints ringing title theme words nearly fab lp coloured vinyl lp purple lp redcol lp walt disney recordssoundtrack ch best music world universal music vamercury kx curates first ever compilation flow featuring rare nils frahm rework brand new custom compositions isobel wallerbridge federico albanese beautiful contributions josin sophie hutchings course music mkx mainstays \u00f3lafur arnalds keaton henson grammynominated sebastian plano lambert anatole luke howard guy sigsworthlp mercury kx neoklassik ch best music world universal music various artists hackers original motion picture soundtrack definitive soundtrack film hackers featuring tracks film included original soundtrack including protection massive attack open leftfield two tracks guy pratt one combination grand central station featuring david gilmore well hackers suite performed composer simon boswell double lp release comes conjunction th anniversary film see revival screenings world package includes new notes directorproducer iain softley unreleased photos castlp varese sarabandecraf recordingssoundtrack ch best music worldvertrieb interpret titel info format inhalt label genre artikelnummer upcean atch janein\u00fcber wenrecord store day gsa stand universal music weeknd dear melancholy dear melancholy ist die bisher einzige epver\u00f6ffentlichung von weeknd und umfasst tracks die liste der coautoren und producer ist eklektisch wie hochkar\u00e4tig nicolas jaar coautor call name ist genauso dabei wie skrillex coproduzent wasted times frank dukes mehrfach produzent gesaffelstein albumgast und produzent never hurt oder auch mike madeit try auch daft punk sind zumindest zu wieder dabei hurt feat gesaffelstein komponierte weeknd ua mit guymanuel de homemchristo und kn\u00fcpfte damit direkt starboy und feel coming ep republic hiphop ch best music world universal music odds sods one first rarities collections released try defeat bootleggers original track album released track records label september reissue includes original lp sequence disc one adds bonus tracks b sides rarities extras disc two odds sods create definitive track double lp stunning artwork design restore original diecut front sleeve includes pete townshend original track annotation pressed heavyweight coloured vinyl disc one red disc two yellow also features replica north american tour poster image part gatefold lyric insert two printed inner bags remastered cut using half speed mastering process abbey road studios col lp polydor rock ch best music world universal music yarbrough camille iron pot cooker first ever vinyl reissue rare highly collectible album released vanguard features song take yo praise sampled hit moby song praise gram vinyl tipon jacketlp concord craft recordingsfunksoul ch best music world universal music zappa frank cant stage anymore samplerfrank zappas compilation sampler expansive live series intended compact disc featuring live tracks ranging limited edition pressing yellow red haze vinyl remastered bernie grundman col lp zappa family trustrock ch best music world warner music ce alice cooper live apollo theatre glasgow feb classic performance alice cooper recorded live apollo theatre glasgow scotland feb special forces tour recording largely unreleased three tracks think wheels model citizen previously released bsides available since strictly limited copies tracklisting think model citizen go hell guilty im eighteen cold ethyl women bleed mr nice guy clones wheels never cry grim facts pain billion dollar babies generation landslide think schools previously releasedlp rhino warner rock ja warner music ce alphavillesounds like melody grant kelly remix blank jones x gold lloydspecial unreleased new mix record store day created original band members marian gold bernhardt lloyd together blank jones first time bernhard lloyd worked marian gold studio since left alphaville original parts multi track tapes used additional instruments name grant kelly remix results line second verse song like cary grants kellys blank jones work closely band since various projects like soos eighties reconstructions pres alphaville forever young super deluxe edition limited edition also features special long version bside single yellow vinyl warner music germanypop javertrieb interpret titel info format inhalt label genre artikelnummer upcean atch janein\u00fcber wenrecord store day gsa stand warnerada americaheritage ii demosalternate takes rsd exclusivecontains previously unissued demos alternate tracks liner notes bands gerry beckley includes long rumoured minute acoustic jam jameroony omnivore recordings released heritage home recordingsdemos due critical commercial acclaim pleased announce record store day vinyl release heritage ii demosalternate takes collection picks first volume left centering mostly beginning sir george martin era martin produced seven albums america heritage ii focuses demos alternate takes holiday hearts hideaway albums hear first time unreleased gerry beckley song mandy demos songs holiday matter mad dog outtakes hearts simple life alternate mixes hideaway amber cascades todays day addition gems theres real rarity included herein acoustic instrumental jam gerry beckley dewey bunnell dan peek entitled jameroony lasting nearly minutes unearthed bands archives track rumored years found recently early soft rock fans dream come true collection spotlights new direction bands sound sir george martin takes reins leads many platinum albums hit records please enjoy alternate walk memory lane immerse guilty pleasures americalp omnivore pop ja warnerada annihilator triple threat unplugged canadian thrash metal protagonists annihilator celebrate record store day picture disc release acoustic material previously available triple threat cd format picture disc release cover art titled triple threat unplugged cut selection accentuates virtuoso skills founder leader jeff waters never previously released vinyl joining waters recordings took place home studio near ottawa band members aaron homma richard hinks vancouver bc drummer friend marc lefrance plus ottawa session player pat robillard selections include sounds good stonewall phoenix rising illustrate unique calmer elements annihilators library waters guitar vibrant ever acoustic setting annihilator annihilating whole waylp picture disc silver lining thrash metal ja warner music ce biffy clyro modernsspecial opaque white vinyl exclusive single features frightened rabbit cover modern leper david bowie cover modern love single warner music ukalternative rock ja warnerada black sabbathevil woman dont play games wicked world paranoid wizard despite run legendary hit singles black sabbath seveninch single format didnt always sit well together release debut single evil woman followed ultimate explosive chart success paranoid band comfortable confines mainstream pop format audience brought leading legendary selfimposed ban releasing singles early features four iconic images sabbath band members emblazoned across two picture discs one image per side packaged rare picture sleeves unique ultrarare international colour picture sleeves remastered renowned engineer andy pearce picture discs sanctuary heavy metal ja warner music ce brandi carlile rooster saystbc single black yellow new elektrasingersongwriter ja warnerada carter usm love album rsd exclusive exclusive album picture disc rsd uk left european union presumably carter release special commemorative picture disc uk number album love album featuring adapted eu flag europe design album reached number one uk contains hits living boy new cross far good track list wrestling fixed living boy new cross suppose gave funeral nobody came england far good look mum hands skywest crooked impossible dream k bottom hot handle shoot shoot picture disc chrysalis pop ja warner music ce charli xcx vroom vroom eptbc coloured lp east west records uk ltdpop javertrieb interpret titel info format inhalt label genre artikelnummer upcean atch janein\u00fcber wenrecord store day gsa stand warner music ce david bowie changesnowbowiechangesnowbowie track session recorded radio broadcast bbc davids th birthday th january broadcast originally featured interview david mary ann hobbs interspersed specially recorded birthday messages questions likes scott walker damon albarn bono robert smith many interview birthday messages feature album mostly acoustic session stripped back affair featuring davids favourites compositions produced bowie reeves gabrels mark plati lp plg uk pop ja warner music ce david bowie changesnowbowiechangesnowbowie track session recorded radio broadcast bbc davids th birthday th january cd digipak plg uk pop ja warner music ce david bowie im dancing soul tour im dancing taken recently discovered sources david bowie archive im dancing soul tour recorded mostly davids performance michigan palace detroit th october encores taken municipal auditorium nashville th november soul tour radical midtour departure bowies diamond dogs theatrical extravaganza three week break late diamond dogs tours elaborate sixton hunger city stage set drastically stripped back tours set list overhauled include asyetunreleased tracks young americans sessions sigma sound philadelphia soul tour also featured revamped band augmented include musicians vocalists sessions rechristened mike garson band im dancing soul tour follows previous record store day lp release cracked actor live los angeles incredible historical document performer band height live powers artwork lp cd releases based original design programmes available venues dates soul tour soul tour taken mythical status among bowie fans tour visited cities east south us first time audio incarnation tour ever officially releasedlp plg uk pop ja warner music ce david bowie im dancing soul tour im dancing taken recently discovered sources david bowie archive im dancing soul tour recorded mostly davids performance michigan palace detroit th october encores taken municipal auditorium nashville th november first time audio incarnation tour ever officially releasedcd digipak plg uk pop javertrieb interpret titel info format inhalt label genre artikelnummer upcean atch janein\u00fcber wenrecord store day gsa stand warner music ce dexter gordon squirrelthe squirrel subtitled live montmatre copenhagen live album american saxophonist dexter gordon recorded famous jazz house montmartre copenhagen denmark danmarks radio released squirrel tadd dameron cheese cake dexter gordon youve changed carl fischer bill carey sonnymoon two sonny rollins band dexter gordon tenor saxophone kenny drew piano bo stief bass art taylor drumslp numbered plg denmark jazz ja warnerada dio annica limited edition dio picture disc based around magica album aside leads wit rare track annica previously available rare japanese bonus track magica sessions includes live studio versions lord last day side b features minute epic dio spoken word piece magica story never vinyl picture disc bmg heavy metal ja warnerada emerson lake palmerlive waterloo field stanhope new jersey usa st julyflamecoloured vinyl lp single sleeve lp live cd album soldout deleted deluxe box set new jersey us show th anniversary elp formation lp flame coloured bmg progressive rock ja warnerada erasure blue savannah transparent blue celebrates th anniversary erasures uk single blue savannah exclusive record store day transparent blue vinyl includes brand new remix vince clarke original bsides rare shep pettibone us promo mixes remixes mark saunders gareth jones fischermans friendlp mute electro pop ja warner music ceeric clapton david sanborn michael kamenlethal weapon original motion picture soundtrackthe original soundtrack newly remastered vinyl composed performed eric clapton michael kamen david sanborn features clapton guitar tracks lp warner soundtrack ost ja warner music ce \u00e9tienne daho surfkaren dalton terrace air drink smokey robinson roger waters kitchen audrey hepburn dennis wilson phoenix considering trip west coast alchemist could gather precious gems cohesive result surf indeed much covers album genuine daho record splashes folk echoes soul psychedelic vibes owning legendary eclectism singer fun letting go sings eternal classics respect envy love honesty cant escape girl gone moon river performs records sixteen musicians including david whitaker strings abbey road glad unhappy also rediscovers forgotten gems amazing choose pet shop boys daho course pop icon idol performs ardent fans soldout venues also like human like us loves falls love hopes loses gets excited night alone home plays hums songs tell stories surf using words songwriters daho reveals like never shares personal playlist offers us intimate record full glowing beauty pure melancoly friend future emotions matthieu dufourlp orange warner music francepop ja warnerada fatboy slim sunset bird prey th anniversary edition fatboy slims sunset bird prey celebrates iconic original includes brand new un released remix critically acclaimed horse meat disco thats nailedon become dancefloor classic package includes orange vinyl art card hand designed street artist ryca skint dancebig beat ja warner music ce fay wildhagen leave moon live osloleave moon live album norwegian singer songwriter fay wildhagen recorded oslo concert hall album blend songs fay wildhagens albums snow borders also includes single different released fall focus track live album let go one popular songs new version find amazing ane brun vocalslimited black vinyl albumwarner music norwaysinger songwriter ja warnerada feeder feeling moment pushing senses splatter vinyl pvc bag limited edition single splatter vinyl year anniversary feeling moment single uk bside fan favourite pushing senses echo alternative javertrieb interpret titel info format inhalt label genre artikelnummer upcean atch janein\u00fcber wenrecord store day gsa stand warner music ce fleetwood mac alternative rumoursfollowing format previous fleetwood mac rsd releases tusk mirage tango night fleetwood mac rsd release lp album alternate takes mirroring original album rumours deluxe edition alternate takes include early versions alternate versions gold dust woman chain dont stop dreams second hand news vinyl first time strictly limited edition track list side second hand news alternate dreams alternatenever going back acoustic duet dont stop alternate go way alternate songbird alternate side chain demo make loving fun alternate dont want know early take oh daddy early take gold dust woman early take gram black vinyl rhino warner pop ja warnerada frank marino mahogany rush reallive vol rsd exclusive lp first time vinyl embossed deluxe gatefold live photos recorded live club soda montreal canada september headbanger historians look back important heavy metal hard rock bands active mahogany rushs name doesnt come nearly often led zeppelin black sabbath deep purple kiss van halen judas priest blue \u00f6yster cult aerosmith regrettable frank marino led one exciting hard rockmetal outfits mahogany rush without question underrated marinos refusal change times well great singerguitarist inspired original material performances zombies shes two hendrix classics voodoo chile slight return red houselp nettwerkjustin time rock ja warner music ce gary clark jr pearl cadillac feat andra day exclusive rsd single multiple grammy award winning artist gary clark jr originally released acclaimed album land limited edition release includes two remixes track pearl cadillac featuring andra day pressed pearl colored vinylcoloured lp warner recordsrock ja warnerada gold andrew something new unreleased gold rsd exclusiveandrew golds first recordings solo artist contains previously unissued demos liner notes grammy awardwinning producer peter asher pressed colored vinyl rsd mids andrew golds skills musician arranger ubiquitious appearing biggest records decade artists linda ronstadt art garfunkel james taylor reached billboard top artist writer self penned hit lonely boy lp omnivore pop ja warner music ce gorillaz dsidesdsides compilation bsides remixes singles bonus tracks gorillaz second album demon days track album also includes unreleased tracks recorded album session originally released first time dsides available vinyl audio remastered lp set pressed g vinyllp plg uk pop ja warner music ce gorillaz gsidesoriginally released cd japan europe us first time album available vinyl album collection bsides remixes debut album gorillaz tomorrow comes today ep audio remastered pressed gram vinyllp plg uk pop ja warner music ce grateful dead buffalo contender cornell crown buffalo lp set gram vinyl custometched th side features arguably bestever renditions helpslipfranklins comes time remastered jeffrey norman original analog board tapes produced release david lemieux limited edition tracklisting side help way slipknot side franklins tower cassidy side browneyed woman mexicali blues tennessee jed side big river peggyo sunrise side music never stopped bertha good lovin side ship fools side estimated prophet one drums side fade away comes time side sugar magnolia uncle johns band gramm lps thside etching rbdo rock javertrieb interpret titel info format inhalt label genre artikelnummer upcean atch janein\u00fcber wenrecord store day gsa stand warnerada hardcastle paul mixes rsd exclusive exclusive camouflage coloured vinyl rsd celebrate th anniversary track special mini album compilation released track got uk april usa germany italy spain japan featured local language versions track mini lp release features original remixes along pauls original demo track list mix destruction mix final story mix instrumental instrumental original demolp camouflage chrysalis pop ja warner music ce hawkwind bbc recorded live bbc th september bbcs famed paris theatre london classic space ritual era hawkwind featuring dave brock nik turner lemmy kilmister stacia blake track hour long show stereo version features hawkwind classics born go seven seven master universe release also includes two bonus tracks recorded johnny walkers bbc radio show year brainstorm silver machinelp plg uk rock ja warner music ce hootie blowfish live nicks fat city lp featuring live show nicks fat city pittsburg pa features tracks wanna hold hand let cry go blind love one youre limited copies wordwide lp gatefold rhino atlantic rock ja warner music ce jethro tull stormwatch stormwatch consist associated recordings mixed steven wilson stormwatch th anniversary force editionlp plg uk rock ja warner music ce kd lang dragfirst time vinyl filled seriously beautiful singing drag sharpens ms langs image pop musics smartest postmodern torch singer new york times collection covers somehow related smoking drag far ambitious average cover record music limited edition pressed smoky vinyl lp etched warner recordspop ja warner music ce kd lang reclines angel lariattbclp red warner recordspop ja warner music ce lou reed john cale songs drellath anniversary edition lou reeds album recorded john cale formerly cofounders velvet underground concept album tribute friend mentor andy warhol died couple years earlier reed cale paint portrait warhol far depth poignancy public image would led one expect moving deeply felt tribute misunderstood man pleasure hear two comradesin arms working together even renewed collaboration destined shortlived music review double vinyl edition exclusive record store day pressed audiophile heavyweight vinyl includes etching side limited copies worldwide lp side etched rhino warner rock ja warnerada madness work rest play fortieth anniversary reissue iconic uk bands work rest play ep follow debut album one step beyond limited edition record store day release double triple gatefold sleeve including newlydiscovered rare photos time original release includes madness classic night boat cairo vinyl bmg ska ja warner music ce mark snow truth light music xfilesfirst time vinyl musical selections first three years acclaimed science fiction television series resident composer mark snow interspersed dialogue cast written chris carter truth limited edition pressed glowinthedark vinyl lp green glow warner recordspop ja warnerada morrissey honey know find track single innovative transparent clear photo disc clear pvc bag audio one side tracks taken deluxe reissue southpaw grammar album recorded original sessions album celebrates th anniversary tracks artwork new record store day release chosen morrissey bmg alternative ja warnerada mot\u00f6rhead ace spades dirty lovea limited edition shaped picture disc celebrating th anniversary mot\u00f6rheads speaker smashing worldwide outlaw anthem ace spadesshaped picture disc sanctuary heavy metal ja warner music ce chemical romance life murder scenefirst time vinyl contains live tracks bsides rare demos includes helena thank venom ghost bury black pressed limited clear vinyl red splatterlp splatter reprise rock javertrieb interpret titel info format inhalt label genre artikelnummer upcean atch janein\u00fcber wenrecord store day gsa stand warnerada nazareth love hurts flight tonight orange coloured vinyl th anniversary rerelease worldwide hit single love hurts us top one successful longlasting bands planet scottish rockers formed still going strong track paired first time flight tonight bside another nazareths big hits reaching uk new limited edition record store day single orange coloured vinyl features original german cover love hurts portuguese cover flight tonight salvo rock ja warner music ce new order peel session track ep playing featuring new orders session john peels radio show broadcast st june release features newly created peter saville sleeve single warner music ukpop ja warnerada new riders purple sage field trip live rsd exclusive recorded live track temple meadow veneta oregon long outofprint recording buddy cage pedal steel guitar taken directly master reels nrps archive mastered david glasser airshow mastering liner notes nrps historian rob bleetstein rare photos billboard magazine hailing new riders purple sage definitive band countryrock genre year major growth band time summer rolled around buddy cage firmly entrenched jerry garcias replacement pedal steel guitar second studio album powerglide getting rave reviews live front beginning fill concert halls across us continuing emerge shadows grateful dead intoxicating mix classic original american songwriting worlds country rock bluegrass soul lp omnivore rpck ja warner music ce ol dirty bastardreturn chambers dirty version th anniversary editionin celebration th anniversary debut album wutang clan founding member ol dirty bastard return chambers dirty version releasing th anniversary singles box recently platinumcertified release originally released march limited individually numbered copies worldwide release pressed blue yellow white vinyl track listing disc intro b shimmy shimmy ya disc baby cmon b brooklyn zoo disc hippa da hoppa b raw hide featuring raekwon method man disc damage featuring gza b dont u know featuring killah priest disc stomp b goin disc drunk game sweet sugar pie b snakes featuring killah priest rza masta killa buddha monk disc brooklyn zoo ii tiger crane part featuring ghostface killah b brooklyn zoo ii tiger crane part disc proteck ya neck ii zoo featuring brooklyn zu prodigal sunn killah priest second assassin b cuttin headz featuring rza disc dirty dancin featuring method man b harlem world singles vinyl box set rhino elektra rap ja warner music ce pink floyd arnold layne live syd barrett tribute celebrate rsd pink floyd release limited edition one sided etched first single arnold layne recorded live syd barrett tribute concert madcaps last laugh produced nick lairdclowes associate producer joe boyd held barbican london may th special release represents last live performance pink floyd david gilmour nick mason richard wright pink floyd members augmented jon carin keyboards vocals andy bell oasis bass guitar etched vinyl plg uk rock javertrieb interpret titel info format inhalt label genre artikelnummer upcean atch janein\u00fcber wenrecord store day gsa stand warner music ce pretenders live paradise boston reissue promoonly warner bros music show featuring new artwork including photos show celebration bands th anniversary available lp clear red colour colour vinyl tracklisting side one space invader wait precious kid private life cuban slide side two talk town tattooed love boys neck mystery achievement stop sobbing lp gram clear lp rhino warner rock ja warner music ce quatro scott powell quatro scott powellquatro scott powell qsp supergroup founded heart glam rock bringing together combined forces three legends rock n roll suzi quatro vocals bass guitar andy scott sweet vocals guitar powell slade drums album quatro scott powell due released white vinyl first time limited edition rsd lp gram white vinyl warner music russiarock ja warner music ce ramones alive iispecial edition th anniversary release alive ii includes live show recorded uk live victoria hall stokeontrent staffordshire dec prior original new years eve live performance recorded rainbow theatre dec alive ii mixed original ramones engineer producer ed stasium exclusive record store day double heavyweight numbered vinyl gabba gabba hey sign etching side limited units worldwide rockaway beach teenage lobotomy blitzkrieg bop wanna well glad see go gimme gimme shock treatment youre gonna kill girl side two dont care sheena punk rocker havana affair commando today gone tomorrow surfin bird cretin hop side three listen heart california sun dont wanna walk around pinhead wanna dance chainsaw today love tomorrow world side four wanna good boy suzy headbanger lets dance oh oh love wanna sniff glue happy familylps gram numbered edition sides audio one side etching rhino warner punk ja warner music ce randy newman natural ostback vinyl first time decades one scores time movie music uk one defining effective memorable sports scores time filmtracks pressed aqua blue vinyl lp bluetransparent warner pop ja warnerada richards keith hate leavenever red vinyl side features main offender classic hate leave side b features rare keith richards track key highway ever saw release japanese version main offender bmg rock ja warnerada shankar ravi chants indialimited edition double red vinyl ravi shankars collaboration george harrison available first time vinyl celebration ravi shankars centennial housed gatefold sleeve excusive photo print lp bmg folk ja warner music ce skid row slave grindfor record store day run groove reissuing slave grind uncensored version solid red g vinyl first time years expanding lp set includes bonus tracks making debut wax remastered maximum fidelity limited copies worldwidelp red rhino rock ja warnerada status quo kellys greasy spoon th anniversary reissue uk rockers third studio album kellys greasy spoon limited edition fried egg coloured vinyl record store day lp sanctuary rock ja warnerada supergrass caught fuzzstandard sleeve recycled g vinyl originally released caught fuzz celebrates th anniversary taken platinum selling debut lp coco exclusive record store day includes brand new remix also sees supergrass reform embark uk eu us tours release career spanning best strange ones bmg alternative ja warner music ce tegan sara tonight dark seeing colorsrecorded live hey im like tour includes exclusive versions tegan sara favorites limited edition purple splatter vinyllp splatter warner recordsalternative javertrieb interpret titel info format inhalt label genre artikelnummer upcean atch janein\u00fcber wenrecord store day gsa stand warner music ce black keys lets rockexclusively record store day black keys releasing limited edition rpm version charttopping th album lets rock album originally released june via easy eye sound nonesuch records spawned three top radio singles one critically acclaimed albums rpm version album limited pieces worldwide copies us gorgeous gram lp set deluxe holographic gatefold jacket piece individually numbered band announced run canadian dates spring hitting road slate shed shows summer lp rpm edition nonesuch rock ja warner music ce boys next door door doorth anniversary reissue first album featuring nick cave bands name morphed birthday party prior formation next band nick cave bad seeds includes classic shivers recently covered likes cat power courtney barnett name lp red vinyl warner music australiarock ja warner music ce doors soft parade stripped lp gram limitied numbered edition pressed vinyl first time previously available cd first time soft parade th deluxe edition tracklisting side one tell people doors mix touch doors mix runnin blue doors mix wishful sinful doors mix side two touch doors mix wnew robby krieger guitar overdub runnin blue doors mix wnew robby krieger guitar overdub wishful sinful doors mix wnew robby krieger guitar overdub scared doors mixlp gram numbered clear vinyl rhino elektra rock ja warnerada kinks kink kronikles limited edition gatefold red vinyl lp reproduction sought track reprise us lp compilation contains hits album tracks us versions nonalbum singles bsides original sleevenotes inside gatefoldlp sanctuary rock ja warnerada murder capitallove love love twisted ground live london dome tufnell park rsd exclusive murder capital released debut album fears label human season records much critical claim august band played string headlining shows around europe uk feature two live tracks one explosive shows human season recordsqprime indie rock ja warner music ce notorius big dream notorious big lp box set featuring biggies four albums ready die lp born lp life death lp junior mafias conspiracy lp bundled together first time pressed clear vinyl housed boxed set life death first time digitally remastered audio available physical release digital remasters born first time digitally remastered audio available physical digital digital remasters includes biographical liners veteran hip hop journalist author kathy iondoli artwork done grammy winning artist masaki koike strictly limited copies worldwide lp box gram pressed clear vinyl housed foiled stamped slip case rhino atlantic rap ja warner music ce pogues bbc sessions bbc sessions side broadcast th april pogue mahone john peel showstreams whiskey greenland whale fisheries boys county hell auld triangle broadcast th july david kid jensen show dingle regatta poor paddy railway boys county hell connemara lets go side broadcast th december john peel show whiskey youre devil navigator sally maclennane danny boy broadcast th july janice long show wild cats kilkenny billys bones old main drag dirty old town lp single sleeve poly lined inner bagwarner music ukrock ja warner music ce replacements complete inconcerated livelp set featuring complete live show recorded university wisconsin pressed gram black vinyl set features tracks alex chilton bastards young ill cant hardly wait dare many limited copies worldwide lp gram black vinyl rhino warner rock javertrieb interpret titel info format inhalt label genre artikelnummer upcean atch janein\u00fcber wenrecord store day gsa stand warnerada specials dubs rsd exclusive exclusive vinyl rsd new halfspeed master part two tone records th anniversary celebrations containing dub mixes three classic specials tracks recorded time remain unreleased tracks list gangsters clangsters dub halfspeed master much young piano instrumental halfspeed master dub halfspeed master chrysalis ska ja warnerada ufo live youngstown rsd exclusiveexclusive gm double album rsd ufo currently celebrating th anniversary world tour chrysalis present special live concert recorded along concerts make seminal double live strangers night released first time entirety previously unreleased concert featured exclusive double album track list intro hot n ready pack go cherry let roll love love natural thing street rock action doctor doctor lights roclp chrysalis hard rock ja warnerada ultravox sleepwalkwaiting rsd exclusive exclusive clear vinyl rsd th anniversary release ultravoxs debut single midge ure vocals originally released single first time features brandnew stereo mix steven wilson aside sleepwalk stereo mix bside waiting stereo mix aside taken forthcoming vienna th anniversary box set late summer track listing sleepwalk steve wilson stereo mix waiting steve wilson stereo mix sleepwalk conny plank mix waiting conny plank mix clear chrysalis pop ja warner music ce various artists music motion picture phenomenonfirst time vinyl contains repertoire recorded specifically charttopping platinum soundtrack songs eric clapton aaron neville robbie robertson peter gabriel taj mahal marvin gaye jewel iguanas bryan ferry jj cale dorothy moore thomas newman crosssection singersongwriters mellow blues synthesized soulinflected pop allmusic limited edition pressed translucent cobalt vinylcoloured lp reprise soundtrack ost ja warner music ce various artistsmusic inspired batman robin motion picturefinally back vinyl contains batman theme danny elfmans grammy award winner best instrumental composition arguably one best scores allmusic limited edition lp set one red one blue vinyllp redblue warner recordssoundtrack ost ja warner music ce various artists motion picture austin powers goldmemberfirst time vinyl soundtrack calculated austin powers record yet music pressed gold vinyl natch lp gold maverick soundtrack ost ja warner music ce various artists austin powers spy shagged soundtrackfirst time vinyl contains hit beautiful stranger madonna pressed transparent tan vinyl yeah baby austin powerslp transparent colour maverick soundtrack ost ja warnerada various artists ska jamaica originally scheduled release leading afrojamaican music specialists rb records ska jamaica album remained lost well half century master tape finally discovered trojan archives earlier year comprising dozen top quality tracks originally saw issue uk singles venerated ska beat label collection features numerous musical talents widely regarded jamaican legends number including maytals ken boothe clancy eccles derrick harriott glen brown roy shirley album comes presented stylishly designed sleeve includes annotated insert relating story behind discovery longlost tape music featured therein almost tracks officially unavailable vinyl decades ska jamaica must fans everpopular ska sound well simply wishing acquire unique piece jamaican music historylp trojan ska javertrieb interpret titel info format inhalt label genre artikelnummer upcean atch janein\u00fcber wenrecord store day gsa stand warnerada various artists wilcovered rsd exclusivewilco cover album feat yo la tengo parquet courts courtney barnett kurt vile low ryley walker jen cloher james elkington sharon van etten handsome family cate le bonlp bmg alternative ja warnerada various artistsdance crazethe best british ska live rsd exclusive new halfspeed master exclusively rsd part two tone records th anniversary celebrations soundtrack live movie name featuring exclusive live recordings specials madness selecter beat bad manners bodysnatchers also first vinyl repress since original release track listing specials concrete jungle beat mirror bathroom bad manners lip fatty madness razor blade alley selecter three minute hero bodysnatchers easy life beat big shot madness one step beyond beat ranking fullstop specials man c selecter missing words bad manners inner london violence madness night boat cairo selecter much pressure specials nite klub lp chrysalis ska ja warnerada various artiststhis two toneth anniversary edition rsd exclusivethis new halfspeed master exclusively rsd part two tone records th anniversary celebrations first two tone compilation features singles specials madness selecter beat bodysnatchers rhoda daker swinging cats first vinyl repress since original release track listing special aka gangsters madness madness selecter radio beat tears clown specials message rudy selecter much pressure bodysnatchers experienced beat ranking full stop specials much young selecter selecter specials stereotype swinging cats mantovani specials nothing rico special aka jungle music rhoda special aka boiler specials ghost town lp chrysalis ska ja warner music ce varius artists virgin suicides music motion picturecelebrating th anniversary sofia coppolas directorial debut movie virgin suicides music motion picture released vinyl first time since original release exclusively rsd soundtrack features music steely dan todd rundgren boston heart al green cc styx two tracks air including one track composed film limited copies worldwide lp gram dusty pink red blood splatter ryko rhino pop ja warner music ce warren zevonwarren zevons greatest hits according judd apatowjudd apatow producerdirector anchorman year old virgin bridesmaids many compiled best warren zevon apatow celebrates zevons life yearly tribute largo los angeles featuring performances zevons friends judd selected tracks favorite albums well bonus track something bad happened clown taylor goldsmith blake mills march largo show tracklisting side carmelita indifference hevan accidentally like martyr backs turned path renegade desperados eaves something bad happened clown live side b junko pardner french inhaler live mohammeds radio live werewolves london live poor poor pitiful live hasten wind livelp packaged nice matte full color sleeve black poly inner sleeve w x insert featuring liner notes judd apatow rhino pure songwriter ja warnerada williams hank march dimes hank williams complete march dimes performance red vinyl new restoration mastering radio transcription disc features songs including lovesick blues current hit moanin blues also includes solo track audrey williams dual narrative luke drifter track plus rare psa read hank infantile paralysis produced grammy award winning team cheryl pawelski michael graves restoration mastering never vinyl red vinyl bmg countryhonky tonk javertrieb interpret titel info format inhalt label genre artikelnummer upcean atch janein\u00fcber wenrecord store day gsa stand wordandsound pieces iwishcan williamfull printed sleeve black vinyl washington collective pieces privatelypressed iwishcan william dl records discogs one confused soul rap jazz gogo funk electro educational nature birthplace date birth synths shimmer harplike glissando bass grumbles rumbles machinemade beat pops locks whole thing grooving exuding positivity one part cosmic funk say cloud ones patty duke another balearic chug powers adventures success like brother looks agitate educate organize stirs sentiments razzys hate hate imagine last poets jammed sister sarah webster fabio keys parp like car horns real trumpet blows cherry solo track really revolves around sweet sesame street callandresponse chorus wish love love love love swiss gentleman dj phantom island resident lexx produces killer remix smoothing ogs jerky edges upping sophistication making clear contributions lexx new bubbling electronics rescuing clipped guitar previously lost deep mix moving childrens voices fore ensuring youll remember glory wish come true idjut boy dan tyler ties package well actually kinda sends space expanding everything echo nyc peech boysesque delay result mind rogue cat resounds dance rcrs ja wordandsound alison limerick love livesremastered reissue celebrating year anniversary seminal club hit love lives regularly crowned one greatest ever dance records holds place many heart resonating across generations back mixmag top greatest dance singles time adding theres touch sadness incredibly uplifting reaching bittersweet joy spiritual house achieves special rsd reissue includes rare frankie knuckles david morales mo knuckles remix bursting underground flavour black vinyl arista dance prp ja wordandsound corporation one real life year anniversary release rare collectable housey garage crossover gem harnessing raw vocal power kevin williams tough house rhythm even throwing slice manuel g\u00f6ttsching good measure hashish dub vocal mix included release flip side houses oppy mix queen simple minds prince scarface sampling rave classic real life secondhand copies sell average cropping market official remastered reissue welcome sight many inch vinyl replica artwork smokin house taip ja wordandsound gray never gonna leave new york cityformerly unreleased superrare tracks original new york scene arthouse band gray originally fronted legendary artist jeanmichel basquiat slice lower east side new york grounded real experiences real feelings joys urban living expressed tracks never gonna leave new york city willie mays boom real founding gray member michael holman bandmate nicholas taylor rsd release comes stunning full colour sleeve complete liner notes executive producer well legendary counterculture author rock biographer jagger dylan bowie pink floyd ramones talking heads zappa etc barry miles anasyrma record labelleftfield experimentalanas ja wordandsound high frequency summertimeunder oneoff disco moniker leroy burgess fantastic aleem brothers produced dancefloor wonder finally gets first deserved reissue celebrate th anniversary remastered love respect pressed limited vinyl true collectors nia dance n ja wordandsound human race human race grey boyfully remastered reissue replica artwork rare double header funk miami band human race black dinked centre hole vinyl gem records funk ja wordandsound jackie stoudemire al stewart dancingfully remastered reissue replica artwork rare raw disco bomb jackie stoudemire al stewart original copies release regularly fetch second hard market black vinyl tap records funk tp javertrieb interpret titel info format inhalt label genre artikelnummer upcean atch janein\u00fcber wenrecord store day gsa stand wordandsound joan bibiloniselected works rare tracks taken key albums spanish balearic islands musician joan bibilonis extensive career focusing period continue nunorthern soul selected works series following x ryo kawasaki eps released one rsd release vinyl black sleeve notes come interviews conducted marc rowlands plus rsd release contain poster front cover sleeve artwork ep nunorthern souljazz nuns ja wordandsound kenny lynchhalf days gone havent earned penny ashley beedle remixfull colour original sleeve artwork housing aqua coloured inch vinyl fully remastered reissue tribute release kenny lynch disco floorfiller half days gone havent earned penny complete new remix ashely beedle satril soul satr ja wordandsound king james version hes forever amenfully remastered inch reissue replica artwork first time since original release sublime raw incredibly powerful gospelsoul song hes forever amen king james version alongside sam dave channeling high energy gospel number hes coming original copies almost unattainable record trade hands excess official reissue welcome news many one years black dinked centre hole soul kitchen gospel skp ja wordandsound lee alfred rockin poppin full tiltingblack dinked centre hole vinyl fully remastered reissue replica artwork super sought slice disco rockin poppin full tilting celebrating th anniversary original release classic right midland brought back forefront peoples minds expertly sampling summer anthem final credits leaving many scrambling find original copy inch prices excess high time official reissue came around cancer records funk ur ja wordandsound live band chance hopefor first time ever modern soul early masterpiece finally gets release years later quite simply chance hope one alltime rated gems era never made single release well never know one classiest inch releases youre ever likely see officially licensed remastered ltd inch rsd release replica artwork sound brooklynfunk ts ja wordandsound mickey soul generation iron legreissued remastered replica artwork highly sort classic rare groove track iron leg dj shadows favourite funk band mickey soul generation original copies trade hands black dinked centre hole vinyl gcp funk gc ja wordandsound mickey soul generation good goodfully remastered reissue replica artwork ultrarare heavyweight funk dj shadows favourite funk band mickey soul generation good good originals inch gem sell second hand market black dinked centre hole vinyl mr g funk mrg ja wordandsound mickey ufo hey brother manfully remastered reissue replica artwork first time since original release one rarest tx funk black dinked centre hole vinyl gcp funk gc ja wordandsound rare pleasure let easythe instantly recognisable northern modern soul crossover rare pleasure let easy featuring entrancing sandy barber lead vocals gets much welcomed official reissue rsd classic right alongside expertly sampled david morales house anthem needin u originals trade hands official reissue long overdue south street disco dance ssdp ja wordandsound robert parker caught liefinally years caught lie rightly regarded one great new orleans soul classics whilst many people may know various cover versions robert parkers original sublime slice heartfelt soul steadily built reputation especially recently thats original nola copies even battered ones official legitimate remastered repress sacred nola label inch replica artwork nola soul p ja wordandsound sammy massamba beni soit ton noma remastered reissue rare cult afro lp sammy massamba beni soit ton nom rsd full picture sleeve blending congolese rumba soukouss boogie funk killer album congolese massamba afro disco essential available fraction price commands discogs lp sm productions world sslp javertrieb interpret titel info format inhalt label genre artikelnummer upcean atch janein\u00fcber wenrecord store day gsa stand wordandsound situation feat andre espeut beyond compare laroye remixes black vinyl respected french dj producer thomas arroyo aka laroye teamed andre espeut recording new vocal parts create james brown style take beyond compare real funk extravaganza remix situationisms first funk specially crafted rsd situationism funk sitursd na ja wordandsound skatt bros walk nightthe first official fully remastered reissue anthemic chart topping bomb walk night la group skatt bros since original release spirited sweltering cut stormed clubs late raunchy vocals tough beat rsd release includes new stefano ritteri versione alongside previously unreleased disco version old enough black printed sleeve shrinkwrapped spaziale recordingsdance spz na ja wordandsound la rock jazzy jay yoursthe debut release rick rubin russell simmons seminal def jam label shook world evil bass percussion featuring groundbreaking scratch party death mix partytime hiphop ptp ja wordandsound tommy mcgee youindispensable cosmic funk business tommy mcgee remastered reissued black replica artwork calling official reissue due eye watering price tag tmg records funk tmgp ja wordandsound touchdown ease mind aquadancefull colour picture sleeve officially licensed remastered inch reissue seen one sparks ignited bridge britfunk uk disco styles touchdowns ease mind british classic back released iconic influential original uk dance music label record shack minds jeff weston northern soul blackpool mecca wigan casino djpromotericon ian levine record shack dance shack ja wordandsound various artists champion classicssix x boxset celebrate years champion records featuring classics likes robin raze kristine w staxx ot quartet housed printed slipcase spot uv hand numbered shrink wrapped x box set champion records dance champcl ja wordandsound willie tee teasing love love togetherone expensive records world available copy discogs mere willie tee returning anthem teasing updating beautiful new orleans production turning modern soul anthem work sublime genius fully remastered reissue replica artwork original gatur label spoilt gatur soul p ja zyx music adriano celentano golden hits rsd editionlimitiert st\u00fcck gramm vinyl adriano celentano eine sammlung der fr\u00fchen hits von italiens sympathischer reibeisenstimmelp zyx music pop rsd ja \u00fcber zyx und \u00fcber major babies zyx music manilla road live hammers rsd editionlimitiert st\u00fcck mit manilla road patch und innersleeve highlights einer der letzten shows der band mit mark shelton available vinyl rsd germany lp zyx music rock rds ja \u00fcber zyx und \u00fcber major babies zyx music quiet riot highway hell rsd editionlimitiert st\u00fcck picture vinyl f\u00fcr alle fans der usamerikanischen heavy metal band ein sammlerst\u00fccklp zyx music rock rsd ja \u00fcber zyx und \u00fcber major babies zyx music star trek best star trek rsd edition limitiert st\u00fcck orangetransparte vinyl und star trek sound effects cd lp cd zyx music soundtrack rsd ja \u00fcber zyx und \u00fcber major babies" +} diff --git a/strategic_brand_management_Heritage_Brand_Rejuvenation 2.json b/strategic_brand_management_Heritage_Brand_Rejuvenation 2.json new file mode 100644 index 0000000000000000000000000000000000000000..74335edc835cf2f9c02e819e94f36e19b999a42e --- /dev/null +++ b/strategic_brand_management_Heritage_Brand_Rejuvenation 2.json @@ -0,0 +1,5 @@ +{ + "filename": "strategic_brand_management_Heritage_Brand_Rejuvenation 2", + "department": "Manager", + "cleaned_text": "strategic brand management master paper strategic brand management master papers essential reading brand strategist private public sector organisations academics universities business schools papers wri tten master student groups follow international journal format student groups select ed topics papers provided updated relevant insights strategic management brands mission strategic brand management master papers present develop useful tools theories application practice managing brands forward academic field strategic brand management intent series bridges gap academic tea ching research series result co creation students teachers course strategic brand management busn university credit points weeks study time part master program international marketing brand management lund school economics management sweden published papers represent result intellectual work students supervision heads cours e content papers read student reports albeit j ournal format papers free download cited following international conventions editors mats urde frans melin associate professor assistant professor heads master course strategic brand management busn part maste r program international marketing brand management lund school economics management struggle staying young heritage brands utilize co branding way rejuvenate guillaume decombe oskar hoff lovisa idberg veronik lindner abstract purpose purpose paper investigate co branding utilized heritage brands rejuvenate aim develop current understanding heritage brands engage co branding motives rejuvenating brand designmethodologyapproach conceptual paper adopts theory th e five elements identify heritage brands first introduced urde balmer greyser relates brand rejuvenation process co branding additionally paper takes multiple case studies design well inductive approach clarify contextualize theoretical framework four co branding cases findings findings paper explain heritage brands engage co branded activities certain brands without heritage called novelty brands order rejuvenate analysis shows brand ritage serves key factor promoting engagement customers thus enhances implications co branding findings also identify co branding rejuvenation activity heritage brands potentially involve inconsistency certain elements heritage quota practical implications practical implications paper threefold first suggested co branding framework paper support heritage brands accurately evaluating co branding strategic deci sion rejuvenate secondly research taken perspective heritage brands also helps heritage brands identify suitable novelty brands engage co branded activities hence supporting managers strategic decisio n making maximize outcome collaborations third lastly enabling heritage brands understand engage co branding potential outcomes enhanced well identifying involved risks avoiding potenti al negative responses originalityvalue taking perspective heritage brands conceptual paper first investigate brands rejuvenate brand identity co branding furthermore identifying heritage brands within ultiple industries paper creates deeper understanding true heritage brands use co branding strategic decision rejuvenation keywords brand heritage heritage brands rejuvenation cobranding brand stewardship novelty brands introduction change inevitable element world society must considered holds true brands well since organizations cannot expect grow prosper invest new markets segments technol ogical developments changes consumers preferences consequently lead new emerging trends hence one biggest challenges brands modern society stay relevant date changes kapferer brands iden tity ability adapt change two familiar concepts previous brand management literature scholars stressed brands need timeless yet innovative see eg kapferer cooper et al additionally brand must stay ahead consumer trends create desirable product offerings meet consumer needs even change however pursuit adaptation innovation brands faced major challenge staying consistent identity e ven brand strong persistent identity easily lose grasp core competitive advantage kapferer especially case heritage brands urde balmer greyser emphasize ritage brands simply brands heritage history true heritage brands instead identify heritage create value intangible asset furthermore heritage brands persistent values ensure consistency represent time brands many cases utilize heritage create point dominance competitors heritage reflects valuable asset urde balmer greyser brand heritage organizations ca n experience increase consumption growth higher level trust become successful expressing brand identity rose et al brand heritage many cases understood leverage companies use attract consu mers however organizations experience difficulties finding right balance brand heritage rejuvenation urde balmer greyser rose et al brand heritage brand rejuvenation falsely understood compe ting concepts rather potential interrelationship causing failure revitalization brand therefore companies may fail miss opportunity rejuvenate due fear lack knowledge potential value brand ritage contain urde balmer greyser rose et al rejuvenating brand risky business ways brands rejuvenate without taking full risk whether create new product extensio n implement new strategy reach new target groups brands seek support collaboration another brand kapferer whilst brand heritage rejuvenation interest previous scholars relatively heritage brands bee n studied across different industries instance orth et al focused heritage brands packaging relation rejuvenation scholars like netek carbone investigated rejuvenation process luxury heritage brands fashion industry hence prominent gap brand management literature exists co branding serve tool rejuvenate brand heritage organizations therefore authors paper build current literature investigating co branded activities utilized heritage brands rejuvenate brand identity visualized figure hence purpose paper understand heritage brands using co branding rejuvenate identify potential reasons heritage brands engage co branding consequently two research questions formulated guide subsequent parts paper heritage bran ds rejuvenate co branding heritage brands want rejuvenate next literature review build introduction three concepts presented followed method design research empirical data presented well conducted analysis lastly concluding discussion cover implications study well prospects future research figure three dimensions paper visualization research topic literature review brand heritage brand building time consuming process especially brand gain strong identity position market strong brand suggested kapferer achieved one two ways produc innovation associated values creating intangible values competitive product former implies great product idea innovation develop time strengthen competitiveness addition associated intang ible values thus strengthening benefits value proposition towards customers latter instead takes reverse route brand building process creating set values needs encapsulated great product offering provide functional tangible element brand identity perceived kapferer process brand heritage serves relatively intangible asset involves history roots brand kapferer however wh ilst brands history brands possess heritage even fewer communicate valuable asset urde balmer greyser brand heritage therefore potential way highlighting past present strengthen th e future brand urde balmer greyser orth et al value proposition position based elements heritage brand therefore called heritage brand emphasized however brand nee strong brand heritage successful merely added value brand identity similarly brands heritage choose communicate implies brand heritage intangible asset brand also becomes strategic decision whether activate communication urde balmer greyser despite great potential asset enhancing brand equity brand brand heritage also risk hindering innovation restricting th e freedom action brand terms propositions offer market hence heritage brand may able offer adapted product meets needs market favour staying consistent brand identity kapfere r brand stewardship hq separate brands history true heritage brands crucial understand elements affecting heritage let alone understand unlock values urde balmer greyser propose model defining measuring contributing elements assist evaluating role heritage brand identity furthermore brand heritage specific dimension brand identity consist five elements track record longevity core values usage symbols well brands beliefs five elements evaluated relation individual importance brand determine authors call heritage quotient hq elements present brand important heritage brand internal external perspective urde balmer greyser words higher hq greater value derived brand heritage value proposition five elements brand hq shown figure described follows track record characteristic analyses brands ability deliver value fulfil promises made time period characteristic allows build trust credibility company continuously meets expectations consumers created company urde balmer greyser longevity one key elements within heritage quotient used assess performance elements present urde greyser balmer element reflects coherence heritage brand time period existence ev en though heritage brand present extensive time required reflect aspects urde balmer greyser core values core values company essential identity defining brand heritage core values heritage brand seen guidance points company expected brand company succeeds fulfilling core values brand identity built upon brand loyalty increa se urde balmer greyser use symbols usage symbols heritage brands express identity also creates connection consumer brand symbols become cues consumers allowing rec recognize brand addition symbols representation brand used express core values heritage brand symbol deeply connected acquires meaning urde balmer greyser history important identity companies either history present internally andor externally depending want communicate history help decipher brand brand company communi cates history brand externally done emphasizing year company founded advertising products something passed generations addition company emphasizes history internally used build upon brand seen variable decision making process urde balmer greyser figure brand stewardship hq urde balmer greyser ageing rejuvenation brands brands identity time grow older perceived ageing several stakeholders example customers suppliers dealers employees kapferer viewed two angles either brand collectin g dust longer period impacting market used therefore perceived less date average customer interest brand grows older brands image therefore perceived older kapferer brand grows old revitalized several measures like reinventing essence brand segmentation product lines new business model innovative products kapferer ideally brand howev er need measures staying relevant aging therefore important managers companies know signs presenting decline brand moving towards aging outlook companies assess brand k nowledge customers viewing brand brand differing competitors within market thomas kohli prevent brand becoming less relevant grows older ie growing older ag eing kap ferer suggests brand needs make use facelifting reinventing innovating products especially innovating brand needs show understands current trends wishes younger consumers furthermore c ompanies constantly engage process analysing brand modern perception depending perception modernity companies act accordingly reinvent aspects either updating intern al strategies changing outward appearance logos advertisements strategies m\u00fcller et al consumers today want renewed offers innovative products services brands ever brands always kee p customers core actions try deliver satisfaction joy offers consumer kapferer makes innovation crucial ever brands stay relevant kapferer looking past c onsumer satisfaction innovation contributes many factors success organization kapferer argues brands benefit innovation helps progress forward continuously setting new targets internally cre ating change regarding leadership forcing stay competitive bringing additional value products services furthermore innovation factor influences brand value company well effect econ omy jano\u0161kov\u00e1 et al stay relevant company innovation therefore utmost importance priority within company innovation brand two concepts interrelationship brexendorf et al howeve r innovations ground breaking disruptive time kapferer innovation incremental long brings relevant improvement even small detail product service consumer kapfe rer cobranding according kenton co branding marketing strategy utilizes multiple brand names good service part strategic alliance one hand strategy also known brand partnership involves mi nimum two companies eager create identity view newly merged brand advantage co branding winwin associated brands since allow increase respective notoriety profitabi lity market shares different parties customer loyalty hand marketing strategy also makes possible improve restore brand image perceived value products services offered well attracting b oth new consumers partner companys pre existing customers furthermore association several brands wishes adopt strategy make product service resulting partnership less likely imitated competition finally co branding broken four different strategies market penetration global branding brand building brand extension strategy kenton according kapferer different typical situations lead co branding cobranding necessary increase chances success brands extension beyond original market cobranding necessary brands image makes difficult communicate particular target cobranding makes possible develop product line often sold separate distribution channel cobranding makes possible move level product qualityimage ingredient brands way send message products superior quality lift mo ordinary copies cobranding also response fragmentation market emergence communities also internet cobranding licenses boost sales car models end life cycle product l onger value technical novelty cobranding aims provide buzz around brand among opinion leaders create image cobranding visible confidence inspiring sign brand union method ology study literature review presents relevant theories explaining brand heritage brand stewardship framework brand rejuvenation co branding covering different aspects concept addition case study design applied accurately answer research aim using four cases regarding heritage brands co branding ikea x virgil abloh white barbour x noah goldman sachs x apple louis vuitton x supreme collective case study investigated cases identi fied using brand stewardship model urde et al one involved brands co branding evaluated models five elements heritage brands hence identifying one true heritage brand collaboration furthermore cobranding new concept greater number co branding cases match criteria paper therefore added another criteria selecting diverse sample cases possible given time frame available inform ation hence paper identified four cases exactly one collaboration considered heritage brand well covering three industries fashion louis vuitton home furnishings ikea banking goldman sachs enables papers analysis cover greater variety examples contextualize theories case studies furthermore appropriate approach cause multiple reasons firstly presented literature review shown brand heritage consider ed intangible complex phenomenon within brand building process urde balmer greyser kapferer explore complex dynamic phenomena bryman bell suggest case studies useful tool concretize contextualize theories onto live cases thus creating deeper understanding phenomena allows researchers obtain information co branding affected rejuvenation heritage brands secondly relatively scholars previously nvestigated direct role co branding heritage brands relation rejuvenation previous research analysing effect rejuvenation heritage brands packaging orth et al brand rejuvenation luxury fashion brands n etek carbone however research covering topic heritage brands reason rejuvenation co branding empirical information gathered secondary sources hence evaluation source important therefore researchers would look author source year publication credibility sources used bryman bell empirical study cases goldman sachs x apple apple card goldman sachs founded rich heritage one top global financial institutions goldman sachs delivers wide range financial services investment banking securities investment management recently consumer banking customer base includes corporations fin ancial institutions governments individuals goldman sachs goldman sachs apple together mastercard launched apple card united states apple create credit card apple goldman sachs bank hind apple card issued credit card mastercard serving global payment network apple apple card innovative new kind credit card according apple announcement apple designed support custo mers lead healthier financial life simplicity transparency privacy achieved several innovative features apple example easy application approval within minutes apple users fees whatsoever cred card fee transaction fee late fees seamless categorized display purchases real time apple wallet secure purchases authorization face touch id apple device daily cashback spending directly pple apple pay goldman sachs bank behind apple card issued first ever credit card goldman sachs goldman sachs decided enter consumer finance sector result acquired ge capital banks us online depos platform allowed serve online bank goldman sachs goldman sachs chairman ceo david solomon put ambitions following words ambition build large differentiated highly profitable digital consu mer platform apple card launch goldman sachs entered new territory consumer finance area goldman sachs working brand apple goldman sachs able reach big loyal customer base apple woul difficult reach creating new credit card year card ranked highest customer satisfaction mid size issuer segment score lies points ahead second placed issuer goldma n sachs top performer several categories amongst others communication credit card terms interaction key moments rewards according jd powers us national banking study jdpower another project two brands cur rently developed apple pay later buy pay later bnpl service relies goldman sachs lender instalment loans apple pay users shevlin louis vuitton x supreme louis vuitton lv french fashion luxury house founded louis vuitton french trunk maker later leatherworker years become one influential fashion brands world according forbess annual ranking loui vuitton th valuable brand categories combined worlds valuable luxury brand forbes according company louis vuitton true heritage brand house name state mind louis esterday tomorrow timeless legacy making louis vuitton comparison supreme streetwear skateboarding lifestyle fashion accessory brand founded james jebbia new york city supreme releases new products dr ops retail locations around world well website thursday mornings europe america saturday mornings japan supreme strategy maintains aura media bea st brand creates years brand gained reputation thanks collaborations co branded product lines making highly popular high demand small supply various noticeable benefits collaboration louis vuitton supreme first half lvmh group owner louis vuitton achieved turnover b saguez notable increase profits estiler strong correlation exists performance unmatch ed date luxury group collaboration brand james jebbia indeed joining two worlds luxury streetwear collaboration aroused almost disproportionate media enthusiasm allowing two brands benefit international media coverage create interest consumers brand brand beyond also collaboration clique describes culturally important first time louis vuitton supp orted street artists well innovation thus creating partnership supreme luxury giant showing alongside symbolically cool brand creator rarity years become global phenomenon clique result co branding two brands initially allowed lv restore image young audience showing close globalized popular culture hand supreme draws benefits partnership attractin g luxury spheres consumers showing streetwear brands challenge dominance luxury brands hearts minds younger consumers diderich barbour x noah barbour british outdoor apparel brand founded john barbour today still family owned business th generation true heritage core values brand generally known durable high quality outdoor jackets offers whole range products designed f full wardrobe barbour brand strong ties tradition struggled reach younger target audience past bottomley barbours design director ian bergin reveals brand issues reaching younger end market thought targeting younger consumer heritage collection high design focus expensive distributed accounts already dealt seems targeting astute customer younger head bottomley autumn barbour first time cobranded capsule collection new york city based streetstyle brand noah founded supremes former creative directo r brendon babenzien noah identifies streetwear incorporates rebellious vitality skate surf music cultures result first co branded collection selling extremely quickly due popularity uniqueness co branded products second co branded collection launched sold quickly springsummer result co branded collections reworked youthful designs barbours signature products throu gh noahs rebellious street surf aesthetic lightweight bedale jacket rejuvenated bold sunflower yellow zebra print instance davey barbour puts collaboration following words collaboration blends noahs rebellious aesthetic barbours iconic british style create range full innovation quality cobranded collections brought together two skill sets created products difficult achieve brands witho ut help another focus example print centric jackets something barbour typically offers jackets go quintessentially british design products maoui ikea x virgil abloh white ikea well known heritage brand founded ingvar kamprad ikea specializes producing furniture create better everyday life many people ikea brand offers variety products consumers lowest prices possible affordable business idea ikea brand considered many market leader home furnishing stores worldwide furthermore one key values ikea herit age brand renew improve ikea brand offering find solutions problems another key value different meaning ikea relating ikeas willingness take risks test unconventional ways way ike lives key values past collaborations previously past one collaborations ikea x virgil abloh white founder designer clothing brand white company brand founded virgil abloh creating combination streetwear luxury clothing ikea virgil abloh collaborated create furniture designed fit millennials according ikea virgil abloh sense style nd knowledge comes current trends millennials seeking addition ikea felt need focus within one field creative discipline work within collabo ration combination one largest furniture companies world fashion brand one highest influences idea behind collaboration create furniture would appreciated millennials would give feeling home current living environment ikea today collaboration two brands clever well planned strategy target young consumers plugging products ikea frame contrary cert aspects collaboration seen following initiatives values ikea possesses portrays frame said due plugging collaboration limited availability accessible eve ryone forcing buy products secondary market five times price reflects poorly sustainability values ikea addition considered follow environmental stewardship competitive shopping products seen contribution issue ecological footprint something ikea consistently works wrong step taken ikea consumers prioritizing brand function frame analysis heritage br ands examining cases heritage quotient hq framework developed urde balmer greyser discovered co branding activities involve heritage brand brands without heritage discussed urde balmer greyser hq integral part heritage brands framework brand established heritage brand heritage time consuming process takes time order gain strong identity posit ioning market therefore brands ikea louis vuitton barbour goldman sachs heritage brands day still market leaders brands present long period time hence history goldman sachs barbour louis vuitton ikea however history element present heritage brands case ikea track record prominent element slogan create better everyday life many p eople ikea promise still fulfil day urde balmer greyser additionally ikea combines longevity core values successfully expresses identity blue yellow logo part use symbols well delivering affordable furniture consumers urde balmer greyser ikea elements clearly present barbour louis vuitton goldman sachs well hq framework clear given cases heritage valuable asset part success continuously work emphasizing heritage brands without heritage looking heritage brands might chosen specific co brands without heritage several specifications common become visible youngness heart co brands young age ie short time existed young young heart leadership team workforce example median employee age apple years old pelisson hartmans virgil abloh offwhite founder born touring dj regularly yotka former supreme creative director noah founder brandon babenzien deepl rooted surf skate culture highsnobiety youngness gives brands certain ability try new ways heritage brands might able go enables connect subcultures like noah supreme virgil abloh white young tech savvy demographic like apples customer base trend setter innovativeness four cases feature co brands heritage brands certain ability deliver new innovative products seen setting trend influencing market supreme virgil abloh offwhite noah apple highly sought trendy brands discovered cases certain style distinct knowledge com es trends market wants reason collections virgil abloh white supreme noah sell record time regularly apple fans camp front stores first ones receive new products newsflare thro ugh brands able build base customers enjoy setting trends like try products less trend savvy even heard modernness important identity co brands portrayed cases known modern todate presence companies presented proud existed long time bring freshness market communicate internally external ly example apples stores known modern design revolutionized retail architecture design open spaces glass walled fronts baldwin use symbols point portrayed heritage brands co brands similar parties like express identity certain symbols followers identify connect brand supreme example distinct logo reached cultstatus copied put clothes brands like company ibf puts supreme logo pieces clothing illegally garc\u00eda gestal noah virgil abloh white distinct logos hat connect unite fans apples logo iconic simplistic image apple bite taken famous companys name eisingerich et al core values also point heritage brands cobrands portr ayed similar strong core values highly important identity defining brand core values co brand regarded internal compass gives away brand going purpose goal like heritage brands company fulfil core values build trust increase brand loyalty urde balmer greyser example noah strong core values towards sustainability et hical production noah barbour result partnership works well brands share integral values brands identity contrast virgil abloh offwhite luxury street style brand share ikeas core values bringing affordable products people ikea therefore co branding activities received fair share criticism aforementioned insights continued framework based hq framework urde balm er greyser proposed figure significant elements heritage brands suggest term novelty brand brands without heritage differentiate figure effect rejuvenated brand identity co branding novelty brands heritage brands mentioned characteristics novelty brands bring aforementioned qualities table highly beneficial rejuvenation process heritage brand combined strengths th rough co branding attributes heritage brand attributes novelty brand benefit adding dimensions respective brand identity brands would struggle achieve valuable assets hence heritage brands co brand novelty brands wanting rejuvenate since novelty brands add complementing values like young ness innovative ness hand heritage brands become old covered dust cases opposite characteristics novelty brands novelty brands bring valuable asset often trend setters advocates change constantly adapting current trends market therefore allowing heritage brands combat signs aging outdated brand thomas kohli collaboration heritage brand novelty brand cause increase turnover heritage brand saguez well increase profits estiler lso seen co branding cause increase media coverage brands involved spill effect consumers taking interest brand cobranding process saguez cobranding heritage brand novelty brands allows develop brand image may otherwise prove difficult target allows new segments kapferer since novelty brands considered trendsetters young creates innovation develops brand value heritage brand seen essential aspect jano\u0161kov\u00e1 et al addition heritage brands reach new group loyal customers novelty brand customer base become users heritage brand goldman sachs co branding creates ability heritage brands develop products extend brand contributes constant necessary building brand innovation relationships brexendorf et al capacity al ter certain core features products made possible cobranding maoui alter aspects brand encourage modernity m\u00fcller et al however brands without heritage offer asset heritage brands opposite well heritage brands due longevity track record urde balmer greyser seen anchor brands lean well established within market co branding brands without heritage attract new customers heritage brand achieved longevity build upon core values allows brands without heritage achieve goals shorter period time become part new brand segment diderich although negative situations outcomes heritage brands may find co branding even though heritage brands utilize co branding way increase relevance facelift bran ds may sometimes forget keep core values forefront collaboration novelty brand align core values heritage brands damaging track record well core values heritage brand misalignment two brands cause negative backlash frame damage view collaboration furthermore aim collaboration may questioned heritage brand prioritize values th e process rejuvenation instead prioritizing novelty brand collaborating frame hence important heritage brands lose track core values hq urde balmer greyser discussio n conclusion paper analysed co branding brand without heritage utilized heritage brands rejuvenate inductive approach based four case studies paper shows heritage brands engage co branded activities order rejuvenate indeed brand identity represents vast aspects actual brand corporation since instance covers vision missions values legitimacy thus heritage brands engage co branding activitie must aware challenges brought brand identity make become successful strategic decision minimize risk damaging literature points brands sometimes forced innovate want stay relevant reach markets leader position carrying heritage brands tend reluctant innovate thus rejuvenate indeed since strong brand identity almost carved rock may intricate take risk tarnishing negative outcomes happen co branding partnership example however rejuvenation process made possible cobranding novelty brands proposed created framework hence heritage brands highly benefit co branding partnership novelty brands order rejuvenate since often trend setters bring youngness modernness convey strong symbols regard brand image nevertheless cobranding strategy must carefully considered beforehand variables allowing respect brand stewardship must imperatively respected order create damage brand heritage implications future research concep tual paper presents framework serve valuable tool brand managers practical implications threefold first suggested co branding framework support heritage brands accurately evaluating co branding strategic de cision rejuvenate secondly research taken perspective heritage brands also helps identify suitable novelty brands engage co branding hence supporting managers strategic decision making maximize outcome collaborations third lastly enabling heritage brands understand engage co branding potential outcomes enhanced well identifying involved risks steer away paper also ad ds implications existing brand management literature developing understanding heritage brands successfully utilize heritage values well reasons rejuvenation co branding takes place ce rtain limitations study aspects researched future first advocated look whether given framework developed outcome cobranding effect two heritag e brands involved process specifically outcome differences secondly future research investigate effect two companies co branding whether possible moreover given framework developed research tested using quantitative approach accurately measure potential benefits co branding lastly research briefly touches upon potential benefits novelty brand would interesting develop understanding particularly novelty brands benefit co branding heritage brand reference list apple newsroom press release introducing apple card new kind credit card created apple online available httpswwwapplecomnewsr oom introducing apple card anew kind ofcredit card created byapple accessed october baldwin e immaculate architectural details apple stores available online httpsarchitizercombloginspirationcolle ctionsapple architecture accessed october barbour history available online httpswwwbarbourcomou r history accessed october barbour noah available online httpswwwbarbourcomnoah accessed october bottomley barbour targeting new generation consumer sub brand beacon available online httpswwwtheindustryfashionhow barbour istargeting anewgeneration consumer withsubbrand beacon accessed october brexendorf bayus b keller k understanding interplay brand innovation management findings future research direction journal academy marketing science pp clique supreme et louis vuitton pourquoi cette collaboration est culturellement importante clique available online httpswwwcliquetvcollaboration entre supreme louis vuitton importante accessed october cooper h merrilees b miller corporate heritage brand management corporate heritage brands versus contemporary corporate brands j brand manag httpsdoi orgludwiglublusebm davey j barbour reunite noah youthful springsummer collection available online httpswwwcomplexcomstyleba rbour noah accessed october diderich joelle louis vuitton unveil supreme collaboration mens show womens wear daily available online httpswwdcommenswear newsmens fashionlouis vuittonsupreme collaboration accessed october estiler keith supreme x louis vuitton collab highlighted reason lvmh sales growth hypebeast available online httpshypebeastcomlvmh sales supreme louis vuitton accessed october forbes worlds valuable brands available online httpswwwforbescomthe worlds valuable brandsfac accessed october eisingerich et al makes brands achieve iconic status pdfavailable httpciteseerxistpsueduviewdocdownlo addoirepreptype pdf accessed october garc\u00eda gestal supreme vs suprem e story streetwear kings legal fake available online httpswwwthemdscomcompaniessupre mevssupreme thestory ofthelegal fakeofthestreetwear cultbrandhtml accessed october ghauri p cateora p international marketing th ed london mcgraw hill goldman sachs goldman sachs online goldmansachscom available httpswwwgoldmansachscomabout usindexhtml accessed october goldman sachs marcus goldman sachs leverages technology legacy financial expertise dynamic co nsumer finance platform available httpswwwgoldmansachscomour firmhistorymoments marcushtml accessed october highsnobiety brendon babenzien available httpswwwhighsnobietycomtagbrendon babenzien accessed october ikeacom ikea online available httpswwwikeacomusenrefgwp start accessed october ikea today tailor made millennials ikea virgil abloh online aboutikeacom available httpsaboutikeacomenlife homebehind scenestailormade millennials byikeaandvirgil abloh accessed octob er jano\u0161kov\u00e1 k kral p krizanova impact business innovations brand value mednarodno inovativno poslovanje journal innovative business management pp jdpower many us credit card issu ers struggle meet evolving customer expectations bright spots exist jd power finds available httpswwwjdpowercombusinesspress releases uscredit cardsatisfaction study accessed october kapferer j new strategic brand management th ed london kogan page kenton cobranding investopedia available online httpswwwinvestopediacomtermsccob randingasp accessed october louis vuitton notre \u00e9tat desprit available online httpsjobslouisvuittoncomfra frcareerspatrimonialnotre etatdesprit accessed october louis vuitton nos audaces available online httpsjobslouisvuittoncomfra frcareerspatrimonialnos audaces accessed october maoui z presenting noah barbours wet weather beating collection available online httpswwwgq magazinecoukfashionarticlebarbour noah brendon babenzien interview accessed october m\u00fcller b kocher b crettaz effects visual rejuvenation brand logos journal business research pp netek k carbone f drinking fountain youth brand rejuvenation case heritage luxury fashion brands masters degree lund university newsflare apple fans camp outside london store available online httpswwwnewsflarecomvideoa pplefanscamp outside london storeapple fanscamp outside london store accessed october noah noah available online httpsnoahnycompagesabout accessed october pelisson hartmans average age employees top tech companies one chart available online httpswwwbusinessinsidercommedian techemployee agechart rusirt accessed october orth u rose g merchant preservation rejuvenation confusion changing package designs heritage brands psychology marketing pp rose g merchant orth u horstmann f emphasizing brand heritage work journal business research pp saguez corentin la collaboration louis vuitton x supreme fait exploser les ventes de lvmh views available online httpsviewsfrcollaboration louis vuitton xsupreme aexploser ventes delvmh accessed october shevlin r apple goldman sachs launch apple pay later buy pay later service available online httpswwwforbescomsitesronshevlin apple andgoldman sachs launch apple paylaterabuynowpay laterserviceshbfe accessed october supreme available online httpswwwsupremenewyorkcomabout accessed october thomas kohli c brand forever framework revitalizing declining dead brands business horizons pp urde greyser corporate brand identity reputation matrix case nobel prize journal brand management pp urde greyser balmer j corporate brands heritage journal brand management pp ikea x virgil abloh collection exercise hype ocrisy frame pp available httpssearch ebscohost comludwiglubluseloginaspxdirecttru edbasuansiteeds livescopesite accessed october yotka brief history virgil ablohs meteoric rise available httpswwwvoguecomarticlevirgil abloh biography career timeline accessed october" +} diff --git a/tL-Artist-Investment-Agreement-Pro-Artist.json b/tL-Artist-Investment-Agreement-Pro-Artist.json new file mode 100644 index 0000000000000000000000000000000000000000..7b251c29ae13ce9b29c008a228e1b2b5b9581234 --- /dev/null +++ b/tL-Artist-Investment-Agreement-Pro-Artist.json @@ -0,0 +1,5 @@ +{ + "filename": "tL-Artist-Investment-Agreement-Pro-Artist", + "department": "Manager", + "cleaned_text": "pro artist agreement investment agreement agreement entered may artist corporatio n address furnishing services artist investor address note artist entering agreement individual via furnishing company see discussion regarding limited liability introduction whereas parties agreement seek advance career artist agree follows investment investor agrees invest minimu two million dollars investment maximum two million five hundred thousand dollars pursuant terms agreement investment shall paid directly company parties agree company shall use investment advance career artist entertainment industry defined satisfy goals set forth marketing plan attached schedule marketing plan provided company reserves right change marketing plan company reasonably believes changes would enhance career artist marketing plan comprehensive blueprint sets forth companys case artists advertising marketing effort period time includes budget specifications artist intends money instance may include amounts hiring publicist andor indie radio promoter also include detailed estimates artists earnings projections may key investors decision support artist note pro artist agreement artist reserves right use investment expenses market plan presented inve stor artist feels money could better spent activities circumstances artists career change payment dates five hundred thousand dollars shall payable company upon execution greement said amount shall paid bank account account owned company check payable artist b company shall right withdraw funds account accordance purposes agreement c investor shall replenish account time less account avoidance doubt time less twenty thousand dollars account investor place least enough money account equal five hundred thousand dollars understood agreed investor shall pay expenses directly rather investor make sufficient funds available company pay expenses e parties hereto agre e purpose investor replenishing account allow artist pay expenses advance artists career parties anticipate least two million dollars required invest artist order genera te net profits defined provided additional funds required amount two million five hundred thousand dollars investor shall make additional funds available although pro artist agreement vestment large limited number installments reasonable f company shall full discretion right exercise independent judgment without approval form investor respect paying individual expense sevent five thousand dollars individual expense excess seventy five thousand dollars investor shall right approve expense provided approval shall unreasonably denied expense best interest advancing artists career reasonable control spending investment return consideration investment investor shall receive total forty per cent net profits defined earned ar tist entertainment industry consideration shall referred herein investment return rate return high side proportion large sum invested company company shall use best efforts laun ch sustain advance artists entertainment industry agreed times term agreement artist shall shareholder officer company definitions net profits purposes agreement shall mean gross earnings defined minus expenses gross earnings purposes agreement shall mean income actually received company artist artists activities entertainment rketing including performance fees sponsorship fees endorsement fees advances guaranties recording royalties salaries bonuses deferred compensation union payments equity shares corporations partnerships shares profits f orm compensation income notwithstanding anything contrary foregoing investment shall deemed gross earnings ii salaries benefits including insurance pensions andor fees paid employees agents company artist shall deemed gross earnings b expenses purposes agreement shall mean actual recording video production costs paid unaffiliated unrelated third parties connection artists recording video recording artist ii actual tour support costs including sound lighting equipment rental transportation accommodations lodging paid connection artists live performances iii actual bona fide documented payments third party connection advancing artists career entertainment industry monies paid connection marketing public relations publicity branding image consulting website development artist management marketing management booking agents accounting legal fees photography wardrobe styling radio promotion manufacturing packaging digital distribution ofpocket expenses incurred connection artist ctivities entertainment industry iv monies needed maintain corporate offices recording studio including rent furnishings recording equipment electricity phone computers etc v five hundred thousand dollars salaries andor benefits paid employees agents artist vi taxes payable artist including federal state city income taxes sales taxes entertainment industry purposes agreement sh mean artists activities entertainment industry follows live performance music performer dancer ii music recordings records including sale lease rental music recordings media throughout world know hereafter developed iii music videos concert films iv aspects motion pictures motion picture marketing including performance directing writing producing v aspects television television marketing including p erformance directing writing producing vi licensing music recordings television movies commercials electronic video games vii merchandise sort including clothes posters stationary etc endorsements product service viii project associated digital entertainment content involving internet mobile technology known hereafter developed ix aspects book publishing including writing x aspects live theatre theatre marketing including acting performing directing producing avoidance doubt agreement pertain apply income received behalf artists individuals except company artist cap investment return notwithstanding anything contrary herein shall cap ten years term date agreement avoidance doubt investors right collect monies artist shall terminate ten years date agreement shall obligation pay investor share monies received company artist said date long term proportion large investment accounting pa yment company shall account investor semi annual basis starting july continue long net profits earned furnishing statements payments due investor deduction permissible expenses accounting tatement shall include description transaction subject agreement including identification third party amount paid nature products andor services payment made accounting statement shall c relevant transactions immediately preceding semi annual period audit investor shall right time give company written notice investors intention examine companys books records respect royalty statement examination shall occur year commenced sooner one month later three months date notice investors sole cost expense certifi ed public accountant attorney designated investor provided engaged outstanding examination companys books records behalf person investor examination shall made companys usu al business hours place company maintains books records relate investor necessary verify accuracy statement statements specified investors notice company company shall obligatio n produce books records b unless investor provides notice examine companys books records within six months receipt investor royalty statement statement rendered investor shall fi nal conclusive binding investor shall constitute account stated investor shall foreclosed maintaining action claim proceeding company forum tribunal respect statement accounting rendered eunder unless action claim proceeding commenced company court competent jurisdiction within one year date statement accounting received investor c investor acknowledges company books nd records contain confidential trade information neither investor investors representatives communicate others use behalf person facts information obtained result examination companys books r ecords except may required law judicial decree legal counsel investor hereby acknowledges sought received legal advice independent counsel voluntarily waived right independent counsel wi th respect terms provision contained agreement investor acknowledges entertainment industry highly risky business may repaid earn net profits note contact makes clear investor may never recoup investment independent contractor investor company shall relationship independent contractors nothing herein shall construed place investor company relationship principal gent employer employee master servant partners joint venturers neither party shall expressly implications represented authority make contracts name binding obligate manner notices notices reports accountings communication investor company may required desires send must delivered either certified mail return receip requested parties addresses first written address designated investor company b electronic mail following addresses company ii investor assi gnment investor may assign agreement rights hereunder person firm corporation including corporation investor principal provided investor shall remain responsible payments required made agreement ii assignee necessary cash hand make payments required agreement notwithstanding foregoing company may assign agreement obligations herein ent ire understanding agreement constitutes entire understanding parties reference matter supersedes prior agreements written oral agreement cannot modified except written instrument signed pa rties governing law agreement made construed laws state new york respect contracts executed performed state enforcement provision agreement shall found invalid unenforceable provision shall invalidate way affect enforceability remainder agreement agreed accepted investor company fso artist name authorized signatory" +} diff --git a/tL-Artist-Management.json b/tL-Artist-Management.json new file mode 100644 index 0000000000000000000000000000000000000000..7fc996082d426dfeb4bcb107b33b277b8aa2c182 --- /dev/null +++ b/tL-Artist-Management.json @@ -0,0 +1,5 @@ +{ + "filename": "tL-Artist-Management", + "department": "Manager", + "cleaned_text": "principios del artist management secci\u00f3n el artist manager como emprendedor transf\u00f3rmate en un emprendedor definici\u00f3n de emprendedor regular video transf\u00f3rmate en un profesional exitoso las habilidades cualidades de un emprendedor regular video encuent ra oportunidades en la adversidad la actitud emprendedora de un artist manager regular video adopta el \u00e9xito como un estilo de vida los primeros tres principios de \u00e9xito regular video adopta un estilo de vida exitoso tres principios para el \u00e9xito profesional regular video adopta un estilo de vida exitoso cuatro principios de \u00e9xito regular video marca tu camino seguir la impo rtancia de la elaboraci\u00f3n de planes regular video aumenta tus habilidades organizativas plan de acci\u00f3n b\u00e1sico regular video aumenta tus habilidades organizativas plan de acci\u00f3n personal regular video piensa como un ganador los cuatro principios del pensamiento lateral regular video test final secci\u00f3n cuestionario secci\u00f3n fundamentos de \u00e9tica networking para el artist management dirige tus acciones profesionalmente la relaci\u00f3n entre el artist manager su artista regular video fomenta el entendimiento la relaci\u00f3n entre el artista su artista manager regular video edific tu imagen profesional la relaci\u00f3n entre artist managers regular video promueve el compromiso relaci\u00f3n entre el artist manager el equipo de trabajo regular video abre las puertas al \u00e9xito fundamentos del networking regular video expande tus oportunidades util izaci\u00f3n de una red de contactos regular video obt\u00e9n una llave para el \u00e9xito el mentor en la industria musical regular video s\u00e1cale el m\u00e1ximo provecho tu red de contactos gesti\u00f3n de una lista de contactos regular video impulsa tu carrera al siguiente nivel networking en entornos sociales regular video proyecta tu mejor imagen socializaci\u00f3n con la audiencia contactos potenciales regular video test final secci\u00f3n cuestionario secci\u00f3n preparativos par el artist management lleva tu carre ra al siguiente nivel la relaci\u00f3n entre el artista el artist manager regular video define claramente tus funciones las tareas de un artist manager en relaci\u00f3n otros pro fesionales de la industria regular video encuentra al artista perfecto las cualidades de un artista exitoso regular video cumple tus objetivos de carrera alternativas de gesti\u00f3n de una carrera art\u00edstica regular video resuelve tus desaf\u00edos el l\u00edder en una agrupaci \u00f3n musical regular video encuentra el equipo perfecto consideraciones para la contrataci\u00f3n de m\u00fasicos regular video aumenta tu \u00e9xito consideraciones para una correcta selecci\u00f3n de canciones regular video exp\u00f3n tu mejor face ta art\u00edstica canciones originales versus covers regular video encuentra tu artist manager pasos para obtener una audici\u00f3n entrevista regular video encuentra tu artist manager actitud desenvolvimiento correctos en una entrevista audici\u00f3n regular video test final secci\u00f3n cuestionario secci\u00f3n las bases de una relaci\u00f3n exitosa entre artista artist manager cimenta una relaci\u00f3n exitosa reuni\u00f3n exploratoria entre artista artist manager regular video prep\u00e1rate para tu reuni\u00f3n exploratoria objetivos de carrera compatibilidad con el artist manager regular video selecciona al artist manager correcto conflictos de inter\u00e9s compensaci\u00f3n e inter\u00e9s del artist manager regular video toma la decisi\u00f3n correcta dos criterios de evaluaci\u00f3n de un artista regular video toma la decisi\u00f3n correcta tres criterios de evaluaci\u00f3n de un artista regular video prot\u00e9gete del fracaso los elementos b\u00e1sicos de un contrato de management regular video aclara tus acciones alcance del artist manager seg\u00fan su contrato regular video evita malentendidos la compensaci\u00f3n del artist manager regular video gestiona eficazmente tu tiempo cl\u00e1usulas de exclusividad plazos terminaciones regular video evita el conflicto cl\u00e1usulas para la resoluci\u00f3n de problemas regular video test final secci\u00f3n cuestionari transf\u00f3rmate en un emprendedor definici\u00f3n de emprendedor con frecuencia los profesionales de la industria musical especialmente los m\u00fasicos son incapaces de verse s\u00ed mismos como emprendedores la percepci\u00f3n que el profesional tenga de s\u00ed mismo ejerce una influencia notable en su desempe\u00f1o \u00e9xito laboral todo profesional de la m\u00fasica sea ingeniero de sonido m\u00fasico productor musical artist manager booking agent obtiene grandes beneficios profesionales econ\u00f3micos personales al asumir el rol de un emprendedor seg\u00fan la real academia espa\u00f1ola el emprendedor es una persona que emprende con resoluci\u00f3n acciones empresas innovadoras el business dictionary entiende por emprendedor la persona que ejerce la iniciativa organizando una e mpresa para tomar una oportunidad como responsable de la toma de decisiones decide qu\u00e9 c\u00f3mo cu\u00e1nto se producir\u00e1 de un bien servicio ken krogue autor del art\u00edculo entrepreneur para el portal forbescom ofrece una visi\u00f3n interesante para definir la figura del emprendedor para ello confronta im\u00e1genes conceptos relacionados pero esencialmente dis\u00edmiles fin de ilustrar la diferencia entre un emprendedor una persona que simplemente dirige un negoci analicemos dichas relaciones l\u00edder vs gerente el l\u00edder se preocupa por la gente el gerente por su jefe el l\u00edder presiona el reloj sino que procura la realizaci\u00f3n del trabajo incluso cuando implica extenderse en el tiempo el gerente deja su trabajo cuando encuentra uno mejor el l\u00edder es el primero en llegar el \u00faltimo en irse el gerente trabaja dentro del sistema el l\u00edder trabaja con el sistema el emprendedor es un l\u00edder antes que un gerente sin olvidar la importancia necesidad ocasi onal de este \u00faltimo finanzas vs contabilidad las finanzas son una herramienta de influencia la contabilidad es una herramienta de escrutinio las finanzas se enfocan en encontrar dinero toda costa la contabilidad se enfoca en el costo del dinero la finanzas predicen el \u00e9xito la contabilidad rastrea el \u00e9xito la contabilidad muestra una recesi\u00f3n las finanzas encuentran las tendencias contrarias la recesi\u00f3n fin de capturar una ola el emprendedor necesita de ambos conceptos aunque valora m\u00e1s las finanzas ventas vs marketing las ventas buscan resuelven necesidades el marketing genera inter\u00e9s las ventas requieren clientes m\u00e1s preparados el marketing requiere atenci\u00f3n oportuna para todos los interesados las ventas hacen el camino el mark eting encuentra el camino el emprendedor valora la importancia de ambas estadista vs pol\u00edtico un estadista se sumerge en la lucha un pol\u00edtico maniobra alrededor de ella un estadista muestra osad\u00eda contra todo pron\u00f3stico un pol\u00edtico considera los pro n\u00f3sticos antes que la osad\u00eda el estadista procura el bienestar de aquellos quienes sirva incluso cuando recibe poca remuneraci\u00f3n en el mundo de los negocios el emprendedor es un estadista fe vs creencia la fe es acci\u00f3n se manifiesta en el cuerpo la creencia es pensamiento se manifiesta en la mente la fe es enemigo de la duda la creencia espera convertirse en fe alg\u00fan d\u00eda la fe se basa en la verdad la creencia sabe en qu\u00e9 se basa la fe arriesga est\u00e1 dispuesta pagar el precio la cre encia vacila huye por la inseguridad la fe pregunta por qu\u00e9 la creencia pregunta c\u00f3mo el emprendedor convierte su creencia en fe mediante la verdad la seguridad especialmente la acci\u00f3n aprendizaje vs comprensi\u00f3n el aprendizaje llega la misma f uente del conocimiento la comprensi\u00f3n entiende el conocimiento al momento pero despu\u00e9s lo olvida el aprendizaje sabe lo que necesita lo busca en seis meses descubre c\u00f3mo iniciar una empresa la comprensi\u00f3n se grad\u00faa los cuatro a\u00f1os encuentra un trabajo luego trabaja por seis a\u00f1os para pagar los pr\u00e9stamos estudiantiles el aprendizaje se sienta en primera fila hace preguntas la comprensi\u00f3n solo busca tomar notas para pasar la prueba el aprendizaje se preocupa por la calidad de la pregunta la comprensi\u00f3n solo se interesa en la asertividad de la respuesta el aprendizaje conduce la educaci\u00f3n la comprensi\u00f3n conduce un t\u00edtulo el aprendizaje forma un emprendedor la comprensi\u00f3n forma un empleado relaci\u00f3n entre el emprend edor otras \u00e1reas empresariales todo profesional de la industria musical especialmente el artist manager asume su profesi\u00f3n de una manera distinta al verse s\u00ed mismo como un emprendedor keynotes el l\u00edder se preocupa por la gente el gerente se preocupa por su jefe el gerente trabaja dentro del sistema el l\u00edder trabaja con el sistema las finanzas predicen el \u00e9xito la contabilidad rastrea el \u00e9xito las ventas hacen el camino el marketing encuen tra el camino un estadista se sumerge en la lucha un pol\u00edtico maniobra alrededor de ella el emprendedor convierte su creencia en fe mediante la verdad la seguridad especialmente la acci\u00f3n el aprendizaje forma un emprendedor la comprensi\u00f3n forma u n empleado reto observa la siguiente tabla lee las primeras palabras de las columnas b l\u00edder gerente piensa en cu\u00e1l de ambos perfiles calza mejor tu personalidad marca con una x la columna de respuestas que m\u00e1s se acerque tu personalidad por ejemplo si marcas la columna central querr\u00e1s decir que tu personalidad est\u00e1 medio camino entre ser l\u00edder un gerente si marcas la segunda columna de respuestas m\u00e1s cercana la palabra l\u00edder significa que est\u00e1s m\u00e1s cerca de ser un l\u00edder que un gerente as\u00ed sucesivamente repite los pasos con las dem\u00e1s palabras seg\u00fan los resultados identifica qu\u00e9 tan cerca est\u00e1s de tener la personalidad de un emprendedor comparte tus impresiones en el foro de la comunidad tiempo disponible minutos concl usi\u00f3n el emprendedor el \u00e9xito incluso antes de que suceda el profesional de la m\u00fasica especialmente el artist manager ejerce la fe necesaria para generar resultados concretos en su trabajo de esta forma se forja una trayectoria profesional emociona nte positiva exitosa transf\u00f3rmate en un profesional exitoso las habilidades cualidades de un emprendedor la industria musical es un campo en constante evoluci\u00f3n adaptaci\u00f3n el profesional de la m\u00fasica especialmente el artist manager requiere desarrollar las caracter\u00edsticas aptitudinales actitudinales de una persona emprendedora fin de garantizar su \u00e9 xito profesional sin importar las circunstancias los cambios que la industria experimente en la industria musical la actitud emprendedora es capaz de brindar grandes frutos de hecho muchos profesionales podr\u00edan estar capacitados para serlo por eje mplo un m\u00fasico exitoso podr\u00eda dedicarse f\u00e1cilmente actividades como formar parte activa de varios grupos bandas impartir clases en \u00e1mbitos p\u00fablicos privados grabar componer arreglar m\u00fasica asistir con labores administrativas alguna organiza ci\u00f3n de arte para autores como angela myles beeching el m\u00fasico exitoso podr\u00eda tener f\u00e1cilmente cuatro cinco trabajos concurrentes de tiempo parcial aumentando su capacidad de prestar servicio significativo la sociedad que lo rodea posibles actividades de un m\u00fasico contempor\u00e1neo la capacidad de ejercer exitosamente m\u00e1s de una faceta profesional es exclusiva de los m\u00fasicos por naturaleza la industria musical requiere profesionales sumamente polifac\u00e9ticos lo anterior es espec ialmente relevante cuando se trata del artist manager un emprendedor presenta caracter\u00edsticas aptitudinales actitudinales espec\u00edficas que le permiten encontrar el camino al \u00e9xito m\u00e1s all\u00e1 de sus habilidades musicales entrenamiento capacitaci\u00f3n form al el artist manager puede beneficiarse de dichas caracter\u00edsticas para su clasificaci\u00f3n beeching ha establecido dos grupos habilidades cualidades habilidades entre las habilidades necesarias para gestionar exitosamente una carrera musical tenemos facilidad para las relaciones interpersonales escritura correcta facilidad talento para hablar presentarse en p\u00fablico talento para negociar capacidad de ejecutar presupuestos mantener unas finanzas sanas experiencia facilidad para la ense\u00f1anza capa cidad de investigaci\u00f3n talento para la publicidad dominio b\u00e1sico en el uso de computadoras capacidad de recolectar fondos habilidades de un emprendedor cualidades entre las cualidades personales para el \u00e9xito tenemos determinaci\u00f3n habilidad para manejar el rechazo imaginaci\u00f3n creatividad flexibilidad apertura nuevas ideas integridad personal curiosidad intelectual capacidad de aprender de los errores conciencia fiabilidad capacidad de brindar seguimiento atenci\u00f3n al detalle disposici\u00f3n de dar la milla extra optimismo cualidades de un emprendedor es importante destacar que los m\u00fasicos exitosos normalmente poseen una gran parte de dichas habilidades cualidades en un grado de desarrollo generalmente elev ado conviene que el artist manager realice una autoevaluaci\u00f3n fin de determinar hasta qu\u00e9 grado cumple posee alguna de las habilidades cualidades anteriormente mencionadas con los resultados de dicha autoevaluaci\u00f3n realizamos planes de mejoramient desarrollo de las habilidades cualidades menos ejercitadas nunca es tarde para aprender ser mejor keynotes muchos profesionales de la industria musical est\u00e1n capacitados para ser emprendedores un m\u00fasico exitoso podr\u00eda tener f\u00e1cilmente cuatro cinco trabajos concurrentes de tiempo parcial por naturaleza la industria musical requiere profesionales sumamente polifac\u00e9ticos un emprendedor presenta caracter\u00edsticas aptitudinales actitudinales espec\u00edficas que le permiten encontrar el camino al \u00e9xi reto observa la siguiente tabla examina cada habilidad cualidad de la lista en una escala del al donde es el nivel m\u00e1s bajo indica con una x el nivel que tienes de cada una escribe un plan para desarrollar mejorar las habilidades cualidades que tu juicio necesiten ser reforzadas comparte el resultado de tu autoevaluaci\u00f3n en el foro de la comunidad en tu vpage tambi\u00e9n te invitamos compartirlo con amigos miembros de tu familia otros profesionales de la industria tanto de manera presencial como en l\u00ednea conclusi\u00f3n los emprendedores presentan habilidades cualidades que les permiten afrontar con \u00e9xito los cambios en sus respectivas industrias el desarrollo de dichas caracter\u00edsticas permite al artist manager un desenvolvimiento efi caz en el negocio de la m\u00fasica naturalmente es necesario establecer un plan de mejoramiento seguirlo con disciplina fin de obtener los resultados deseados encuentra oportunidades en la adversidad la actitud emprendedora de un artist manager encontr ar oportunidades de negocio para un artista puede ser una tarea ardua e incluso desmotivante sin embargo si el artist manager cuenta con la actitud adecuada desarrollar\u00e1 la habilidad de encontrar oportunidades donde otros solo ven obst\u00e1culos entre las caracter\u00edsticas que todo artist manager debe tener se incluyen la flexibilidad la resiliencia la habilidad de encontrar oportunidades en la adversidad por esta raz\u00f3n es vital que el artist manager se visualice como un emprendedor se adue\u00f1e de las ca racter\u00edsticas del mismo ser innovador creativo la hora de resolver problemas fin de atraer personas recursos para los proyectos de su artista seg\u00fan las caracter\u00edsticas particulares de la industria gremio mercado continuaci\u00f3n brindaremos dos ideas que el artist manager puede usar para encontrar nuevas oportunidades para su artista buscar e identificar todos aquellos campos organizaciones personas contextos donde el talento experiencia de su artista el suyo propio constituya un aporte significativo la colaboraci\u00f3n es una de las formas que toma el camino hacia el \u00e9xito pensar e identificar todos aquellos campos organizaciones personas contextos donde la m\u00fasica trabajo del artista pueda funcionar para esto es necesari ejercer el pensamiento divergente ensanchar al m\u00e1ximo las posibilidades de nuestro artista analizaremos el caso de la agrupaci\u00f3n radius ensemble enfoc\u00e1ndonos en las actividades que llevaron cabo para establecerse como un ensamble exitoso dentro de su contexto de m\u00fasica acad\u00e9mica radius ensemble es un conjunto de c\u00e1mara con una organizaci\u00f3n programa desempe\u00f1o propio fundado por la obo\u00edsta jennifer montbach en se enfocan en ofrecer un amplio espectro sonoro en sus programas fin de atraer mantener e incrementar su audiencia han recibido numerosas rese\u00f1as positivas premios entre los cuales destacan el bostons best classical ensemble otorgado por el improper bostonian el cmaascap award adventorous programming radius ensemble entre las actividades que han realizado para posicionarse como un ensamble exitoso destacan las siguientes presentaciones familiares gratuitas los s\u00e1bados en la noche en el harvard square donaciones de entradas libres para ni\u00f1os desfavorecidos sus padres trav\u00e9s de agencias de servicio comunitario trabajo pedag\u00f3gi co con estudiantes del cambridge rindge latin school publicaci\u00f3n de rese\u00f1as de prensa muchos ensayos presentaciones fin de conocer m\u00e1s acerca de radius ensemble recomendamos visitar su p\u00e1gina web httpsradiusensembleorg de las actividades teriores destacamos el trabajo con organizaciones sin fines de lucro como parte de su estrategia de desarrollo como ensamble de esto evidenciamos la relaci\u00f3n entre el desarrollo de una carrera basada en valores servicio la comunidad el \u00e9xito de la misma en la industria musical el nicho segmento de mercado consumido por m\u00fasica acad\u00e9mica es notoriamente peque\u00f1o a\u00fan as\u00ed donde otros ven un obst\u00e1culo radius ensemble encontr\u00f3 una oportunidad de establecer una carrera productiva keynotes un artist manager debe ser flexible resiliente capaz de encontrar oportunidades en la adversidad ser innovador creativo la hora de resolver problemas permite al artist manager atraer personas recursos para los proyectos de su artista existe una relaci\u00f3n entre el desarrollo de una carrera basada en valores servicio la comunidad el \u00e9xito de la misma reto identifica un artista cuya carrera est\u00e9s trabajando visual\u00edzate ti mismo como un artista cuya carrera es necesario trabajar se\u00f1ala l os obst\u00e1culos que en tu opini\u00f3n te impidan alcanzar una carrera exitosa consolidada piensa las actividades que puedes llevar cabo para transformar cada obst\u00e1culo en una oportunidad considera la importancia de los valores principios escribe tant los obst\u00e1culos como tus ideas para superarlos en una lista puedes agregar un plan de implementaci\u00f3n fechas l\u00edmite comparte tu lista con amigos familiares profesionales de la industria en l\u00ednea te recomendamos usar las herramientas vpage vkontac tiempo disponible minutos conclusi\u00f3n con frecuencia los obst\u00e1culos de un artist manager pueden parecer abrumadores sin embargo con la \u00f3ptica actitud correctas cada uno de ellos esconde una oportunidad valiosa aseg\u00farate de ejercer el optimism la disciplina la constancia necesarias para enrumbarte correctamente hacia el camino de las oportunidades adopta el \u00e9xito como un estilo de vida los primeros tres principios de \u00e9xito los c\u00f3digos de honor dec\u00e1logos c\u00f3digos de comportamiento son listas de principios que conducen el comportamiento pensamiento de determinadas personas gremios poblaciones en la industria musical existen principios cuya observancia ha demostrado influir notablemente en el \u00e9xito de la carrera de un profesional ya sea artista compositor productor ingeniero de sonido artist manager entre otros la aplicaci\u00f3n de los principios de \u00e9xito permite al artist manager desarrollar la perspectiva necesaria para consolidar su carrera la de su artista en su libro beyond talent creating successful career music la autora angela myles beeching expone diez principios que resumen el pensamiento de numerosos m\u00fasicos exitosos dichos principios engloban solo pensamientos sino tambi\u00e9n comportamiento h\u00e1bitos formas de enfrentar situaciones problemas continuaci\u00f3n estudiaremos los primeros tres principios para el desarrollo de una carrera exitosa principio conocerse s\u00ed mismo el primer principio es el conocimiento que se tiene sobre uno ismo lo cual se enfoca principalmente en las fortalezas debilidades las fortalezas permiten identificar el potencial que tenemos de causar un aporte significativo otros colegas organizaciones e industria en general las debilidades identifican las \u00e1reas mejorar fin de aumentar nuestro impacto positivo una buena manera de obtener conocimiento de nosotros mismos es pedir consejos u opiniones colegas profesores maestros mentores personas de influencia con su orientaci\u00f3n es posible observar caracter\u00edsticas propias cuya visualizaci\u00f3n sea dif\u00edcil imposible para nosotros mismos su vez se logra la formulaci\u00f3n de planes de mejoramiento es preciso que el artist manager aplique este principio tanto s\u00ed mismo como sus clientes de esta ser\u00e1 capaz de trabajar mejor desarrollar el potencial de su artista el an\u00e1lisis foda constituye una excelente herramienta para implementar este principio primer principio de \u00e9xito conocerse s\u00ed mismo principio conocimiento de la industria musical el segundo principio de \u00e9xito se relaciona con nuestro conocimiento sobre la industria musical lo anterior incluye pero se limita investigar el desempe\u00f1o trabajo de otros colegas conversar con men tores otras personas de influencia seguir la prensa redes sociales que ilustren las tendencias de la industria seguir la carrera de otros artistas m\u00fasicos sin olvidar los proyectos en los que han participado participan actualmente finalmente la lectura de libros especializados en la industria musical el matricular un programa acad\u00e9mico sobre el tema constituyen excelentes alternativas complementarias segundo principio de \u00e9xito conocimiento de la industria musical princ ipio networking el tercer principio de \u00e9xito se enfoca en el networking independientemente de la personalidad del artist manager su artista la capacidad de aplicar un networking eficaz est\u00e1 al alcance de todos cualquier situaci\u00f3n es provechosa si e hacer networking se trata un ensayo una presentaci\u00f3n una estaci\u00f3n de gasolina una fiesta un babyshower una simple conversaci\u00f3n por facebook whatsapp cualquier situaci\u00f3n funciona el networking requiere el intercambio de ideas con otros colegas del medio sean m\u00fasicos productores ingenieros de sonido managers abogados booking agents promotores publishers entre otros en todos los casos es vital recordar que el flujo de informaci\u00f3n debe darse en dos direcciones podemos pretender obten er informaci\u00f3n de un colega sin compartir informaci\u00f3n en ese caso estar\u00edamos haciendo networking sino un interrogatorio tercer principio de \u00e9xito networking la implementaci\u00f3n de los tres primeros principios de \u00e9xito es constan te por lo que m\u00e1s que una lista que cumplir es preciso asumirlos como un estilo de vida keynotes el primer principio de \u00e9xito es el conocimiento que se tiene sobre uno mismo las fortalezas permiten identificar el potencial que tenemos de causar un apor te significativo otros colegas organizaciones e industria en general las debilidades nos permiten identificar las \u00e1reas mejorar fin de aumentar nuestro impacto positivo el segundo principio de \u00e9xito se relaciona con nuestro conocimiento sobre la industria musical el tercer principio de \u00e9xito se enfoca en el networking misi\u00f3n redacta un ensayo donde realices una evaluaci\u00f3n acerca de ti mismo identifica tus fortalezas debilidades como artist manager profesional de la industria musical realices una evaluaci\u00f3n acerca de la industria musical en tu comunidad as\u00ed como las debilidades oportunidades del mundo digital establezcas contacto e intercambios de informaci\u00f3n con profesionales de la industria con los que hayas tenido contacto previo pueden ser compa\u00f1eros de estudio comparte tus evaluaciones con tus colegas tanto de manera presencial como online usa tus redes sociales para compartir tus experiencias e impresiones pide consejos recomendaciones para tu evaluaci\u00f3n establec e planes de perfeccionamiento profesional seg\u00fan las sugerencias recibidas tiempo disponible horas importante fin de aumentar las posibilidades de efectuar un networking exitoso dudes en contactar personas usando todas las herramientas que el internet te ofrece tales como facebook instagram linkedin vpage vbox vkontact youtube whatsapp e ntre otras conclusi\u00f3n medida que el artist manager incorpore su estilo de vida los primeros tres principios de \u00e9xito su carrera experimentar\u00e1 un crecimiento notable al ser constante dedicado optimista ser\u00e1 capaz de atraer aquellas personas pro yectos necesarios para abrir numerosas puertas en el negocio de la m\u00fasica adopta un estilo de vida exitoso tres principios para el \u00e9xito profesional un estilo de vida exitoso requiere la observancia de determinados principios h\u00e1bitos de otra forma el artist manager puede experimentar dificultades notables mientras persigue la consecuci\u00f3n de sus objetivos comerciales art\u00edsticos continuaci\u00f3n estudiaremos el cuarto quinto sexto principio de \u00e9xito principio investigar las opciones disponibles el cuarto principio de \u00e9xito consiste en investigar todas nuestras opciones disponibles algunas ideas para su implementaci\u00f3n son investigar estudiar las biograf\u00edas de otros grandes profesionales de la industria m\u00fasicos productores managers entre tros la web ofrece una amplia variedad de opciones biogr\u00e1ficas dicho estudio puede ser una fuente valiosa de inspiraci\u00f3n ideas alternativas recursos motivaci\u00f3n la experiencia de quienes han transitado el camino que nosotros queremos andar constituy e una valiosa fuente de capacitaci\u00f3n escrudi\u00f1ar la prensa local e internacional incluyendo las p\u00e1ginas web redes sociales de artista bandas otros profesionales relevantes en la industria seg\u00fan tus circunstancias e intereses asegur\u00e9monos de estar al tanto acerca de lo que est\u00e1 sucediendo en la industria hoy fin de aumentar nuestra capacidad de inferir lo que suceder\u00e1 ma\u00f1ana mantenernos en la cresta de la ola salir e investigar qu\u00e9 est\u00e1n haciendo los m\u00fasicos productores managers entre otros desarrollar el h\u00e1bito de apartar un tiempo semanal para actualizarnos en relaci\u00f3n los \u00faltimos acontecimientos de la industria musical local global la informaci\u00f3n conduce las oportunidades cuarto principio de \u00e9xito investigar las opciones disponibles principio cultivar la actitud correcta el quinto principio de \u00e9xito se enfoca en la actitud la raz\u00f3n es muy sencilla los profesionales desean trabajar con personas optimistas placenteras optimistas para ser ese tipo de personas debemos ser positivos resilientes flexibles especialment e profesionales lo anterior siempre es sencillo especialmente cuando enfrentamos rechazos negativas ante dichas situaciones es preciso mantener la calma forma parte de la naturaleza humana seg\u00fan beeching nuestra actitud es en gran medida part e de nuestra imagen profesional quinto principio de \u00e9xito cultivar la actitud correcta principio evaluar nuestras habilidades interpersonales el sexto principio de \u00e9xito consiste en desarrollar nuestras habilidades interpersonale la industria musical es un negocio donde las relaciones juegan un papel fundamental si bien es cierto que todos sufrimos decepciones dificultades lo largo de la vida debemos asegurarnos de que dichos reveses interfieran con nuestra trayectoria profesional la regla de oro indica trata los dem\u00e1s como te gustar\u00eda que te traten ti en consonancia con esto el profesional de la m\u00fasica contribuye positivamente su entorno beneficiando los colegas personas con los que trata las implicacio nes de una buena relaci\u00f3n pueden ser la diferencia entre el \u00e9xito el fracaso la persona la que hoy hacemos un desplante puede ser aquella que necesitamos nos contrate ma\u00f1ana el artist manager trabaja procura ser considero cort\u00e9s servicial sus col egas socios contactos recordar\u00e1n su consideraci\u00f3n optimismo entusiasmo responder\u00e1n en consecuencia continuaci\u00f3n estudiaremos dos formas de mejorar nuestras relaciones interpersonales cada noche antes de dormir el artist manager piensa en la interacciones el comportamiento mostrado en el d\u00eda identifica aquellas acciones muestras de comportamiento que si pudiera cambiar\u00eda con honestidad elabora planes para mejorar su comportamiento hacerlo mejor al d\u00eda siguiente en caso de esta r seguro sobre la resoluci\u00f3n de alguna situaci\u00f3n el artist manager pide consejo un amigo colega mentor sexto principio de \u00e9xito evaluar las habilidades interpersonales keynotes el cuarto principio de \u00e9xito consiste en investigar todas nuestras opciones disponibles la experiencia de quienes han transitado el camino que nosotros queremos andar constituye una valiosa fuente de capacitaci\u00f3n los profesionales de la industria musical desean trabajar con personas optimistas placenteras optimistas la industria musical es un negocio donde las relaciones juegan un papel fundamental las implicaciones de una buena relaci\u00f3n pueden ser la diferencia entre el \u00e9xito el fracaso reto medita en tu comportamiento acciones del d\u00eda de hoy identifica aquellos aspectos que cambiar\u00edas si fuera posible explica por qu\u00e9 redacta una lista de resoluciones implementar fin de asegurar un comportamiento m\u00e1s profesional en todas tus interacc iones acciones palabras comparte dicha lista con tus familiares amigos colegas utilizando todos los medios digitales tu disposici\u00f3n puedes agregarla como parte de tu informaci\u00f3n personal en tu vpage tiempo disponible minutos conclusi\u00f3n para tener \u00e9xito en la industria musical es vital mantenerse informado cultivar una actitud correcta mejorar nuestras habilidades interpersonales por supuesto establecer un h\u00e1bito sucede de la noche la ma\u00f1ana es preciso ejercer la constancia la pac iencia recordando que los resultados realmente satisfactorios suelen conllevar un tiempo de preparaci\u00f3n perseverancia adopta un estilo de vida exitoso cuatro principios de \u00e9xito los principios de vida generan resultados tangibles en la vida de aquel los que los ponen en pr\u00e1ctica la industria musical es la excepci\u00f3n medida que el artist manager ponga en pr\u00e1ctica los principios del \u00e9xito ser\u00e1 solo capaz de experimentarlo en su vida sino tambi\u00e9n de ser una fuente de oportunidad progreso par sus clientes colegas la autora angela myles beeching propone diez principios probadamente exitosos en la industria musical continuaci\u00f3n estudiaremos los principios s\u00e9ptimo octavo noveno d\u00e9cimo de dicha lista principio pensar como un empren dedor el s\u00e9ptimo principio del \u00e9xito aborda el pensamiento de un emprendedor el artist manager jam\u00e1s olvida la perspectiva de negocio de su trabajo de hecho es su principal enfoque por lo tanto considera cualquier idea que conlleve fortalecer el negoc io aunque surja de fuentes inesperadas una idea popular consiste en buscar patrocinios con individuos u organizaciones s\u00e9ptimo principio de \u00e9xito pensar como un emprendedor por supuesto el artist manager considera el potencial qu e tiene cada artista de desarrollar las oportunidades de capturar por s\u00ed mismo su audiencia crear mantener un canal de youtube constituye una excelente forma de hacerlo principio tener un truco gancho el octavo principio del \u00e9xito se enfoca en e l gancho la industria musical ofrece una ampl\u00edsima variedad de sonidos formas colores experiencias el artist manager toma esto en cuenta se esfuerza por identificar esa caracter\u00edstica que hace \u00fanico su artista e incluso s\u00ed mismo como profesio nal en la industria al respecto conviene que el artist manager revise las siguientes preguntas con su artista consigo mismo qu\u00e9 te hace excepcional tu interpretaci\u00f3n se especializa en alg\u00fan tema en espec\u00edfico es inusual de alguna manera tu repe rtorio se especializa en alg\u00fan tema en concreto es inusual de alguna manera tus conciertos incluyen programas innovadores interpretaciones poco comunes la respuesta estas preguntas ofrece una gu\u00eda en cuanto al potencial del artist manager su artista de destacar en la industria en caso de ser necesario conviene dise\u00f1ar planes de mejoramiento octavo principio de \u00e9xito tener un tru co gancho principio metas corto largo plazo el noveno principio de \u00e9xito se relaciona con las metas corto largo plazo una escena de la pel\u00edcula animada alicia en el pa\u00eds de las maravillas producida por disney lanzada en atrapa una interesante conversaci\u00f3n entre su protagonista alicia el llamado gato ris\u00f3n gato de cheshire la cual dice alicia podr\u00edas decirme por favor qu\u00e9 camino debo seguir para salir de aqu\u00ed gato esto depende en gran parte del sitio al que quieras llegar alicia importa mucho el sitio gato entonces tampoco importa mucho el camino conversaci\u00f3n entre alicia el gato ris\u00f3n el trasfondo de esta conversaci\u00f3n refleja la importancia de la fijaci\u00f3n de metas las metas corto plazo pueden ser semanales mensuales deben ser realistas mantenernos motivados enfocados en las metas largo plazo noveno principio de \u00e9xito metas corto largo plazo principio alimentar la espiritualidad el d\u00e9cimo principio de \u00e9xito consiste en alimentar la espiritualidad el artist manager nunca pierde de vista la raz\u00f3n por la cu\u00e1l decidi\u00f3 dedicarse la industria de la m\u00fasica nuestras motivaciones pueden ayudarnos sostener una carrera profesional continuaci \u00f3n exponemos una lista de preguntas \u00fatiles para examinar el grado de satisfacci\u00f3n que sentimos por el ejercicio de nuestra profesi\u00f3n actual c\u00f3mo logro encontrar energ\u00edas e inspiraci\u00f3n qu\u00e9 inspira qu\u00e9 ayuda recargar energ\u00edas para tener una mayor imaginaci\u00f3n e ideas c\u00f3mo aseguro de mantener viva mi espiritualidad motivaci\u00f3n las respuestas dichas preguntas nos ayudan establecer planes de mejora obtener mejores resultados profesiona les d\u00e9cimo principio de \u00e9xito alimentar la espiritualidad keynotes el artist manager jam\u00e1s olvida la perspectiva de negocio de su trabajo de hecho es su principal enfoque el artist manager se esfuerza por identificar esa caracte r\u00edstica que hace \u00fanico su artista e incluso s\u00ed mismo como profesional las metas corto plazo deben ser realistas mantenernos motivados enfocados en las metas largo plazo el artist manager nunca pierde de vista la raz\u00f3n por la cu\u00e1l decidi\u00f3 ded icarse la industria de la m\u00fasica misi\u00f3n entrevista un artista ya sea de manera presencial en l\u00ednea las herramientas vkontact vpage vbox pueden ayudarte encontrar una gran cantidad de artistas nivel internacional una vez encontrado hazle las preguntas presentes en esta unidad did\u00e1ctica qu\u00e9 te hace excepcional tu interpretaci\u00f3n se especializa en alg\u00fan tema en espec\u00edfico es inusual de alguna manera tu repertorio se especializa en alg\u00fan tema en concreto es inusual de alguna manera tus conciertos incluyen programas innovadores interpretaciones poco comunes c\u00f3mo obtienes energ\u00eda e inspiraci\u00f3n qu\u00e9 te inspira qu\u00e9 te ayuda recargar energ\u00edas para tener una mayor imaginaci\u00f3n e ideas c\u00f3mo te aseguras de mantener viva tu espiritualidad motivaci\u00f3n principal transcribe la entrevista a\u00f1ade tus comentarios seg\u00fan las respuestas dadas comparte el resultado con tus familiares amigos colegas tambi\u00e9n puedes compartirla por medio de tu vpage conclusi\u00f3n el pensamiento de una persona tiene una influencia decisiva en su comportamiento cuando el artist manager alinea su pensamiento con el de un emprendedor adem\u00e1s procura metas realistas tiene un gancho se mantiene motivado la obtenci\u00f3n de resultados positivos es solo cuesti\u00f3n de tiempo marca tu camino seguir la importancia de la elaboraci\u00f3n de planes el artist manager se asegura de que las cosas sucedan en la carrera del artista lo anterior implica la ejecuci\u00f3n de una determinada cantidad de pasos fin de obtener un resultado espec\u00edfico los planes constituyen el camino seguir para la consecuci\u00f3n de los objetivos propuestos en consonancia con esto el artist manager comprende la importancia de la elaboraci\u00f3n de planes su relaci\u00f3n con el \u00e9xito de su artista en pr\u00e1cticamente todos los \u00e1mbitos profesionales la elaboraci\u00f3n de un plan es un paso necesario para conseguir un objetivo espec\u00edfico existen una gran cantidad de tipos formatos de plan q ue pueden ayudar al artist manager tener \u00e9xito en su carrera m\u00e1s all\u00e1 del formato lo importante es que el plan cumpla su funci\u00f3n de ayudarnos cumplir las metas en otras palabras el plan es una herramienta un fin en s\u00ed mismo en palabras sencil las un plan de acci\u00f3n es un plan detallado donde se escriben las acciones tomar para alcanzar con \u00e9xito una meta determinada continuaci\u00f3n indicaremos algunas ventajas de utilizar un plan de acci\u00f3n define la direcci\u00f3n tomar los pasos necesarios para realizar un trabajo aumentando la eficiencia del proceso evitando tomar acciones al azar puede compartirse con personas con m\u00e1s conocimiento experiencia en el \u00e1rea ayud\u00e1ndonos identificar rectificar cualquier aspecto mejorar se\u00f1ala clara mente las acciones necesarias para conseguir un resultado eliminando la ansiedad la frustraci\u00f3n la incertidumbre sobre qu\u00e9 hacer cu\u00e1l es el siguiente paso permite controlar nuestra carrera el proceso para obtener un fin ventaja de utilizar un plan de acci\u00f3n algunas personas efect\u00faan planes sumamente detallados otras solo apuntan acciones generales tambi\u00e9n es posible idear un plan de acciones generales las cuales ser\u00e1n posteriormente detalladas sin importar el nivel de etalle lo importante es que funcione tanto el artist manager como su artista representado requieren un plan de acci\u00f3n aunque ambos roles sean esencialmente distintos tus objetivos est\u00e1n \u00edntimamente relacionados por este motivo el plan de acci\u00f3n de ambos se ver\u00e1 beneficiado al considerar e l mercado laboral las necesidades del rol la diferenciaci\u00f3n profesional la notoriedad el mercado laboral la inserci\u00f3n en el mercado laboral requiere de un plan de acci\u00f3n especialmente en la industria musical el primer paso es realizar una investigac i\u00f3n que permita identificar todas las posibles oportunidades as\u00ed como los escollos superar dicha investigaci\u00f3n puede enfocarse en diferentes perspectivas dependiendo del tipo de profesional por ejemplo un cantante podr\u00eda explorar diferentes establec imientos donde realizar presentaciones en vivo lugares donde presentar audiciones darse conocer entre las personas influyentes del medio un compositor por su lado buscar\u00eda las personas instituciones que podr\u00edan mostrar inter\u00e9s en sus composicion es seg\u00fan el estilo g\u00e9nero musical que un determinado sello discogr\u00e1fico publisher requiera tambi\u00e9n puede pensar en los artistas que podr\u00edan estar interesados en interpretar su m\u00fasica los programas de televisi\u00f3n radio pel\u00edculas comerciales donde f uncionar\u00edan sus canciones entre otras alternativas naturalmente todas las ideas anteriores son provechosas para el artist manager las necesidades del rol el siguiente paso es identificar las necesidades del rol por ejemplo un artista podr\u00eda tener las siguientes necesidades entrenamiento vocal clases de baile moverse una locaci\u00f3n diferente realizar un curso seminario taller de composici\u00f3n de canciones por otro lado el artist manager podr\u00eda requerir hacer algunas llamadas estrat\u00e9gicas incrementar su red de contactos ubicar academias escuelas instructores para el perfeccionamiento de su artista una excelente forma de identificar necesidades es preguntarse qu\u00e9 nos separa del \u00e9xito al identificar las necesidades es preciso crear un pl para la superaci\u00f3n de cada una la diferenciaci\u00f3n profesional la industria musical es la arena donde una gran cantidad de luchadores compiten por destacar el artista su artist manager deben definir claramente aquellas caracter\u00edsticas distintivas qu e les permitan sobresalir en medio de las ofertas del mercado la diferenciaci\u00f3n de un artista podr\u00eda relacionarse con alguno varios de los siguientes campos personalidad energ\u00eda sentido del humor organizaci\u00f3n orden prop\u00f3sito el estilo de cantar tocar un instrumento la tem\u00e1tica de las canciones escritas interpretadas un estilo de interpretaci\u00f3n en vivo inusual destacado un estilo e imagen espec\u00edfica las particularidades del artista artist manager constituyen una valiosa herramienta para sacar ventaja del mercado establecer una trayectoria s\u00f3lida en la industria musical la notoriedad el artist manager trabaja con su artista la forma de alcanzar notoriedad las siguientes preguntas pueden ser \u00fatiles c\u00f3mo podemos atrae r la atenci\u00f3n de personas influyentes en la industria qu\u00e9 competiciones est\u00e1n disponibles en nuestra localidad regi\u00f3n pa\u00eds qu\u00e9 oportunidades para aparecer en televisi\u00f3n est\u00e1n al alcance de la mano qui\u00e9n podemos enviar un demo link con una mues tra de nuestro trabajo en qu\u00e9 programa de voluntariado se puede participar aumentar la exposici\u00f3n qu\u00e9 programa de talentos est\u00e1 disponible para inscripci\u00f3n las respuestas estas otras preguntas constituyen una fuente de ideas para desarrollar e implementar un plan de acci\u00f3n exitoso ventajas de utilizar un plan de acci\u00f3n keynotes todo plan es una herramienta un fin en s\u00ed mismo en la industria musical un plan de acci\u00f3n se beneficia al considerar el mercado laboral las n ecesidades del rol la diferenciaci\u00f3n profesional la notoriedad una excelente forma de identificar necesidades es preguntarse qu\u00e9 nos separa del \u00e9xito las particularidades del artista artist manager constituyen una valiosa herramienta para sacar ventaja del mercado establecer una trayectoria s\u00f3lida en la industria musical reto si eres un artista contacta un artist manager una persona dispues ta asumir el rol en una dramatizaci\u00f3n si eres un artist manager contacta un artista una persona dispuesta asumir el rol con el mismo prop\u00f3sito conversen entre ustedes discutan las preguntas acerca de la notoriedad presentes en el contenido id\u00e1ctico c\u00f3mo podemos atraer la atenci\u00f3n de personas influyentes en la industria qu\u00e9 competiciones est\u00e1n disponibles en nuestra localidad regi\u00f3n pa\u00eds qu\u00e9 oportunidades para aparecer en televisi\u00f3n est\u00e1n al alcance de la mano qui\u00e9n podemos envia r un demo link con una muestra de nuestro trabajo en qu\u00e9 programa de voluntariado se puede participar aumentar la exposici\u00f3n qu\u00e9 programa de talentos est\u00e1 disponible para inscripci\u00f3n redacta un breve ensayo con el resultado de las deliberaciones comp\u00e1rtelo con otros amigos familiares colegas conclusi\u00f3n cuando el artist manager dise\u00f1a planes correctos adecuados seg\u00fan las circunstancias del mercado brinda seguridad su artista acerca del camino tomar al mismo tiempo transmite una imagen m\u00e1s profesional sus colegas quienes dudar\u00e1n en contratarlo cuando requieran de su sentido de organizaci\u00f3n visi\u00f3n la pr\u00e1ctica constante brindar\u00e1 el criterio necesario para elaborar planes cada vez m\u00e1s afilados exactos aumenta tus habilidades organizativas plan de acci\u00f3n b\u00e1sico los planes juegan un papel vital en el \u00e9xito de la carrera de un artista sin embargo es preciso que sean complicados un plan b\u00e1sico es suficiente para poner en marcha la serie de acontecimientos que consolidar\u00e1n formar\u00e1n al artista como proyecto de negocio en consonancia con esto el artist manager se torna un profesional con amplias habilidades organizativas ayudando su artista mantenerse activo en el medio atrayendo los m\u00e1s destacados profesionales disponibles la creaci\u00f3n de un plan de acci\u00f3n b\u00e1sico comprende los siguientes elementos metas deben ser espec\u00edficas realistas conviene pensar en metas corto largo plazo de esta forma efectuamos un seguimiento m\u00e1s detallado cercano necesidades pueden incluir temas como capacitaci\u00f3n exposici\u00f3n networking imagen presencia en la web locaci\u00f3n geogr\u00e1fica entre otros acciones es la parte crucial del plan de acci\u00f3n b\u00e1sico se enfoca en las acciones tomar para cubrir las necesidades plazos por supuesto para que un plan sea eficaz requiere plazos para la realizaci\u00f3n de cada acci\u00f3n elementos de un plan de acci\u00f3n con esto en mente dise\u00f1aremos un plan de acci\u00f3n b\u00e1sico basado en las siguientes preguntas e \u00edtems dise\u00f1o de un plan de acci\u00f3n b\u00e1sico metas de carrera corto plazo mediano plazo largo plazo mi mercado personas establecimientos contactar corto plazo mediano plazo largo plazo qu\u00e9 necesito para alcanzar mis metas c\u00f3mo diferenciar\u00e9 de otros artistas c\u00f3mo capturar\u00e9 la atenci\u00f3n de personalidades influyentes en la industria qu\u00e9 acciones tomar\u00e9 para cumplir mis metas qu\u00e9 acciones debo tomar de manera inmediata para alcanzar mis metas cu\u00e1les son mis plazos metas corto plazo metas mediano plazo metas largo plazo acciones ejecutadas hasta el momento fechas de ejecuci\u00f3n de acciones ahora examinaremos un ejemplo de plan de acci\u00f3n b\u00e1sico elaborado desde la perspectiva de un artista ejemplo de plan de acci\u00f3n b\u00e1sico metas de carrera corto plazo llevar cabo una serie de concie rtos en diferentes establecimientos de mi regi\u00f3n mediano plazo grabar un disco hacer una gira para aumentar mi reconocimiento como una potencial estrella en mi pa\u00eds largo plazo reconocimiento como uno de los artistas m\u00e1s destacados del g\u00e9ne ro en mi pa\u00eds con miras una proyecci\u00f3n internacional mi mercado fans del reggae la m\u00fasica roots personas establecimientos contactar corto plazo clubes locales hoteles escuelas colegios planificadores de bodas coordinadores de eventos nivel local mediano plazo colegios booking agents promotores teatros planificadores de bodas coordinadores de eventos nivel r egional largo plazo promotores booking agents de mayor trayectoria ferias casinos hoteles entre otros qu\u00e9 necesito para alcanzar mis metas encontrar un agente un bajista para mi banda perfeccionar mis habilidades vocales mi desempe\u00f1o en el escenario encontrar establecimientos donde presentarme escribir m\u00e1s canciones para grabar encontrar un sello discogr\u00e1fico interesado en hacerse cargo de mi primer \u00e1lbum aumentar mi exposici\u00f3n hacer una gira c\u00f3mo diferenciar\u00e9 de otros artistas escribir\u00e9 canciones abordando la situaci\u00f3n actual del pa\u00eds para que la gente se sienta identificada asista mis presentaciones c\u00f3mo capturar\u00e9 la atenci\u00f3n de personalidades influyentes en la industria crear\u00e9 un electronic kit press que compartir\u00e9 por todas mis redes sociales donar\u00e9 mi tiempo para participar en eventos de organizaciones sin fines de lucro publicitar\u00e9 alguna persona producto causa en la que crea qu\u00e9 acciones tomar\u00e9 para cumplir mis metas tomar\u00e9 clases de perfeccionamiento vocal escenogr\u00e1fico asistir\u00e9 un taller de composici\u00f3n de canciones registrar\u00e9 en la asociaci\u00f3n de compositores local procurar\u00e9 conocer e intercambiar informaci\u00f3n con todos sus miembros para aum entar mi red de contactos qu\u00e9 acciones debo tomar de manera inmediata para alcanzar mis metas desarrollar mi identidad como artista la de mi banda ensayar con frecuencia escribir mi biograf\u00eda participar en una sesi\u00f3n de fotos profesional enviar revisar mis correos mensajes en redes sociales asistir los eventos relacionados con la industria musical cu\u00e1les son mis plazos metas corto plazo cumplir en seis meses metas mediano plazo cumplir en un a\u00f1o pero m\u00e1s de dos metas largo plazo cumplir en los pr\u00f3ximos cinco a\u00f1os acciones ejecutadas hasta el momen fechas de ejecuci\u00f3n de acciones asist\u00ed al taller de composici\u00f3n de canciones fecha octubre de encontr\u00e9 un nuevo bajista para mi banda fecha octubre cumpl\u00ed la meta de ensayar tres d\u00edas la semana fecha noviembre hice los arreglos para participar en una estaci\u00f3n de radio local fecha diciembre el artist manager el artista tienen en cuenta que un plan de acci\u00f3n es lo suficientemente flexible para admitir cambios seg\u00fan las circunstancias surgidas durante su implementaci\u00f3n keynotes las metas de un plan de acci\u00f3n b\u00e1sico deben ser espec\u00edficas realistas las acciones tomar constituyen la parte crucial de un plan de acci\u00f3n b\u00e1sico el plan de acci\u00f3n b\u00e1sico es lo suficientemente flexible para modificarse en ca de ser necesario misi\u00f3n desde la perspectiva de un artist manager re\u00fanete con un artista puede ser un amigo familiar conocido un miembro de la comunidad vonkelemen que hayas contactado trav\u00e9s de vkontact juntos elaboren un plan de acci\u00f3n b\u00e1s ico bas\u00e1ndose en el modelo descrito en el contenido did\u00e1ctico al terminar comp\u00e1rtelo con tus amigos familiares colegas solicita opiniones puntos de vista sobre el mismo eval\u00faa tu plan ajusta aquellos aspectos que consideres necesarios seg\u00fan la observaciones recibidas conclusi\u00f3n un artist manager que domine la capacidad de elaborar planes de acci\u00f3n b\u00e1sicos ser\u00e1 capaz de visualizar largo plazo la carrera de un artista proporcionando la visi\u00f3n necesaria para atraer el equipo de trabajo que llevar\u00e1 su artista al estrellato por supuesto dicha habilidad se logra de la noche la ma\u00f1ana por lo que requiere de continua pr\u00e1ctica dedicaci\u00f3n sobre todo experimentaci\u00f3n aumenta tus habilidades organizativas plan de acci\u00f3n personal en ocasiones los planes de acci\u00f3n requieren ser personalizados seg\u00fan las circunstancias del artista el artist manager es perfectamente capaz de crear planes ajustados las condiciones inherentes su artista de esta forma muestra una actitud polifac\u00e9tica adaptativa sumamente valiosa en la ind ustria musical moderna con frecuencia puede ser necesario elaborar un plan de acci\u00f3n personal especializado por supuesto esto depende mucho del rol que el profesional de la industria ejerce dentro de la misma continuaci\u00f3n analizaremos el dise\u00f1o ejecuci\u00f3n de un plan de acci\u00f3n especializado desde la perspectiva de un artista dise\u00f1o de un plan de acci\u00f3n personal especializado los elementos que forman parte del dise\u00f1o de un plan de acci\u00f3n personal son las metas tanto largo como corto plazo las acciones tomar los comentarios las fechas estimadas fechas de cada cumplimiento de ambos tipos de metas la ejecuci\u00f3n de un plan de acci\u00f3n personal contempla tanto el lado creativo como el lado comercial del negocio continuaci\u00f3n indicaremos algunos elementos pertenecientes cada lado que deben ser tomados en cuenta lado creativo del negocio encontrar un instructor coach de canto tomar clases de m\u00fasica asistir cursos talleres de composici\u00f3n de canciones inscribirse en la asociaci\u00f3n local de artistas compositores profesionales de la industria musical ensayar con frecuencia participar e n presentaciones en vivo lado comercial del negocio identificar habilidades talentos pasiones b\u00fasqueda de pasant\u00edas elaboraci\u00f3n de formatos hojas de vida correos electr\u00f3nicos networking desarrollar un electronic press kit biograf\u00eda fotos profesionales entre otros b\u00fasqueda asistencia eventos relacionados con la industria realizaci\u00f3n de voluntariado para ganar experiencia exposici\u00f3n obtener referencias permiso para usar el nombre de otras personas en ellas desarrollar un portafolio elaborar tarjetas de presentaci\u00f3n obtener un t\u00edtulo de formaci\u00f3n acad\u00e9mica formal investigar las tendencias del mercado realizar llamadas en fr\u00edo para obten er entrevistas leer libros relacionados con la industria musical veamos un ejemplo sencillo de plan de acci\u00f3n personal ejecuci\u00f3n de un plan de acci\u00f3n personal metas corto plazo llevar cabo una serie de conciertos en diferent es establecimientos de mi regi\u00f3n acciones tomar establecer contacto con los due\u00f1os de diferentes establecimientos de mi regi\u00f3n efectuar presentaciones de muestra comentarios preparar una presentaci\u00f3n ac\u00fastica de peque\u00f1o formato fin de q ue el equipo e instrumentos necesarios sean f\u00e1ciles de transportar posiblemente necesite alquilar algunas cosas fecha estimada octubre fecha cumplida octubre metas largo plazo reconocimiento como uno de los artistas m\u00e1s destacado del g\u00e9nero en mi pa\u00eds con miras una proyecci\u00f3n internacional acciones tomar grabar un disco realizar varias giras que consoliden mi imagen como artista destacado en el g\u00e9nero comentarios es necesario revisar con cuidado las cl\u00e1usulas de los contratos fin de garantizar la protecci\u00f3n de mis intereses fecha estimada enero fecha cumplida marzo el plan de acci\u00f3n personal puede ser ajustado seg\u00fan las circunstancias surgidas durante su implementaci\u00f3n keynotes un plan de acci\u00f3n personal est\u00e1 conformado por metas acciones tomar comentarios fechas estimadas fechas de cumplimiento la ejecuci\u00f3n de un plan de acci\u00f3n personal contempla tanto el lado creativo como el lado comercial del negocio misi\u00f3n desde la perspectiva de un artist manager re\u00fanete con un artista puede ser un amigo familiar conocido un miembro de la comunidad vonkelemen que hayas contactado trav\u00e9s de vkontact juntos elaboren un plan de acci\u00f3n personal bas\u00e1ndose en el modelo descrito en el contenido did\u00e1ctico al terminar comp\u00e1rtelo con tus amigos familiares colegas solicita opiniones puntos de vista sobre el mismo eval\u00faa tu plan ajusta aquellos aspectos que consideres necesario seg\u00fan las observaciones recibidas conclusi\u00f3n debido sus numerosos cambios la forma en que es influida por los cambios globales la industria musical est\u00e1 sujeta numerosos vertiginosos cambios en consecuencia los profesionales de la m\u00fasica deben asimila r esas caracter\u00edsticas que les permiten mantenerse vigentes conforme el tiempo avanza la creaci\u00f3n de planes de acci\u00f3n personales consolida al artist manager como un profesional listo para asumir los cambios venideros adem\u00e1s con cuidado atenci\u00f3n al det alle el artist manager ser\u00e1 capaz de leer las tendencias del mercado que le permitir\u00e1n su artista s\u00ed mismo tener \u00e9xito en sus carreras piensa como un ganador los cuatro principios del pensamiento lateral la forma en que un artist manager piensa e jerce una influencia poderosa en la carrera del artista fin de cuentas es el encargado de dirigirla medida que el artist manager ponga en pr\u00e1ctica el pensamiento lateral identificar\u00e1 aprovechar\u00e1 valiosas oportunidades para la carrera de su artist en su libro unauthorized guide business simon cowell way el autor trevor clawson expone el pensamiento lateral es decir la estrategia forma de pensar responsable del \u00e9xito de simon cowell sus programas de televisi\u00f3n enfocados en la promoci\u00f3n de artistas en la industria musical pop idol american idol britains got talent x factor american got talent simon cowell el pensamiento lateral se basa en cuatro pilares principios sobre los cuales se bas el \u00e9xito de los programas anteriormente mencionados conseguir la estructura correcta contratar las personas correctas conseguir patrocinadores usar los medios sociales conseguir la estructura correcta syco entertainment es una empresa brit\u00e1nica e entretenimiento cuyo propietario es simon cowell dentro de su estructura cuenta con tres subdivisiones dedicadas la m\u00fasica la televisi\u00f3n el cine respectivamente pese que dichas subdivisiones contaban con muchas personas syco fue capaz de co ordinar de manara impecable todas las actividades de grabaci\u00f3n producci\u00f3n de los programas de televisi\u00f3n mencionados en su concepci\u00f3n del artista como negocio el artist manager analiza la estructura de negocio que desea seguir eval\u00faa las necesidades debilidades que la misma pueda tener en caso de detectar \u00e1reas de mejora procura tomar las acciones paliativas necesarias para que su estructura sea funcional seg\u00fan las circunstancias espec\u00edficas que le rodeen naturalmente contar con la disponibilida de tres empresas enfocadas en la m\u00fasica el cine la televisi\u00f3n puede ser sumamente dif\u00edcil para un artist manager sin embargo la lecci\u00f3n aprender se enfoca en construir la plataforma t\u00e9cnica de negocio necesaria para despegar la carrera del arti sta contratar las personas correctas como indica clawson cowell es una banda de un solo hombre se encarg\u00f3 de contratar las personas con m\u00e1s trayectoria experiencia en sus respectivas funciones su modo de ver la mejor forma delegar funcion es es asegur\u00e1ndonos de que cada persona opera eficazmente su proceso asignado que las mismas sean dignas de confianza en esta l\u00ednea de pensamiento el artist manager se asegura de que el equipo de trabajo del artista est\u00e9 formado por profesionales competentes efectivos conseguir patrocinadores a\u00fan contando con una estructura completa el mejor equipo programas como merican idol x factor requieren otros elementos syco trabaj\u00f3 de la mano con otras importantes empresas del entretenimiento tales como talkback thames subsidiaria de la internacional fremantle para cowell el sistema de patrocinio es eficaz porque cada patrocinador aporta sus habilidades recursos para la obtenci\u00f3n del resultado final naturalmente es preciso encontrar los mejores patrocinadores convencerlos de la necesidad que tienen de trabajar en el proyecto propuesto por el artist manager usar los medios sociales pop idol american idol britains got talent american got talent x factor son programas con una amplia presencia en los medios sociales facebook twitter se convirtieron en el depositario de infinidad de conversaciones opiniones de los espectadores donde compart\u00edan sus opiniones sobre los participantes el jurado youtube se transform\u00f3 en una plataforma de publicidad enorme donde muchos canales efectuaron sus propias compilaciones de presentaciones incluso creando sus propios tops listas de las mejores adem\u00e1s los videos de las estrellas m\u00e1s prominentes de dichos programas cuentan con cantidades millonarias de visualizaciones como ejemplo podemos mencionar susan boyle ganadora del segundo lugar en el britain got talen en su temporada del para el de abril del su interpretaci\u00f3n de dream dream ya hab\u00eda alcanzado los millones de espectadores susan boyle sin duda alguna la estrategia de cowell solo contempl\u00f3 la util izaci\u00f3n de todos los medios sociales disponibles por su naturaleza tambi\u00e9n gener\u00f3 una cantidad masiva de interacciones en los medios sociales generando de manera org\u00e1nica autom\u00e1tica un elevado nivel de exposici\u00f3n cobertura medi\u00e1tica los cuatro principios del pensamiento lateral keynotes el pensamiento lateral se basa en cuatro pilares principios de \u00e9xito la estructura correcta las personas correctas patrocinadores los medios sociales el artist manager se asegura de que e l equipo de trabajo del artista est\u00e9 formado por profesionales competentes efectivos reto bas\u00e1ndote tanto en los planes de acci\u00f3n b\u00e1sico personal de tu artista identifica c\u00f3mo puedes aplicar el pensamiento lateral si es necesario modifica los planes originales para contemplar los principios relacionados la estructura de negocio el equip de trabajo los patrocinadores el uso de medios sociales comparte los planes con tus amigos familiares colegas publ\u00edcalo en tu vpage fin de obtener retroalimentaci\u00f3n de otros profesionales de la industria musical conclusi\u00f3n la implementaci\u00f3n del pensamiento lateral brinda al artist manager una perspectiva de negocio comprobadamente exitosa seg\u00fan las circunstancias del artista su implementaci\u00f3n puede rendir dividendos significativos tanto para el artista como para el artist manager es responsabilidad de este \u00faltimo obtener la capacitaci\u00f3n experiencia criterio necesario para alcanzar los objetivos propuestos secci\u00f3n fundamentos de \u00e9tica networking para el artist management dirige tus acciones profesionalmente la relaci\u00f3n entre el artist manager su artista la integridad profesionalismo e imagen de un artist manager son el resultado de su desempe\u00f1o laboral un artist manager \u00edntegro profesional siempre contar\u00e1 con una imagen que beneficiar\u00e1 su empleabilidad su carrera su \u00e9xito la observancia de un c\u00f3digo \u00e9tico brinda el marco necesario para que todo artist manager dirija sus acciones correctamente en la industria musical la north american performing arts managers agents napama es una organizaci\u00f3n sin fines de lucro fundada en dedicada la promoci\u00f3n profesional de sus miembros como parte de los recursos contenidos en su p\u00e1gina web cuentan con un c\u00f3digo de honor para el trabajo del artist manager aunqu e dicho c\u00f3digo tiene ning\u00fan tipo de implicaciones legales los miembros de la napama procuran su uso como marco c\u00f3digo \u00e9tico en sus labores profesionales el c\u00f3digo de honor de la napama est\u00e1 formado por ocho segmentos llamados relaci\u00f3n manager artista relaci\u00f3n artista manager relaci\u00f3n manager manager relaci\u00f3n manager presentador relaci\u00f3n manager empleado conferencias est\u00e1ndares profesionales para efectos de este an\u00e1lisis usaremos la figura del artist manager como ejemplo en la exposici\u00f3n de los art\u00edculos del c\u00f3digo de honor dicho esto analizaremos la relaci\u00f3n manager artista cuyos cuatro art\u00edculos establecen lo siguiente art\u00edculo del apartado relaci\u00f3n artista manager del c\u00f3digo de honor de la napama cuando se inicia la representaci\u00f3n de un artista el artist manager debe confirmar su acuerdo de manera verbal yo por escrito ya sea trav\u00e9s de un contrato formal en una carta tal art\u00edculo es vital en el trabajo del artist manager aunque parez ca obvio cuando la relaci\u00f3n entre el artista el artist manager es demasiado cercana cuando el artist manager se enfoca demasiado en la parte creativa musical del trabajo puede descuidar su verdadera responsabilidad el negocio la confirmaci\u00f3n de l os acuerdos mediante un contrato permite que el artist manager se mantenga enfocado en su asignaci\u00f3n espec\u00edfica asegurarse de que la carrera del artista se mantenga siempre en movimiento seg\u00fan los intereses del mismo art\u00edculo del apa rtado relaci\u00f3n artista manager del c\u00f3digo de honor de la napama el contrato del artist manager debe ser justo razonable as\u00ed como especificar los t\u00e9rminos las comisiones los ciclos de facturaci\u00f3n los derechos del artist manager sobre comisiones despu\u00e9s de la terminaci\u00f3n del contrato actividades generadoras de comisi\u00f3n territorialidad de la representaci\u00f3n cualquier t\u00e9rmino de exclusividad que pueda aplicar uno m\u00e1s representantes del artist manager en relaci\u00f3n esto la fijaci\u00f3n de tarifas comisiones suele estar relacionada con el poder de negociaci\u00f3 n e influencia de las partes al momento de elaborar el contrato su vez el poder de negociaci\u00f3n e influencia de las partes se determina por factores como la experiencia el portafolio el conocimiento del artista el artist manager por ejemplo la ta rifa de un artist manager para trabajar con un artista nuevo suele ser m\u00e1s elevada que la tarifa con un artista consolidado por qu\u00e9 sencillamente porque al tratarse de un artista nuevo el artist manager tiene garant\u00edas de un retorno de inversi\u00f3n sa tisfactorio en cambio con un artista de larga trayectoria la incertidumbre financiera es menor al conocer su historial comercial art\u00edculo del apartado relaci\u00f3n artista manager del c\u00f3digo de honor de la napama cree disposi ciones para la renovaci\u00f3n rescisi\u00f3n del contrato fin de evitar malentendidos roces el contrato debe reflejar disposiciones claras relacionadas con la renovaci\u00f3n cancelaci\u00f3n del mismo art\u00edculo del apartado relaci\u00f3n artista manager del c\u00f3digo de honor de la napama comunicarse de manera abierta honesta en pro del mejoramiento de la carrera del artista en todo momento el artist manager debe ser honesto franco algunas de las inquietudes m\u00e1s importantes que debe ac larar al artista se refiere al tiempo que dedicar\u00e1 su carrera un artist manager con una cartera de clientes establecida suelen tener dificultades para atender adecuadamente la carrera de sus artistas m\u00e1s nuevos menos rentables lo anterior puede perju dicar la carrera de un artista que est\u00e9 generando suficientes ingresos dado que el artist manager estar\u00e1 posiblemente enfocado en artistas m\u00e1s rentables por esta raz\u00f3n el artist manager debe conocer bien su capacidad de trabajo fin de rechazar cua lquier cl\u00e1usula condici\u00f3n incluso contrato que sea capaz de cumplir si un artist manager acepta condiciones que luego demuestra cumplir su imagen profesional se ver\u00e1 afectada negativamente todo artista espera merece que el artist manager ej ecute responsablemente las asignaciones recibidas en funci\u00f3n de una relaci\u00f3n contractual previamente aceptada por ambas partes keynotes cuando la relaci\u00f3n entre el artista el artist manager es demasiado cercana cuando el artist manager se enfoca dema siado en la parte creativa musical del trabajo puede descuidar su verdadera responsabilidad el negocio la fijaci\u00f3n de tarifas comisiones suele estar relacionada con el poder de negociaci\u00f3n e influencia de las partes al momento de elaborar el contrat un artist manager con una cartera de clientes establecida suelen tener dificultades para atender adecuadamente la carrera de sus artistas m\u00e1s nuevos menos rentables todo artista espera merece que el artist manager ejecute responsablemente las asign aciones recibidas en funci\u00f3n de una relaci\u00f3n contractual previamente aceptada por ambas partes reto redacta un borrador de contrato bas\u00e1ndote en los cuatro art\u00edculos del apartado relaci\u00f3n manager artista del c\u00f3digo de honor de la napama comp\u00e1rtelo con artistas otros profesionales de la industria musical fin de identificar aspectos mejorar olvides utilizar herramientas tales como vkontact facebook linkedin otras para establecer los contactos necesarios concl usi\u00f3n el artist manager que vive un c\u00f3digo de \u00e9tica encontrar\u00e1 un camino profesional siempre abierto nuevas oportunidades naturalmente all\u00ed queda todo sino que es requerido aplicar la perseverancia la creatividad fin de mantenerse vigente act ualizado en la industria musical fomenta el entendimiento la relaci\u00f3n entre el artista su artista manager la calidad del trabajo del artist manager est\u00e1 influenciada por su relaci\u00f3n con el artista por lo tanto es vital que la comunicaci\u00f3n entre ambos permita el m\u00e1ximo entendimiento beneficio mutuos cuando el artista es abierto franco directo claro con su artist manager le brinda las herramientas necesarias para desarrollar su carrera seg\u00fan las metas planteadas el c\u00f3digo de honor de la napama contempla tres art\u00edculos normas relacionadas con la relaci\u00f3n del artista hacia el artist manager continua ci\u00f3n analizaremos cada una de ellas art\u00edculo del apartado relaci\u00f3n artista manager del c\u00f3digo de honor de la napama el artista debe manifestar con claridad sus propias necesidades prioridades expectativas fin de ser expresadas en t\u00e9rminos contractuales el art\u00edculo forma parte de las expectativas de honestidad claridad franqueza esperadas en una relaci\u00f3n e ntre el artista su artist manager algunas de las necesidades prioridades expectativas del artista podr\u00edan estar relacionadas con el tiempo de trabajo que el artist manager le dedicar\u00e1 principios morales \u00e9ticos comportamientos actitudes que e st\u00e1 dispuesto realizar tolerar h\u00e1bitos de vida perspectiva de negocios entre otros por supuesto dichos requerimientos deben quedar solamente por escrito la idea es trasladarlos su forma contractual fin de que formen parte del respectivo c ontrato de management art\u00edculo del apartado relaci\u00f3n artista manager del c\u00f3digo de honor de la napama se espera del artista el cumplimiento de las obligaciones financieras para con el artist manager en virtud de cualquier cola boraci\u00f3n acuerdo labor llevada cabo por el artist manager durante despu\u00e9s de la expiraci\u00f3n de un contrato de management ya sea que el acuerdo est\u00e9 por escrito la importancia de este art\u00edculo es crucial pues aborda la retribuci\u00f3n econ\u00f3mica el artist manager las tarifas frecuencia forma de pago constituyen uno de los puntos que el artista el artist manager se aseguran de dejar claro existen varias formas en que un artist manager percibe sus ingresos puede recibir un porcentaje de los ingresos brutos netos del artista tambi\u00e9n podr\u00eda recibir un sueldo mensual espec\u00edfico las variantes posibilidades son elevadas al final siempre ser\u00e1 decisi\u00f3n de las partes con respecto esto es preciso tener en cuenta que si el negocio tiene la rentabilidad esperada la forma de pago establecida puede afectar de una forma significativamente mayor una de las partes por ejemplo si el acuerdo contempla que el artist manager ganar\u00e1 el de las ganancias del artista si este produce much ninguna ganancia el artist manager se en riesgo de recibir pago peor a\u00fan terminar endeudado por los gastos de operaci\u00f3n incurridos en su gesti\u00f3n de la carrera del artista por otro lado si el acuerdo contempla un pago mensual en forma de sa lario fijo el artista podr\u00eda verse perjudicado cuando lo largo de un tiempo se concreten fechas de presentaciones acuerdos cualquier acontecimiento que brinde movimiento la carrera mientras tanto debe continuar pagando al artist manager cada mes sin falta tenga tenga retorno de inversi\u00f3n art\u00edculo del apartado relaci\u00f3n artista manager del c\u00f3digo de honor de la napama se espera que el artista remita todas las consultas de desempe\u00f1o su artist manager seg\u00fan los t\u00e9rminos del contrato de management b\u00e1sicamente se refiere que una vez establecido el contrato delimitadas las funciones de cada parte el artista debe dejar que el artist manager se ocupe de sus responsabilidades contractualmente se\u00f1aladas algu nos artistas especialmente aquellos que han ejercido el auto management podr\u00edan verse tentados asumir alguna responsabilidad del artist manger por premura facilidad control entre otras keynotes algunas de las necesidades prioridades expectativas del artista podr\u00edan estar relacionadas con el tiempo de trabajo que el artist manager le dedicar\u00e1 principios morales \u00e9ticos comportamientos actitudes que est\u00e1 dispuesto realizar tolerar h \u00e1bitos de vida perspectiva de negocios entre otros las tarifas frecuencia forma de pago constituyen uno de los puntos que el artista el artist manager se aseguran de dejar claro si la carrera del artista tiene la rentabilidad esperada la form de pago establecida puede afectar de una forma significativamente mayor una de las partes reto contacta un artista discutan un hipot\u00e9tico acuerdo de management establezcan si la forma de pago ser\u00e1 un porcentaje de los ingresos del artista un ueldo mensual fijo justifica las razones de su elecci\u00f3n elabora un resumen sobre el acuerdo sus argumentos comp\u00e1rtelos en l\u00ednea con tus amigos familiares colegas de la industria musical conclusi\u00f3n una vez que los t\u00e9 rminos bajo los cuales el artist manager el artista trabajar\u00e1n han quedado claros la relaci\u00f3n entre ambos puede desarrollarse de forma tal que permita el cumplimiento de las metas trazadas con firmeza tacto respeto el artist manager debe solicitar al artista la informaci\u00f3n necesaria para desempe\u00f1ar su trabajo correctamente edifica tu imagen profesional la relaci\u00f3n entre artist managers la imagen de un artist manager solo se define por su relaci\u00f3n con el artista sino tambi\u00e9n por su trato hacia otros colegas dentro de la industria aunque el negocio de la m\u00fasica es un entorno altamente competitivo aquellos profesionales que tratan con respeto sus colegas son altamente estimados valorados como personas capaces competentes agradables para trabajar obviamente un profesional de estas caracter\u00edsticas puede esperar un n\u00famero razonable de puertas abiertas en su carrera el c\u00f3digo de honor de la napama solo contempla pautas relacionadas con la interacci\u00f3n entre el artista su artist manager sino tambi\u00e9n con la de los artist managers entre s\u00ed como el mismo c\u00f3digo refleja aun cuando el incumplimiento las normas planteadas conlleva una responsabilidad legal penal en s\u00ed misma constituye un emblema acerca de lo que el artist manager es c\u00f3mo se comporta en los negocios dicho esto analicemos las pautas relacionadas con el trato entre colegas del artist management art\u00edculo del apartando relaci\u00f3n entre artist managers del c\u00f3digo de honor de napama los artist managers respetan la integridad de la n\u00f3mina de otros artist managers en consonancia con esto el artist manager procura evitar la promoci\u00f3n inadecuada solicitada entre artistas fichados por otros artist managers aun en un entorno competitivo como el de la industria musical el artist manager respeta valora el trabajo de sus colegas art\u00edculo del apartando relaci\u00f3n entre artist managers del c\u00f3digo de honor de napama al promocionar sus servicios los artist managers mantienen en todo el momento un elevado est\u00e1ndar \u00e9tico evitan el acoso la presi\u00f3n innecesarios fuera de lugar en cualquier tipo aunque se requiere perseverancia creatividad actitud un poco de osad\u00eda la hora de desempe\u00f1ar las funciones de un artist manager es preciso evitar extremos inc\u00f3modos considerados un acoso las experiencias vividas suelen compartirse con rapidez en el medio por lo que una referencia negativa de un artista influyente puede significar cierta cantidad de puertas cerradas para un artist manager art\u00edculo del apartando relaci\u00f3n entre artist managers del c\u00f3digo de honor de napama cuando un artist manager se compromete con un artista para reemplazar otro artist manager procura su mejor esfuerzo para garantizar el cumplimiento de todas las obligaciones contractuales razonables contra\u00eddas por el artista hacia el artist manager saliente las modificaciones de esas obligaciones solo pueden hacerse trav\u00e9s de negociaciones acuerdos de buena fe entre las partes el punto anterior procura fortalecer la relaci\u00f3n del gremio mediante la protecci\u00f3n de los intereses del rol algunas ctitudes poco profesionales que atentan contra el esp\u00edritu del art\u00edculo anterior incluyen motivar al artista desconocer el cumplimiento de las obligaciones contractuales razonables con el artist manager saliente peor a\u00fan motivar al artista desconocer las para asumirlas personalmente lo cual constituye una forma de robo el artist manager \u00e9tico reconoce el trabajo de sus colegas promueve la remuneraci\u00f3n justa seg\u00fan el trabajo realizado art\u00edculo del apartando relaci\u00f3n entre artis managers del c\u00f3digo de honor de napama todas las partes deben ser sinceras imparciales respetuosas cuando conversen con artistas presentadores otros artist managers en cualquier \u00e1mbito profesional el tratamiento respetuoso edifica relaci ones duraderas sin llegar al extremo de la adulaci\u00f3n la lisonja el artist manager reconoce abiertamente sus opiniones procura brindar argumentos s\u00f3lidos que justifiquen su posici\u00f3n con respecto determinadas posturas la pr\u00e1ctica de argumentar s\u00f3lid amente su posici\u00f3n transmite una imagen de seguridad seriedad profesionalismo sumamente valorada en el \u00e1mbito laboral keynotes aunque se requiere perseverancia creatividad actitud un poco de osad\u00eda la hora de desempe\u00f1ar las funciones de un artist manager es preciso evitar ser inc\u00f3modo acosador una referencia negativa de un artista influyente puede significar cierta cantidad de puertas cerradas para un artist manager el artist manager \u00e9tico reconoce el trabajo de sus colegas promueve la remu neraci\u00f3n justa seg\u00fan el trabajo realizado el artist manager reconoce abiertamente sus opiniones procura brindar argumentos s\u00f3lidos que justifiquen su posici\u00f3n con respecto determinadas posturas reto contacta un colega dedicado al artist management conversa con \u00e9l acerca de su relaci\u00f3n con sus pares en la industria musical preg\u00fantale si ha tenido experiencias negativas c\u00f3mo las ha resuelto escribe un breve ensayo exponiendo tus conclusiones sobre la conversaci\u00f3n comp\u00e1rtelo por tus redes socia les incluyendo vkontact conclusi\u00f3n al observar el c\u00f3digo de honor de la napama en relaci\u00f3n otros artist managers nuestros colegas clientes estar\u00e1n satisfechos de trabajar con nosotros pese las distintas situaciones que puedan presentarse medida que el artist manager se mantenga fiel dicho c\u00f3digo ser\u00e1 reconocido como un profesional \u00edntegro valioso en cualquier equipo de trabajo promueve el compromiso relaci\u00f3n entre el artist manager el equipo de trabajo desde su posici\u00f3n de ser el principal gestor de la carrera del artista el artist manager coordina las labores del equipo de trabajo primario como parte de un equipo su relaci\u00f3n con el resto de profesionales vinculados al artista es significativa un ar tist management que establece relaciones claras honestas debidamente reflejadas en un contrato promueve un ambiente de trabajo comprometido seg\u00fan la visi\u00f3n de negocio del artista el artist manager el artista trabajan solos requieren un equipo de profesionales en diversas disciplinas fin de cumplir con \u00e9xito los objetivos trazados debido la importancia de dichos objetivos el artist manager se asegura de actuar con \u00e9tica profesionalismo con el equipo de trabajo al mismo tiempo exige de el los un comportamiento similar la napama expone dentro de su c\u00f3digo de honor algunas normas de observancia recomendada las cuales analizaremos continuaci\u00f3n art\u00edculo del apartado relaci\u00f3n artist manager colaboradores seg\u00fan el c\u00f3di go de honor de la napama el artist manager debe asesorar educar los miembros del equipo en los aspectos pr\u00e1cticos filos\u00f3ficos del negocio incluida la necesidad de una clara comprensi\u00f3n de la calidad art\u00edstica el valor del entretenimiento el artist manager empapa filtra la visi\u00f3n los objetivos de carrera al equipo de trabajo fin de que todos trabajen en la misma p\u00e1gina por supuesto es probable que algunos miembros del equipo requieran conocer solo algunos aspectos del plan seg\u00fan sea conveniente la idea es brindar unidad mediante la transmisi\u00f3n de un concepto \u00fanico este tipo de pr\u00e1cticas aumentan el compromiso proactividad cohesi\u00f3n en el trabajo de todos art\u00edculo del apartado relaci\u00f3n artist manager colabora dores seg\u00fan el c\u00f3digo de honor de la napama las condiciones de trabajo deben ser claramente indicadas por escrito lo anterior tiene dos objetivos principales brindar seguridad al equipo proteger los intereses de carrera del artista mientras m\u00e1s claras sean las reglas la ocurrencia de incidentes que puedan afectar negativamente el desarrollo de la carrera del artista ser\u00e1 menor art\u00edculo del apartado relaci\u00f3n artist manager colaboradores seg\u00fan el c\u00f3digo de honor de la napama la disposici\u00f3n de los fondos que se pueden pagar despu\u00e9s de que un empleado ha abandonado al equipo cualquier condici\u00f3n de separaci\u00f3n incluidas las disposiciones que impiden el trabajo futuro con determinados artistas durante un periodo de ti empo posterior la separaci\u00f3n indicada deben describirse en las condiciones de trabajo por la naturaleza de la industria algunos roles suelen generar ingresos cierto tiempo despu\u00e9s de que el trabajo respectivo haya sido realizado por ejemplo un book ing agent se encarga de programar fechas para un artista por diferentes razones es preciso prescindir de su colaboraci\u00f3n cuando solo se han concretado fechas el contrato de trabajo contiene pautas espec\u00edficas relacionadas con el pago del booking ag ent por las fechas agendadas incluso cuando abandona el equipo con solo algunas fechas presentadas de esta forma el booking agent percibe el resultado de su trabajo aunque ya se encuentre en el equipo el artist manager se asegura de que este otros posibles escenarios queden debidamente cubiertos art\u00edculo del apartado relaci\u00f3n artist manager colaboradores seg\u00fan el c\u00f3digo de honor de la napama los componentes de la remuneraci\u00f3n basada en f\u00f3rmulas tales como pagos de bono vinculados un umbral de ingresos deben pagarse oportunamente seg\u00fan se haya especificado existen m\u00e9todos de remuneraci\u00f3n que contemplan una cifra determinada seg\u00fan un umbral espec\u00edfico por ejemplo un artist manager podr\u00eda ser contratado con una arifa de seg\u00fan los ingresos brutos del artista el contrato permite contemplar una cl\u00e1usula donde se indica que cuando los ingresos totales del artista son iguales mayores la tarifa devengada por el artist manager ser\u00e1 de un situac iones como esta se reflejan con claridad en el contrato solo del artist manager sino de todos los miembros del equipo seg\u00fan sea necesario art\u00edculo del apartado relaci\u00f3n artist manager colaboradores seg\u00fan el c\u00f3digo de honor de la n apama se debe exigir los colaboradores que respeten la confidencialidad de las comunicaciones internas los procedimientos las estructuras de precios los contactos de sus empleadores actuales anteriores as\u00ed como los artistas presentadores con los que trabajan la industria musical es din\u00e1mica los profesionales dentro de ella participan de eventos premiaciones reuniones de diversa \u00edndole donde mantienen contacto social frecuente debido esta interacci\u00f3n el artist manager se asegura de que el equipo de trabajo mantenga una actitud confidencial sobre detalles delicados especialmente sensibles relacionados con la carrera del artista cualquier otro aspecto contemplado en los respectivos contratos keynotes el artist manager se asegu ra de actuar con \u00e9tica profesionalismo con el equipo de trabajo al mismo tiempo exige de ellos un comportamiento similar mientras m\u00e1s claras sean las reglas la ocurrencia de incidentes que puedan afectar negativamente el desarrollo de la carrera del artista ser\u00e1 menor reto crea una encuesta con las siguientes preguntas considerando una escala del al donde represent la peor cu\u00e1l ser\u00eda la calificaci\u00f3n que dar\u00edas nuestra colaboraci\u00f3n actual pasada volver\u00edas trabajar conmigo qu\u00e9 consejo dar\u00edas para mejorar mi labor como profesional env\u00eda la encuesta personas que hayan colaborado contigo en proyectos laborales acad\u00e9micos de cualquier otra \u00edndole eval\u00faa los resultados redacta un plan de mejoramiento seg\u00fan las respuestas recibidas comparte tu plan trav\u00e9s de tu vpage tiemp disponible minutos conclusi\u00f3n el equipo correcto puede ser la diferencia entre el \u00e9xito el fracaso de un proyecto siempre cuando las condiciones de trabajo est\u00e9n claras las personas se enfocar\u00e1n en el cumplimiento de los objetivos de la carrer del artista proveyendo \u00e9xito todo el equipo con constancia dedicaci\u00f3n dicho \u00e9xito puede convertirse en nuestro estilo de vida abre las puertas al \u00e9xito fundamentos del networking en ocasiones el \u00e9xito en la industria musical puede encontrarse detr\u00e1s de una puerta al final de una simple llamada conocer las personas correctas fin de tomar las oportunidades id\u00f3neas puede ser el punto de inflexi\u00f3n en la carrera de un artista medida que tanto el artista como el artist manager se esfuercen por crear ampliar mantener su red de contactos la cantidad de recursos oportunidades para tener \u00e9xito en sus carreras ser\u00e1 mayor seg\u00fan beeching el networking efectivo es la herramienta n\u00famero uno para progresar en la industria musical sabiendo es podr\u00edamos preguntarnos qu\u00e9 es el networking el networking consiste en crear ampliar mantener una red de contactos implica los siguientes puntos demostrar inter\u00e9s en conocer nuevas personas precisa el intercambio de ideas e informaci\u00f3n al mismo tiempo que se conocen personas nuevas para entender mejor este punto pensemos en una calle doble v\u00eda donde los autos transitan tanto en un sentido como en otro el networking es similar solo se trata de obtener contactos informaci\u00f3n de otras perso nas sino tambi\u00e9n de compartirla las relaciones fruct\u00edferas se basan en el beneficio mutuo siendo vital que nosotros tambi\u00e9n resultemos un contacto beneficioso para los miembros de nuestra red el networking como una actividad en dos v\u00edas evitar ser asfixiante egocentrista t\u00edmido exageradamente adulador en su lugar nos enfocamos en mostrar inter\u00e9s compartir qui\u00e9nes somos lo que hacemos en la industria implicaciones del networking contrariamente lo que se suele pensar la industria musical es peque\u00f1a los contactos que necesitamos pueden estar un grado de distancia en relaci\u00f3n una red de contactos existen determinados grados primero segundo tercero las personas con quienes estamos directamente conectados son nuestros contactos de primer grado los contactos de estos ser\u00edan nuestros contactos de segundo grado as\u00ed sucesivamente para entenderlo mejor visualicemos la sig uiente imagen los grados de una red de contactos en la imagen la persona ubicada en el centro del c\u00edrculo es quien tiene la red de contactos para fines pr\u00e1cticos consideremos que somos nosotros en el c\u00edrculo m\u00e1s cercano al centro tenemos nuestros contactos de primer grado con quienes estamos conectados directamente en el siguiente c\u00edrculo tenemos los contactos de nuestros contactos quienes son nuestros contactos de segundo grado finalmente en el c\u00edrculo externo est\u00e1n ubicados nuestros contactos de tercer grado en algunas ocasiones los m\u00fasicos suelen evidenciar resistencia al networking consider\u00e1ndolo aburrido innecesario asfixiante intimidante complicado en estos casos es necesario efectuar un cambio de mentalidad que la naturaleza de la industria musical ofrece innumerables oportunidades para hacer networking por ejemplo un m\u00fasico contempor\u00e1neo suele participar de actividades como composici\u00f3n arreglo de m\u00fasica pedido para festivales instituciones agrupa ciones espec\u00edficas participaci\u00f3n como int\u00e9rprete en bandas ensambles sesiones de grabaci\u00f3n giras videoclips entre otros clases particulares para academias escuelas interpretaci\u00f3n de m\u00fasica para eventos privados corporativos matrimonios particulares audiciones para distintos tipos de agrupaciones proyectos actividades comunes para un m\u00fasico contempor\u00e1neo en cada una de estas situaciones el artista se expone una gran cantidad de personas en estos casos el network ing implicar\u00eda darse conocer dichas personas hablando acerca de qui\u00e9nes somos algunos proyectos pasados presentes como en una conversaci\u00f3n las otras personas nos podr\u00e1n al tanto de sus intereses ocupaciones cuando encontramos personas con int ereses en com\u00fan estamos las puertas de una nueva relaci\u00f3n con un potencial amigo colega empleador mentor estudiante en este aspecto las recomendaciones boca aboca tienen un impacto poderoso existen m\u00fasicos que incluso obtienen pr\u00e1cticamente l totalidad de sus trabajos de esta forma hasta llegar al punto de darse el lujo de rechazar ofertas por complicaciones de tiempo falta de inter\u00e9s en ellas en estos casos es preciso brindar siempre una alternativa como otro colega un estudiante ava nzado que puedan hacerse cargo de la oferta lo anterior nos convertir\u00e1 en un punto de inter\u00e9s para nuestros contactos quienes contentos nos buscar\u00e1n en cada momento porque en caso de que podamos ayudarles directamente les proveeremos de una soluci\u00f3n para sus intereses al igual que el artista el artist manager tiene la imperiosa necesidad de cultivar una red de contactos ser un contacto de inter\u00e9s para su red keynotes el networking efectivo es la herramienta n\u00famero uno para progresar en la industria musical las personas con quienes estamos directamente conectados son nuestros contactos de primer grado los contactos de estos ser\u00edan nuestros contactos de segundo grado as\u00ed sucesivamente la naturaleza de la industria musical ofrece innumerables oportunidades para hacer networking cuando encontramos personas con intereses en com\u00fan estamos las puertas de una nueva relaci\u00f3n con un potencial amigo colega empleador ntor estudiante reto revisa tu red de contactos actual aumenta la cantidad de contactos de primer grado en un redacta un breve ensayo donde expongas las t\u00e9cnicas que utilizaste para aumentar tu red de contactos un indica el nombre ocu paci\u00f3n e intereses de al menos tres contactos nuevos comparte tu ensayo por vkonect lindkedin tus redes sociales favoritas conclusi\u00f3n al contar con una red de contactos amplia variada actualizada el artist manager el artista tienen gran parte del \u00e9xito asegurado lo que resta es aplicar una gesti\u00f3n adecuada honrada clara objetiva fin de trabajar arduamente concretar las met objetivos de carrera expande tus oportunidades utilizaci\u00f3n de una red de contactos para muchos artistas novatos su primer pensamiento puede ser que poseen una red de contactos en ocasiones esto es enteramente cierto por lo que el artist anager debe ayudarlo identificar los contactos que tiene utilizarlos correctamente por m\u00e1s grande que sea una red de contactos la forma en que se utilice ser\u00e1 lo que determine los resultados alcanzados en la carrera del artista en relaci\u00f3n al netw orking se ha dicho que se trata de lo que sabes sino de qui\u00e9n conoces sin embargo incluso m\u00e1s que saber qui\u00e9n se conoce realmente se trata de lo que uno hace al respecto es decir se trata solo de conocer mucha gente sino de la forma en que utilizamos ese conocimiento una vez que el artista el artist manager han establecido una red de contactos considerable deben analizar la forma en que la est\u00e1n utilizando fin de entender esto imaginemos una situaci\u00f3n donde un artista debate con su artist manager sobre c\u00f3mo pueden avanzar en su carrera creando una red de contactos utiliz\u00e1ndola correctamente posesi\u00f3n utilizaci\u00f3n de una red de contactos en primer t\u00e9rmino el artista busca su artist manager para solicitar ayuda consejos para darle m\u00e1s movimiento su trabajo el artist manager indaga acerca de las opciones disponibles incluyendo sitios donde buscar oportunidades laborales pasant\u00edas audiciones formas en que el artista puede colaborar con otros artist del medio escuelas donde puede dar conciertos pedag\u00f3gicos clases magistrales instituciones u organizaciones en cuyos eventos pueda participar sin fines de lucro entre otras cosas el artist manager tambi\u00e9n pregunta acerca de las habilidades del art ista del tipo de proyectos en los que quisiera participar aunque lo haya hecho nunca es probable que en primera instancia el artista tenga muchas ideas piense que tiene contactos que tiene habilidades aparte de las que el artist manag er ya conoce en este punto el artist manager quiz\u00e1 requiera dar conocer sus contactos ayudar al artista ubicar los contactos que s\u00ed tiene pero piensa que por ejemplo el artist manager podr\u00eda preguntar acerca de aquellos colegas que trabajan e n un colegio instituci\u00f3n de ense\u00f1anza donde el artista puede ofrecerse voluntario para una clase magistral una demostraci\u00f3n de lectura improvisaci\u00f3n una colaboraci\u00f3n en un seminario curso de verano cualquier tipo de asistencia en clase paso para obtener trabajos trav\u00e9s de contactos ubicar colegas que impartan clases pensando de esta forma el artista ubica cinco nombres de colegas que imparten clases en sitios espec\u00edficos con esa lista el artist manager comienza una ronda de llamadas donde solo contacta los cinco colegas mencionados sino que pide referencias cada uno de ellos al final tres de esos colegas indicaron poder ayudar pero trav\u00e9s de ellos encontr\u00f3 cinco personas dispuestas colaborar con su artista para clases magistrales sumando esto con los dos colegas iniciales que s\u00ed accedieron ayuda r tenemos siete contactos que aceptaron invitar al artista una clase presencial al menos una vez paso para obtener trabajos trav\u00e9s de contactos ofrecer servicios voluntariado al cabo de un tiempo de impartir ocho clases p resenciales el artista ha logrado la exposici\u00f3n necesaria para encontrar nuevos colaboradores quienes seg\u00fan la experiencia la calidad de la clase le llamar\u00e1n de nuevo para impartir m\u00e1s clases participar en proyectos personales realizar festivales cualquier otro tema nuevos estudiantes quienes al asistir una clase presencial han manifestado su deseo de recibir clases con el artista paso para obtener trabajos trav\u00e9s de contactos resultados el ejemplo anterior ilustra una posible ruta entre el punto donde el artista tiene contactos ni movimiento en su carrera un punto b donde el artista tiene contactos trabajo una buena reputaci\u00f3n que le permite ser una opci\u00f3n considerar para m\u00e1s trabajos en el futuro avance en la carrera del artista desde el punto hasta el punto b keynotes en cuanto al networking m\u00e1s que saber qui\u00e9n se conoce realmente se trata de lo que uno hace al respecto reto contacta un artista que sienta su carrera estancada pon en pr\u00e1ctica el ejemplo mostrado en el contenido did\u00e1ctico elabora una lista de colegas del artista quienes contactar para agendar presentaciones colaboraciones gratuitas con otros artistas comparte las observaciones de tu experiencia en tus medios sociales favoritos incluyendo vkontact conclusi\u00f3n mediante el ejemplo analizado hemos aprendido tomar acciones concretas para pasar de un punto sin contactos ni ofertas de trabajo un punto b con contactos ofertas de trabajo dicho ejemplo solo busca ilustrar una de las muchas formas que el artist manager puede ayudar su artista darle dinamismo su carrera con creatividad e ingenio las oportunidades disponibles en la calle pueden ser muchas solo es cuesti\u00f3n de identificarlas tomarlas obt\u00e9n una llave para el \u00e9xito el mentor en la industria musical el consejo aprobaci\u00f3n de un mentor es una poderosa puerta en la industria de la m\u00fasica por este motivo el artista el artist manager estudian las formas de establecer contacto efectivo con una personalidad influyente en la industria musical una de la m\u00e1s grandes eficaces fuentes de contactos son los mentores en este contexto usaremos la palabra mentor para designar todo profesional con una experiencia trayectoria reconocida por su influencia en la industria por lo que sus palabras ofrecen los profesionales menos experimentados un camino seguir con frecuencia los artistas los profesionales de la industria musical j\u00f3venes con poca experiencia piensan que las personas con una gran trayectoria e influencia est\u00e1n interesadas en co mpartir hablar acerca de sus conocimientos la verdad podr\u00eda ser totalmente lo contrario los profesionales establecidos suelen disfrutar el compartir sus experiencias con artistas emergentes incluso pueden sentirse halagados de ser considerados person con autoridad para brindar un consejo valioso un ejemplo de esto lo encontramos en el video la terrase c\u00f3mo te sientes en el papel de mentor del canal vonkelemen en espa\u00f1ol de youtube en dicho video rafa sardina destacado productor e ingenier multiganador del grammy expresa sus impresiones con respecto su papel como mentor lo gratificante que resulta para \u00e9l audiovisual recomendado la terrase c\u00f3mo te sientes en el papel de mentor rafa sardina teniendo esto en cuenta una de las e strategias que un artista artist manager pueden aplicar es el h\u00e1bito de establecer contacto con tres personalidades influyentes por d\u00eda puede ser por el medio m\u00e1s directo disponible correos electr\u00f3nicos redes sociales por medio del representante del mentor obviamente la cantidad de solicitudes que un mentor recibe puede ser abrumadora as\u00ed que es preciso pensar en c\u00f3mo ponerse en la mira en el camino del mentor ya sea mediante presentaciones en locales espec\u00edficos env\u00edo de demos env\u00edo de e pks atractivos otras ideas que puedan impresionarlo alguien cercano \u00e9l quien pueda darle la referencia boca aboca en algunas ocasiones el \u00e9xito depende de ubicarse en el momento correcto en el sitio correcto con la persona correcta contacto con mentores aunque el tipo de mentor contactar depende del estilo g\u00e9nero musical que maneje el artista la confluencia de estilos es tan grande que una personalidad en un g\u00e9nero opuesto al del artista puede ser de gran ayuda ya sea de manera directa contactando otra personalidad influyente que conozca de un g\u00e9nero musical m\u00e1s af\u00edn al artista keynotes una de las m\u00e1s grandes eficaces fuentes de contactos son los mentores los profesionales establecidos suelen disfrutar el compartir sus experiencias con artistas emergentes incluso pueden sentirse halagados de ser considerados personas con autoridad para brindar un consejo valioso en algunas ocasiones el \u00e9xito depende de ubicarse en el momento correcto en el sitio correcto con la persona correcta misi\u00f3n contacta un artista artist manager que consideres una autoridad en el \u00e1rea tenga una trayectoria experiencia influyentes en el medio de la m\u00fasica establece co ntacto con \u00e9l pide algunos consejos para tu carrera puedes ubicar algunos de ellos por medio de vkontact vpage vbox al terminar analiza los m\u00e9todos que utilizaste para establecer contacto e identifica los m\u00e1s eficaces dise\u00f1a un plan de contacto ba sado en los m\u00e9todos donde tuviste m\u00e1s \u00e9xito fin de ponerlo en pr\u00e1ctica en el futuro escribe tus experiencias an\u00e1lisis planes comp\u00e1rtelos tanto en vkonect como en tus medios sociales favoritos conclusi\u00f3n con la gu\u00eda consejos de un mentor un artista puede ver abiertas muchas puertas en su carrera el artist manager procura encontrar esas figuras de influencia que ser\u00e1n el escal\u00f3n que lleve la carrera de su artista al siguiente nivel es preciso ser perse verante constante emocionalmente estable fin de dejarse llevar por las negativas desaires s\u00e1cale el m\u00e1ximo provecho tu red de contactos gesti\u00f3n de una lista de contactos en ocasiones el tener una inmensa lista de contactos desorganizada impide ubicar r\u00e1pidamente la informaci\u00f3n que necesitamos para efectuar una llamada tocar un tema en el momento preciso una organizaci\u00f3n eficaz es una fuente valiosa de informaci\u00f3n para el artista artist manager fin de efectuar planes de acercamie nto entre otras actividades relacionadas con la gesti\u00f3n de una red de contactos las redes de contactos requieren una gesti\u00f3n eficaz parte de esa gesti\u00f3n incluye un almacenamiento eficaz de los datos de todos nuestros contactos la creaci\u00f3n de una lista de contactos es una tarea obligatoria para todo artista artist manager que est\u00e9 procurando construir una red de contactos s\u00f3lida u optimizar la que ya posee dicha lista incluye la informaci\u00f3n relevante de todas las personas que conozcamos familiares migos conocidos colegas excompa\u00f1eros de trabajo estudio mentores estudiantes cualquier persona seg\u00fan estudios estad\u00edsticos la persona com\u00fan conoce entre cien mil personas es preciso evitar pensar que alguien sirve que tiene valor pa ra mi pues las oportunidades pueden venir por cualquier v\u00eda entre los datos que se recomienda incluir en una lista de contactos est\u00e1n nombre perfil intereses n\u00famero telef\u00f3nico sitio web facebook instagram twitter informaci\u00f3n inclu ir en una lista de contactos los medios convencionales como direcci\u00f3n n\u00famero postal pueden ser \u00fatiles sin embargo en medio de la globalizaci\u00f3n en la que se vive actualmente los medios digitales tienen prioridad por su rapidez efectividad la informaci\u00f3n sobre perfiles e inter eses nos permite identificar la forma de crear v\u00ednculos de otorgar presentes regalos sencillos acordes con las caracter\u00edsticas de la persona entre los posibles beneficios de contar con un amplio espectro de perfiles en nuestra red de contactos tenemo posibles patrocinadores recaudadores de fondos conocidos familia personas de influencia para posibles mentores en la industria musical personas que requieran una colaboraci\u00f3n musical en alg\u00fan evento corporativo familiar personal la informaci\u00f3n de la lista de contactos se registra de forma tal que permita una r\u00e1pida ubicaci\u00f3n seg\u00fan prefiera el artista artist manager pueden usar alguno de los siguientes medios agenda planificador f\u00edsico documento en formato word hoja de c\u00e1lcu lo de excel agenta electr\u00f3nica en dispositivo m\u00f3vil como tablet smartphone formatos para registrar una lista de contactos lo m\u00e1s importante es que el medio sea eficaz para el due\u00f1o de la lista le permita una \u00f3ptima gesti\u00f3n la may or\u00eda de las redes de contactos se crean de manera informal una conversaci\u00f3n en el pasillo de un museo auditorio sala de concierto recepci\u00f3n hotel entre otros es suficiente para entablar una conversaci\u00f3n con un grupo de potenciales contactos es prec iso ser afable amable agradable con las personas hacer que se sientan gusto de conversar con nosotros cuando la gente nos pregunte qu\u00e9 nos dedicamos en qu\u00e9 estamos trabajando recientemente debemos estar listos para expresar nuestra b\u00fasqueda de oportunidades patrocinios presentaciones otras situaciones deseadas con un poco de suerte nuestro grupo de conversaci\u00f3n nos indicar\u00e1 de las oportunidades que conozca de las personas que podr\u00edan ayudarnos ubicar una oportunidad para que el flujo de informaci\u00f3n se d\u00e9 necesitamos escuchar nuestros contactos las personas generalmente les gusta hablar de s\u00ed mismas por lo que escuchar atentamente ayuda sentirse gusto con nosotros desear devolvernos el favor cuando sea necesario tampoco debemos olvidar obsequiar tarjetas peque\u00f1os presentes aquellos contactos que hayan prestado una ayuda significativa keynotes la gesti\u00f3n eficaz de una red de contactos requiere un almacenamiento adecuado de la informaci\u00f3n la creaci\u00f3n de una lista de co ntactos es una tarea obligatoria para todo artista artist manager que est\u00e9 procurando construir una red de contactos s\u00f3lida u optimizar la que ya posee al crear una lista de contactos es preciso evitar pensar que alguien sirve que tiene valo r para mi las oportunidades pueden venir por cualquier v\u00eda reto crea una lista de contactos incluyendo todos los rubros expresados en el contenido did\u00e1ctico comparte con un conocido tu lista de contactos p\u00eddele sugerencias acerca de c\u00f3mo gestionarla utilizarla cuenta tu experiencia en tus medios digitales preferidos incluyendo vkontact conclusi\u00f3n una lista de contactos cor rectamente organizada un artist manager que sabe utilizarla son los ingredientes necesarios para generar una carrera din\u00e1mica activa el tiempo la experiencia el criterio ganado indicar\u00e1n la mejor forma de crear la lista disponer de la informaci\u00f3n que contiene impulsa tu carrera al siguiente nivel networking en entornos sociales la necesidad de contactar personas influyentes en la industria musical es una necesidad de todos los profesionales dentro de ella pero cu\u00e1l es la mejor forma de hacerlo medida que el artista el artist manager desarrollen sus habilidades de intera cci\u00f3n social ser\u00e1n capaces de sacar provecho todo momento de socializaci\u00f3n en la industria obtener as\u00ed los contactos que necesitan para impulsar sus carreras al siguiente nivel uno de los mejores momentos para hacer networking es en la socializaci\u00f3n posterior un concierto evento espec\u00edfico de hecho lo anterior es un secreto voces en la industria musical los conciertos eventos recepciones actividades de cualquier clase suelen juntar profesionales de todo tipo aristas ingenieros produc tores booking agents publishers por supuesto artist managers lo anterior es el campo maduro que todo segador de la industria desea para cosechar una red de contactos eficaz momento social como fuente de contactos sin embargo es probable que nuestro artista presente desaf\u00edos para desenvolverse exitosamente en este tipo de entorno social por ejemplo existen dos extremos en el comportamiento de un artista en relaci\u00f3n su audiencia u otras personas en primer lugar tenemos los artistas que desean mantener una brecha entre s\u00ed mismos la audiencia ya sea por timidez deseo de proteger su integridad simplemente preferir la compa\u00f1\u00eda de otros profesionales de la industria que est\u00e9n familiarizados con su rutina estilo de vid en segundo lugar tenemos los artistas carism\u00e1ticos afables cercanos quienes agradecen su audiencia la asistencia los conciertos muestran un entusiasmo genuino por compartir con ellos durante la firma de aut\u00f3grafos entre otros entornos artistas lejanos vs artistas carism\u00e1ticos sin procurar emitir un juicio acerca de cu\u00e1l actitud es la correcta en todos los casos el artist manager eval\u00faa con su artista la actitud necesaria en relaci\u00f3n la interacci\u00f3n con la audiencia seg\u00fan las metas de carrera en caso de ser necesario efect\u00faan planes ajustes al realizar dicha evaluaci\u00f3n conviene recordar que la m\u00fasica es un acto de comunicaci\u00f3n as\u00ed como pensar en las siguientes dos preguntas cu\u00e1l es el objeto de interpretar una canci\u00f3n en el escenario qu\u00e9 se desea compartir la audiencia en ese momento la respuesta estas preguntas ofrecen informaci\u00f3n valiosa que ayudar\u00e1 al artist manager establecer la actitud que el artista debe tener hacia su audiencia vale la pen acotar que las personas que asisten un concierto est\u00e1n interesadas en el artista como tal solamente en la m\u00fasica si as\u00ed fuera posiblemente preferir\u00edan quedarse en casa escuchando el \u00e1lbum en spotify la presentaci\u00f3n en vivo ofrece un nuevo espe ct\u00e1culo el artista en s\u00ed mismo por lo tanto la asistencia una presentaci\u00f3n en vivo expresa el deseo intr\u00ednseco de conocerlo saber c\u00f3mo es c\u00f3mo se c\u00f3mo act\u00faa c\u00f3mo se desempe\u00f1a en el escenario fuera de \u00e9l si fuera posible intercambiar algun palabras impresiones keynotes uno de los mejores momentos para hacer networking es en la socializaci\u00f3n posterior un concierto evento espec\u00edfico el artist manager eval\u00faa con su artista la actitud necesaria en relaci\u00f3n la interacci\u00f3n con la audi encia seg\u00fan las metas de carrera la m\u00fasica es un acto de comunicaci\u00f3n la asistencia una presentaci\u00f3n en vivo expresa el deseo intr\u00ednseco de conocer al artista saber c\u00f3mo es c\u00f3mo se c\u00f3mo act\u00faa c\u00f3mo se desempe\u00f1a en el escenario fuera de \u00e9l si fuera posible intercambiar algunas palabras impresiones misi\u00f3n en cuanto la oportunidad se presente asiste un concierto presentaci\u00f3n en vivo de un artista local si se ha planificado alg\u00fan momento de interacci\u00f3n social asiste procura hacer contacto con el artista u otros profesionales influyentes relacionados con \u00e9l procura intercambiar informaci\u00f3n obtener una cita un n\u00famero telef\u00f3nico su tarjeta personal independientemente del resultado analiza tu experiencia e identifica las \u00e1reas mejorar dise\u00f1a planes de mejoramiento para ayudarte ser m\u00e1s eficaz en una pr\u00f3xima ocasi\u00f3n comparte tu experiencia en vkontact tiempo disponible horas desde el momento en que inicia el momento social conclusi\u00f3n los momentos de networking son vitales en la industria musical cuando son bien aprovechados constituyen una fuente de oportunidades de progreso para la carrera del artista el artist manager en s\u00ed mismo con pr\u00e1ctica dedicaci\u00f3n criterio perfeccionaremos nuestras habilidades sociales para establecer relaciones fruct\u00edferas para nuestra carrera profesional proyecta tu mejor imagen socializaci\u00f3n con la audiencia contactos potenciales muchas veces un artista puede experimentar dificultades para interactuar con \u00e9xito con su audiencia un potencial contacto es preciso que el artist manager le gu\u00ede en la tarea de establecer relaciones fruct\u00edferas incluso predicando con el ejemplo cuan un artista artist manager sabe c\u00f3mo relacionarse con su audiencia posibles contactos su confianza en s\u00ed mismo aumenta lo cual repercute positivamente en su imagen de carrera qu\u00e9 atrae tanto las personas acerca del estilo de vida de un artista existen varios aspectos actividades que suelen causar un gran inter\u00e9s en la audiencia musical tales como todo lo relacionado con instrumentos musicales detalles sobre el entrenamiento capacitaci\u00f3n musical del artista formas rutinas de ensayo la rutina de un d\u00eda t\u00edpico del artista la memorizaci\u00f3n de una letra para una canci\u00f3n la disciplina de una serie de ensayos fechas de conciertos la improvisaci\u00f3n de letras interpretaciones musicales la forma de comunicarse con otros m\u00fasicos en el escenario sin intercambiar palabras al conocer esto el artista tiene idea del tipo de preguntas que un admirador seguidor puede hacerle prepararse s\u00ed mismo para brindar una respuesta correcta seg\u00fan la actitud e imagen decididos para su carrera como parte de su estrategia de negocios evaluaci\u00f3n de posibles preguntas respuestas para fans al momento de interactuar con su audiencia el artista puede recibir numerosos halagos hacia su persona desempe\u00f1o art\u00edstico algunos de esos halagos pueden ser expresados de forma peyorativa hacia la persona que lo hace por ejemplo wow tienes una voz preciosa en cambio yo espanto hasta los insectos cuando canto normalmente dichos come ntarios suelen ser hechos con entusiasmo modo de broma por lo que el artista puede simplemente mantener ese entusiasmo en la persona que ha hecho el cumplido ahora en relaci\u00f3n la socializaci\u00f3n con la audiencia nunca se sabe qui\u00e9n puede estar escu ch\u00e1ndonos con qui\u00e9n podemos estar hablando en un determinado momento por esto el artista el artist manager tienen presente la siguiente m\u00e1xima siempre se trata de uno mismo en consonancia con lo anterior los temas de conversaci\u00f3n en un entorno social en la industria musical siempre tienen que girar en torno al artista es recomendable mostrar inter\u00e9s hacia nuestros interlocutores conocer qu\u00e9 hacen cu\u00e1le son sus profesiones hobbies entre otros temas existe un amplio espectro de temas nde el artista su interlocutor pueden encontrar intereses en com\u00fan cine literatura deportes arte en general moda comida sitios para visitar incluso temas menos comunes como opiniones acerca de filosof\u00eda econom\u00eda geopol\u00edtica entre otros posibles intereses en com\u00fan entre un artista su interlocutor en ocasiones como artistas artist managers asistiremos al concierto de otro m\u00fasico con quien nos interesa establecer contacto encontrar la puerta para a\u00f1adir un contacto que necesitamos en estos momentos conviene dar cumplidos sinceros espec\u00edficos al artista en com\u00fan tales como tienes un rango vocal incre\u00edble amigo c\u00f3mo lo logras oye tienes un dominio esc\u00e9nico incre\u00edble c\u00f3mo te preparas para el escenario tu interpretaci\u00f3n del solo de guitarra en la \u00faltima canci\u00f3n estuvo fenomenal veo que tienes una t\u00e9cnica muy limpia cu\u00e1l es tu rutina de estudio los m\u00fasicos suele encantarles recibir comentarios expresados en sus mismos t\u00e9rminos cuando este tipo de comentarios son bien recibidos brindan la oportunidad de establecer el contacto que se desea una buena pr\u00e1ctica es comunicar algo como sin duda eres asombroso oye por cierto deseaba conversar contigo acerca de un asunto tienes tiempo para con versar en las pr\u00f3ximas semanas lo peor que puede suceder en estos momentos es que el artista profesional indique que est\u00e1 muy ocupado pero tambi\u00e9n podr\u00eda darnos su tarjeta un n\u00famero telef\u00f3nico agendar una cita incluso solicitar una conversaci\u00f3n en ese preciso momento estos momentos son claves ya que es donde se deben tomar acciones concretas para abrir una nueva puerta en la industria musical puede suceder cualquier evento en cualquier momento el artista artist manager se aseguran de estar preparados para ver la oportunidad tomarla interacci\u00f3n con un artista recordemos las habilidades interpersonales de un artista su comportamiento en un entorno social forman parte de su imagen de carrera cuando se agendan conciertos presentaciones en vivo es recomendable incluir una cantidad adecuada de momentos de soc ializaci\u00f3n con la audiencia estipularlo como parte de los contratos respectivos este tipo de actividades contribuyen crear mantener ampliar un p\u00fablico fiel para el artista su m\u00fasica keynotes en relaci\u00f3n la socializaci\u00f3n con la audiencia nunc se sabe qui\u00e9n puede estar escuch\u00e1ndonos con qui\u00e9n podemos estar hablando en un determinado momento es recomendable mostrar inter\u00e9s hacia nuestros interlocutores conocer qu\u00e9 hacen cu\u00e1les son sus profesiones hobbies entre otros temas en la indust ria musical puede suceder cualquier evento en cualquier momento el artista artist manager se aseguran de estar preparados para ver la oportunidad tomarla las habilidades interpersonales de un artista su comportamiento en un entorno social forman pa rte de su imagen de carrera misi\u00f3n busca videos de diez covers presentaciones en vivo de artistas locales que conozcas que tengan pocos ning\u00fan comentario haz lo siguiente esc\u00fachalos con atenci\u00f3n ubica dos puntos positivos en la interpretaci\u00f3n por video comenta sus videos indicando los puntos positivos que encontraste lo buenos que son realiza seguimiento tus comentarios fin de identificar respuestas que puedan darte pie una relaci\u00f3n de colaboraci\u00f3n de cualquier otra \u00edndole profesional analiza tus comentarios identifica posibles \u00e1reas de mejora dise\u00f1a un plan de mejoramiento para aumentar tu eficacia la pr\u00f3xima vez que lleves cabo esta pr\u00e1ctica comparte u experiencia tanto en vkontact como en tus medios digitales favoritos tiempo disponible horas abarcando la b\u00fasqueda selecci\u00f3n visualizaci\u00f3n de videos as\u00ed como la escritura de los comentarios conclusi\u00f3n una imagen correcta es una poderosa herram ienta en la construcci\u00f3n de una carrera s\u00f3lida fruct\u00edfera la interacci\u00f3n con la audiencia otros profesionales influyentes es vital en dicha labor con esmero paciencia criterio convertiremos cada momento de interacci\u00f3n socializaci\u00f3n en una puert para ensanchar nuestras oportunidades en la industria musical lleva tu carrera al siguiente nivel la relaci\u00f3n entre el artista el artist manager debido la naturaleza de la industria musical es probable que un artista tenga confusiones acerca del verdadero rol de un artist manager por lo tanto sepa exactamente qu\u00e9 esperar del suyo medida que el artista el artist manager conozcan con c laridad las funciones relacionadas con la gesti\u00f3n de carrera seg\u00fan las necesidades del artista obtendr\u00e1n resultados concretos para llevar una carrera art\u00edstica al siguiente nivel qu\u00e9 se supone que hace un artist manager cu\u00e1les son sus funciones fin de que la gesti\u00f3n de la carrera de un artista tenga \u00e9xito es preciso responder estas preguntas en pocas palabras el artist manager se encarga de que las cosas sucedan es decir se asegura del cumplimiento de los objetivos planes metas del artista seg\u00fan sus necesidades la gesti\u00f3n de la carrera de un artista requiere un esfuerzo significativo en todos los aspectos de la misma desde efectuar una planificaci\u00f3n eficaz hasta negociar un contrato complejo desde sugerir un cambio en la letra de una ci\u00f3n hasta comentar una nueva grabaci\u00f3n fin de entender mejor el impacto del artist manager en la carrera del artista es preciso analizar la relaci\u00f3n entre ambos para esto visualizaremos la relaci\u00f3n artist manager artista como un matrimonio tradicion al donde tenemos un esposo una esposa como una sociedad el esposo la esposa buscan edificar una vida en com\u00fan basada en objetivos un sistema de creencias compartidas en este contexto supongamos que una de las metas del matrimonio es poseer una c asa para conseguirlo es necesario crear un plan donde el esposo la esposa tengan funciones claramente identificadas plan en com\u00fan entre esposo esposa tener una casa la asignaci\u00f3n espec\u00edfica del esposo ser\u00e1 obtener el dinero nec esario para comprar la casa por otro lado la asignaci\u00f3n de la esposa ser\u00e1 recibir administrar ese dinero de la mejor forma posible buscando las mejores alternativas de cr\u00e9dito ofertas de casas fin de escoger la mejor opci\u00f3n con los recursos dispo nibles claro este ejemplo se basa en el supuesto de que el esposo es quien tiene las mejores oportunidades de conseguir el dinero necesario primera opci\u00f3n para obtenci\u00f3n de meta en com\u00fan tener una casa por otro lado circunstanci diferentes podr\u00edan ameritar un cambio de asignaciones la esposa se encarga de conseguir el dinero necesario el esposo de administrarlo para encontrar la mejor opci\u00f3n de cr\u00e9dito compra de la casa segunda opci\u00f3n para obtenci\u00f3n de meta en com\u00fan tener una casa una tercera opci\u00f3n podr\u00eda ser que ambos se enfoquen en conseguir los fondos necesarios las mejores opciones de cr\u00e9dito compra tercera opci\u00f3n para btenci\u00f3n de meta en com\u00fan tener una casa en este ejemplo lo que determinar\u00e1 cu\u00e1l de los tres escenarios es el m\u00e1s adecuado ser\u00e1n las habilidades necesidades del matrimonio si el esposo es el m\u00e1s h\u00e1bil para conseguir el dinero la esposa para admin istrarlo la primera opci\u00f3n es la mejor si sucede lo contrario la opci\u00f3n id\u00f3nea es la segunda si ambos tienen habilidades para obtener administrar dinero la tercera opci\u00f3n constituye una alternativa aceptable relaci\u00f3n entre las op ciones disponibles las habilidades necesidades del equipo lo mismo sucede en la gesti\u00f3n de la carrera de un artista el artist manager apoya al artista en su carrera enfoc\u00e1ndose en aquellos aspectos donde resulta un complemento id\u00f3neo si el artista requiere ayuda nivel creativo el artist manager est\u00e1 preparado para brindar la retroalimentaci\u00f3n necesaria si el artista requiere confianza en s\u00ed mismo el artist manager est\u00e1 listo para ejercer su rol de coach si el artista tiene los aspectos crea tivos e interpretativos dominados el artist manager se enfoca en el negocio es importante resaltar que a\u00fan cuando brinde apoyo en aspectos creativos e interpretativos el artist manager nunca pierde de vista el negocio es su principal funci\u00f3n en concl usi\u00f3n el artist manager el artista se complementan en sus fortalezas debilidades fin de obtener los resultados planteados seg\u00fan el plan de carrera keynotes el artist manager se encarga de que las cosas sucedan a\u00fan cuando brinde apoyo en aspectos c reativos e interpretativos el artist manager nunca pierde de vista el negocio el artist manager el artista se complementan en sus fortalezas debilidades fin de obtener los resultados planteados seg\u00fan el plan de carrera reto piensa en ti como un rtist manager e identifica tus habilidades fortalezas virtudes haz una lista de los puntos de una carrera art\u00edstica donde seg\u00fan tu evaluaci\u00f3n podr\u00edas resultar m\u00e1s \u00fatil por ejemplo si soy un m\u00fasico como artist manager podr\u00eda dar consejos eficaces para aumentar el impacto emocional de una canci\u00f3n redacta la lista de puntos donde puedes mejorar la carrera de un artista comp\u00e1rtela con la comunidad de vkonnect tambi\u00e9n puedes compartirla con tu red de contactos ofrecer tu asesor\u00eda cuantos artistas conozcas conclusi\u00f3n cuando el artista conoce sus necesidades sabe c\u00f3mo sacar provecho de su artist manager por otro lado cuando el artist manager conoce las necesidades de la carrera de su artista lleva cabo las acciones necesarias para satisfacerlas la perseverancia el conocimiento la capacitaci\u00f3n constante aumentar\u00e1n el abanico de posibilidades circunstancias donde el artist manager constituye una ayuda id\u00f3nea define claramente tus funciones las tareas de un artist manager en relaci\u00f3n otros profesionales de la industria las tareas del artist manager pueden dar pie confusiones al definir con claridad las tareas que cumplen algunos profesionales de la industria musical seremos capaces de comprender mejor la funci\u00f3n del artist manager lo cual deriva en cont ratos claros concisos en relaci\u00f3n sus tareas su vez lo anterior conlleva una relaci\u00f3n clara saludable donde las responsabilidades asignadas son acordes con el perfil de cada profesional involucrado todo artist manager desea saber c\u00f3mo ser el jor en su trabajo para lograrlo es preciso que se mantenga enfocado en su funci\u00f3n principal manejar la carrera del artista como un negocio jim morey destacado profesional de la industria musical cuyos cr\u00e9ditos incluyen artistas como neil diamond doll parton pointer sisters compara al artist manager su artista con un ceo su compa\u00f1\u00eda donde el artist manager representa al ceo el artista la compa\u00f1\u00eda producto relaci\u00f3n entre el artist manager su artista seg\u00fan jim mor ey siguiendo el ejemplo mencionado identificaremos algunas consideraciones relacionadas con el artist manager tal cual un ejecutivo gerente de una empresa el artist manager es ante todas las cosas un excelente planificador estratega al trabaja r con compa\u00f1\u00edas discogr\u00e1ficas productores musicales agentes promotores publicistas otros roles el artist manager es un comunicador motivador por excelencia fin de asegurar que las cosas sucedan el conocimiento experiencia en el funcionamien de la industria musical es vital en el caso de un artist manager novato es preciso que tenga enormes deseos de aprender fin de adquirir el conocimiento experiencia necesarios lo antes posible el artist manager con una relaci\u00f3n de amistad con el artista tiene su favor un destacado nexo afectivo personal sin embargo guiarse exclusivamente por este criterio puede resultar desfavorable para la carrera del artista especialmente en aquellas decisiones que requieran una perspectiva fresca objeti va imparcial fr\u00eda consideraciones relacionadas con el artist manager por otro lado en la industria musical existen funciones tareas que podr\u00edan ser atribuidas err\u00f3neamente al artist manager continuaci\u00f3n examinaremos dicha tareas e indicaremos el profesional encargado de realizarlas la b\u00fasqueda directa de empleo para el artista es responsabilidad de un agente un agente de booking un agente de teatro el artist manager es responsable de localizar dichos agentes promov er su artista para que sea tomado en cuenta por ellos adem\u00e1s acepta rechaza citas coordina el horario de su artista para las actividades relacionadas con dichos agentes la producci\u00f3n musical de un disco ep single lp es responsabilidad del prod uctor musical en caso de tener conocimientos experiencia en el \u00e1rea un artist manager podr\u00eda brindar su punto de vista sin embargo la responsabilidad principal recae sobre el productor la promoci\u00f3n explotaci\u00f3n administraci\u00f3n de los derechos de la composiciones musicales del artista corresponde al publisher la financiaci\u00f3n de los proyectos del artista puede venir de diferentes fuentes donaciones pagos por contrato venta de entradas para conciertos entre otras actividades en la industria musical sus perfiles asociados en relaci\u00f3n los puntos anteriores el artist manager puede colaborar seg\u00fan sus posibilidades experiencia conocimiento recursos sin embargo se espera que ejecute ichas tareas de manera obligatoria de hecho el an\u00e1lisis de las actividades que normalmente realizan otros profesionales de la industria como agentes productores publishers permite definir con claridad las actividades del artist manager estipularla en un contrato en caso de que se agreguen cl\u00e1usulas relacionadas con los puntos anteriormente mencionados el artist manager podr\u00eda solicitar una compensaci\u00f3n adicional debido que las mismas se alejan de sus labores primarias como artist manager acer c\u00e1ndose al perfil de un profesional distinto keynotes ante todas las cosas el artist manager es un excelente planificador estratega el an\u00e1lisis de las actividades realizadas por otros profesionales de la industria permite definir con claridad las acti vidades del artist manager estipularlas en un contrato misi\u00f3n usa la siguiente tabla para analizar tus habilidades como artist manager donde el significa una ausencia de la habilidad el un dominio completo marca con una equis tu ponderaci\u00f3n en cada habilidad tabla de habilidades del artist manager seg\u00fan el resultado de tu an\u00e1lisis identifica tus \u00e1reas de mejora dise\u00f1a planes de mejoramiento para fortalecerlas comparte tu plan trav\u00e9s de tus contactos en vkontact as\u00ed como con otros profesionales de la industria en otras redes sociales conclusi\u00f3n todo artist manager con claridad en sus funciones puede aceptar rechazar contratos alineados con sus intereses al mismo tiempo un artista con un entendimiento correcto de las funciones del artist manager sacar\u00e1 el m\u00e1ximo provecho de su colaboraci\u00f3n con respeto compa\u00f1erismo trabajo en equipo dicho entendimiento redundar\u00e1 en resultados sobresalientes en la carrera de ambos encuentra al arti sta perfecto las cualidades de un artista exitoso el empe\u00f1o compromiso que un artist manager demuestre con su artista est\u00e1 influenciado por su creencia en \u00e9l fin de cuentas todo artist manager desea gestionar la carrera de los mejores analizaremos los cuatro componentes que un artista potencialmente exitoso posee resultan vitales para un artist manager si nos ofrecieran dirigir las operaciones de una compa\u00f1\u00eda consolidada exitosa en el mercado es probable que acept\u00e1ramos sin mayores miramientos despu\u00e9s de todo es una empresa redituable por lo que nuestra econom\u00eda experimentar\u00eda un agradable incremen de ingresos tambi\u00e9n es posible que sin ser una empresa consolidada el potencial de \u00e9xito resulte evidente avasallador ahora si nos ofrecieran dirigir las operaciones de una empresa en bancarrota una en la que creemos mostrar\u00edamos el mismo entusiasmo el ejemplo anterior ilustra un principio importante en el artist management el artist manager busca un artista en quien creer con el que est\u00e9 deseoso de trabajar cuya carrera quiera gestionar tal cual como si le ofrecieran dirigir una empr esa consolidada con un evidente enorme potencial de \u00e9xito existen cuatro cualidades que el artista debe poseer fin de resultar atractivo para un artist manager talento deseo autoconfianza determinaci\u00f3n talento para david skepner destacado manager de nashville definir la palabra talento resulta dif\u00edcil para \u00e9l significa eso lo que otorga visibilidad brillo notoriedad un artista el elemento donde reside su originalidad dicha definici\u00f3n significa una afinaci\u00f3n perfecta ni una t\u00e9cnica vocal impecable despu\u00e9s de todo artistas como bob dylan rod stewart mick jagger jam\u00e1s ganaron una competencia de canto en alguna escuela local pesar de eso es innegable que pose\u00edan eso el talento xavier f rascogna h lee hetherington en su libro business artist management aportan los siguientes consejos pr\u00e1cticos para identificar el talento el artista debe ser \u00e9l mismo ser original si su sonido es demasiado parecido al de otro artista una compa\u00f1\u00eda discogr\u00e1fica tendr\u00e1 motivos para interesarse en su m\u00fasica la competencia del artista es cualquier persona que est\u00e9 encabezando las listas de \u00e9xitos en un determinado momento es preciso ser mejor que algunos de los mejores m\u00e1s originales art istas del momento los \u00e1lbumes canciones entradas de conciertos pueden ser costosas el artista debe ser capaz de motivar sus fans pagar determinadas cantidades de dinero por ver sus presentaciones escuchar su m\u00fasica deseo construir una carrera e n la industria de la m\u00fasica requiere sacrificios personales largas e ingratas horas de trabajo duro a\u00f1os de rechazo frustraci\u00f3n con la finalidad de llegar la cima permanecer en ella sin embargo lo anterior garantiza autom\u00e1ticamente el \u00e9xito fin de conseguirlo el artista requiere un deseo aut\u00e9ntico estar dispuesto moldearse hasta donde sea necesario debe balancear sus sue\u00f1os de ser famoso con el estilo de vida los sacrificios que esto conlleva tomar una decisi\u00f3n autoconfianza la autoconfianza en el caso del artista es la certeza de que tiene el talento para cumplir sus metas es una cualidad intangible que separa los artistas solamente talentosos de los artistas exitosos la autoconfianza trasciende el deseo la persistencia es posible que un artista un artist manager alcancen cierto nivel de \u00e9xito sin total autoconfianza pero tendr\u00e1n dificultades para obtener una carrera sustentable de alto nivel determinaci\u00f3n el artista que se dedica tiempo parcial la m\u00fasica corre el riesgo de generar ingresos insuficientes para sostenerse oblig\u00e1ndoles buscar un empleo tiempo parcial dicha situaci\u00f3n ilustra la determinaci\u00f3n de dedicarse la m\u00fasica tiempo completo fin de alcanzar los objetivos trazados por supuesto esto constituye una regla infalible sin embargo la determinaci\u00f3n que el artista posea es controlada solo por \u00e9l es un factor influyente en el \u00e9xito de su carrera cualidades para atraer un artist manager keynotes el artist manager b usca un artista en quien creer con el que est\u00e9 deseoso de trabajar cuya carrera quiera gestionar seg\u00fan david skepner el talento se relaciona con la visibilidad el brillo la notoriedad del artista la autodeterminaci\u00f3n es una cualidad intangible que separa los artistas solamente talentosos de los artistas exitosos misi\u00f3n usando el medio de tu preferencia contacta cinco artistas ya sean compositores \u00fanicamente int\u00e9rpretes pregunta cada uno en una escala del al qu\u00e9 calificaci\u00f3n se dar\u00edan s\u00ed mismos en cuanto talento deseo autoconfianza determinaci\u00f3n marca sus respuestas con una equis en la siguiente tabla tabla de habilidades del artist manager al completar la tabla analiza la informaci\u00f3n determina qui\u00e9n es el artista con mayor potencial de \u00e9xito en la industria redacta un ensayo exponiendo tus conclusiones comp\u00e1rtelo con otros compa\u00f1eros profesionales de la m\u00fasica por vkonnect todas tu redes sociales puedes pedir consejos para mejorar tus t\u00e9cnicas de an\u00e1lisis de informaci\u00f3n redacci\u00f3n de conclusiones conclusi\u00f3n la confianza de un artist manager en su artista estar\u00e1 determinada por el talento el deseo la autoconfianza la determinaci\u00f3n del artista la aplicaci\u00f3n de dichas cualidades brinda el combustible necesario para desarrollar una carrera musical exitosa sostenible cumple tus objetivos de carrera alternativas de gesti\u00f3n de una carrera art\u00edstica las necesidades de gesti\u00f3n de carrera de un artista pueden ser variadas seg\u00fan los recursos financieros creativos disponibles el artista escoge un estilo de gesti\u00f3n espec\u00edfico fin de cumplir sus objetivos de carrera la carrera de todo artista requier e una gesti\u00f3n efectiva la cual puede implementarse de tres formas diferentes autogesti\u00f3n gesti\u00f3n limitada gesti\u00f3n total continuaci\u00f3n estudiaremos la definici\u00f3n ventajas desventajas de estas alternativas de gesti\u00f3n de artistas seg\u00fan autores como frascogna hetherington autogesti\u00f3n la autogesti\u00f3n implica el control total de la carrera por parte del artista normalmente constituye la mejor opci\u00f3n para el artista que est\u00e1 comenzando su carrera que es capaz de financiar una carrera tiempo c ompleto otra ventaja notable es su bajo costo pues se evita la contrataci\u00f3n de un artist manager especializado por derivaci\u00f3n el artista conserva la libertad de tomar las decisiones que considere convenientes para su carrera al mismo tiempo la brecha comunicativa con los actores relacionados con su carrera se acortan al existir una conexi\u00f3n directa entre el artista los dem\u00e1s por otro lado la principal desventaja de la autogesti\u00f3n es la posible falta de experiencia contactos en la industria lo cual acorta las posibilidades oportunidades necesarias para el desarrollo de una carrera art\u00edstica otro problema es el tiempo pues el artista requiere dedicarse ensayar efectuar labores propias de un artista durante ese tiempo la gesti\u00f3n de su ca rrera est\u00e1 siendo desatendida primera alternativa de gesti\u00f3n de carrera art\u00edstica autogesti\u00f3n gesti\u00f3n limitada cuando el artista toma la opci\u00f3n de la gesti\u00f3n limitada cuenta con una persona para ayudarle en \u00e1reas espec\u00edficas relacio nadas con el desarrollo de su carrera la naturaleza de las tareas delegadas se relaciona con el perfil del profesional puede ser un agente de booking un promotor un contador un abogado un representante otro artist manager entre otros la gesti\u00f3n li mitada es \u00fatil cuando un artista est\u00e1 construyendo su carrera con bases s\u00f3lidas pero a\u00fan requiere una gesti\u00f3n total tambi\u00e9n es una opci\u00f3n para aquellos artistas que habiendo acumulado una notable experiencia contactos ayudan otros artistas en el desarrollo de sus carreras para el artista es una forma de recibir asistencia en aquellas \u00e1reas de su carrera donde presente mayor necesidad como desventaja aunque la gesti\u00f3n limitada es una excelente forma de avanzar en la carrera del artista se recomienda como una modalidad definitiva en aquellas carreras con objetivos elevados los cuales necesiten futuro una gesti\u00f3n total segunda alternativa de gesti\u00f3n de carrera art\u00edstica gesti\u00f3n limitada gesti\u00f3n total la gesti\u00f3n tota l ocurre cuando el artist manager asume completamente todas las responsabilidades tareas relacionadas con el desarrollo de la carrera del artista bajo esta modalidad el artist manager est\u00e1 cargo de las operaciones cotidianas del artista por lo que presenta un grado de involucramiento notable en detalles importantes triviales de las tres opciones estudiadas la gesti\u00f3n total es la m\u00e1s id\u00f3nea aunque obviamente es la m\u00e1s costosa por este motivo se recomienda su implementaci\u00f3n cuando la carrera del artista est\u00e1 lo suficientemente establecida para asumir la contrataci\u00f3n de un artist manager tiempo completo tercera alternativa de gesti\u00f3n de carrera art\u00edstica gesti\u00f3n total en contraposici\u00f3n los tres tipos de gesti\u00f3n estudiados tenemos la falta de gesti\u00f3n es decir la ausencia total de planeamiento acciones enfocadas en objetivos concretos se puede resumir en una actitud de vamos ver c\u00f3mo suceden las cosas cualqui era de los tres tipos de gesti\u00f3n es preferible la ausencia de la misma ausencia de gesti\u00f3n el tipo de gesti\u00f3n escoger depende de las necesidades espec\u00edficas del artista as\u00ed como de sus metas posibilidades financieras creativa sin importar cu\u00e1l sea la opci\u00f3n seleccionada el artista se asegura personalmente del cumplimiento de las metas de su carrera seg\u00fan se han establecido en el plan de la misma despu\u00e9s de todo los objetivos se cumplen por s\u00ed mismos es preciso tomar l acciones necesarias para su cumplimiento keynotes la autogesti\u00f3n constituye la mejor opci\u00f3n para el artista que est\u00e1 comenzando su carrera que es capaz de financiar una carrera tiempo completo bajo el esquema de una gesti\u00f3n limitada la natural eza de las tareas delegadas al artist manager tiempo parcial depende de su perfil profesional la gesti\u00f3n total es la m\u00e1s id\u00f3nea aunque es la m\u00e1s costosa cualquiera de los tres tipos de gesti\u00f3n es preferible la ausencia de la misma reto trav\u00e9s de vkonnect contacta cinco artistas expl\u00edcales tres tipos de gesti\u00f3n disponibles preg\u00fantales cu\u00e1l es el tipo de gesti\u00f3n m\u00e1s adecuado para sus carreras cu\u00e1l pueden costear comparte tu experiencia con tus amigos familiares contactos profesionales por medio de herramientas como vkonnect vpage entre otros conclusi\u00f3n gracias la evaluaci\u00f3n certera realista de sus posibilidades financieras creativas el artista est\u00e1 habilitado para tomar decisiones orientadas al correcto desarrollo de su carrera art\u00edstica con denuedo perseverancia buen juicio disciplina implementar\u00e1s cualquier alternativa de gesti\u00f3n con un resultado positivo alcanzando los objetivos propuestos por lo tanto experimentando el \u00e9xito resue lve tus desaf\u00edos el l\u00edder en una agrupaci\u00f3n musical el cumplimiento de los objetivos tareas metas planes de la carrera de un artista es la responsabilidad principal de un l\u00edder sin embargo identificarlo puede ser una tarea complicada especialmente en la industria musical por este motivo es preciso reconocer qu\u00e9 es lo que un l\u00edder hace c\u00f3mo lo hace fin de entender por qu\u00e9 lo hace con este conocimiento ya seamos artistas artist managers resolveremos exitosamente cualquier desaf\u00edo que impid el \u00e9xito de nuestro proyecto es decir la carrera del artista en una banda agrupaci\u00f3n musical la figura del l\u00edder es responsable de mantener la unidad de la banda conjunto musical en el caso de los solistas se encarga de cultivar mantener una relaci\u00f3n apropiada entre el artista los m\u00fasicos acompa\u00f1antes entre el artista su equipo primario si es necesario se encarga de contratar las vacantes disponibles seg\u00fan las necesidades del proyecto musical responsabilidades del l\u00edder de una agrupaci\u00f3n musical en este contexto la figura del l\u00edder se refiere necesariamente al artista al cantante principal al artist manager es decir el l\u00edder corresponde ninguno de estos tres roles por defecto por supuesto lo ideal es que un artist manager compromet ido tiempo completo tome la mayor\u00eda de dichas responsabilidades el enfoque abordado se\u00f1ala que sin importar el rol que lo ejerza la figura del l\u00edder es necesaria continuaci\u00f3n listaremos algunas razones un esquema democr\u00e1tico es pocas veces efic az en el trabajo de un conjunto agrupaci\u00f3n musical la declaraci\u00f3n anterior se debe la dificultad de alcanzar un com\u00fan acuerdo la falta de responsabilidad la hora de tomar las decisiones verdaderamente importantes necesarias la importancia exag erada que suelen recibir los detalles m\u00e1s triviales lo cual genera irritaci\u00f3n malos sentimientos entre los integrantes de la agrupaci\u00f3n sin llegar un extremo dictatorial el l\u00edder controla el voto el veto es decir sirve como moderador facilita dor coordinador invitando los integrantes de la agrupaci\u00f3n mantener la unidad b\u00e1sicamente mantenerse en movimiento el l\u00edder es la persona responsable de que la agrupaci\u00f3n se mantenga activa lo anterior se cumple mediante la planeaci\u00f3n fijaci \u00f3n de las metas de la banda as\u00ed como sus respectivos plazos la calendarizaci\u00f3n ejecuci\u00f3n de ensayos la selecci\u00f3n de la m\u00fasica interpretar la promoci\u00f3n publicidad de la agrupaci\u00f3n la contrataci\u00f3n de int\u00e9rpretes la obtenci\u00f3n de contactos repres entantes en la industria musical la recolecci\u00f3n de fondos necesarios el mantenimiento de los libros contables los pagos respectivos el arbitraje necesario para resolver problemas personales mantener un ambiente de armon\u00eda debido que el l\u00edder pu ede prever resolver los desaf\u00edos de \u00edndole personal normalmente posee una personalidad fuerte as\u00ed como estabilidad emocional capacidad de escuchar tomar determinadas acciones en caso de ser necesario razones que ameritan la pres encia de un l\u00edder en una agrupaci\u00f3n musical en el caso de las bandas agrupaciones musicales donde el artista son varias personas conviene asignar el rol de representante uno de ellos incluso habiendo contratado ya un artist manager dicho repr esentante ser\u00e1 la voz del grupo en las circunstancias requeridas elecci\u00f3n de un representante de la agrupaci\u00f3n musical ante el artist manager en la industria musical los l\u00edderes eficaces han demostrado las siguientes cualidades cono cimiento de que forman parte de un equipo mente abierta para las sugerencias ausencia de un sentimiento de superioridad mayor importancia en relaci\u00f3n los dem\u00e1s miembros del equipo capacidad de crear mantener un ambiente donde todos se sienten igualme nte importantes capacidad de delegar cualidades de un l\u00edder eficaz ahora al enfrentar un problema el l\u00edder procura definirlo con claridad colocarlo en palabras comprensibles para todos asegurarse que los miembros del equipo entienden exactamente cu\u00e1l es el problema resolverlo de la mejor forma posible asegurarse que la decisi\u00f3n tomada sea la mejor para el equipo \u00fanicamente para s\u00ed mismo procedimiento para enfrenta r un problema modo de resumen el l\u00edder es la persona que asegura el cumplimiento de todos los objetivos metas planes de carrera del artista obviamente se espera que ejecute todas las tareas sino solo asegurar su cumplimiento muchas de las sponsabilidades expuestas anteriormente corresponden sin duda alguna al artist manager sin embargo el enfoque es la figura del l\u00edder independientemente del rol que lo asuma keynotes el l\u00edder es responsable de mantener la unidad de la banda conjunto musical sin importar el rol que lo ejerza la figura del l\u00edder es necesaria en el caso de las bandas agrupaciones musicales donde el artista son varias personas conviene asignar el rol de representante uno de ellos incluso habiendo contratado un artist manager misi\u00f3n piensa en algunas bandas artistas que conozcas personalmente identifica la persona que desde tu perspectiva ejerza el rol de l\u00edder en caso de ser m\u00e1s de una persona es v\u00e1lido luego lleva cabo las siguientes acciones medita en las razones por las cuales para ti dicha persona es el l\u00edder de la agrupaci\u00f3n equipo primario redacta tu lista de razones para justificar tu elecci\u00f3n compara tus observaciones con las bandas artistas que hayas considerado juntos eval\u00faen la asertividad de tus observaciones en caso de que hayan sido muy exactas recoge los argumentos red\u00e1ctalos junto tu lista original estudia ambas listas analiza la congruencia de las observaciones recibidas finalmente exp\u00f3n tus conclusiones acerca de tu experiencia comp\u00e1rtelas con tus contactos acad\u00e9micos profesionales en caso de que conozcas personalmente ninguna banda artista comienza trabajar en tu networking trav\u00e9s de vkonnect vkontact encontrar\u00e1s una gran cantidad de artistas quienes puedes contactar para entablar una amistad posibles colaboraciones conclusi\u00f3n cuando identificamos al l\u00edder aprendemos una de dos cosas ambas qui\u00e9n seguir c\u00f3mo dirigir nuestro equipo independientemente del rol la aplicaci\u00f3n de los principios de un liderazgo efectivo trae el \u00e9xito en la gesti\u00f3n de una carrera musical con tiempo disciplina pr\u00e1ctica el criterio aportar\u00e1 la visi\u00f3n necesaria para resolver desaf\u00ed os obtener \u00e9xito en nuestras funciones encuentra el equipo perfecto consideraciones para la contrataci\u00f3n de m\u00fasicos sea que se trate de un artista en solitario de una agrupaci\u00f3n musical la contrataci\u00f3n de m\u00fasicos forma parte de las labores habitual es de un artist manager fin de evitar las complicaciones relacionadas con dicha labor asegurar un equipo perfecto abordaremos las consideraciones que el artist manager toma en cuenta durante el ejercicio de dicha labor la contrataci\u00f3n de un m\u00fasico iene varios fines entre disponer de m\u00fasicos acompa\u00f1antes para un artista solista conseguir el integrante faltante de alguna banda agrupaci\u00f3n musical numerosa sin importar el caso lo primero que el artist manager considera es la cantidad de m\u00fasicos c ompetentes que conoce en caso de tener ning\u00fan contacto disponible las siguientes acciones pueden ayudar correr la voz en la calle entre amigos familiares publicar anuncios en peri\u00f3dicos publicar anuncios trav\u00e9s de internet tanto en p\u00e1ginas w eb como redes sociales visitar escuelas de m\u00fasica repartir volantes con las vacantes disponibles revisar estudios de grabaci\u00f3n para conocer m\u00fasicos de sesi\u00f3n revisar clubes otros establecimientos donde com\u00fanmente se presentan m\u00fasicos revisar si exi ste alg\u00fan servicio de referencias colocaci\u00f3n laboral para m\u00fasicos en la localidad acciones para encontrar nuevos m\u00fasicos conforme la b\u00fasqueda de m\u00fasicos vaya rindiendo frutos el artist manager analiza la especialidad de los mismos fin de examinar la afinidad de los estilos g\u00e9neros musicales interpretados fin de cuentas los m\u00fasicos tocar\u00e1n el tipo de m\u00fasica que el rtista hace que gusta su audiencia adem\u00e1s el artist manager analiza el nivel de afinidad del m\u00fasico con los dem\u00e1s miembros del equipo despu\u00e9s de todo los miembros de la agrupaci\u00f3n el equipo primario del artista pasan tiempo juntos en todo tipo e situaciones se sienten contentos consigo mismos ya sea que est\u00e9n pasando tiempos haciendo m\u00fasica resolviendo disputas son conscientes de que dependen el uno del otro otro factor relevante es la actitud del postulante para obtener una perspectiva en este punto el artist manager efect\u00faa preguntas cuya finalidad sea indagar en los sentimientos e impresiones del postulante hacia sus labores como m\u00fasico la industria mus ical en general las siguientes preguntas pueden ser de utilidad posee usted alg\u00fan desaf\u00edo para el trabajo en equipo aceptar\u00eda usted el liderazgo de alguien m\u00e1s en su opini\u00f3n cu\u00e1les son sus principales atributos como un m\u00fasico profesional cu\u00e1les sus metas musicales en este momento es usted capaz de ejecutar una serie de tareas paso por paso para alcanzar un objetivo determinado posee el equipamiento adecuado para ejercer sus funciones sin problemas posee usted los medios facilidad de transporte necesarios cu\u00e1l es su experiencia en el g\u00e9nero estilo del artista banda la cual se postula detalles considerar en una entrevista conversaci\u00f3n en su entrevista conversaci\u00f3n el artist manager presta especial enci\u00f3n dos temas espec\u00edficos adicci\u00f3n las drogas la pereza es decir la falta de disposici\u00f3n de practicar ensayar tanto como sea requerido detalles delicados considerar en una entrevista conversaci\u00f3n en ocasiones es pos ible que un miembro de la agrupaci\u00f3n del equipo sugiera un amigo conocido para alguna vacante musical en estos momentos el artist manager recuerda al referente que aunque el referido sea un amigo muy cercano su objetivo es enfocarse en el negocio las necesidades del grupo por lo tanto ese ser\u00e1 el criterio definitivo la hora de tomar una posible decisi\u00f3n para finalizar expondremos algunos criterios que pueden orientar al artist manager en su b\u00fasqueda del equipo musical correcto el m\u00fasico e perfectamente capaz de tocar con el grupo de manera competente el m\u00fasico solo es capaz de tocar bien un instrumento es capaz de interpretar una emoci\u00f3n sentimiento espec\u00edfico es capaz de transmitir una apreciaci\u00f3n favorable tanto al artist manage r como al artista el m\u00fasico posee un estilo particular congruente con el estilo visi\u00f3n del artista criterios para seleccionar el equipo musical correcto esperamos que las recomendaciones criterios anteriormente expuestos brinden gu\u00eda al artist manager en sus esfuerzos por reclutar al equipo perfecto keynotes la contrataci\u00f3n de un m\u00fasico tiene varios fines entre ellos la contrataci\u00f3n de un m\u00fasico acompa \u00f1ante para un artista solista la contrataci\u00f3n del integrante faltante de alguna banda agrupaci\u00f3n musical numerosa el artist manager analiza el nivel de afinidad que el m\u00fasico tendr\u00e1 con los dem\u00e1s miembros del equipo para conocer la actitud del postul ante el artist manager efect\u00faa preguntas cuya finalidad sea indagar en los sentimientos e impresiones del postulante hacia sus labores como m\u00fasico la industria musical en general en su entrevista conversaci\u00f3n el artist manager presta especial atenci \u00f3n dos temas espec\u00edficos adicci\u00f3n las drogas la pereza misi\u00f3n trav\u00e9s de vkonnect contacta al menos una agrupaci\u00f3n musical artista que necesite de la colaboraci\u00f3n de un m\u00fasico para un \u00e1lbum ep una canci\u00f3n solamente ofr\u00e9cete para buscar un m\u00fasico que llene la vacante fin de hacerlo contacta un m\u00ednimo de diez postulantes realiza las preguntas presentes en el contenido did\u00e1ctico al finalizar las entrevistas de los diez postulantes elabora una lista numerada donde el primer postulante sea el mejor perfil el \u00faltimo el menos id\u00f3neo comparte tu lista con el artista banda contactado originalmente comparte los resultados de tu b\u00fasqueda la retroalimentaci\u00f3n del artista banda original en tu vpage en tus redes sociales conclusi\u00f3n una contrataci\u00f3n exitosa augura resulta dos exitosos por esto se requiere una acci\u00f3n efectiva por parte del artist manager mientras adquiera pr\u00e1ctica criterio experiencia su capacidad de brindar resultados satisfactorios aumentar\u00e1 en rapidez eficacia aumenta tu \u00e9xito consideraciones para una correcta selecci\u00f3n de canciones el artista es lo que interpreta con base en esta afirmaci\u00f3n la selecci\u00f3n de las canciones ya sea para la grabaci\u00f3n de un \u00e1lbum para el setlist de un concierto tiene una influencia directa con el mensaje comuni cado la audiencia por lo tanto en el \u00e9xito del artista seg\u00fan autores como david j spangenberg existen cuatro factores influyentes en la selecci\u00f3n de una lista de canciones para un artista los cuales son g\u00e9nero musical estilo musical tales com rock pop rb blues country jazz hip hop entre otros la cantidad de integrantes es decir si es un solista una banda con varios miembros el material trabajado ya sean covers canciones originales la antig\u00fcedad de las canciones trabajadas factores influyentes en la selecci\u00f3n de canciones sin embargo sin importar los factores anteriores los criterios definitivos que las canciones de una selecci\u00f3n exitosa re\u00fanen son los siguientes son memorables es decir causar un im pacto emocional significativo transmiten eficazmente la imagen del artista es decir lo que el artista interpreta la forma en que interpreta m\u00fasica la manera en que se dirige su audiencia c\u00f3mo comporta en p\u00fablico en privado el artista se siente bien al interpretarlas la audiencia debe sentirse identificada con ellas deben causar que posibles empleadores personalidades influyentes en la industria deseen trabajar con el artista criterios definitivos para la selecci\u00f3n de canc iones en ocasiones es necesario efectuar algunos ajustes para que una canci\u00f3n funcione por ejemplo una canci\u00f3n puede ser arreglada fin de corresponder con un determinado estilo g\u00e9nero musical tambi\u00e9n se puede solicitar la ayuda de un compositor fin de escribir una canci\u00f3n con requerimientos espec\u00edficos adquirir la licencia de una canci\u00f3n existente si los objetivos est\u00e1n siendo cumplidos es posible que la selecci\u00f3n de canciones sea la m\u00e1s id\u00f3nea lo cual puede reflejarse en la respuest de la audiencia en este caso conviene intentar un cambio de direcci\u00f3n replantear la estrategia por completo haciendo los cambios que se sientan adecuados alternativas ante el incumplimiento de objetivos la flexibilidad es un ele mento important\u00edsimo para sortear cualquier eventualidad suceso inesperado indeseado adem\u00e1s es posible que la m\u00fasica favorita del artista represente lo que \u00e9l realmente es hablando de su imagen e identidad como artista otro factor importante e la localidad regi\u00f3n donde se comercializar\u00e1 el artista la canci\u00f3n existen lugares m\u00e1s afines un g\u00e9nero musical espec\u00edfico que otros por ejemplo el death metal posiblemente sea el g\u00e9nero musical preferido en ambientes regiones de gustos m\u00e1s conservadores representados en g\u00e9neros como el country el blues las compa\u00f1\u00edas discogr\u00e1ficas necesitan grabar material los artistas pueden proporcionarlo por eso cuando la selecci\u00f3n de canciones procura brindar el material que dichas compa\u00f1\u00edas est\u00e1n buscando sus probabilidades de \u00e9xito se incrementan en relaci\u00f3n este punto resulta \u00fatil solicitar escuchar los consejos de los profesionales que consideramos influyentes de buen criterio en la industria incluyendo artist managers artistas prom otores productores musicales publishers ejecutivos de empresas musicales entre otros por supuesto es preciso tomar los consejos como tal considerarlos mandamientos irrompibles cuya observancia literal debe ser acatada sin dilaci\u00f3n keynotes las canciones seleccionadas para un concierto la grabaci\u00f3n de un \u00e1lbum deben transmitir la imagen del artista las canciones seleccionadas para un concierto la grabaci\u00f3n de un \u00e1lbum deben causar que posibles empleadores personalidades influyentes en la industria deseen trabajar con el artista es posible que la m\u00fasica favorita del artista represente lo que \u00e9l realmente es hablando de su imagen e identidad como artista reto ingresa una vbox soundcloud escucha cinco canciones del mismo artista seg\u00fan tu apreciaci\u00f3n de dichas canciones redacta un ensayo breve donde expongas tu interpretaci\u00f3n de la imagen del artista comparte tus impresiones con dicho artista u otras per sonas conclusi\u00f3n la selecci\u00f3n de canciones puede determinar el \u00e9xito el fracaso de un artista por esta raz\u00f3n los criterios utilizados en su selecci\u00f3n procuran el m\u00e1ximo aprovechamiento posible con la pr\u00e1ctica es posibl e afilar dichos criterios fin de seleccionar canciones con rapidez exp\u00f3n tu mejor faceta art\u00edstica canciones originales versus covers en un momento espec\u00edfico de su carrera un artista se encuentra en uno de tres escenarios posibles interpretando canciones originales combinando los covers con las canciones originales interpretando exclusivamente covers sin importar cu\u00e1l sea el caso es preciso sacar el m\u00e1ximo provecho cada etapa seg\u00fan los objetivos de carrera del artista exponer su mejor faceta para lograrlo estudiaremos algunas consideraciones especialmente relevantes canciones originales bajo este esquema de trabajo el arti sta persigue la interpretaci\u00f3n exclusiva de material original el cual necesariamente debe contar con un elevado potencial de \u00e9xito tanto nivel de grabaci\u00f3n como de interpretaci\u00f3n el primer reto de este escenario es precisamente encontrar material con el potencial necesario qu\u00e9 significa tener el potencial necesario significa la capacidad de una canci\u00f3n de venderse mercadearse por s\u00ed misma sin importar el g\u00e9nero direcci\u00f3n que tome en ocasiones el artista experimenta desaf\u00edos si se enfoca en l canciones que \u00e9l mismo ha compuesto en este contexto la definici\u00f3n de canci\u00f3n original incluye canciones de compositores ajenos la agrupaci\u00f3n que han sido grabadas anteriormente otra opci\u00f3n es la co escritura de una canci\u00f3n lo importante es encontrar el material que re\u00fana los requisitos planteados opciones para encontrar canciones originales una excelente canci\u00f3n puede provenir pr\u00e1cticamente de cualquier fuente buscar en los lugares adecuados contribuye encontrar las opciones adecuadas tener las ideas correctas la audici\u00f3n de un amplio espectro de material sonoro incluyendo una numerosa cantidad de estilos g\u00e9neros musicales tambi\u00e9n son pasos necesarios para encontrar las canciones perfectas como en todas las \u00e1reas relacionadas con la industria musical el networking cumple un rol important\u00edsimo la industria posee una gran cantidad de compositores quienes desean encontrar artistas dispuestos interpretar su m\u00fasica dicho de otra forma si existen compositore deseosos de encontrar artistas que interpreten su m\u00fasica existen artistas en b\u00fasqueda de buenas canciones las posibilidades de obtener un resultado favorable para ambas partes son pr\u00e1cticamente seguras si ambas partes llegan conocerse entre s\u00ed meta en com\u00fan de compositores artistas canciones originales covers la mezcla de canciones originales covers incluye numerosos variados formatos por ejemplo existen bandas que interpretan m\u00fasica original bajo un nombre covers c otro distinto que interpretan canciones originales con un ensamble peque\u00f1o un d\u00fao tr\u00edo covers con una agrupaci\u00f3n m\u00e1s grande que interpretan canciones originales en un formato el\u00e9ctrico covers en uno ac\u00fastico como se puede apreciar la estra tegia en este caso es la diferenciaci\u00f3n de formatos que aprovechen la notoriedad de los covers para introducir la audiencia en el material original de la agrupaci\u00f3n el mezclar canciones originales con covers puede ser una estrategia eficaz despu\u00e9s de odo el artista necesita pagar sus cuentas mientras da conocer su propia m\u00fasica en este aspecto un factor decisivo es la capacidad del artista de generar dinero para los restaurantes bares u otros establecimientos que contratan m\u00fasicos en vivo es lo m\u00e1s importante por encima de la m\u00fasica que el artista toque su estilo de interpretaci\u00f3n fin de levantar una audiencia fiel al material original el artista artist manager pueden incluir canciones originales interpretadas en un estilo g\u00e9nero musi cal acorde con las preferencias de la audiencia de un sitio en espec\u00edfico crear una lista de correos electr\u00f3nicos con la finalidad de compartir informaci\u00f3n relacionada con futuras presentaciones compartir avances de material en el que se est\u00e9 trabajando construir una lista de amigos en internet usando las redes sociales com partir la informaci\u00f3n personal del artista incluyendo correo electr\u00f3nico p\u00e1gina web redes sociales con la finalidad de compartir informaci\u00f3n de futuras presentaciones mercader\u00eda cualquier proyecto relacionado con el artista est rategias para fidelizar una audiencia un material original covers si el artista se dedica exclusivamente realizar covers gran parte de su impacto radica en el estilo que imprima su interpretaci\u00f3n incluyendo su imagen cada cover interpretado debe poseer un equilibrio entre la notoriedad de la canci\u00f3n original para que las personas la reconozcan el estilo particular del artista para apreciar su identidad mensaje independiente a\u00fan as\u00ed existen establecimientos que insisten en interpretar cov ers exactamente igual la canci\u00f3n original fin de brindar las personas las canciones del momento en un formato conocido caracter\u00edsticas ideales de un cover keynotes una canci\u00f3n con potencial tiene la capacidad de venderse merc adearse por s\u00ed misma sin importar el g\u00e9nero direcci\u00f3n que tome buscar canciones en los lugares adecuados contribuye encontrar las opciones adecuadas tener las ideas correctas si el artista se dedica exclusivamente realizar covers gran parte e su impacto radica en el estilo que imprima su interpretaci\u00f3n incluyendo su imagen reto trav\u00e9s de vkonnect contacta un artista banda que interprete canciones originales covers exclusivamente covers indaga la forma en que dicho artista obtiene financiamiento incluyendo sus estrategias para introducir su p\u00fablico las canciones ori ginales su estilo particular de interpretar los covers redacta un ensayo explicando la estrategia del artista contactado su apreciaci\u00f3n sobre el \u00e9xito de la misma realiza dos tres sugerencias para expandir su carrera art\u00edstica tiempo disponible minutos conclusi\u00f3n cuando el artista tiene objetivos claros est\u00e1 preparado para implementar la estrategia que mejor le permita cumplirlos ya sea interpretando covers canciones originales una combinaci\u00f3n de ambos encuentra tu artist manager pasos para obtener una audici\u00f3n entrevista para un artista encontrar el artist manager adecuado puede ser una tarea ardua sin embargo con el procedimiento adecuado la persistencia preparaci\u00f3n necesarias la b\u00fasqueda puede resultar fruct\u00edfera concretando as\u00ed exitosamente una entrevista audici\u00f3n el procedimiento infalible para encontrar un artist manager existe sin embargo existen pasos acciones tomar que han demostrado ser exitosas las cuales podemos resu mir de la siguiente forma tener cuidado el artista debe tener cuidado con los ofrecimientos que un artist manager puede hacer un artist manager nunca ofrece firmar un contrato un total extra\u00f1o en primera instancia esperan conocer m\u00e1s al artista que el artista les conozca mejor aunque el mercado est\u00e1 lleno de artist managers honestos capaces tambi\u00e9n existen personas enfocadas en trabajar apresuradamente prometiendo improbables contratos giras en un primer contacto es preciso tener cuidado de las decisiones impulsivas en algo tan serio como la gesti\u00f3n de una carrera art\u00edstica una excelente forma de identificar un posible artist manager deshonesto en el mejor de los casos incompetente es preguntar c\u00f3mo llevar\u00e1 cabo las promesas realizada qu\u00e9 acciones concretas planea llevar cabo para gestionar su carrera una respuesta profesional ser\u00eda puedo garantizar nada en este momento pero por lo que visto escuchado creo que tienes potencial gustar\u00eda explorar las posibilidades de trabajar juntos precauci\u00f3n ante un posible artist manager incompetente dar los primeros pasos antes de conocer un artist manager el artista identifica claramente sus necesidades de esta forma se prepara para un futuro encuent ro con un artist manager continuaci\u00f3n encontraremos algunas preguntas \u00fatiles d\u00f3nde quiero llegar con mi carrera art\u00edstica debo enfocarme m\u00e1s en grabaciones debo enfocarme m\u00e1s en presentaciones en vivo debo dedicar m\u00e1s tiempo componer canciones debo atender todo la vez las respuestas dichas preguntas arrojar\u00e1n luz sobre las necesidades de contrataci\u00f3n del artista pues cada una apunta un rol en espec\u00edfico tales como un productor un agente e booking un publisher un artist manager preparaci\u00f3n para un primer encuentro con un artist manager estar listo en la mayor\u00eda de los casos los profesionales de la industria conceden una \u00fanica oportunidad para una audici\u00f3n si el rtista se encuentra listo solo habr\u00e1 perdido la oportunidad sino que estar\u00eda cerrando m\u00e1s puertas de las que podr\u00eda abrir la clave del \u00e9xito se trata de estar listo e incluso de saber cu\u00e1ndo es el caso fin de desperdiciar oportunidades preparaci\u00f3n para una audici\u00f3n obtener informaci\u00f3n encontrar un artist manager implica conocer el medio es preciso recaudar toda la informaci\u00f3n posible sobre los profesionales de la industria del entretenimiento incluyendo ejecutivos de compa\u00f1\u00edas discogr\u00e1ficas agente de booking agents publishers aboga dos business managers quienes poseen los contactos que necesitamos otros recursos pueden ser organizaciones como la conference personal managers la cual provee informaci\u00f3n de sus miembros as\u00ed como instrucciones para su contacto por supuesto dicha listas bases de datos contienen el contacto de todos los profesionales de la industria muchos de ellos especialmente los m\u00e1s ocupados optan por dar conocer su informaci\u00f3n personal trav\u00e9s de este tipo de plataformas obte nci\u00f3n de informaci\u00f3n acerca de la industria musical por otro lado los nombres presentes en dichas listas deben considerarse en todos los casos como profesionales competentes capaces el artista debe asumir que son las mejores opciones inclu que son las \u00fanicas disponibles keynotes un artist manager nunca ofrece firmar un contrato un total extra\u00f1o en primera instancia esperan conocer m\u00e1s al artista que el artista les conozca mejor la clave del \u00e9xito se trata de estar listo e inclus de saber cu\u00e1ndo es el caso los nombres presentes en dichas listas de contactos deben considerarse en todos los casos como profesionales competentes capaces el artista debe asumir que son las mejores opciones incluso que son las \u00fanicas disponibles reto contacta un artista que haya ejecutado los pasos indicados en el contenido did\u00e1ctico p\u00eddele que relate su experiencia comp\u00e1rtela trav\u00e9s de vkonnect otros medios sociales tiempo disponible minutos conclusi\u00f3n la ejecuci\u00f3n de los pasos indicados aumenta las posibilidades del artista de obtener una audici\u00f3n entrevista al ejecutarlos con conciencia enfoque preparaci\u00f3n estar\u00e1 cimentando el inicio de una carrera fruct\u00edfera encuentra tu artist manager actitud desenvolvimiento correctos en una entrevista audici\u00f3n la obtenci\u00f3n de una reuni\u00f3n entrevista es el fin del camino desenvolverse en una reuni\u00f3n de manera impecable brindar una excelente primera impresi\u00f3n e ntentarlo de nuevo seg\u00fan sea necesario son acciones b\u00e1sicas para asegurar el \u00e9xito de un artista en encontrar al artist manager que necesita continuaci\u00f3n se brindar\u00e1n recomendaciones vitales fin de construir una imagen art\u00edstica profesional impecab le su observaci\u00f3n aumenta las probabilidades de \u00e9xito en las gestiones del artista por dar el siguiente paso en el desarrollo de su carrera conseguir una reuni\u00f3n los artist manager m\u00e1s destacados suelen estar rodeados de un grupo de asistentes cuya funci \u00f3n es mantener un muro entre s\u00ed mismos los artistas deseosos de cazar unos minutos de su tiempo como artistas es preciso evitar el des\u00e1nimo al contrario debemos enfocarnos en capturar la atenci\u00f3n del n\u00facleo cercano al artist manager incluso la de otros profesionales que hayan trabajado con \u00e9l cuyo criterio respete existen abogados que ofrecen el servicio de escuchar artistas novatos modo de pre audici\u00f3n en caso de despertar una respuesta favorable dichos abogados hablar\u00e1n con los artist manager que conocen fin de dar su recomendaci\u00f3n esta opci\u00f3n debe tomarse con mucho cuidado dado que aunque existen profesionales que viven bajo un c\u00f3digo de \u00e9tica llevan cabo estos servicios correctamente existen otros que pueden valerse de esta op ortunidad para fines poco fiables otra opci\u00f3n puede ser escribir contactar directamente al artist manager aunque es la opci\u00f3n m\u00e1s exitosa opciones para obtener una reuni\u00f3n con un artist manager brindar una buena impresi\u00f3n mientras m\u00e1s activo sea el artista m\u00e1s oportunidades tendr\u00e1 de captar la atenci\u00f3n de las personas que abrir\u00e1n las puertas necesarias para su carrera dejar una buena impresi\u00f3n significa causar curiosidad acerca de uno mismo lo cual implica preparaci\u00f3n rganizaci\u00f3n enfoque al negocio continuaci\u00f3n listaremos algunas recomendaciones para transmitir una excelente primera impresi\u00f3n entregar una carta de presentaci\u00f3n que incluya referidos relevantes una breve rese\u00f1a del artista las actividades que ha desempe\u00f1ado en el medio una fotograf\u00eda del artista una breve declaraci\u00f3n de metas necesidades de gesti\u00f3n un poco del material del artista mantener una actitud profesional la cual se demuestra en el enfoque en el negocio un entendimiento b\u00e1sico bre la importancia de la organizaci\u00f3n una gesti\u00f3n adecuada as\u00ed como expectativas adecuadas sobre lo que un artist manager puede puede hacer recomendaciones para transmitir una excelente primera impresi\u00f3n intentar una otra z nada sucede mientras las cosas pasen si la entrevista con el artist manager fue insatisfactoria es preciso continuar la b\u00fasqueda incluso cuando el artista tiene talento ha dejado una buena impresi\u00f3n pero ha conseguido un acuerdo con el artist manager debe pedir referencias de otros artist managers personas influyentes en la industria adem\u00e1s si un artist manager demuestra inter\u00e9s pero puede tomar un artista en un determinado momento podr\u00eda hacerlo m\u00e1s adelante en un entorno tan camb iante como la industria musical es preciso mantener las puertas abiertas tanto como sea posible acciones para mantener la b\u00fasqueda de artist manager keynotes los artist manager m\u00e1s destacados suelen estar rodeados de un grupo de asistentes cuya funci\u00f3n es mantener un muro entre s\u00ed mismos los artistas deseosos de cazar unos minutos de su tiempo existen abogados que ofrecen el servicio de escuchar artistas novatos modo de preaudici\u00f3n mientras m\u00e1s activo sea el artista m\u00e1s opor tunidades tendr\u00e1 de captar la atenci\u00f3n de las personas que abrir\u00e1n las puertas necesarias para su carrera cuando el artista tiene talento ha dejado una buena impresi\u00f3n pero ha conseguido un acuerdo con el artist manager debe pedir referencias de otr os artist managers personas influyentes en la industria misi\u00f3n obt\u00e9n una reuni\u00f3n con un artist manager aplica los principios abordados en el contenido did\u00e1ctico redacta un ensayo explicando tu experiencia recuerda identificar las \u00e1reas de mejora proponer sus respectivos planes de mejoramiento comparte tu ensayo trav\u00e9s de vkonnect otros medios sociales tiempo disponible horas sin contar el networking conclusi\u00f3n medida que el artista se prepare sea profesional permanezca en la b\u00fasqueda de oportunidades esta eventualmente terminar\u00e1 llegando con paciencia constancia esfuerzo disciplina el artista se enfoca en su cometido de estar listo para cuando la oca si\u00f3n lo requiera secci\u00f3n las bases de una relaci\u00f3n exitosa entre artista artist manager cimenta una relaci\u00f3n exitosa reuni\u00f3n exploratoria entre artista artist manager las bases de la relaci\u00f3n entre el artista el artist manager se cimentan desde el primer momento sin embargo es posible saber exactamente c\u00f3mo hacerlo fin de tomar la decisi\u00f3n correcta en cuanto al artist manager que acompa\u00f1ar\u00e1 al artista en su ca rrera es preciso realizar una primera reuni\u00f3n exploratoria obtener la informaci\u00f3n necesaria para tomar una decisi\u00f3n la reuni\u00f3n exploratoria es un momento donde el artista el artist manager en calidad de prospectos buscan conocerse mejor obtener el otro la informaci\u00f3n necesaria para considerar una posible colaboraci\u00f3n fin de sacar el m\u00e1ximo provecho de dicha reuni\u00f3n se espera que ambos roles vayan preparados con preguntas metas informaci\u00f3n obtener entre otros la firma de un contrato la estipulaci\u00f3n de detalles contractuales relacionados con la carrera del artista forma parte de la agenda de una reuni\u00f3n exploratoria reuni\u00f3n exploratoria entre artista artist manager continuaci\u00f3n evaluaremos algunos el ementos claves que el artista considera modo de preparaci\u00f3n para la reuni\u00f3n exploratoria preparaci\u00f3n de preguntas antes de la reuni\u00f3n el artista prepara las preguntas que har\u00e1 al artist manager las respuestas pueden guiar la reuni\u00f3n proporcionar al artista la visi\u00f3n necesaria para dirigir sus acciones autores como xavier frascogna proponen las siguientes preguntas cu\u00e1n envuelto comprometido siento con este manager cu\u00e1l la experiencia de este manager con qu\u00e9 artistas ha trabajado qu\u00e9 quiero exactamente que haga por mi carrera es el manager correcto para mi carrera para m\u00ed tendr\u00e1 suficiente tiempo para dedicar mi carrera tomar\u00e1 toda la responsabilidad por mi carrera compartir\u00e1 asignaciones con otras personas evaluaci\u00f3n del artist manager realizada por el artista definici\u00f3n de los motivos del establecimiento de una relaci\u00f3n profundizando en la primera pregunta de la lista anterior es preciso identificar con claridad los motivos por los cua les el artista decidir\u00eda entablar una relaci\u00f3n con un artist manager en espec\u00edfico evaluaci\u00f3n de los motivos para contratar un artist manager en espec\u00edfico un posible motivo puede ser una relaci\u00f3n de amistad cercan\u00eda afectiva el cual puede considerarse un plus sin embargo se considera un motivo determinante indispensable los postulantes artist manager que sean amigos conocidos del artista deben recibir el mismo trato que el resto de los postulantes por supuesto es im portante que el artista se sienta c\u00f3modo con el artist manager que dirija su carrera que exista entre ambos una relaci\u00f3n de cordialidad profesional una excelente forma de cimentar la confianza es analizar si el artist manager es una referencia recomen daci\u00f3n de alg\u00fan otro profesional en la industria en caso de que lo sea el artista conf\u00ede en el criterio de esa persona con seguridad se sentir\u00e1 m\u00e1s confiado en torno al artist manager referido experiencia del artist manager el artista se prepara para indagar acerca de la experiencia del artist manager tanto directamente en la reuni\u00f3n exploratoria como de manera indirecta trav\u00e9s de otros profesionales de la industria existen algunas formas espec\u00edficas de lograr este cometido el grado nivel acad\u00e9 mico de un artist manager puede ser un reflejo de su experiencia capacidad por supuesto la industria musical requiere grados t\u00edtulos para ser exitoso cuando se tiene el talento se trabaja arduamente sin embargo un grado acad\u00e9mico un t\u00edtulo u niversitario puede ser un plus de importancia en un artist manager por ejemplo un artist manager con un t\u00edtulo en contadur\u00eda derecho administraci\u00f3n de empresas es capaz de ofrecer al artista un valioso soporte en los aspectos contables legales de n egocios en su carrera por otro lado el contar con un t\u00edtulo en psicolog\u00eda puede evidenciar facilidad talento experiencia conocimientos para solucionar problemas relacionados con el factor humano de la carrera del artista el factor m\u00e1s importante par considerar la experiencia de un artista es su reputaci\u00f3n puede ser determinada al indagar entre otros profesionales de la industria acerca de la carrera comportamiento del artist manager en particular las preguntas deben estar orientadas hacia elemen tos como las habilidades del artist manager el respeto que goza en la industria que profesa hacia otros profesionales la integridad que posee la honestidad de sus tratos entre otros una consideraci\u00f3n final ser\u00eda la afiliaci\u00f3n del postulante algun organizaci\u00f3n gremio de artist managers lo cual pueda evidenciar sus posibles conexiones en la industria indicadores de experiencia del artist manager keynotes fin de sacar el m\u00e1ximo provecho de la reuni\u00f3n exploratoria se esper que el artista el artist manager vayan preparados con preguntas las respuestas las preguntas del artista pueden guiar la reuni\u00f3n exploratoria proporcionarle la visi\u00f3n necesaria para dirigir sus acciones una excelente forma de cimentar la confianz es analizar si el artist manager es una referencia recomendaci\u00f3n de alg\u00fan otro profesional en la industria un artist manager con un t\u00edtulo en contadur\u00eda derecho administraci\u00f3n de empresas es capaz de ofrecer al artista un valioso soporte en los aspectos contables legales de negocios en su carrera misi\u00f3n trav\u00e9s de vkonnect contacta un artist manager un profesional de la industria que haya efectuado desee efectuar labores de artist manager re\u00fanete con \u00e9l efect\u00faa un breve simulacro de reuni\u00f3n exploratoria bas\u00e1ndote en los factores estudiados en el contenido did\u00e1ctico al finalizar responde la siguientes preguntas trabajar\u00edas con \u00e9l por qu\u00e9 cu\u00e1les fueron los aspectos que te hicieron sentir comodidad incomodidad redacta un ensayo compartiendo tu experiencia eval\u00faa tu desempe\u00f1o en la reuni\u00f3n exploratoria identifica tus \u00e1reas de mejor elabora planes de mejoramiento para cada una de ellas conclusi\u00f3n cuando la relaci\u00f3n entre el artista el artist manager presenta cimientos fuertes las probabilidades de \u00e9xito para ambos aumentan la reuni\u00f3n exploratoria brinda la oportunidad de comenzar con el pie de derecho la pr\u00e1ctica disciplina experiencia con stancia ser\u00e1n los elementos necesarios para sacar dicha reuni\u00f3n el m\u00e1ximo provecho posible prep\u00e1rate para tu reuni\u00f3n exploratoria objetivos de carrera compatibilidad con el artist manager las reuniones exploratorias permiten al artista conocer al p rospecto de artist manager cuya postulaci\u00f3n est\u00e1 considerando fin de sacar el m\u00e1ximo provecho dicha reuni\u00f3n obtener la colaboraci\u00f3n del mejor artist manager el artista aborda los temas necesarios que le permitir\u00e1n dilucidar si dicho postulante es e l indicado para dirigir su carrera continuaci\u00f3n analizaremos dos puntos importantes tratar durante la reuni\u00f3n exploratoria entre artista artist manager claridad de los objetivos de carrera del artista menos que el artista vaya la reuni\u00f3n explo ratoria con sus objetivos de carrera bien definidos ser\u00e1 dif\u00edcil ubicar la utilidad espec\u00edfica del artist manager corriendo el riesgo de desarrollar una reuni\u00f3n carente de objetivos prop\u00f3sitos claros en caso de contratar un artist manager en estas c ircunstancias la relaci\u00f3n podr\u00eda desembocar en diferencias filos\u00f3ficas de criterio la larga esto podr\u00eda traducirse en tiempo perdido u otro tipo de problemas relaci\u00f3n entre la carencia de objetivos la p\u00e9rdida de tiempo seg\u00fan frascogna hetherington si las metas de carrera son claras las solicitudes para el artist manager tambi\u00e9n lo ser\u00e1n incluso la idea es precisamente que al poner al tanto al artist manager de las metas de carrera del artista ambos puedan discutir idea para alcanzarlas en estos momentos el artista debe alarmarse en caso de que surjan desacuerdos podr\u00eda reflejar que el artist manager est\u00e1 realmente interesado en cubrir todos los espacios de error que puedan existir adem\u00e1s puede ampliar la perspe ctiva del artista al traer colaci\u00f3n temas formas v\u00edas opciones que hayan sido consideradas previamente despu\u00e9s de todo esta actitud tambi\u00e9n puede ser un reflejo del inter\u00e9s del artist manager en la carrera del artista esta es una buena se\u00f1al de profesionalismo inter\u00e9s del artist manager en la carrera del artista es probable que tras un largo escrutinio algunas de las metas del artista la totalidad de ellas cambien dependiendo de las nuevas variables estudiadas si es el caso dicho escenario representa un excelente ejercicio para evaluar el inter\u00e9s compromi experiencia conocimiento criterio de un artist manager idoneidad del artist manager seg\u00fan los objetivos de carrera del artista una de las preguntas m\u00e1s importantes que todo artista debe hacerse en relaci\u00f3n al artist manager es c\u00f3mo s\u00e9 que este anager es conveniente para mi carrera para m\u00ed al pensar en la respuesta dicha pregunta tengamos en cuenta que los desacuerdos necesariamente son negativos es probable que el artista tenga ideas preconcebidas acerca del rol de un artist manager de la forma en que mejorar\u00e1 trabajar\u00e1 su carrera la pregunta anteriormente formulada permite meditar en las ideas preconcebidas exponerlas la luz de la informaci\u00f3n recabada durante la reuni\u00f3n exploratoria relaci\u00f3n entre las ide preconcebidas del artista una nueva perspectiva de trabajo la nueva perspectiva adquirida por el artista podr\u00eda ser un reflejo positivo de la idoneidad de un postulante artist manager en concreto incluso el artista debe evitar el temor de un cam bio de objetivos es probable que la conversaci\u00f3n con el artist manager arroje luz sobre las verdaderas necesidades del artista sea un abogado contador u otro profesional que se haya contemplado anteriormente como artistas recordemos que las reunion es de exploraci\u00f3n son momentos evaluaci\u00f3n mutua el artist manager examina nuestros objetivos minuciosamente puede se\u00f1alar muchas \u00e1reas de mejor\u00eda pero nosotros tambi\u00e9n estamos evaluando su capacidad de an\u00e1lisis de cubrir los detalles necesarios para alcanzar el \u00e9xito del artista su vez constituye una protecci\u00f3n dado que si existir\u00e1 alg\u00fan problema relevante con el artist manager es mejor saberlo antes de que exista un contrato keynotes si las metas de carrera son claras las solicitudes para el artist manager tambi\u00e9n lo ser\u00e1n durante la reuni\u00f3n exploratoria el artista debe alarmarse en caso de que surjan desacuerdos podr\u00eda reflejar que el artist manager est\u00e1 realmente interesado en cubrir todos los espacios err\u00e1ticos que puedan existir es probable que la conversaci\u00f3n con el artist manager durante la reuni\u00f3n exploratoria arroje luz sobre las verdaderas necesidades del artista misi\u00f3n trav\u00e9s de vkonnect contacta un artist manager un profesional de la industria que haya efectuado desee efectuar labores de artist manager re\u00fanete con \u00e9l realiza un breve simulacro de reuni\u00f3n exploratoria bas\u00e1ndote en los factores estudiados en el contenido did\u00e1ctico al finalizar responde las siguientes preguntas cu\u00e1les fueron los hipot\u00e9ticos ob jetivos de carrera que como artista definiste antes de la reuni\u00f3n tus objetivos sufrieron cambios tras la reuni\u00f3n con el artista manager en caso de ser afirmativo por qu\u00e9 redacta un ensayo compartiendo tu experiencia eval\u00faa tu desempe\u00f1o en la reu ni\u00f3n exploratoria identifica tus \u00e1reas de mejora elabora planes de mejoramiento para cada una de ellas conclusi\u00f3n la correcta preparaci\u00f3n de un artista en relaci\u00f3n su reuni\u00f3n exploratoria con un p ostulante artist manager es un factor crucial en la selecci\u00f3n del mismo la fijaci\u00f3n de metas espec\u00edficas la apertura de pensamiento permiten buscar las mejores soluciones optimizando tiempo esfuerzo cimentando as\u00ed una relaci\u00f3n profesional s\u00f3lida eficaz selecciona al artist manager correcto conflictos de inter\u00e9s compensaci\u00f3n e inter\u00e9s del artist manager durante una reuni\u00f3n exploratoria el artista debe prepararse para un pensamiento bipartito es decir pensar en dos cosas la vez la informaci\u00f3n que brinda al artist manager su propia evaluaci\u00f3n del interlocutor dicha acci\u00f3n puede abrumar al artista menos que tenga un enfoque de c\u00f3mo evaluar correctamente al artist manager aprenderemos abordar la compensaci\u00f3n del artist manager los conflictos de inter\u00e9s el propio inter\u00e9s del artist manager con el artista fin de determinar su idoneidad para irigir la carrera del mismo las reuniones de exploraci\u00f3n permiten abordar numerosos escenarios con la confianza de que al haber un contrato firmado existen compromisos asumidos continuaci\u00f3n estudiaremos dos puntos abordados durante dichas reun iones compensaci\u00f3n del artist manager naturalmente uno de los puntos claves es la remuneraci\u00f3n del artist manager en este apartado podemos guiarnos por las siguientes consideraciones las tarifas formas frecuencia de pago son tan variadas como la dustria musical la forma de pago promedio es pagar un porcentaje de las ganancias netas del artista ubicado entre el el por ciento en algunos casos debido circunstancias particulares como la reputaci\u00f3n del artist manager la falta de trayec toria del artista dicho porcentaje puede ubicarse por encima del por ciento otra modalidad consiste en un porcentaje basado en un rango dependiente de los ingresos brutos dependiendo del poder de negociaci\u00f3n de las partes dicho rango puede tener u na determinada amplitud una modalidad adicional consiste en el pago de un monto fijo ya sea mensual quincenal semanal esta modalidad es com\u00fan cuando los ingresos del artista son suficientes para cubrir un porcentaje aceptable para el artist manage r por supuesto en cuanto los ingresos se levanten es posible modificar la forma de pago para ajustarlo al cl\u00e1sico esquema basado en porcentajes una modalidad inusual consiste en retener los pagos al artist manager hasta que el artista haya alcanzado un nivel de ingresos predeterminado en este momento el artist manager toma sus ingresos basado en un porcentaje privilegiado u otras condiciones favorables para \u00e9l debido al tiempo sin ingresos consideraciones acerca de la compensaci\u00f3n del artist manager conflictos de inter\u00e9s la relaci\u00f3n entre un artista un artist manager puede dar pie al surgimiento de conflictos de inter\u00e9s por ejemplo un artist manager podr\u00eda fungir tambi\u00e9n como productor publisher tener su propio estudio de grabaci\u00f3n ser instrumentista cumplir cualquier otro rol dentro del equipo primario del artista posibles conflictos de inter\u00e9s en el artist manager en esta situaci\u00f3n el artist manager podr\u00eda desechar la opci\u00f3n de estudiar otras opc iones nivel de producci\u00f3n musical publishing estudio de grabaci\u00f3n m\u00fasicos de sesi\u00f3n cualquier otra necesidad debido que desea conservar el rol para s\u00ed asegurarse m\u00e1s ganancias personales adem\u00e1s de las que le corresponden por su trabajo como art ist manager incluso el artist manager podr\u00eda tener familiares amigos cercanos cuyas opciones favorezca por encima de las m\u00e1s id\u00f3neas para el artista por supuesto dicha situaci\u00f3n necesariamente es perjudicial para el artista si ambas partes as\u00ed lo convienen el hecho de que un artist manager posea un estudio podr\u00eda facilitar su utilizaci\u00f3n para su artista lo importante es que el conocimiento de dichas situaciones sea claro para ambas partes con frecuencia algunos acuerdos establecen condiciones para que el artist manager cumpla otras funciones adicionales la posibilidad de conflicto de inter\u00e9s es una de las mejores oportunidades que tiene el artista de evaluar al postulante artist manager en caso de que el artist manager exhiba una actitud cautelosa se enfoque en condiciones reglas que le permitan ocultar posibles conflictos de inter\u00e9s que se preocupe por exponerlos solucionarlos es se\u00f1al suficiente para que el artista considere entablar conversaciones con otro artist manager inter\u00e9s en el artista relacionado con el punto anterior el artista puede evaluar al artist manager partir de la exhaustividad de su investigaci\u00f3n un artist manager competente asiste la reuni\u00f3n exploratoria esperando conocer todo del artista aspectos profesionales creativos laborales financieros personales le resulta necesario conocer si el artista tiene deudas seguro de vida seguro de transporte afiliaciones grupos espec\u00edficos cualquier otra informaci\u00f3n que considere relevante de hecho un artist manager competente siempre asiste la reuni\u00f3n exploratoria con un plan despu\u00e9s de todo la gesti\u00f3n de una carrera implica precisamente eso tener un plan un artist manager que se preocupe demasiado en la reuni\u00f3n exploratoria por obtener informaci\u00f3n del artista puede ser una se\u00f1al de un artist manager despreocupado poco interesado relaci\u00f3n entre el inter\u00e9s del artist manager su competencia keynotes uno de los puntos clave durante una reuni\u00f3n exploratoria es la compensaci\u00f3n del artist manager la posibilidad de conflicto de inter\u00e9s es una de las mejores oportunidades que tiene el artista de evaluar al postulante artist manager un artist manager que se preocupe demasiado en la reuni\u00f3n exploratoria por obtener informaci\u00f3n del artista puede ser una se\u00f1al de un artist manager despreocupado poco interesado misi\u00f3n trav\u00e9s de vkonnect contacta un artist manager un profesional de la industria que haya efectuado desee efectuar labores de artist manager al finalizar responde las siguientes preguntas cu\u00e1l fue l modalidad de compensaci\u00f3n acordada por qu\u00e9 se ubicaron todos los posibles conflictos de inter\u00e9s cu\u00e1l fue la actitud del artista manager hacia ellos cu\u00e1l fue el nivel de inter\u00e9s que el artist manager demostr\u00f3 hacia ti como artista qu\u00e9 impresi\u00f3n te causa redacta un ensayo compartiendo tu experiencia eval\u00faa tu desempe\u00f1o en la reuni\u00f3n exploratoria tiempo disponible horas sin contar el networking conclusi\u00f3n el inter\u00e9s del artist manager en su artista es clave para hacer su trabajo correctamente gracias los elementos estudiados en el contenido did\u00e1ctico l criterio sentido observador del artista es posible identificar al perfil de artist manager comprometido profesional el cual llevar\u00e1 satisfactoriamente la carrera del artista hacia el cumplimiento de los objetivos se\u00f1alados toma la decisi\u00f3n correc ta dos criterios de evaluaci\u00f3n de un artista debido la experiencia un artist manager veterano sabe c\u00f3mo escoger sus clientes sin embargo c\u00f3mo puede saberlo un artist manager novato en qu\u00e9 criterios puede basarse para seleccionar sus clientes continuaci\u00f3n se analizar\u00e1n dos criterios b\u00e1sicos para la evaluaci\u00f3n de un prospecto de artista durante la reuni\u00f3n exploratoria de esta forma el artist manager evaluar\u00e1 con propiedad al artista con la finalidad de determinar si trabajar\u00e1 con \u00e9l durante la reuni\u00f3n exploratoria el artist manager procura conocer profundidad al artista tanto de forma personal como en sus asuntos legales econ\u00f3micos m\u00e9dicos para ayudarnos con esto estudiaremos dos criterios de evaluaci\u00f3n el desarrollo de la carr era del artista hasta el momento de la reuni\u00f3n la compatibilidad entre ambos desarrollo de la carrera del artista fin de visualizar mejor la direcci\u00f3n tomar en su carrera de evaluar el pasado de la misma el artist manager procura en primer lugar identificar la ubicaci\u00f3n actual de la carrera del artista es decir el presente conociendo su presente puede entender su pasado visualizar mejor un hipot\u00e9tico futuro en caso de que el artista haya sido referido por una persona cercana al artist mana ger como un asistente profesional de confianza es preciso llamar al referente solicitar las razones que justifiquen la referencia de ese artista en particular esta conversaci\u00f3n permite conocer detalles acerca del trasfondo art\u00edstico del artista as\u00ed como de sus fortalezas posibles oportunidades en la industria al mismo tiempo trav\u00e9s de dichas llamadas es posible crear un mapa de la carrera del artista hasta el momento contactando si se considera necesario las personas que hayan trabajado con dicha persona el resultado es una visi\u00f3n general de un recorri art\u00edstico dando al artist manager una visi\u00f3n m\u00e1s clara acerca de la ubicaci\u00f3n actual de la carrera del prospecto ejemplo de mapa de carrera del artista compatibilidad entre artista artist manager la compatibilidad se relaciona c las fortalezas del artist manager en la industria musical su relaci\u00f3n con el estilo filosof\u00eda posibles obligaciones del prospecto de artista un artist manager consciente de sus debilidades fortalezas posee una perspectiva clara acerca de la idon eidad de trabajar con un determinado artista la reuni\u00f3n exploratoria brinda la oportunidad de unificar criterios en cuanto lo que el artista es hace por ejemplo un artista podr\u00eda verse s\u00ed mismo como un exponente del g\u00e9nero urbano con letras rom\u00e1n ticas pero con ritmos bailables en cambio el artist manager podr\u00eda fijarse en su calidad vocal la letra de sus canciones para perfilarlo como un baladista con algunas canciones bailables ambos enfoques aunque cercanos tienen implicaciones distintas en cuanto imagen proyecci\u00f3n de negocio metas direcci\u00f3n de la carrera del artista debido esto fin de evitar futuros conflictos el artist manager unifica sus criterios con el artista fin de que ambos est\u00e9n en la misma p\u00e1gina en cuanto lo que el artista es representa unificaci\u00f3n de criterios entre el artist el artist manager keynotes en caso de que el artista haya sido referido por una persona cercana al artist manager como un asistente profesional de confianza es preciso llamar al referente solicitar las razones que justifiquen la referencia de ese artista en particular la comp atibilidad se relaciona con las fortalezas del artist manager en la industria musical su relaci\u00f3n con el estilo filosof\u00eda posibles obligaciones del prospecto de artista un artist manager consciente de sus debilidades fortalezas posee una perspectiv clara acerca de la idoneidad de trabajar con un determinado artista reto trav\u00e9s de vkonnect contacta un artista realicen un simulacro de reuni\u00f3n exploratoria en la cual indagar\u00e1s tu compatibilidad con el artista trazar\u00e1s un posible mapa de car rera seg\u00fan las siguientes acciones real\u00edzale al artista todas las preguntas que necesites para hacerlo transcribe las preguntas utilizadas as\u00ed como las respuestas dadas comparte tu resultado por tus redes sociales especialmente con otros profesional es de la industria trav\u00e9s de vkonnect tiempo disponible minutos sin contar el tiempo para el networking conclusi\u00f3n al considerar los criterios anteriormente expuestos el artist manager posee dos valiosas herramientas para decidir si debe trabajar con un artista en espec\u00edfico la experiencia la pr\u00e1ctica otorgar\u00e1n el criterio necesario para afilar dichos criterios sacarles el m\u00e1ximo provecho posible toma la decisi\u00f3n correcta tres criterios de evaluaci\u00f3n de un artista debido la importancia de dicha reuni\u00f3n son variados los criterios de evaluaci\u00f3n disponibles para que el artist manager eval\u00fae un prospecto de artista tres de los m\u00e1s importantes son la compensaci\u00f3n del artist manager la situaci\u00f3n legal financiera m\u00e9dica del artista as\u00ed como su relaci\u00f3n personal con el artist manager dependiendo de la informaci\u00f3n suministrada por el artista en estos criterios el artist manager tendr\u00e1 las herramientas necesarias para tomar una decisi\u00f3n acertada compensaci\u00f3n del artist manager aunque la reuni\u00f3n exploratoria tiene como fin la firma de un contrato con un sistema de remuneraci\u00f3n definido es el momento perfecto para que el artist manager se forme una idea de c\u00f3mo ser\u00e1 su compensaci\u00f3n al conocer al artista su tra sfondo sus posibilidades tendr\u00e1 una idea de las cartas que estar\u00e1n sobre la mesa durante el proceso de negociaci\u00f3n de tarifas en caso de que producto de la informaci\u00f3n obtenida en la reuni\u00f3n el artist manager tenga deseos de trabajar con ese artista debe analizar muy bien sus metas requerimientos de tiempo acciones tomar para la consecuci\u00f3n de los objetivos especialmente si tiene otros clientes la idea es que el acuerdo de remuneraci\u00f3n sea consistente en la relaci\u00f3n gastos ganancias si el artist manager tiene varios clientes puede categorizarlos seg\u00fan el estado de su carrera fin de acomodar su negocio sin importar en qu\u00e9 punto de carrera se encuentre el artista que desee agregar como cliente por ejemplo podr\u00eda tener artistas ubic ados en las siguientes tres categor\u00edas inicio de carrera artistas sin un estado financiero consolidado ni una proyecci\u00f3n de ingresos retorno de inversi\u00f3n clara carrera en ascenso artistas con un estado financiero en desarrollo cuyas proyecciones de ingresos retorno de inversi\u00f3n son positivas carrera consolidada artistas con un estado financiero consolidado los cuales generan ingresos peri\u00f3dicamente categorizaci\u00f3n del portafolio de inversi\u00f3n del artist manager un artist mana ger puede crear un portafolio de inversi\u00f3n al poseer en su cartera diferentes artistas ubicados en cada una de las categor\u00edas mencionadas sin embargo esto quiere decir que sea una pr\u00e1ctica recomendable debido la carga de tiempo que puede supone r para un artist manager gestionar la carrera de varios artistas m\u00e1s cuando algunos est\u00e1n rindiendo mayores resultados que otros por lo tanto la pr\u00e1ctica del portafolio de inversi\u00f3n debe ser considerada con sumo cuidado situaci\u00f3n legal financiera m\u00e9 dica del artista fin de determinar la situaci\u00f3n legal m\u00e9dica financiera del artista se recomienda la formulaci\u00f3n de la siguiente lista de preguntas hace usted negocios con una entidad legalmente constituida sea compa\u00f1\u00eda propiedad inversi\u00f3n soci edad empresa de responsabilidad limitada proyecto conjunto cualquier otra posee usted un acuerdo actualmente vigente con otros profesionales de la industria sean publishers agentes de booking promotores cualquier otro posee usted activos profe sionales cu\u00e1les son es usted miembro de alguna organizaci\u00f3n sindicato colegio gremio en su \u00e1rea cu\u00e1les son sus deudas actuales tiene alguna marca registrada su nombre su propio nombre est\u00e1 vinculado alguna marca en espec\u00edfico cu\u00e1l es el desglose de sus ganancias en los \u00faltimos cinco a\u00f1os mantiene usted sus propios registros financieros cu\u00e1l es su historial crediticio cu\u00e1l es su relaci\u00f3n bancaria ha efectuado usted el pago de impuestos de manera apropiada tiene alguna situaci\u00f3n tributaria resuelta posee usted su propio seguro de vida escribe usted sus canciones si es as\u00ed qui\u00e9n posee administra los derechos de sus composiciones cu\u00e1l es su experiencia en grabaciones trabajo en estudio cu\u00e1l es su experiencia en presentaciones en vivo qu\u00e9 tan influenciable es usted como artista en relaci\u00f3n las tendencias actuales de la industria la anterior lista de preguntas tiene como funci\u00f3n brindar las bases necesarias para conocer al artista p ueden ser modificadas intercambiadas seg\u00fan se amerite relaci\u00f3n personal con el artista para finalizar el elemento m\u00e1s importante de la reuni\u00f3n exploratoria es forjar una idea sobre la relaci\u00f3n personal con el artista fin de determinar el tipo de rel aci\u00f3n que tendr\u00e1n en caso de iniciar una colaboraci\u00f3n se recomienda que el artist manager tenga en cuenta las siguientes preguntas el artista es compatible conmigo el artista muestra una actitud de trabajo orientado objetivos se enfoca en sus meta arduamente procura alcanzarlas el artista es realista en cuanto sus metas debilidades fortalezas capacidad talento es realista en cuanto la industria musical en general tiene habilidad disciplina para enfrentar tanto tiempos buenos como malos el artista es confiable cu\u00e1l es la reputaci\u00f3n del artista en la industria preguntas para determinar la relaci\u00f3n personal entre artista artist manager la formulaci\u00f3n de las preguntas indicadas terminar\u00e1 de brindar la perspectiva necesaria para que el artist manager decida si trabajar con un artista en concreto keynotes al conocer al artista el artist manager tendr\u00e1 una idea de las cartas que estar\u00e1 n sobre la mesa durante el proceso de negociaci\u00f3n de tarifas el acuerdo de remuneraci\u00f3n debe ser consistente en la relaci\u00f3n gastos ganancias un artist manager puede crear un portafolio de inversi\u00f3n al poseer en su cartera diferentes artistas ubicados en diferentes puntos de sus carreras el elemento m\u00e1s importante de la reuni\u00f3n exploratoria es forjar una idea sobre la relaci\u00f3n personal con el artista reto trav\u00e9s de vkonnect contacta un artista realicen un simulacro de reuni\u00f3n exploratoria en la cual procurar\u00e1s indagar tu esquema de compensaci\u00f3n como artist manager la situaci\u00f3n legal financiera m\u00e9dica del artista la relaci\u00f3n entre ustedes dos realiza al artista todas las preguntas que necesites para hacerlo transcribe las preguntas utilizadas sus respectivas respuestas comparte tu resultado por tus redes sociales especialmente con otros profesionales de la industria trav\u00e9s de vkonnect conclusi\u00f3n una decisi\u00f3n acertada proviene de una evaluaci\u00f3n acertada la cual viene de informaci\u00f3n acertada el manejo de la informaci\u00f3n es vital para el artist manager pues le brind el contexto necesario para la toma de decisiones con constancia disciplina mucha atenci\u00f3n se adquiere el criterio necesario para tener \u00e9xito en la industria musical prot\u00e9gete del fracaso los elementos b\u00e1sicos de un contrato de management al entab lar una relaci\u00f3n laboral la meta del artista el artist manager es la misma el \u00e9xito sin embargo muchas veces dicha meta permanece lejana inalcanzable debido la ausencia de un contrato que de forma clara concisa refleje la informaci\u00f3n necesari para que la relaci\u00f3n entre el artista el artist manager sea transparente saludable enfocada en las responsabilidades designadas uno de los peores errores que se pueden cometer en la industria musical es usar contratos prefabricados peor a\u00fan usarlos del todo para frascogna hetherington la realizaci\u00f3n de un contrato formal entre las partes antes de llevar cabo cualquier otra acci\u00f3n es absolutamente esencial la reuni\u00f3n exploratoria es la primera oportunidad que el artista el artist manager tienen para fijar externar sus condiciones sentando as\u00ed las bases de lo que sea el contrato de management por supuesto existen temas que por defecto todo contrato contiene tales como las \u00e1reas legales financieras de negocio sin embargo dichas \u00e1reas pueden desarrollarse adaptarse tanto como las necesidades lo indiquen generalmente un contrato de management posee los sig uientes componentes b\u00e1sicos responsabilidades del artist manager rol del artista longitud del contrato compensaci\u00f3n del artist manager gastos del artist manager procedimientos contables contratos previos a\u00fan vigentes componentes b\u00e1sicos de un contrato de management fin de redactar el contrato ofrecer asesor\u00eda legal se precisa la colaboraci\u00f3n de un abogado especializado en la industria musical el dinero que un abogado cobra por hora debe consi derarse una inversi\u00f3n sus montos rondan entre los los d\u00f3lares por hora dependiendo de su experiencia se recomienda contratar un abogado competente que identifique las \u00e1reas de mejora proponga asertivamente las cl\u00e1usulas instrucciones neces arias para evitar problemas en la relaci\u00f3n tanto el artista como el artist manager deben sentirse tranquilos con el abogado contratado la falta de dicho profesional puede tener consecuencias catastr\u00f3ficas aunque debido la naturaleza de la industria los acuerdos de management pueden variar mucho unos de otros en general mantienen la siguiente estructura autoridad de nombramiento compensaci\u00f3n del artist manager exclusividad t\u00e9rminos opciones extensiones periodos de ausencia disputas garant\u00edas de l artista cl\u00e1usulas de indemnizaci\u00f3n contabilidad fideicomiso cl\u00e1usulas legales generales estructura b\u00e1sica de un contrato de management dependiendo de la naturaleza de la relaci\u00f3n dichos elementos pueden ser modificados extendid os adaptados seg\u00fan se requiera debido su experiencia en el medio el abogado puede agregar otros aspectos que originalmente fueron contemplados que ayudan evitar problemas futuros su vez el abogado es una fuente de consejos asesor\u00eda leg al siempre la mano otras de las ventajas de la intervenci\u00f3n de un abogado son el rol de negociador que puede asumir en caso de ser necesario su talento capacidad de redactar los t\u00e9rminos del contrato en un lenguaje entendible para las partes keynot es uno de los peores errores que se pueden cometer en la industria musical es usar contratos prefabricados peor a\u00fan usarlos del todo la reuni\u00f3n exploratoria es la primera oportunidad que el artista el artist manager tienen para fijar externar us condiciones sentando as\u00ed las bases de lo que sea el contrato de management dependiendo su naturaleza un contrato de management puede modificar extender adaptar los elementos b\u00e1sicos del mismo misi\u00f3n seg\u00fan el contenido did\u00e1ctico redacta un con trato de management comp\u00e1rtelo con otros compa\u00f1eros profesionales de la industria pide opiniones acerca de los puntos faltantes cree una nueva versi\u00f3n del contrato comparte el resultado final trav\u00e9s de vkonnect procure mantenerlo siempre actuali zado seg\u00fan las sugerencias recibidas conclusi\u00f3n aun con las mejores intenciones la colaboraci\u00f3n entre el artista el artist manager puede derrumbarse debido los problemas surgidos por falta de un contrato claro si quiera de un contrato nada m\u00e1s la importancia de este documento es tal que su aus encia redacci\u00f3n inadecuada puede ser la diferencia entre una colaboraci\u00f3n exitosa un aut\u00e9ntico fracaso con perspectiva inversi\u00f3n prop\u00f3sito el contrato de management tomar\u00e1 el lugar que le corresponde en la industria permitir\u00e1 las partes concen trarse en sus responsabilidades se\u00f1aladas evitando as\u00ed los malentendidos pleitos en los que ninguna de las partes sale ganando aclara tus acciones alcance del artist manager seg\u00fan su contrato el alcance de las acciones de un artist manager estar\u00e1 infl uenciado por las cl\u00e1usulas presentes en el contrato de management por este motivo mientras m\u00e1s claro detallado sea el contrato m\u00e1s claras ser\u00e1n las herramientas disponibles para el artist manager as\u00ed como las expectativas de su cliente sobre su traba jo todo contrato de management engloba diversos puntos relacionados con la autoridad de nombramiento en este punto frascogna hetherington incluyen al menos cuatro temas la designaci\u00f3n de nombramientos las responsabilidades del artist manager el p oder legal la renuncia del manager la b\u00fasqueda de empleo los cuales analizaremos continuaci\u00f3n designaci\u00f3n de nombramientos el apartado designaci\u00f3n de nombramiento establece acciones espec\u00edficas realizar por el artist manager es el sitio indicado para expresar el tipo de relaci\u00f3n que las partes desean as\u00ed como puntos particulares sobre el trabajo por ejemplo ac\u00e1 es donde se indica si la colaboraci\u00f3n del artist manager ser\u00e1 de car\u00e1cter personal estar\u00e1 enfocada en los negocios la consultor\u00eda cualquier otro punto similar las cl\u00e1usulas relacionadas con la exclusividad tambi\u00e9n suelen incluirse en este apartado el lenguaje de redacci\u00f3n procura claridad sencillez fin de facilitar el entendimiento de las partes designaci\u00f3n de nombramientos responsabilidades del artist manager entre las responsabilidades b\u00e1sicas de un artist manager contempladas en un contrato est\u00e1ndar tenemos las siguientes representar al artista en todas sus negociaciones comerciales otros aspectos relacionados con su carrera en la industria del entretenimiento supervisar los compromisos profesionales del artista consultar con posibles empleadores de la industria literaria del entretenimiento cooperar en la supervisi\u00f3n de los agentes literarios de booking que el artist manager considere oportuno contratar bajo consentimiento del artista contar con una disponibilidad razonable en una oficina para conversar con el artista sobre el desarrollo de su carrera incluyendo pero limit\u00e1ndose temas como la promoci\u00f3n publicidad llevar cabo sus mejores esfuerzos para agendar audiciones presentaciones entrevistas destinadas promover la carrera del artista desempe\u00f1ar en cualquier lugar en cualquier momento cualquier otra funci\u00f3n alineada c las responsabilidades anteriormente se\u00f1aladas responsabilidades del artist manager pesar de las generalidades anteriormente indicadas las responsabilidades de un artist manager ser\u00e1n m\u00e1s menos espec\u00edficas dependiendo de las necesidades de las partes poder legal el contrato de management contempla un poder legal mediante el cual se le autoriza al artist manager la realizaci\u00f3n de determinadas acciones en nombre del artista por ejemplo acciones como endosar cheques firmar acuerdos contratos de interpretaci\u00f3n realizar tratos con determinadas organizaciones entre otras forman pa rte de las responsabilidades normalmente atribuidas al artist manager las cuales realiza bajo consentimiento del artista por medio de un poder legal responsabilidades habituales del artist manager dadas por medio de un poder legal el alcance particularidades de un poder legal puede ajustarse seg\u00fan las necesidades de las partes por ejemplo es posible que el artista requiera que el artist manager se ocupe de todas las responsabilidades comerciales de su carrera brind\u00e1ndole un poder con un amplio espectro de acci\u00f3n por otro lado tambi\u00e9n es posible que el artista desee limitar el poder de su artist manager estipulando un poder legal con un rango de acci\u00f3n m\u00e1s estrecho ajustado sus intereses renuncia la b\u00fasqueda de empleo en la industria musical las responsabilidades del artist manager son diferentes la de un agente el agente busca trabajo para el artista el artist manager supervisa trata directamente con los agentes para negociar las condiciones de las oportunidades laborales obtenidas responsabilidades del agente el artist manager es probable que en el ejercicio de sus funciones el artist manager descubra que est\u00e1 dedicando una considerable cantidad de tiempo realizar tareas de un agente en este aspecto es importante conocer que la separaci\u00f3n de responsabilidades entre un artist manager un agente est\u00e1 contemplada en la legislaci\u00f3n de algunos lugares como california en los estados unidos de am\u00e9rica incluso algunas organizaciones del gremio reflejan oposici\u00f3n la unificaci\u00f3n de responsabilidades de ambos roles es conveniente que el artist manager conozca las implicaciones legales de llevar cabo actividades de un agente e incluso de procurar una licencia en los lugares donde pued ser requerido keynotes el apartado designaci\u00f3n de nombramientos es donde se indica si la colaboraci\u00f3n del artist manager ser\u00e1 de car\u00e1cter personal estar\u00e1 enfocada solamente en los negocios la consultor\u00eda cualquier otro punto similar las responsab ilidades de un artist manager ser\u00e1n m\u00e1s menos espec\u00edficas dependiendo de las necesidades de las partes el agente busca trabajo para el artista el artist manager supervisa trata directamente con los agentes para negociar las condiciones de las oportun idades laborales obtenidas reto investiga las leyes de tu pa\u00eds localidad relacionadas con la industria musical verifica si por ley es permitido que el artist manager ejecute tareas de un agente comparte el resultado de tu b\u00fasqueda por medio de vkon nect vpage cierre al examinar con cuidado las secciones del contrato relacionadas con la designaci\u00f3n de nombramientos las responsabilidades del artist manager el poder legal la renuncia la b\u00fasqueda de empleo el arti st manager tendr\u00e1 una visi\u00f3n exacta acerca de su trabajo las expectativas que su cliente tiene sobre el mismo con esta herramienta solo queda llevar cabo sus labores con esfuerzo constancia disciplina compromiso cosechar as\u00ed los beneficios de una relaci\u00f3n fruct\u00edfera exitosa evita malentendidos la compensaci\u00f3n del artist manager uno de los aspectos m\u00e1s relevantes en un contrato de management tiene que ver con la compensaci\u00f3n del artist manager el porcentaje tarifa cobrar la pol\u00edtica de reembolso de gastos la determinaci\u00f3n de la frecuencia de los pagos son factores cuya acl araci\u00f3n es vital fin de evitar malentendidos p\u00e9rdidas de dinero entre las partes en relaci\u00f3n la remuneraci\u00f3n del artist manager por sus servicios el contrato de management contempla tres secciones b\u00e1sicas el porcentaje tarifa cobrar la pol\u00edti ca de reembolsos de gastos la determinaci\u00f3n de la frecuencia de los pagos analicemos cada una de ellos porcentaje tarifa cobrar la tarifa promedio por los servicios de un artist manager es de un por ciento de los ingresos del artista con un rango entre el el por ciento dependiendo del poder negociaci\u00f3n de las partes ahora la fijaci\u00f3n del porcentaje de la tarifa es la \u00fanica inc\u00f3gnita resolver los siguientes factores tambi\u00e9n deben definirse los tipos de ingresos sobre los cuales tendr\u00e1 efecto el porcentaje estipulado es decir ingresos netos brutos el \u00e1rea de ingresos sobre el cual se deducir\u00e1 el porcentaje los cuales pueden incluir pero limitarse ingresos por interpretaciones en vivo regal\u00edas por material grabado derechos de songwriting por material propio entre otros los posibles ingresos percibidos por alguna tarea donde el artist manager present e alg\u00fan conflicto de inter\u00e9s es decir ingresos con agencias de booking publishers discogr\u00e1ficas donde el artist manager tenga alg\u00fan tipo de v\u00ednculo ajeno la naturaleza de sus responsabilidades como artist manager factores relacio nados con el porcentaje tarifa cobrar una alternativa com\u00fan en la industria consiste en pagar una cantidad fija cada cierto tiempo ya sea mensual trimestral semestral la modalidad seleccionada as\u00ed como los detalles finales contemplados en el co ntrato dependen de las circunstancias influencia condiciones e intereses de las partes pol\u00edtica de reembolsos para gastos en la ejecuci\u00f3n de sus labores es probable que el artist manager requiera incurrir en determinados gastos los cuales pueden ser reembolsados independientemente de sus ingresos seg\u00fan la modalidad de pago acordada los factores que norman la pol\u00edtica de reembolsos para gastos son variados analicemos algunos de ellos reembolsos seg\u00fan una cifra determinada se refiere los reembolso restringidos los gastos menores iguales una cifra en espec\u00edfico por ejemplo d\u00f3lares en este caso el artist manager puede solicitar el reembolso de cualquier gasto igual menor ese monto reembolsos seg\u00fan el prop\u00f3sito del gasto en este c aso el artista indica aquellos objetivos que ameritar\u00e1n un reembolso en el caso de incurrir en gastos por ejemplo reuniones con clientes en este caso el artist manager solo tiene derecho un reembolso cuando los gastos se relacionen con esta tarea pr eviamente aprobada por el artista reembolsos seg\u00fan el presupuesto en estos casos la planificaci\u00f3n financiera del artista incluye un rubro para gastos donde se fija una cantidad determinada el artist manager tiene derecho un reembolso siempre cuand exista dinero disponible en el presupuesto destinado para gastos reembolsos por radio de operaci\u00f3n estos casos se basan en la ubicaci\u00f3n geogr\u00e1fica del radio de operaciones del artist manager brindando el derecho de reembolsar gastos cuando estos se ef ect\u00faen en un \u00e1rea geogr\u00e1fica ajena la habitual por ejemplo si un artist manager se desenvuelve generalmente en una regi\u00f3n ciudad espec\u00edfica debe asistir una reuni\u00f3n ubicada en otra ciudad ubicada una distancia mayor la denominada como radio de operaciones en el contrato los gastos en los que incurra pueden ser reembolsados pol\u00edticas de reembolsos de gastos para artist manager en todos los casos el artist manager presenta las facturas que respalden sus gastos que permitan identificar su validez la premisa en todo caso es sencilla ni el artist manager debe estar demasiado atado de manos ni el dinero del artista debe ser despilfarrado frecuencia de los pagos el artist manager puede recibir sus ingresos seg\u00fan la frecuencia determinada en el contrato de management dicha frecuencia incluye periodos mensuales trimestrales semestrales depende del tipo de trabajo desempe\u00f1ar por el artista por ejemplo si u n artista se mantiene semanalmente ocupado con una gira de conciertos en diferentes tipos de venue es capaz de mantener un flujo de caja tal que permita desembolsar mensualmente su artist manager los pagos respectivos por otra parte si sus actividades son m\u00e1s bien peri\u00f3dicas est\u00e1n enfocadas en determinadas \u00e9pocas del a\u00f1o su flujo de caja siempre contar\u00e1 con los recursos para efectuar un pago mensual en este escenario resulta beneficioso un rango de tiempo mayor cada tres seis meses un pa go al finalizar la gira tanto el abogado como el contador del artista pueden proporcionar consejos valiosos en este rubro frecuencia de los pagos para el artist manager con el ejemplo anterior apreciamos c\u00f3mo la frecuencia de los pa gos se influida por el tipo de actividades del artist manager el flujo de dinero que estas produzcan keynotes una alternativa de pago com\u00fan en la industria consiste en cancelar al artist manager una cantidad fija cada cierto tiempo ya sea mensual rimestral semestral los factores que norman la pol\u00edtica de reembolsos para gastos de un artist manager son variados incluyendo cifra determinada prop\u00f3sito del gasto presupuesto radio de operaci\u00f3n tanto el abogado como el contador del artista puede n proporcionar consejos valiosos en cuanto la frecuencia de los pagos del artist manager reto con tus propias palabras redacta un contrato de management enfoc\u00e1ndote en los puntos vistos en el contenido did\u00e1ctico justifica cada una de tus cl\u00e1usulas c omparte el resultado en vkonnect cierre los malentendidos por cl\u00e1usulas poco claras ambiguas en el contrato de management pueden destruir una carrera prometedora por este motivo la redacci\u00f3n del contrato debe ser clara sencilla e incluir toda la informaci\u00f3n necesaria para un desenvolvimient pleno gracias la pr\u00e1ctica la experiencia sobre todo la previsi\u00f3n es posible plantear contratos condiciones que lejos de ser un motivo de discordia sean el fundamento de una colaboraci\u00f3n exitosa gestiona eficazmente tu tiempo cl\u00e1usulas e exclusividad plazos terminaciones los par\u00e1metros que rigen la gesti\u00f3n del tiempo del artist manager deben estar enmarcados en el respectivo contrato de management las cl\u00e1usulas sobre exclusividad plazos extensiones terminaciones de contrato perio dos de interrupci\u00f3n posibles modificaciones de la tarifa del artist manager resultan influyentes en dicha gesti\u00f3n fin de aclarar las expectativas asegurar una gesti\u00f3n de tiempo efectiva responsable beneficiosa para ambas partes tanto el artist manager como el artista se aseguran de estipular con claridad las cl\u00e1usulas relacionadas con los conceptos anteriormente mencionados exclusividad en un contrato de management la exclusividad suele ser contemplada \u00fanicamente de lado del artista es decir el artista es el \u00fanico que suele dedicar ceder el derecho exclusivo de dirigir su carrera un artist manager por otro lado el artist manager est\u00e1 atado este requerimiento pues normalmente puede gestionar m\u00e1s de una carrera en forma simult\u00e1nea relaci\u00f3n de exclusividad entre el artista el artist manager a\u00fan cuando un artist manager puede dedicarse tiempo completo la carrera de un \u00fanico artista contar con varios clientes en su portafolio puede ser conveniente especialm ente si algunos artistas est\u00e1n generando ingresos en un momento espec\u00edfico de sus carreras despu\u00e9s de todo la remuneraci\u00f3n del artist manager es solo una fracci\u00f3n del total de los ingresos percibidos por el artista de hecho cuando un artist manager posee varios clientes que le proporcionan un ingreso seguro es m\u00e1s factible que considere trabajar con un artista nuevo en la industria de otra forma podr\u00eda financiar su trabajo con un artista que est\u00e1 generando ingresos por este motivo los arti st managers m\u00e1s exitosos de la industria trabajan del todo con artistas noveles otra importante raz\u00f3n que justifica el desarrollo unilateral de la carrera de un artista por parte del artist manager es la confusi\u00f3n resultante de tener m\u00e1s de un punto de vista en cuanto ese tema por supuesto las decisiones del equipo primario otros profesionales de la industria como publishers productores agentes de booking tienen cierto peso en la carrera del artista sin embargo dichas decisiones suelen toma rse bajo par\u00e1metros establecidos por el artist manager quien funciona como ente catalizador en el equipo velando que todas las acciones se mantengan acordes con la visi\u00f3n objetivos de carrera del artista influencia del artist manager en las decisiones del equipo primario del artista en este apartado tambi\u00e9n es posible se\u00f1alar las responsabilidades m\u00e1s importantes del artist manager fin de que al contar una lista de prioridades sea capaz de gestionar su tiempo de forma m\u00e1s efectiva plazos opciones extensiones el plazo es uno de los aspectos m\u00e1s cruciales de un contrato de management dadas sus implicaciones para ambas partes para el artist manager un contrato largo plazo es conveniente para proteger sus ingresos especialmente cuando debe invertir un tiempo considerable en desarrollar la carrera del artista por otro lado el artista suele preferir comprometerse con un artist manager largo plazo menos que est\u00e9 convencid de su potencial para desarrollar su carrera conveniencia del plazo de un contrato en el artista el artist manager en la industria musical el plazo promedio de un contrato de management est\u00e1 comprendido en un rango de uno cinco a\u00f1os con distintas opciones de renovaci\u00f3n extensi\u00f3n es posible incluir determinadas condiciones que faculten al artista al artist manager extender los plazos periodos de tiempo de vigencia del contrato seg\u00fan pautas espec\u00edficas la definici\u00f3n del plazo del contrato as\u00ed como las posibles opciones de renovaci\u00f3n extensi\u00f3n est\u00e1n determinados por el poder de negociaci\u00f3n de las partes usualmente los artistas noveles tienen poco poder mientras que los artist managers experimentados llevan las de gan ar sin embargo es perfectamente posible llegar un punto medio conveniente para ambas partes las opciones relacionadas con las extensiones renovaciones deben ser manejadas con cuidado un abogado familiarizado con dichas opciones puede redactarlas de forma clara buscando el beneficio de su cliente sin embargo menos que todos los posibles escenarios consecuencias sean cubiertas el artista el artist manager pueden verse envueltos en pleitos legales especialmente en los t\u00e9rminos m\u00e1s grises de l contrato aquellos de dudosa interpretaci\u00f3n terminaci\u00f3n de contrato periodos de interrupci\u00f3n es sensato que el contrato de management incluya cl\u00e1usulas espec\u00edficas para su terminaci\u00f3n el cambio es una constante en la industria musical un factor al cual se someten las circunstancias metas necesidades habilidades los profesionales del medio lo anterior puede producir que en un determinado momento el artista el artist manager apunten en direcciones diferentes en estos casos es mejor estar p reparados incluyendo pautas de terminaci\u00f3n de contrato seg\u00fan circunstancias espec\u00edficas naturalmente el artist manager desear\u00e1 proteger su trabajo contra una terminaci\u00f3n finalizaci\u00f3n de contrato justo en el momento en que su trabajo est\u00e1 comenzado v er frutos por este motivo es posible incluir un periodo de interrupci\u00f3n donde se estipule que el artista podr\u00e1 contratar los servicios de otro artist manager una vez superado este periodo una alternativa consiste en permitir una nueva contrataci\u00f3n e management mientras se asegure la recaudaci\u00f3n de comisiones al artist manager saliente durante una determinada cantidad de tiempo despu\u00e9s de la terminaci\u00f3n del contrato siempre cuando sean producto de sus gestiones opciones de te rminaci\u00f3n de contrato periodos de interrupci\u00f3n modificaci\u00f3n de tarifa del artist manager por muerte discapacidad el contrato de management puede incluir cl\u00e1usulas que aborden una reducci\u00f3n de la tarifa en caso de muerte discapacidad del artist manager de esta forma el artist manager protege su patrimonio fruto de sus esfuerzos sus representantes legales obtie nen parte de los ingresos generados partir de aquellas actividades gestionadas por \u00e9l por supuesto debido la naturaleza de la industria musical los puntos tratados est\u00e1n sujetos variaciones diversas seg\u00fan las necesidades de las partes involucradas keynotes al contar una lista de prioridades el artist manager puede gestionar su tiempo de forma m\u00e1s efectiva para el artist manager un contrato largo plazo es conveniente para proteger sus ingresos especialmente cuando debe invertir un tiempo cons iderable en desarrollar la carrera del artista el plazo promedio de un contrato de management est\u00e1 comprendido en un rango de uno cinco a\u00f1os reto trav\u00e9s de vkonnect contacta un artista preg\u00fantale cu\u00e1les razones usar\u00eda el para justificar algunas cl\u00e1usulas para terminaci\u00f3n de contrato de management apunta sus respuestas redacta tu opini\u00f3n con respecto ellas cierre con prioridades cl\u00e1usulas de trabajo claras el artist manager tiene una visi\u00f3n clara de su campo de acci\u00f3n lo que le permite acomodar sus actividades en el orden m\u00e1s adecuado para el cumplimiento de sus objetivos gracias la claridad transparencia perspectiva de un contrato de management correctamente redactado tanto el artist manager como el artista cuentan con las herramientas legales necesarias para iniciar una colaboraci\u00f3n exitosa evita el conflicto cl\u00e1usulas para la resoluci\u00f3n de problemas aunque un artista un artist manager inician su colaboraci\u00f3n con el mejor de los \u00e1nimos e intenciones es posible que en el camino surjan inconvenientes cuyas pautas de resoluci\u00f3n deben estar contempladas en el contrato de management de otra forma ambo profesionales podr\u00edan verse envueltos en una nube de reclamaciones disputas que alejar\u00edan todo esp\u00edritu de compa\u00f1erismo colaboraci\u00f3n que haya existido alguna vez transformando una experiencia de \u00e9xito en un tiempo de pesares desaires todo esto pu ede evitarse mediante la inclusi\u00f3n de pautas relacionadas con disputas arbitrajes garant\u00edas indemnizaciones fideicomisos entre otros resoluci\u00f3n de disputas en ocasiones alguna de las partes de un contrato de management puede pensar sentir que est\u00e1 siendo agravada por la otra fin de resolver estas situaciones es necesario incluir cl\u00e1usulas provisiones de cura dichas provisiones permiten la realizaci\u00f3n de un arbitraje antes de recurrir al recurso de un juicio en tribunales el \u00e1rbitro es una p ersona escogida por las partes partir de una lista provista por alguna organizaci\u00f3n como la american arbitration association normalmente las cl\u00e1usulas de arbitraje aseguran la parte beneficiada la posibilidad de recobrar los gastos razonables incurri dos por causa de la disputa resoluci\u00f3n de disputas mediante arbitraje la decisi\u00f3n del \u00e1rbitro puede ser apelada dependiendo de las leyes del estado donde se celebre el arbitraje todo esto convierte la provisi\u00f3n de cura en una alternativa sencilla r\u00e1pida relativamente barata para resolver posibles disputas entre artista artist manager garant\u00edas del artista cl\u00e1usulas de indemnizaci\u00f3n en ocasiones un artista puede suponer que se encuentra libre de obligaciones con un artist manager solo porque el contrato que los vinculaba ha terminado sin embargo es posible que surjan conflictos si este artista ha contratado los servicios de otro artist manager qu\u00e9 tipo de problemas podr\u00edan darse por ejemplo tomando el ejemplo anterior si un artista contrata un artist manager poco tiempo despu\u00e9s de haber culminado una relaci\u00f3n contractual con otro surge un contrato de grabaci\u00f3n con una compa\u00f1\u00eda discogr\u00e1fica el primer artist manager puede argumentar que dicho contrato surgi\u00f3 fruto de sus esfuerzos dado que su contrato termin\u00f3 hace muy poco por otro lado el artist manager n uevo puede argumentar con la misma autoridad que el contrato de grabaci\u00f3n se dio \u00fanicamente por sus esfuerzos acto seguido tenemos un pleito legal entre dos artist managers en estos casos las cl\u00e1usulas de indemnizaci\u00f3n establecen el derecho del segun artist manager de ser retribuido en sus p\u00e9rdidas debido su confianza en la garant\u00eda del artista de hallarse libre de relaciones contractuales previas la seriedad de estos ejemplos reflejan la importancia de este punto libros contables fideicomis os los contratos de management permiten incluir cl\u00e1usulas relacionadas con la responsabilidad de llevar los libros contables as\u00ed como la frecuencia plazo para la auditor\u00eda de dichos libros obviamente tanto el artista como el artist manager tienen el erecho de auditar dichos libros verificar el correcto estado de las cuentas fin de evitar el ensa\u00f1amiento la exhaustividad exagerada es posible limitar la frecuencia de dichas revisiones por ejemplo una vez al a\u00f1o al mismo tiempo en los \u00faltim os a\u00f1os se ha hecho tendencia establecer una relaci\u00f3n fiduciaria entre el artist manager el artista en cada contrato de management lo anterior significa que cada parte debe retener el dinero ganado hasta que la otra haya sido pagada es decir aunque el artist manager tenga el dinero correspondiente sus ingresos puede gastarlo sin que el artista haya sido compensado con su respectiva parte el resultado es el fortalecimiento de la confianza el compromiso en la relaci\u00f3n artista artist manager cl\u00e1usulas legales adicionales en general los contratos de management incluyen algunas cl\u00e1usulas relacionadas con conceptos tales como jurisdicci\u00f3n se refiere al hecho de que un contrato de management estar\u00e1 circunscrito las leyes de un determinado estado pa\u00eds modificaciones escritas bajo esta premisa una vez que el contrato ha sido escrito firmado todas las posibles modificaciones posteriores deben estar escritas firmadas fin de tener validez asignaciones delegaciones se refiere las paut que regulan la transferencia de derechos responsabilidades contenidas en el contrato cl\u00e1usulas legales adicionales en todos los casos contar con un abogado experto en contratos de management es una enorme ventaja especialmente para la interpretaci\u00f3n de cualquier extracto cuya claridad sea evidente para analizar los casos relacionados con alguna cl\u00e1usula exi stente keynotes las provisiones de cura permiten la realizaci\u00f3n de un arbitraje antes de recurrir al recurso de un juicio en tribunales tanto el artista como el artist manager tienen el derecho de auditar dichos libros verificar el correcto estado de l cuentas contar con un abogado experto en contratos de management es una enorme ventaja especialmente para la interpretaci\u00f3n de cualquier extracto cuya claridad sea evidente para analizar los casos relacionados con alguna cl\u00e1usula existente misi\u00f3n contacta profesionales de la industria entre artistas artist managers pregunta cada persona c\u00f3mo se siente ante el hecho de que el artista si el entrevistado es un artist manager el artist manager si el entrevistado es un artista vise las cuentas seg\u00fan las respuestas obtenidas redacta un ensayo expresando tu apreciaci\u00f3n sobre las opiniones generales de los profesionales de la industria acerca del hecho de que un socio colaborador revise los libros contables para verificar el bu en estado de las cuentas comparte tus impresiones por medio de vkonnect otros medios sociales cierre la relaci\u00f3n entre el artista el artist manager se basa en el beneficio mutuo ambas partes procuran un contrato ganarganar donde cada uno reciba lo justo seg\u00fan sus mejores esfuerzos cuando surgen inconvenientes pleitos que llegan tribunales sin importar el resultado del mismo ambas partes salen perdiendo la transparencia sentido de justic ia e inter\u00e9s genuino en el \u00e9xito de todas las partes son ingredientes esenciales para el fortalecimiento de la relaci\u00f3n entre el artista su artist manager estrategias de incursi\u00f3n la industria musical semana introducci\u00f3n el \u00e9xito en la industria musical transcripci\u00f3n la industria del entretenimiento tiene un objetivo principal proporcionar al p\u00fablico experiencias memorables como parte de esta industria el negocio de la m\u00fasica persigue el mismo objetivo la m\u00fasica tiene un gran potencial para la creaci\u00f3n de momentos emocionales que marcan la vida de las personas c\u00f3mo se logra esto pues bien solamente trav\u00e9s de una estructura s\u00f3lida de negocios existe un estigma negativo alrededor de la actividad eco n\u00f3mica necesaria para la creaci\u00f3n de dichos momentos emocionales bajo esta perspectiva se esgrime que la conexi\u00f3n establecida entre un artista su audiencia es una fachada artificial creada con el objetivo fr\u00edvolo de generar dinero como en todos los n ichos de negocio los escenarios circunstancias son muy variados todos los d\u00edas se producen situaciones desafortunadas de enga\u00f1o sin embargo la mayor\u00eda de expertos profesionales en la industria de la m\u00fasica coinciden en una cosa la creaci\u00f3n de un lazo genuino entre el artista su audiencia es primordial para que el artista tenga una carrera prolongada relevante de esta manera es necesario implementar una estructura de negocios s\u00f3lida para permitirle al artista concentrarse en su p\u00fablico de hec ho es m\u00e1s que necesario es primordial tener una carrera art\u00edstica exitosa es imposible sin el apoyo de un equipo de negocios este grupo de personas aliadas al artista es el que llamaremos equipo primario equipo de servicios de negocios veamos el fl ujo de material creativo en contraste con el flujo de capital entre el artista su p\u00fablico figura el artista produce creaciones emotivas experiencias memorables para la audiencia estos productos experiencias se hacen disponibles gracias la estructura de la industria diferentes participantes entidades de negocios interact\u00faan con el equipo del artista para cerrar la brecha entre el artista su p\u00fablico trav\u00e9s de esta gran estructura el artista adquiere la capacidad de escuchar su audi encia si el artista escucha su p\u00fablico \u00e9ste le devuelve la cortes\u00eda el ciclo se cierra los capitales fluyen en sentido inverso entre la audiencia el artista pasando trav\u00e9s de toda la estructura de la industria figura estructura de la indu stria flujo creativo vs flujo de capital durante este curso aprenderemos c\u00f3mo el equipo de servicios de negocios del artista proporciona las circunstancias para su \u00e9xito en la industria musical detr\u00e1s de todo gran artista hay un gran equipo de profe sionales todos incluyendo al artista tienen una noci\u00f3n balanceada entre el aspecto art\u00edstico el de negocio comprendiendo mi lugar en la industria el sentido de ubicaci\u00f3n transcripci\u00f3n la industria de la m\u00fasica est\u00e1 llena de interacciones complej gran parte del negocio comprende situaciones que se desarrollan en ubicaciones variadas su vez la cantidad tipo de profesionales involucrados en dichas situaciones cambia considerablemente en circunstancias constantemente cambiantes es primordia l tener una noci\u00f3n de qui\u00e9n es qui\u00e9n adem\u00e1s es importante conocer el nivel de relevancia de cada persona veamos un ejemplo simplificado para la producci\u00f3n de un \u00e1lbum es necesario realizar selecci\u00f3n de canciones en este escenario se desenvuelven diferentes profesionales adem\u00e1s del artista pueden estar presentes managers ejecutivos de disquera productores ingenieros abogados inversionistas productores ejecutivos due\u00f1os de estudios agentes mercad\u00f3logos muchos otros profesionales cada quien representa diferentes entidades e intereses en la selecci\u00f3n de los temas que formar\u00e1n parte de la producci\u00f3n la opini\u00f3n del manager podr\u00eda tener m\u00e1s peso en la selecci\u00f3n que la de un ingeniero un productor figura peso del manager por otro lado un ejecutivo de disquera podr\u00eda representar los intereses de la entidad que invirti\u00f3 el capital figura ejecutivo de disquera en este escenario al igual que en cualquier otro el artista debe tener una noci\u00f3n de la estructura de la industria las estructuras de poder que se desarrollan en cada situaci\u00f3n esta noci\u00f3n es vital para el artista cualquier otro profesional si desea comprender su lugar su potestad de negociaci\u00f3n el sentido de ubicaci\u00f3n hace posible construir tanto relaciones de negocios como interpersonales este trabajo se conoce como networking es una herramienta invaluable en la carrera de cualquier profesio nal en la industria la relaci\u00f3n entre el artista sus contactos de negocios su equipo primario sus clientes establece las bases para una adecuada incursi\u00f3n en el negocio figura los contactos de negocios son las personas entidades que fac ilitan al artista implementar planes prolongar su carrera el equipo primario del artista se conforma por los profesionales que le rodean de modo cotidiano largo plazo le acompa\u00f1an durante su carrera para ayudarle en todas las tareas necesarias p ara que su producto alcance la audiencia el cliente es cualquier persona entidad que contrate los servicios del artista especialmente para presentaciones personales en vivo existen protocolos espec\u00edficos para establecer conexiones de negocios los tratos relaciones se pueden llevar cabo generalmente si el profesional correcto contacta su contraparte en el momento adecuado de esta manera se establecen diferentes posibilidades para lograr objetivos espec\u00edficos figura sentido de ubica ci\u00f3n el artista la anterior figura muestra el lugar que debe tener el artista en la industria que como hemos mencionado resulta sumamente relevante para adquirir gran ventaja competitiva incursionando en el negocio de la m\u00fasica transcripci\u00f3n diariamente miles de personas se preguntan c\u00f3mo incursionar en la industria musical exitosamente para ingresar mantenerse en el negocio de la m\u00fasica entre otras cosas es necesario grabar promocionar distribuir material discogr\u00e1fico estas tareas va n en conjunto con la continua presentaci\u00f3n en vivo del artista en numerosos eventos rese\u00f1a hist\u00f3rica pasado vs presente hasta mediados de la d\u00e9cada de los los caminos para ingresar la industria musical estuvieron bajo el control de las entidades que pose\u00edan acceso exclusivo tanto la tecnolog\u00eda como los mecanismos de promoci\u00f3n distribuci\u00f3n figura grabar era posible solamente trav\u00e9s de los estudios de grabaci\u00f3n adem\u00e1s el \u00fanico medio para distribuir promocionar el material interna cional mundialmente era trav\u00e9s de las estructuras log\u00edsticas de las compa\u00f1\u00edas discogr\u00e1ficas figura medios para incursionar en la industria musical por el lado de la producci\u00f3n las instalaciones ten\u00edan un alt\u00edsimo costo solamente grandes corporaciones pod\u00edan invertir el capital necesario para comprar el equipo acondicionar los espacios para producci\u00f3n musical durante los \u00faltimos a\u00f1os ha aumentado la disponibilidad de tecnolog\u00eda para grabaci\u00f3n producci\u00f3n musical esto ha provocado un apertura del mercado independiente de producci\u00f3n actualmente es posible grabar producir tanto audio como video nivel profesional con presupuestos inferiores los precio aproximado de los equipos de grabaci\u00f3n de calidad media en la d\u00e9cada e adem\u00e1s con el advenimiento del internet las redes sociales una infinidad de modelos de negocios se hicieron disponibles estos modelos ofrecen diferentes m\u00e9todos de bajo costo para la promoci\u00f3n distribuci\u00f3n del producto musical por ejemplo antes del a\u00f1o cuando se fund\u00f3 youtube era un atrevimiento pensar en cruzar una frontera nacional regional con el producto musical sin recurrir los mecanismos establecidos por las compa\u00f1\u00edas discogr\u00e1ficas en contraste hoy en d\u00eda es posible alcanzar audiencias internacionales e incluso mundiales de manera independiente la disponibilidad de tecnolog\u00eda los medios de promoci\u00f3n distribuci\u00f3n por internet son dos factores que han modificado la manera en la que un artista puede incu rsionar en la industria las posibilidades de negocio cambian constantemente actualmente se produce m\u00e1s m\u00fasica que en cualquier otro momento en la historia el reto radica en tener un producto competitivo encontrar los mejores mecanismos para alcanzar la audiencia oportunidades laborales en la industria musical transcripci\u00f3n la magnitud de la industria musical puede provocar confusi\u00f3n si se estudia cuidadosamente su estructura para comprenderla basta con seguir el trazo que dejan los flujos de capital c\u00f3mo estos evidencian las oportunidades laborales disponibles la industria musical es un segmento de la econom\u00eda mundial que mueve cifras anuales en el orden de los cientos de billones de d\u00f3lares seg\u00fan el reporte investing music realizado por la federaci\u00f3n internacional de la industria fonogr\u00e1fica ifpi por sus siglas en ingl\u00e9s las ventas anuales en sectores relacionados con la industria musical ascienden los billones ifpi seg\u00fan la ifpi dichos sectores incluyen gananci de publicidad radial televisiva en revistas ventas de m\u00fasica al por menor sistemas de reproducci\u00f3n de m\u00fasica caseros portables presentaciones musicales en vivo ventas de instrumentos musicales ventas de m\u00fasica relacionadas con video juegos l os diferentes sectores ligados derechos de autor regal\u00edas curiosamente el reporte mencionado toma en cuenta los mercados de dise\u00f1o venta de equipo para producci\u00f3n musical con los cuales las cifras ser\u00edan a\u00fan mayores todos estos flujos de capit al establecen nichos laborales de mercado para el desempe\u00f1o profesional en la industria en tres \u00e1reas generales creatividad tecnolog\u00eda servicios de soporte de negocios el \u00e1rea de creatividad comprende la labor de creaci\u00f3n e interpretaci\u00f3n para presentar un producto al p\u00fablico ya sea mediante grabaciones presentaciones en vivo la tecnolog\u00eda permite proporcionar las circunstancias para llevar el quehacer creativo la realidad mediante el dise\u00f1o fabricaci\u00f3n implementaci\u00f3n operaci\u00f3n de sistemas musicales incluye el dise\u00f1o fabricaci\u00f3n de equipo e instrumentos musicales as\u00ed como la operaci\u00f3n del equipo en b\u00fasqueda de resultados musicales los servicios de oporte de negocios tienen que ver con profesiones indirectamente relacionadas con la m\u00fasica que juegan un papel primordial para que el producto alcance su mercado estamos hablando de abogados publicistas relacionistas p\u00fablicos administradores vendedo res entre muchos otros figura figura sectores laborales generales de la industria de la m\u00fasica de esta manera se evidencian las oportunidades laborales el potencial econ\u00f3mico que representa el posicionamiento profesional en la industr ia estructura de la industria musical transcripci\u00f3n la industria musical se compone de entidades profesionales los profesionales pueden estar ligados las entidades trabajar de modo independiente figura figura ejemplos de profesionales entidades de la industria musical veamos un escenario que suscita la interacci\u00f3n entre profesionales entidades producci\u00f3n musical una compa\u00f1\u00eda discogr\u00e1fica necesita reforzar el sonido de un artista de su portafolio en una regi\u00f3n geogr\u00e1fica espec\u00edfica con el fin de vender la m\u00e1xima cantidad de entradas un concierto que forma parte de una gira mundial para lograrlo coloca un artis ta local en el mercado regional veamos las relaciones que se producen figura la discogr\u00e1fica contacta un personal manager para posicionar al artista el manager contrata un productor musical le comunica las especificaciones del proyect se necesitan canciones el abogado del artista conoce un compositor id\u00f3neo negocia con el publisher para obtener los derechos de uso de dichas canciones en el disco del artista el productor musical planea la implementaci\u00f3n del proyecto contrat ingenieros alquila instalaciones para realizar grabaci\u00f3n edici\u00f3n mezcla al finalizar entrega el material discogr\u00e1fico al manager figura figura entidades profesionales ejemplo este ejemplo ilustra las diferentes interacciones q ue se producen constantemente todos los d\u00edas muchos otros profesionales se relacionan entre s\u00ed con las entidades conformando la estructura din\u00e1mica de lo que conocemos como la industria musical \u00e1reas de la industria musical transcripci\u00f3n toda transa cci\u00f3n en la industria de la m\u00fasica se lleva cabo entre las contrapartes adecuadas para comprender el contexto de dichas relaciones actuar correctamente es importante analizar las \u00e1reas de la industria son cuatro todas guardan una relaci\u00f3n con la fi gura del artista music business management sellos discogr\u00e1ficos distribuidores publishing touring figura figura \u00e1reas de la industria musical music business management esta \u00e1rea comprende la gerencia del artista como generador de negocio el profesional en esta \u00e1rea investiga planea e implementa estrategias para posicionar al artista en mercados espec\u00edficos trabaja para generar relevancia continuidad de negocios el manejo art\u00edstico tiene dos sub \u00e1reas principales en el \u00e1rea de negocios se trabajan aspectos como lanzamiento distribuci\u00f3n comercializaci\u00f3n promoci\u00f3n est\u00e1 relacionada con las negociaciones de estos otros aspectos que proporcionan las condicione operativas necesarias para que el artista alcance su p\u00fablico la sub \u00e1rea creativa implica todo lo relacionado con el desarrollo de la imagen sonido habilidades del artista en resumen se encarga de pulir al artista para convertirle en un gran comunicador de acuerdo con las caracter\u00edsticas del nicho demogr\u00e1fico meta los profesionales involucrados en el \u00e1rea de management incluyen managers agentes promotores productores musicales inversionistas productores ejecutivos abogados vendedores consultores mercad\u00f3logos entre muchos otros sellos discogr\u00e1ficos distribuidores las compa\u00f1\u00edas discogr\u00e1ficas son una de las \u00e1reas m\u00e1s prominentes en la industria existen dos tipos majors e indies las discogr\u00e1ficas majors son entidades gigantescas con alcance mundial que existen desde los inicios de la industria hacia finales de la d\u00e9cada de sus n\u00f3minas de personal son enormes profesionales en gesti\u00f3n de producto ar mercadotecnia producci\u00f3n management servicios legales log\u00edstica publicidad finanzas relaciones p\u00fablicas entre muchas otras \u00e1reas al principio se encargaban de la grabaci\u00f3n de m\u00fasica eran due\u00f1as casi exclusivas del equipo de grabaci\u00f3n debido su costo excesivo hoy en d\u00eda con los costos reducidos aumento en calidad de las tecnolog\u00edas de grabaci\u00f3n estas discogr\u00e1ficas se dedican distribuir promocionar sus carteras de artistas firmando entre proyectos por a\u00f1o algunos ejemplos son sony emi universal warner con el paso del tiempo la cantidad de majors ha disminuido actualmente existen warner music group sony mu sic group universal music group por otro lado las discogr\u00e1ficas indies independientes son m\u00e1s peque\u00f1as abarcan mercados m\u00e1s espec\u00edficos su alcance es regional se adaptan r\u00e1pidamente las tendencias locales su personal comprende productores ingenieros ars entre otros pero por lo general las mismas personas cumplen varios roles estas discogr\u00e1ficas se dedican grabar mucho m\u00e1s que las majors firmando m\u00e1s de proyectos por a\u00f1o dependiendo de la magnitud de la compa\u00f1\u00eda algunas de disc ogr\u00e1ficas independientes son compradas por majors llegando ser divisiones de estas por ejemplo disa es una divisi\u00f3n de universal existen cientos de sellos discogr\u00e1ficos independientes alrededor del mundo enfocados en nichos de mercado espec\u00edficos publishing el negocio del publishing consiste en la administraci\u00f3n de los derechos de las creaciones de los compositores esta \u00e1rea de la industria se encarga de organizar gestionar otorgar permisos para el uso del material creado por los artistas en su c artera ya sean compositores autores estos permisos son conocidos como licencias promueve las obras de sus clientes para colocarlas en diferentes medios proyectos musicales cine series de televisi\u00f3n videojuegos publicidad cualquier otro uso come rcial de la m\u00fasica para lograrlo los miembros asociados registran sus composiciones cumpliendo con la normativa legal vigente adem\u00e1s se encargan de pagar las comisiones correspondientes sus miembros velan por el cumplimiento de los derechos de autor manejo de licencias dos entidades prominentes en esta \u00e1rea son bmi ascap touring por su lado el \u00e1rea de touring consiste en todo lo relacionado con planeamiento log\u00edstica e implementaci\u00f3n de conciertos giras involucra negociaciones entre prof esionales como promotores agentes managers abogados due\u00f1os de salas de eventos para confirmar fechas duraciones precios de los tiquetes planeamiento del show configuraci\u00f3n esc\u00e9nica mercadeo muchas otras tareas cuyo objetivo es proporcionar una experiencia de entretenimiento la audiencia adem\u00e1s los conciertos cumplen una funci\u00f3n secundaria de promoci\u00f3n aumentan las ventas de m\u00fasica grabada actividades recomendadas semana actividades recomendadas actividad entreviste un conocido que como artista se haya presentado en vivo preg\u00fantele si tuvo que involucrarse en la log\u00edstica del concierto qu\u00e9 impacto tuvo dicho involucramiento en su preparaci\u00f3n para dar el show analice la respuesta en contraste con lo c omentado en el video de esta lecci\u00f3n actividad contin\u00fae con la entrevista consulte al artista el impacto que han tenido los medios de promoci\u00f3n digital como youtube en su carrera en sus esfuerzos por establecerse profesionalmente analice la respue sta en contraste con el video de esta lecci\u00f3n actividad entreviste una persona involucrada en el negocio de la m\u00fasica para consultarle qu\u00e9 otros trabajos ha tenido en la industria qu\u00e9 otros trabajos le gustar\u00eda realizar dentro de la industria analice la respuesta en contraste con el video de esta lecci\u00f3n para encontrar qui\u00e9n entrevistar puede investigar en redes sociales visitar salas de conciertos asociaciones culturales estudios de grabaci\u00f3n u oficinas de compa\u00f1\u00edas discogr\u00e1ficas semana acercando la audiencia al artista el equipo primario transcripci\u00f3n todo artista que incursiona en el negocio se hace la misma pregunta por d\u00f3nde se comienza la incertidumbre es un factor amenazante para el artista emp\u00edrico ya que le pue de llevar tomar decisiones incorrectas ser artista es un trabajo de tiempo completo el artista inexperto en ocasiones mina su propio progreso al asumir roles que le corresponden descuidando el desarrollo de su propio oficio es muy dif\u00edcil para un artista dedicarse crecer creativamente conectarse con su p\u00fablico desarrollar sus habilidades de presentaci\u00f3n esc\u00e9nica si est\u00e1 constantemente preocup\u00e1ndose por tareas de negocios como confirmaci\u00f3n de conciertos coordinaci\u00f3n de transporte elaboraci\u00f3n de presupuestos calendarios por este motivo es necesario para todo artista profesional contar con un equipo de personas que le apoyan en todas las tareas del negocio este grupo de personas como se mencion\u00f3 al inicio de esta lecci\u00f3n se le conoce como equipo primario equipo de servicios de negocios consiste en cinco roles principales personal manager business manager agente abogado productor musical figura figura equipo primario veamos una introducci\u00f3n cada uno de el los personal manager el personal manager es el aliado n\u00famero uno del artista su mayor fan su responsabilidad principal es plantear e implementar estrategias para desarrollar la carrera del artista trabajando aspectos tanto administrativos como creativo ayud\u00e1ndole tomar todo tipo de decisiones business manager el business manager tiene un rol muy espec\u00edfico garantizar la continuidad de negocio del artista trav\u00e9s de la administraci\u00f3n financiera contable agente en el \u00e1rea de touring el agente es la persona entidad encargada de negociar confirmar fechas para conciertos presentaciones en vivo abogado la funci\u00f3n del abogado es clar\u00edsima otorgar soporte asesor\u00eda legal al artista para obtener las mejores condiciones contractuales productor el rol productor musical en la carrera del artista es implementar su sonido convertir las especificaciones otor gadas por management en canciones de esta manera garantiza que el sonido del artista sea congruente con su estrategia de negocios razones para contratar un personal manager transcripci\u00f3n el manejo art\u00edstico es uno de los aspectos m\u00e1s importantes en la carrera de cualquier artista un buen personal manager tiene la capacidad de expandir los horizontes profesionales del artista as\u00ed como uno malo puede destruirlos su rol consiste en analizar constantemente el estado actual del artista definir las accio nes necesarias para su desarrollo es un aliado invaluable en t\u00e9rminos creativos de negocios humanos \u00e1mbito creativo en el \u00e1rea creativa el personal manager trabaja conceptualmente con su artista para identificar desarrollar sus talentos en aspecto como presentaci\u00f3n esc\u00e9nica vocabulario interpretaci\u00f3n instrumental canto manejo de relaciones p\u00fablicas muchas otras adem\u00e1s asesora al artista en t\u00e9rminos de imagen comunicaci\u00f3n otros aspectos creativos est\u00e1n relacionados con la construcci\u00f3n de l sonido del artista lo largo de su carrera de la mano del productor musical \u00e1mbito de negocios el personal manager ayuda al artista tomar decisiones aconsej\u00e1ndole de acuerdo las estrategias que desarrollan juntos algunos son m\u00e1s asertivos que otros pero en general su rol de negocios comprende el acompa\u00f1amiento durante las decisiones que definen el rumbo de su carrera utilizan sus contactos para promover al artista conseguir oportunidades de negocios con entidades como discogr\u00e1ficas publish ers agencias de publicidad patrocinadores otros artistas \u00e1mbito humano dada su cercan\u00eda e involucramiento con el artista el personal manager acaba por ser un aliado de vida una persona de confianza con la cual el artista tiene una relaci\u00f3n muy cerc ana as\u00ed el manager asume ciertas responsabilidades de apoyo emocional motivacional que ayudan al artista mantener la concentraci\u00f3n el enfoque necesarios para brindar experiencias significativas su audiencia productor musical materializando el concepto del artista transcripci\u00f3n el productor musical es una figura que colabora con la materializaci\u00f3n del concepto del artista gran parte de la identidad art\u00edstica est\u00e1 relacionada con el sonido espec\u00edfico de las canciones lo cual es la responsabilidad directa del productor por lo g eneral forma parte intermitente del equipo de trabajo ya que su relaci\u00f3n laboral termina con la entrega de una cantidad de canciones especificadas contractualmente desde una sola hasta un proyecto discogr\u00e1fico completo figura figura product musical en el equipo del artista en algunas ocasiones incluso la relaci\u00f3n se prolonga varios \u00e1lbumes pero nunca es permanente ni exclusiva diferencia de la relaci\u00f3n manager artista que puede prolongarse toda una vida as\u00ed el rol del productor musical consiste en tomar las especificaciones proporcionadas por el personal manager convertirlas en m\u00fasica figura figura rol del productor estas especificaciones tienen que ver con la estrategia con un moment espec\u00edfico en la carrera del artista son aspectos necesariamente musicales sino premisas conceptuales de comunicaci\u00f3n como por ejemplo el tipo de vocabulario descripciones de sonoridad partir de estas premisas el productor musical organiza e implementa las etapas del proyecto musical que incluyen planeamiento composici\u00f3n arreglo instrumental grabaci\u00f3n edici\u00f3n mezcla masterizaci\u00f3n coordina supervisa estas etapas para garantizar la efectividad de la participaci\u00f3n colaborativa entre los miembros del equipo de producci\u00f3n incluyendo al artista figura figura responsabilidades del productor todo con la finalidad de obtener canciones que generen el impacto emocional planteado por management el objetivo principal del produc tor musical es generar el ambiente de trabajo id\u00f3neo para promover el momento musical su correspondiente registro grabado este material es una herramienta poderosa mediante la cual el artista establece una conexi\u00f3n real con su audiencia razones para contratar un abogado transcripci\u00f3n el abogado es una de las figuras m\u00e1s prominentes del negocio del entretenimiento su involucramiento es fundamental en toda relaci\u00f3n de negocios para proteger los intereses del artista e identificar malentendidos antes de que estos generen repercusiones figura figura reuni\u00f3n entre abogados el abogado llega al equipo primario para formalizar las relaciones laborales entre el artista sus clientes adem\u00e1s proporciona asesor\u00eda legal para facilitar la toma de decisiones en circunstancias complejas como la firma de contratos con compa\u00f1\u00edas discog r\u00e1ficas se hace presente para colaborar en la resoluci\u00f3n de conflictos cuando se producen rompimientos contractuales al igual que el productor musical su relaci\u00f3n con el artista es exclusiva el abogado se hace presente solamente cuando se requiere de sus servicios sin embargo existen diferentes tipos de abogados algunos se interesan en estar presentes acompa\u00f1ar m\u00e1s al artista como si fueran un integrante m\u00e1s de la banda otros se remiten las salas de juntas ambientes de negociaci\u00f3n por supuesto existe todo un espectro en el medio pero lo com\u00fan entre todos es su capacidad para asistir al artista en la formalizaci\u00f3n de negocios resoluci\u00f3n de conflictos figura abogados posibilidades as\u00ed existen dos tipos de abogados los transaccionales los litigadores los abogados transaccionales se involucran en negociaci\u00f3n redacci\u00f3n revisi\u00f3n de contratos los que proporcionan servicios de litigaci\u00f3n participan en disputas sobre los derechos del artista cuando se viola alguna cl\u00e1usula de contrato su patrimonio art\u00edstico imagen entre otros de esta manera el abogado participa en el desarrollo de la carrera del artista al involucrarse en su crecimiento de negocios proteger sus intereses generando continuidad de negocio business manager transcripci\u00f3n el artista requiere al menos una persona en su equipo que le brinde asesor\u00eda en temas relacionados con banca seguros impuestos finanzas contabilidad esta figura corresponde al business manager puede crecer hasta convertirse en un equipo de soporte de negocios enfocado en estas otras \u00e1reas su objetivo principal es generar sostenibilidad continuidad de negocios figura figura business manager la primera prioridad de un business manager es manejar los ingresos egresos del artista optimizar su gesti\u00f3n haciendo recomendaciones al personal manager sobre el estado financiero posibilidades de negocios adem\u00e1s se asegura de evitar el gasto supe rfluo para que las ganancias remanentes despu\u00e9s de hacer pagos sean depositadas invertidas en maneras que beneficien al artista por lo general los business managers son contadores administradores una de sus responsabilidades es supervisar la rentabi lidad por ejemplo durante una gira el business manager revisa los estados contables constantemente para verificar que se cuenta con la liquidez necesaria para hacer pagos de estad\u00eda transporte alimentaci\u00f3n alquileres n\u00f3minas de pago figura liquidez en una gira idealmente los n\u00fameros deber\u00edan tender una cifra de ganancia figura ingresos si al hacer proyecciones identifica riesgos de entrar en d\u00e9ficit toma medidas recomienda proactivamente al personal manager las modificac iones necesarias por hacer por ejemplo contratar servicios alternativos de alimentaci\u00f3n transporte para gastar menos compensar las p\u00e9rdidas de un concierto que recaud\u00f3 lo esperado de esta muchas otras maneras la asesor\u00eda financiera del busin ess manager proporciona las bases para la continuidad operativa de la carrera del artista presentaciones en vivo agente transcripci\u00f3n gran parte de las ganancias que percibe el artista provienen de sus presentaciones en vivo los conciertos presentaciones personales han representado el motor para generar rentabilidad en las carreras de innumerables artistas figura figura ingreso por presentaciones personales en esta \u00e1rea de la industria el rol del agente booking agent implica trabajar como representante del artista para negociar confirmar los detalles de sus presentaciones en vivo su trabajo es bastante espec\u00edfi co el agente se encarga de conseguir presentaciones para el artista hace contacto con due\u00f1os de salas de concierto entidades similares para negociar las fechas condiciones de dichas presentaciones figura figura agente un solo agente puede trabajar con varios clientes su relaci\u00f3n con el artista es exclusiva ni viceversa as\u00ed como un agente puede contar con varios artistas en su cartera de clientes figura el artista puede tener varios agentes figura figura agente con varios artistas figura artista con dos agentes desde este punto de vista el agente trabaja de cerca con el personal manager para definir las condiciones que puede negociar figura figura por ejemplo el tipo de salas de conciertos para una cantante de \u00f3pera es el mismo que para una banda de rock adem\u00e1s el manager le comunica las temporadas en las que el artista estar\u00e1 presente en zonas geogr\u00e1ficas espec\u00edficas as\u00ed el agente cuenta con una delim itaci\u00f3n regional establecida para trabajar clientes espec\u00edficos en diferentes \u00e9pocas del a\u00f1o un artista que gira internacionalmente en zonas geogr\u00e1ficas extensas puede contar con varios agentes cada agente se especializa en una zona geogr\u00e1fica espec\u00edf ica al inicio de su carrera el artista puede ser su propio agente trabajando contactos para promover sus propias presentaciones en vivo esta pr\u00e1ctica es com\u00fan e incluso aceptable bajo ciertas circunstancias sin embargo est\u00e1 lejos de ser el caso idea l por un motivo el agente contin\u00faa trabajando incluso cuando el artista est\u00e1 present\u00e1ndose ante el p\u00fablico muchas veces visita el concierto hace contactos con otros artistas personas involucradas en la organizaci\u00f3n de conciertos lo cual crea oportu nidades adicionales adem\u00e1s bajo estas circunstancias el tiempo que el artista est\u00e9 involucrado en procesos creativos de ensayo composici\u00f3n producci\u00f3n musical es tiempo muerto en t\u00e9rminos de conseguir oportunidades para presentaciones en vivo activ idades recomendadas semana actividad entreviste un artista que se presente en vivo tenga al menos una producci\u00f3n discogr\u00e1fica pregunte lo siguiente qu\u00e9 le diferencia de su competencia solicite aspectos tanto referentes su sonido como sus pr\u00e1cticas de negocios pregunte lo siguiente durante la producci\u00f3n discogr\u00e1fica se contrataron los servicios de un productor si fue as\u00ed qui\u00e9n se encarg\u00f3 de convertir el concepto sonoro en realidad trav\u00e9s de la producci\u00f3n del disco qu\u00e9 tan fluido fue el proceso actividad continuando con la entrevista realice la \u00faltima pregunta adem\u00e1s de los m\u00fasicos qui\u00e9n m\u00e1s forma parte permanente semipermanente del equipo de trabajo del artista qu\u00e9 funciones cumple estas personas qu\u00e9 factores de negocios influyeron en la dec isi\u00f3n de integrar estas persona en el equipo de trabajo si existen personas adicionales pregunta al artista considerando su situaci\u00f3n de negocios actual el crecimiento que espera tener en los pr\u00f3ximos a\u00f1os cu\u00e1l ser\u00e1 el primer rol contr atar por qu\u00e9 semana prioridades el artista orden de contrataci\u00f3n del equipo primario transcripci\u00f3n hemos establecido la importancia del equipo de trabajo en la carrera del artista integrar su equipo primario le permite dedicarse su p\u00fablico embargo la pregunta permanece la interrogante por d\u00f3nde comenzar se convierte en otra m\u00e1s espec\u00edfica qui\u00e9n se contrata primero cada artista plantea su estrategia de manera distinta dependiendo de sus \u00e1reas de enfoque experiencia contactos querir\u00e1 m\u00e1s inmediatamente de los servicios de un profesional distinto veamos un ejemplo un artista tiene dos a\u00f1os present\u00e1ndose en vivo en sitios peque\u00f1os de menos de personas interpretando covers tiene un ingreso estable desea crecer nunca ha grabado material discogr\u00e1fico meditemos cu\u00e1l de las siguientes funciones es m\u00e1s necesaria negociar hacer contratos producir grabar su m\u00fasica conseguir conciertos llevar cabo los registros contables estas funciones describen generalmente cada uno de los participantes del equipo primario el personal manager negocia toma decisiones estrat\u00e9gicamente el abogado maneja la parte legal contractual el productor musical se encarga de grabar la m\u00fasica el agente consigue conciertos el busin ess manager gestiona las finanzas en nuestro ejemplo el artista ya tiene un circuito de conciertos estable por lo que requiere con urgencia de un agente al carecer de material discogr\u00e1fico su primera prioridad podr\u00eda ser contratar un productor usical desarrollar material original para empezar salirse del nicho de los artistas de covers por otro lado su enfoque podr\u00eda ser conseguir m\u00e1s conciertos para sufragar los gastos de producci\u00f3n musical para lo cual un agente ser\u00eda el primer miembro contratar la estrategia de negocios se deriva de la percepci\u00f3n del artista sus prioridades durante las pr\u00f3ximas lecciones detallaremos estrategias describiremos los roles de cada uno de los integrantes del equipo primario para establecer premisas en el orden de contrataci\u00f3n prolongaci\u00f3n de la carrera art\u00edstica filosof\u00eda de negocio transcripci\u00f3n c\u00f3mo prolongar una carrera art\u00edstica toda carrera art\u00edstica tiene una duraci\u00f3n limitada curiosamente puede prolongarse entre unos pocos a\u00f1os varias d\u00e9cadas el artista debe luchar por mantenerse relevante ante la audiencia por este motivo la filosof\u00eda de negocios es fundamental por eje mplo si comparamos un artista musical con un m\u00e9dico cuya carrera se prolonga unos a\u00f1os figura si es exitoso el artista puede ganar por a\u00f1o varias veces lo que gana el m\u00e9dico pero su carrera dif\u00edcilmente se prolongar\u00e1 lo mismo figura c omparaci\u00f3n ingreso vs prolongaci\u00f3n de carrera por este motivo el artista debe responsabilizarse analizar que las ganancias de sus a\u00f1os m\u00e1s productivos se deben distribuir durante muchos a\u00f1os probablemente el resto de su vida as\u00ed el artista debe tomar en cuenta dos premisas importantes ser artista es un negocio pesar de que su rol es meramente creativo su capacidad de generar ganancias multimillonarias implica adquirir una perspectiva de negocios muchos artistas se interesan en el l ado de negocios de su carrera porque piensan que su tiempo est\u00e1 mejor invertido en su desarrollo art\u00edstico esta postura puede parecer razonable e incluso acertada sin embargo los artistas que tienen una perspectiva de negocios ganan ventaja competitiva visi\u00f3n de negocios la filosof\u00eda de negocios permite al artista identificar oportunidades un polic\u00eda ense\u00f1a un video de una c\u00e1mara de seguridad una audiencia solicita que observen atentamente la escena el video muestra una t\u00edpica ma\u00f1ana en la ciudad figura personas caminando entrando saliendo de las tiendas veh\u00edculos circulando figura ma\u00f1ana en la ciudad despu\u00e9s de segundos detiene el video comenta que se cometieron cr\u00edmenes durante el transcurso del vi deo el ojo entrenado identifica lo que es invisible para el ojo com\u00fan de la misma manera el artista que tiene una perspectiva de negocios logra leer entre l\u00edneas ver las oportunidades que puede tomar para el avance de su carrera en una industria c ada vez m\u00e1s globalizada competitiva el artista actual se puede dar el lujo de ignorar las circunstancias de negocios que giran alrededor de su rol creativo aunque cuente con un equipo de profesionales para encargarse de tareas espec\u00edficas debe desa rrollar su visi\u00f3n de negocios estar alerta en todo momento para prolongar al m\u00e1ximo su carrera iniciando la integraci\u00f3n del equipo de trabajo transcripci\u00f3n todo artista debe enfrentarse la realidad del negocio si desea una carrera productiva ya que hemos dado un vistazo general las funciones responsabilidades de cada uno de los integrantes del equipo primario podemos iniciar la integraci\u00f3n del equipo de servicios de negocios recomendaciones para buscar e identificar miembros potenciales veamos un caso hipot\u00e9tico supongamos que somos integrantes de una banda que cuenta con equipo primario tiene varios meses de ensayar ha acumulado suficiente terial original como para comenzar desarrollar sus presentaciones en vivo muchos artistas hacen este mismo ejercicio todos los d\u00edas al enfrentarse la necesidad de contratar integrantes para su equipo de trabajo al definir algunas premisas el proceso de b\u00fasqueda contrataci\u00f3n se hace m\u00e1s sencillo cu\u00e1les son las funciones que necesitamos cubrir el artista analiza cu\u00e1les funciones est\u00e1 llevando cabo actualmente las cuales le quitan tiempo para desarrollarse como artista en el caso de nuestra ba nda ficticia la b\u00fasqueda de presentaciones en vivo cu\u00e1nto tiempo estamos dedicando estas tareas qu\u00e9 tipo de rendimientos genera esta inversi\u00f3n por ejemplo el baterista de nuestra banda ficticia dedica horas semanales la log\u00edstica de concie rtos cambio obtiene dos conciertos semanales de manera estable recordemos que nuestra banda cuenta con equipo primario de manera que estas horas afecta su desarrollo art\u00edstico qu\u00e9 roles del equipo primario est\u00e1n descuidados actualmente al analizar los roles del equipo primario que se est\u00e1n implementando podemos definir si son urgentes en el plazo inmediato en el ejemplo nuestra banda est\u00e1 realizando acciones de prod ucci\u00f3n musical necesita hacerlo por el momento por otro lado hemos estado firmando documentos para las presentaciones en vivo sin conocer el contenido e implicaciones de los mismos el rol del abogado podr\u00eda beneficiar al crecimiento de la banda cu\u00e1les roles son necesarios de contratar hemos encontrado que necesitamos contratar un agente un abogado adem\u00e1s es importante definir el orden de prioridad en nuestro caso necesitamos primero contratar al agente ya que si \u00e9ste consigue fechas p ara presentaciones en vivo necesitaremos la asesor\u00eda del abogado para firmar documentos cu\u00e1nto es posible invertir para cada integrante partir de los recursos invertidos rendimientos actuales es posible definir un presupuesto de referencia por ejemplo si la banda se est\u00e1 presentando dos veces la semana gracias las horas semanales que el baterista dedica al rol de agente esto representa una ganancia neta de el agente contratado deber\u00eda aumentar estas ganancias trabajando igu al menos tiempo adem\u00e1s es necesario definir qu\u00e9 parte de estos estamos dispuestos pagarle al agente por su trabajo el artista debe atender personalmente la integraci\u00f3n de su equipo de servicios de negocios incluso cuando sea un proceso fastid ioso debe contemplar que su carrera su dinero estar\u00e1n en manos de estas personas la elecci\u00f3n de personas adecuadas puede ser la base de un desarrollo profesional sin preocupaciones sin embargo incluso bajo estas circunstancias id\u00f3neas el artista debe supervisar peri\u00f3dicamente para asegurarse de que todo marche bien por otro lado seleccionar las personas incorrectas entregarles responsabilidades ciegamente puede arruinar la carrera del artista uso del demo en promoci\u00f3n art\u00edstica transcripci\u00f3n el artista necesita de un equipo de trabajo efectivo para lo cual debe ser selectivo cuidadoso correspondientemente debe prepararse para ser congruente con dichas exigencias el integrante potencial del equipo de trabajo preguntar\u00e1 qu\u00e9 beneficio tra er\u00e1 mi carrera trabajar con este artista vale la pena involucrarme con este artista como dijimos anteriormente el artista debe trabajar con profesionalidad para poder exigirla su vez su equipo as\u00ed la manera de presentar una oferta de trabajo atractiva un miembro potencial de su equipo primario es preparar material el artista trabaja en tres aspectos para lograr diferenciarse de su competencia su producto su base de fans su historia su producto el demo el artista competitivo debe tener un producto que ense\u00f1ar este producto se conoce como el demo este material se trata de una grabaci\u00f3n de canciones representativas que demuestran claramente tanto el sonido como el potencial del artista c\u00f3mo debe sonar el demo es importante tener claro que el demo debe ser producido con el mayor nivel de calidad posible pero existe un factor m\u00e1s importante que el costo complejidad sonora del demo lo que comunica la mayor\u00eda de profesionales en la industria busca lacionarse con artistas con los cuales desarrollar empat\u00eda es m\u00e1s sencillo disfrutable trabajar en una causa en la que se cree la m\u00fasica debe tener impacto alcance emocional el demo debe dejar claro que el artista es capaz de transmitir este impacto su audiencia para evidenciarlo algunos demos incluyen videos del artista interactuando con el p\u00fablico para demostrar sus capacidades comunicativas respecto al tipo de m\u00fasica es una decisi\u00f3n personal del artista que debe fundamentarse en motivacione genuinas nadie ha tenido una carrera verdaderamente relevante imitando el sonido de otros es por este motivo que el artista debe creer honestamente en su m\u00fasica as\u00ed el tipo de m\u00fasica viene directamente relacionado con la persona personas que la int erpretan la resonancia emocional entre el artista el p\u00fablico se genera en la vivencia mutua que comparten esto resulta dif\u00edcil sino imposible de crear artificialmente el dilema buscar un contrato discogr\u00e1fico transcripci\u00f3n todos los artistas se enfrentan en alg\u00fan momento la aspiraci\u00f3n de firmar un contrato con una compa\u00f1\u00eda discogr\u00e1fica major aunque esta pretensi\u00f3n se puede trabajar como un objetivo real existen grandes barreras en contra veamos un par de ellas cu\u00e1nto demos recibe una discogr\u00e1fica major de diarios esto acumula entre semanales la segunda barrera es que las discogr\u00e1ficas majors escuchan el material recibido de nuevos artistas cientos de personas gastan su tiempo esperando una respuesta positiva que nunca llega entonces ante una circunstancia tan abrumadora el artista podr\u00eda preguntarse c\u00f3mo presentar un demo lograr que sea escuchado que sobresalga entre todos los que se reciben las discogr\u00e1ficas majors s\u00ed escuchan par te de los demos que reciben los que han sido remitidos trav\u00e9s de personal managers abogados de industria establecidos en el negocio musical esta es la raz\u00f3n por la cual muchos equipos de trabajo buscan integrar primero una u otra figura adem\u00e1s e l artista debe considerar las discogr\u00e1ficas independientes que firman proyectos nuevos todo el tiempo que est\u00e1n dispuestas asumir riesgos financieros si el artista logra comprobar que el proyecto vale la pena en t\u00e9rminos de rentabilidad e inversi\u00f3n de recursos orden de contrataci\u00f3n la incertidumbre es parte de la ecuaci\u00f3n para los que incursionan en la industria musical sin el conocimiento correcto para el artista que desea ese contrato con la discogr\u00e1fica major puede significar a\u00f1os de trabajo sin frutos simplemente porque es nece sario tener contactos para que el material sea escuchado pero tambi\u00e9n es necesario que el material sea escuchado para conseguir dichos contactos la clave radica en contratar un personal manager abogado para que posicione el demo figura figura estrategia contrato discogr\u00e1fico por este motivo la mayor\u00eda de las veces el primer integrante del equipo primario es el abogado el personal manager figura figura orden de contrataci\u00f3n conseguir un personal manager posiciona puede ser complicado para un artista nuevo por el tiempo que debe dedicarle adem\u00e1s un manager de este tipo normalmente tiene una cartera de clientes definida una agenda muy restringida por este motivo es m\u00e1s sencillo contratar un abogado ya que de dica mucho menos tiempo por cliente su responsabilidad es m\u00e1s puntual figura figura orden de contrataci\u00f3n en este escenario se le contrata m\u00e1s por los contactos que tiene que por sus destrezas legales el artista contratante debe revis ar las referencias del abogado para asegurarse de que su demo terminar\u00e1 en el basurero algunos abogados tienen la mala fama de aceptar una cantidad indiscriminada de demos naturalmente los que env\u00edan estos abogados son escuchados el tercer cuar profesional en ingresar al equipo es el agento el productor musical dependiendo del \u00e9nfasis estrat\u00e9gico del artista las presentaciones en vivo la grabaci\u00f3n de material respectivamente figura figura orden de contrataci\u00f3n segundo int egranrte finalmente el business manager es el \u00faltimo integrante en ingresar al equipo porque su labor radica en rentabilizar el negocio del artista para ese momento ya el negocio debe ser estable los artistas nuevos por lo general luchan por mante nerse flote de manera que tienen espacio en sus presupuestos para contratar al business manager rec\u00edprocamente el business manager por lo general se muestra renuente trabajar con un artista cuya base operativa garantice el pago por su tiempo e sta es la raz\u00f3n por la cual la mayor\u00eda de artistas necesitan de todas las funciones del business manager al inicio de sus carreras en su lugar contratan un contador actividades recomendadas semana actividad investigue hasta encontrar una historia que haga que una banda artista sea sobresaliente de acuerdo las premisas presentadas en el video comparta dicha historia en el foro del curso actividad si usted fuera un artista en qu\u00e9 orden contratar\u00eda los integrantes del equipo primario buscar\u00eda un contrato discogr\u00e1fico justifique su respuesta comp\u00e1rtala en el foro del curso actividad entreviste los integrantes de una banda preg\u00fanteles si en alg\u00fan momento han reemplazado un integrante los motivos por los cuales se hizo esto si se ha tomado dicha medida nunca pregunte qu\u00e9 circunstancias comportamientos provocar\u00edan considerarlo analice la respuesta obtenida en contraste con lo visto en el video semana construyendo tra bajando una base de fans transcripci\u00f3n adem\u00e1s del demo el artista presenta su fan base base de fans sus posibles aliados la base de fans es el grupo de personas con el cual el artista tiene poder de convocatoria e impacto comunicativo figura figura fanbase formando una base de fans la base de fans se recopila presenta mediante datos cuantitativos veamos algunos ejemplos historial de presentaciones en vivo con cifras de tiquetes vendidos presencia en internet redes sociales por ejemplo cantidad de seguidores en twitter facebook videos vistos en youtube dem\u00e1s medios de promoci\u00f3n en l\u00ednea presencia en medios sus apariciones en revistas televisi\u00f3n radio prensa otros medios de comunicaci\u00f3n masiva listas de contacto de fans los que el artista tiene acceso para promocionarse existen innumerables estrategias para desarrollar esta lista de seguidores un m\u00e9todo ampliamente utilizado es la lista de correo durante las pre sentaciones el equipo del artista ofrece las personas que asisten agregar su correo la lista con el fin de recibir noticias fechas de los pr\u00f3ximos conciertos en algunos casos se incentiva esta acci\u00f3n regalando mercader\u00eda todos los que se inscriben otras herramientas en l\u00ednea como cashmusicorg fanbridgecom ofrecen medios virtuales para dar regal\u00edas los fans como canciones gratuitas cambio de su informaci\u00f3n de contacto aporte en redes sociales la colocaci\u00f3n de canciones en televisi\u00f3n comerciales es un mecanismo efectivo tambi\u00e9n sitios como musicdealerscom pumpaudiocom colaboran en la colocaci\u00f3n de m\u00fasica en estos medios ayudando as\u00ed que la m\u00fasica del artista alcance un p\u00fablico m\u00e1s amplio variado trabajando las bases de segu idores posicionamiento mediante figuras de influencia transcripci\u00f3n trabajando la base de fans poco poco la lista de contactos del artista crece su base de seguidores se desarrolla en los paradigmas de promoci\u00f3n moderna el objetivo es dirigir al f la compra directamente sino se trata de desarrollar empat\u00eda conexi\u00f3n con el artista esto se logra utilizando las listas de contactos para dirigir los fans los portales en l\u00ednea del artista como su p\u00e1gina web de youtube para experimentar c ontenido multimedia incluyendo sus videos m\u00fasica figura figura exposici\u00f3n de productos al fanbase el enfoque es crear inter\u00e9s en los fans mediante diferentes campa\u00f1as para regalar tiquetes reconocer los fans m\u00e1s leales regalar art\u00edculos como camisetas simplemente comunicarse para crear confidencia empat\u00eda figura figura fanbase e strategias de promoci\u00f3n estas estrategias le dan poder la base de fans para organizar eventos coordinar log\u00edstica incluso tener acceso directo al artista artistas ya establecidos utilizan sus listas de contactos de modos creativos por ejemplo d\u00e1ndoles la primicia en la compra de tiquetes para un concierto privado u ofreci\u00e9ndoles versiones autografiadas de colecci\u00f3n de sus producciones discogr\u00e1ficas para dar un valor agregado figuras de influencia otro m\u00e9todo que el artista su equipo puede u tilizar para desarrollar su base de fans es promoverse mediante figuras de influencia es decir personas con credibilidad como periodistas escritores de blogs autores locutores de radio presentadores de televisi\u00f3n due\u00f1os de salas de conciertos cr\u00edt icos entre otros estas figuras de influencia cuentan con la reputaci\u00f3n seguidores canales de comunicaci\u00f3n para emitir su opini\u00f3n adem\u00e1s de que solo son tomadas en consideraci\u00f3n sino tambi\u00e9n son apreciadas por sus seguidores figura figura figura de influencia esta base de seguidores se encarga de promover las opiniones algunas veces de manera viral cuando las actividades de promoci\u00f3n del artista captan la atenci\u00f3n de una figura de influencia \u00e9sta emite una opini\u00f3n es recomendable agradecer p\u00fablicamente la menci\u00f3n por ejemplo si un locutor de radio menciona que fue un concierto disfrut\u00f3 de un artista que hab\u00eda escuchado antes la banda podr\u00eda agradecer el comentario en la cuenta de twitter del locutor esto lograr\u00eda dos objetivos primero regresar la cortes\u00eda segundo ayudar promover el nombre del artista ante la base de seguidores del locutor por beneficios como el anterior el artista debe estar alerta para posicionarse ante figuras de influencia buscar contacto proactivo con ellas constantemente creando impacto recordaci\u00f3n mediante la historia transcripci\u00f3n en un mercado su mamente competitivo el artista necesita sobresalir necesita ser memorable el personal manager trabaja networking para promover el artista sus contactos de negocios con el objetivo de ganar posicionamiento ser recomendado para trabajos espec\u00edficos u na estrategia para obtener la atenci\u00f3n de estos contactos de negocios mediante la historia qu\u00e9 es la historia la historia es una an\u00e9cdota que diferencia al artista es un importante factor diferenciador que relaciona el nombre del artista con dicha an\u00e9cdota puede ser simple compleja pero tiene alto impacto as\u00ed el artista es relacionado con la an\u00e9cdota hasta que su nombre se posiciona la an\u00e9cdota pasa tener relevancia secundaria por ejemplo despu\u00e9s de una reuni\u00f3n dos managers podr\u00edan tener una conversaci\u00f3n similar esta ella es carism\u00e1tica su banda se llama grand theft orchestra la cuerdo es la que recaud\u00f3 m\u00e1s de un mill\u00f3n de d\u00f3lares en un mes para la producci\u00f3n de su \u00e1lbum mediante crowdfunding en el sitio kickstartercom ah ya la recuerdo la pelirroja de esta manera la historia se promueve s\u00ed misma el artista se p osiciona por su asociaci\u00f3n ella la presentaci\u00f3n en el ascensor existe una estrategia de auto promoci\u00f3n conocida como la presentaci\u00f3n de elevador elevator pitch consiste en presentar una idea en un tiempo corto similar la duraci\u00f3n de un viaje en ascensor veamos un ejemplo imagine que en una entrevista de trabajo le preguntan lo siguiente le gustar\u00eda formar parte del equipo del artista que desarroll\u00f3 su magnetismo esc\u00e9nico lo largo de m\u00e1s de conciertos antes de tener \u00e9xito internacional esta afirmaci\u00f3n inmediatamente llama la atenci\u00f3n crea curiosidad al respecto estamos hablando de beatles los shows que interpretaron tocando hasta d\u00edas la semana entre figura primero fueron la banda que ten\u00eda shows en bit\u00e1cora despu\u00e9s su an\u00e9cdota se convirti\u00f3 en solo una historia m\u00e1s sobre su exc epcional carrera figura beatles de esta otras maneras la presentaci\u00f3n de elevador se utiliza en combinaci\u00f3n con la historia para crear impacto llamar la atenci\u00f3n de posibles contactos de negocios otras estrategias previas otros datos que el artista prepara para negociar con posibles miembros de su equipo de trabajo incluyen contactos de personas en el negocio que pueden dar referencia suya presentaci\u00f3n de imagen como por ejemplo fotos videos sitios web portafolio de sus producciones discogr\u00e1ficas cifras de sus ventas al presentar su demo base de fans historia otros datos el artista aporta peso sus negociaciones ya sea con miembros potenciales del equipo primario con posibles clientes socios de negocios encontrando los integrantes del equipo primario transcripci\u00f3n el artista que incursiona en el negocio se cuestiona c\u00f3mo encontrar los integrantes de su equipo de servicios de negocios la cual es una pregunta v\u00e1lida para contestarla es importante resaltar que la industria musical es un negocio de contactos el art ista debe hacer uso de sus conexiones para averiguar obtener referencias de personas que le puedan favorecer en su carrera adem\u00e1s de sus contactos debe hacer uso de todos los recursos su disposici\u00f3n para encontrar las personas que formar\u00e1n parte de su equipo primario c\u00f3mo se encuentran estas personas veamos algunos m\u00e9todos contactos personales el primer recurso consiste en utilizar los contactos personales el artista recurre todos sus conocidos para solicitar recomendaciones esta es la mej manera de iniciar una conversaci\u00f3n de negocios en la industria musical trav\u00e9s de un conocido en com\u00fan esto es lo que se conoce como un contacto en caliente de esta manera el artista puede presentarse diciendo que fue recomendado esto facilita el inicio de una relaci\u00f3n de negocios estar donde la industria est\u00e1 la mayor\u00eda de las personalidades prominentes en esta industria est\u00e1n ubicadas en ciudades como los \u00e1ngeles nueva york nashville el artista investiga d\u00f3nde est\u00e1n las personas con las que se desea asociar mueve sus actividades de negocios dicha \u00e1rea construir una lista alguna vez busc\u00f3 m\u00e1s m\u00fasica de un artista porque disfrut\u00f3 de una canci\u00f3n por qu\u00e9 buscar m\u00e1s m\u00fasica trabajada por el mismo productor musical manager antes de siquiera iniciar una b\u00fasqueda seria es importante plantearse objeti vos el artista puede hacer uso de directorios de negocios para construir una lista que contenga los profesionales con cuyo portafolio se sienta identificado por ejemplo algunos directorios se encuentran en sitios como allaccesscom publicaciones como whos got de la revista hitsmagazine documentos como el listado internacional de talento touriung de billboard sin embargo el artista debe utilizar estos recursos cuidadosamente ya que pueden ser imprecisos quedar desactualizados especialment e si son impresos los directorios en l\u00ednea son un poco m\u00e1s confiables otro recurso gratuito de f\u00e1cil acceso son los cr\u00e9ditos de producci\u00f3n en los lanzamientos comerciales estas listas de cr\u00e9ditos encontradas en los cds dvds contienen nombres de managers abogados agentes en la secci\u00f3n de agradecimientos especiales los de compositores arreglistas ingenieros programadores otros profesionales en los cr\u00e9ditos de cada canci\u00f3n las listas de personal en los programas de las giras que se postean e n internet tambi\u00e9n contienen informaci\u00f3n similar trabajando la lista una vez recopila la lista de las personas con las que desea trabajar el artista debe establecer prioridades e iniciar un proceso de contacto ya sea presencialmente por tel\u00e9fono cor reo electr\u00f3nico redes sociales incluso correo convencional la cantidad de mensajes sin respuesta llamadas retornadas respuestas negativas ser\u00e1 muy alta debido que est\u00e1 entablando contactos en fr\u00edo con personas que conoce ni le conocen la brevedad es important\u00edsima en este tipo de comunicaciones ya que estas personas est\u00e1n sumamente ocupadas en muchas ocasiones es necesario hablar con recepcionistas asistentes para poder establecer una l\u00ednea de comunicaci\u00f3n adem\u00e1s es muy com\u00fan que la persona exprese inter\u00e9s pero carezca de tiempo recursos para apoyar al artista en esta situaci\u00f3n el artista puede solicitar una recomendaci\u00f3n haciendo preguntas como si usted puede podr\u00eda recomendar alguien de esta manera es posible obtene r recomendaciones para iniciar contactos por referencia para incursionar en la industria el artista debe comprender que las negativas son personales que el recurso m\u00e1s valioso para tener una carrera exitosa es la perseverancia aunada con la prepar aci\u00f3n profesional constante identificando los indeseables transcripci\u00f3n como en todas las industrias existen personas deshonestas e inescrupulosas la industria musical es la excepci\u00f3n el artista debe tener sumo cuidado al seleccionar los miembr os de su equipo asegur\u00e1ndose de que tienen un inter\u00e9s genuino en su carrera en lo que pueden obtener trav\u00e9s de esta veamos algunos m\u00e9todos para identificar filtrar las personas deshonestas el artista entrevista cuidadosamente revisa referen cias somete al nuevo miembro un periodo de prueba la entrevista el artista debe desconfiar de la primera impresi\u00f3n que surge al reunirse con el miembro potencial del equipo ya que durante esta entrevista por lo general se hace uso de todos los recur sos para llamar la atenci\u00f3n aparentar ser la mejor opci\u00f3n es necesario ver trav\u00e9s de esta primera conversaci\u00f3n la mejor manera es mediante la investigaci\u00f3n de referencias es particularmente importante dejarse impresionar con promesas an\u00e9cdotas ya que la mayor\u00eda de las veces este tipo de compromisos se cumplen cuando una persona que busca socios de trabajo presenta una situaci\u00f3n prometedora de gran potencial por lo general omite detalles importantes por ejemplo un trato de un mill\u00f3n de \u00f3lares resulta ser un trato de decenas de miles menos de que el artista tenga \u00e9xito masivo al omitir este \u00faltimo detalle participar en un trato de un mill\u00f3n de d\u00f3lares puede resultar muy atractivo para cualquiera en realidad existen atajos el se creto del \u00e9xito en la industria musical radica en el planeamiento inteligente el trabajo duro la ejecuci\u00f3n estrat\u00e9gica referencias la reputaci\u00f3n antecede toda presentaci\u00f3n portafolio el artista solicita referencias al miembro potencial del equipo las revisa cuidadosamente por otro lado tambi\u00e9n pregunta en su propio c\u00edrculo de contactos incluyendo los miembros actuales del equipo de trabajo para verificar si conocen c\u00f3mo trabaja este miembro potencial al revisar referencias habla con personas que est\u00e9n su mismo nivel de negocio el hecho de que una persona cuide muy bien sus clientes grandes garantiza que hace lo mismo con todos sus clientes por ejemplo el artista de nivel intermedio habla con las referencias de su propio nivel para c onocer el trato que reciben de este miembro potencial adem\u00e1s al hablar con las referencias el artista pregunta cu\u00e1nto tiempo han trabajado con esta persona para determinar si su opini\u00f3n es v\u00e1lida periodo de prueba aun cuando la persona es contratada el artista supervisa su trabajo continua celosamente durante los primeros meses de la misma manera consulta los miembros del equipo de trabajo para verificar el rendimiento de la persona nueva el error m\u00e1s grande es darle poder libertad total un miembro nuevo del equipo de trabajo esta delegaci\u00f3n negligente puede provocar problemas serios ya que nadie cuida mejor el negocio del artista que el artista mismo cambiando integrantes del equipo transcripci\u00f3n diferentes personas llenan las posiciones del equipo de trabajo conforme pasa el tiempo en muchos casos estas transiciones se deben finalizaci\u00f3n del plazo del contrato otras circunstancias problem\u00e1ticas sin embargo con la experiencia los artis tas desarrollan una intuici\u00f3n que les indica cuando algo anda mal canales abiertos de comunicaci\u00f3n la clave para crear un ambiente de trabajo agradable productivo radica en la comunicaci\u00f3n al tener canales abiertos se posibilita la resoluci\u00f3n de confl ictos es importante postergar estas conversaciones algunos abogados incluso recomiendan comunicar los problemas trav\u00e9s de terceras personas para evitar que los conflictos profesionales se tornen en problemas personales las circunstancias las per sonas siempre cambian es muy inusual que un integrante del equipo de trabajo tenga un contrato vitalicio con el artista una persona que jug\u00f3 un rol crucial en una etapa espec\u00edfica podr\u00eda gradualmente perder inter\u00e9s en la visi\u00f3n estrat\u00e9gica largo plazo por otro lado si el artista se desarrolla es posible que requiera apoyo cada vez m\u00e1s especializado lo cual implica prescindir de los servicios de algunos de los miembros de su equipo para contratar otros adem\u00e1s es responsabilidad del artista hablar con las personas cuyos servicios est\u00e1n rindiendo los resultados esperados lealtad confianza m\u00e1s all\u00e1 de las credenciales capacidades profesionales el miembro exitoso del equipo primario proporciona lealtad confianza al artista quien responde actuando rec\u00edprocamente este tipo de relaci\u00f3n es dif\u00edcil de encontrar mantener la lealtad la confianza significan perseverar con el equipo de trabajo sin importar las circunstancias positivas negativas para el artista representa la tranquilidad de esperar un nivel de compromiso por parte de los profesionales en su equipo primario si todos trabajan duro dan lo mejor de s\u00ed mismos la relaci\u00f3n se mantiene as\u00ed el artista tiene la responsabilidad de actuar si nota cambios en el nivel de calidad compromiso de su equipo muchos conflictos p\u00e9rdidas se pueden evitar al actuar de manera proactiva para confrontar lo antes posible las situaciones que se presenten por esta raz\u00f3n la confianza es invaluable si existe una relaci\u00f3n de confianza entre los miembros del equipo el artista se establece un n\u00facleo s\u00f3lido para la ejecuci\u00f3n de cualquier trabajo es por esto que el artista debe comunicarse abiertamente si pierde la confianza en un miembro de su equipo nota que su lealtad cambia integrac i\u00f3n del equipo personal manager abogado semana rol del personal manager transcripci\u00f3n el personal manager es una figura un poco misteriosa para las personas sin experiencia en el negocio ya que aparenta estar presente en todos los aspectos de la vida del artista qu\u00e9 hace un personal manager ya hemos repasado algunas de sus responsabili dades en pocas palabras representa uno varios artistas supervisando todos los aspectos de su carrera maneja asesora todas las decisiones del artista tanto de negocio como creativas implementando estrategias para desarrollar su carrera mantener la en un plano de relevancia comercial en algunos casos su relaci\u00f3n con el artista le lleva involucrarse incluso en decisiones personales as\u00ed el personal manager es el individuo m\u00e1s importante en la carrera del artista esta figura puede provocar su despegue bien su fracaso habilidades del personal manager veamos cuatro habilidades que todo personal manager profesional debe desarrollar la comprensi\u00f3n de la naturaleza humana implica el desarrollo de habilidades interpersonales para manejar los egos de diferentes tipos de personas involucradas en la carrera del artista el personal manager estudia los motivos por los que diferentes personas reaccionan de diferentes maneras con el fin de comunicarse estrat\u00e9gicamente desarrolla sus habilidades soc iales para ser agradables accesibles lo cual crea una imagen de confianza seguridad as\u00ed presenta sus propuestas e ideas de manera atractiva crea relaciones de negocios duraderas de mutuo beneficio el liderazgo es una habilidad crucial del personal manager que ayuda al artista formarse la influencia que ejerce el manager en sus artistas durante las etapas tempranas de sus carreras les ayuda formar los criterios de negocios necesarios para enf ocarse organizar sus prop\u00f3sitos en la industria en su oficio de l\u00edder el personal manager tambi\u00e9n es un orientador el liderazgo implica metas estrat\u00e9gicas largo plazo mientras que la orientaci\u00f3n coaching implica trabajo corto plazo con el fi n de desarrollar facetas art\u00edsticas espec\u00edficas como su presentaci\u00f3n comunicaci\u00f3n esc\u00e9nicas esta habilidad tiene un \u00e1mbito limitado ya que el personal manager puede ser un experto en todas las \u00e1reas de crecimiento art\u00edstico para lograr un desarrollo integral en sus artistas participa como coach en las \u00e1reas que conoce contrata los servicios de otras personas en las \u00e1reas que domina una de las habilidades m\u00e1s cotizadas del personal manager es su networking que implica el uso de capacidades nterpersonales para crear una red de contactos relaciones de negocios el networking requiere que el personal manager se involucre tanto en el lado de negocios como en el social de la industria asistiendo una diversa gama de eventos tales como conven ciones premiaciones conferencias seminarios algunos ejemplos incluyen la convenci\u00f3n pollstar los premios grammy las conferencias de billboard tipos de personal managers seg\u00fan su trayectoria transcripci\u00f3n c\u00f3mo seleccionar un personal manager en realidad la mayor\u00eda de los artistas tienen opciones muy limitadas al inicio de sus carreras lo mismo se puede decir de los personal managers conocer las etapas de crecimiento de su carrera nos puede ayudar comprender por qu\u00e9 es dif\u00edcil conseguir un c ontrato de management veamos un ejemplo aproximado del desarrollo de la carrera del personal manager figura etapas de crecimiento al inicio de su carrera en la etapa joven el personal manager tiene altos niveles de entusiasmo pero poca experiencia busca un artista nuevo promisorio para iniciar hacer crecer su carrera durante la etapa de ascenso el manager hace todo lo posible para llevar su artista un nivel de negocio espec\u00edfico si este nivel es de alta relevancia el \u00e9xito se confirma mediante solicitudes entrantes de negocios el manager empieza ser buscado por sus potenciales clientes adem\u00e1s otros managers e presentan para intentar quitarle su artista le etapa de estabilidad viene acompa\u00f1ada por el cansancio que el manager experimenta despu\u00e9s del esfuerzo de posicionar su primer artista empieza buscar dividendos econ\u00f3micos del \u00e9xito alcanzado e n vista de su crecimiento de negocios puede optar por contratar otras personas conforme contin\u00faa desarroll\u00e1ndose llega una etapa de perspectiva en la cual el \u00e9xito se convierte en un factor de su oficio profesional durante esta etapa contin\u00faa fi rmando contratos con m\u00e1s artistas aumenta la cantidad de socios contratados llegando formar compa\u00f1\u00edas de manejo art\u00edstico en algunos casos algunos personal managers se ven influenciados por su propio ego se llegan sentir amenazados por la compete ncia evitando contratar asociados de su propio calibre contratando individuos menos capaces lo cual afecta la calidad de los servicios proporcionados sus artistas algunos incluso contratan asociados calificados pero les pagan mal con lo cual estos \u00faltimos renuncian se llevan sus artistas asignados trav\u00e9s de todas estas situaciones la etapa de perspectiva un crecimiento decremento de la cartera de clientes del personal manager de esta manera llega la etapa de consolidaci\u00f3n en la c ual el manager decide si desea que su negocio sea grande solamente en casos excepcionales se logra establecer una agencia de management exitosa relevante sostenible figura secci\u00f3n la mayor\u00eda disuelve sus sociedades se queda con uno dos artistas importantes figura secci\u00f3n b algunos deciden diversificar formando discogr\u00e1ficas independientes incursionando en el negocio del cine por ejemplo figura etapas de crecimiento en la carrera del personal manager al explor ar estas etapas es evidente que un artista nuevo puede pretender contratar un manager posicionado aunque es definitivamente la primera opci\u00f3n si el artista logra generar inter\u00e9s en un manager de este tipo sin embargo es muy com\u00fan por lo que pode mos concluir que es altamente recomendable para un artista sin experiencia contratar un personal manager joven e inexperto pero agresivo con potencial funciones del personal manager transcripci\u00f3n como lo dice su nombre en ingl\u00e9s el personal manager es el gerente del negocio llamado artista sus funciones m\u00e1s sobresalientes son el planteamiento e implementaci\u00f3n de estrategias as\u00ed como la toma de decisiones efectivas bajo presi\u00f3n figura figura personal manager fortalezas principales estas dos fortalezas se fundamentan en cuatro habilidades principales planeamiento organizaci\u00f3n liderazgo control figura las habilidades de planeamiento del manager se reflejan en el nivel de preparaci\u00f3n de sus artistas el \u00e9xito en la industria musical se definido en parte por la suerte por las circunstancias del mercado pero cuando estos factores se a\u00fanan con un planeamiento cuidadoso el manager gana la posibilidad de tomar ventaja de circunstancias favorables el manager en colaboraci\u00f3n con el artista identifica las metas que valen la pena plantea los pasos necesarios para alcanzarlas la habilidad de organizaci\u00f3n involucra reunir los recursos necesarios para implementar los planes estrat\u00e9gicos tambi\u00e9n implica la definici\u00f3n de las responsabilidades de los miembros del equipo de trabajo la coordinaci\u00f3n de los esfuerzos tiempo de cada uno el personal manager utiliza esta habilidad para garantizar la continuidad sostenibili dad de negocios del artista al ubicar las fuentes de los recursos necesarios incluyendo el capital mediante alianzas con patrocinadores inversionistas otros tipos de intervenci\u00f3n financiera el liderazgo se hace presente constantemente al trabajar pa ra que los talentos energ\u00eda de los miembros del equipo de trabajo se utilicen efectiva eficazmente con un solo objetivo el \u00e9xito de la carrera del artista estas habilidades de liderazgo se combinan con destrezas directivas para alinear todos los volucrados respecto las metas planteadas en la estrategia de carrera del artista finalmente la habilidad de control es ejercida de modo continuo por el personal manager al supervisar monitorear la efectividad con la cual se implementan los planes se alcanzan las metas corto mediano largo plazo haciendo las modificaciones necesarias sobre la marcha para asegurar los resultados m\u00e1s \u00f3ptimos sus expectativas deben ser realistas sus m\u00e9todos flexibles para ajustarse las circunstancias cambia ntes del negocio figura personal manager habilidades veamos las aplicaciones espec\u00edficas m\u00e1s importantes de estas cuatro habilidades ayuda al artista con sus decisiones de negocios como por ejemplo decidiendo si se opta por un contrato discogr\u00e1fico buscando opciones de patrocinio definiendo tarifas definiendo el tipo de comportamiento del artista ante los medios de comunicaci\u00f3n toma decisiones creativas tales como la conceptualizaci\u00f3n selecci\u00f3n de productor musical selecci\u00f3n de canciones definici\u00f3n de imagen dise\u00f1o del show en vivo entre muchas otras promueve la carrera del artista todos sus contactos trabaja net working activamente para generar oportunidades de negocio integra dirige supervisa el equipo de trabajo adem\u00e1s de supervisar controlar su desempe\u00f1o coordina las presentaciones en vivo del artista se involucra en la obtenci\u00f3n de los mejores tratos para conciertos giras as\u00ed como su planeamiento de presupuestos calendarios contrataciones negocia con las discogr\u00e1ficas para maximizar las campa\u00f1as de publicidad marketing para los lanzamientos comerciales del artista funge como intermed iario entre el artista el mundo exterior para aliviar su carga de relaciones p\u00fablicas ayudarle enfocarse en su desarrollo art\u00edstico al cumplir estas otras funciones el personal manager se involucra integralmente en todas las facetas de la vida de l artista para proporcionarle apoyo facilitar su conexi\u00f3n con el p\u00fablico cu\u00e1nto cobra un personal manager transcripci\u00f3n si el personal manager se involucra en todas las actividades de negocios del artista c\u00f3mo cobra por sus servicios mediante comisiones del bruto es decir del total ganado antes de sustraer deducciones por lo general est\u00e1 entre un un del bruto siendo el est\u00e1ndar de industria durante esta lecci\u00f3n veremos que estos rangos son flexibles negociables al gunas circunstancias permiten comisiones de otras justifican comisiones de hasta figura figura personal manager rango de comisiones esta comisi\u00f3n se calcula sobre todos los ingresos que genera el artista producciones musicales presentaciones personales composiciones patrocinios venta de mercader\u00eda adem\u00e1s se calcula previo las ganancias del artista otro factor importante es que cuando el artista es una banda la comisi\u00f3n del manager puede ser varias veces mayor que la gana ncia de los miembros de la agrupaci\u00f3n veamos las ganancias de un concierto manera de ejemplo figura por lo general el artista recibe entre un un del bruto ya que el resto de las ganancias se utilizan para cubrir costos entonces si el concierto genera bruto el artista recibe un su ganancia neta corresponde la comisi\u00f3n est\u00e1ndar para el manager del bruto corresponder\u00eda esto equivale un de la ganancia neta del artista con lo cual le qued un suma de para una banda de cuatro integrantes con ganancia equitativa cada individuo recibir\u00eda es decir un de la ganancia neta menos de la mitad de lo que gana el personal manager figura personal manager comisi\u00f3n este es solamente uno de infinidad de escenarios posibles en los cuales el personal manager puede negociar diferentes porcentajes para diferentes fuentes de ingreso del artista tipos de compensaci\u00f3n parte bruto vs neto transcripci\u00f3n el artista normalmente pregunta su abogado si el personal manager puede cobrar comisiones de distintos tipos la respuesta es positiva es recomendable siempre negociar el porcentaje m\u00e1s bajo posible sabiendo que la comisi\u00f3n est\u00e1ndar es un del bruto sin embargo debido la naturaleza variada de los ingresos que percibe el artista existen diferentes tipos de compensaci\u00f3n que el manager puede proponer negociar los seis principales son con base en el bruto con base en el neto escalonado con base en el bruto tope en el neto salario mixto cu\u00e1l es la diferencia entre la comisi\u00f3n basada en el bruto la basada en el neto como ya sabemos la compensaci\u00f3n con base en el bruto consiste en calcular deducir la comisi\u00f3n del manager antes de las deducciones gastos como salarios contrataciones impuestos dem\u00e1s es importante recalcar que este tipo de compensaci\u00f3n es poco popular entre los artistas debido su frivolidad solo representa un rebajo fuerte en el ingreso del artista sino que falla en asumir las p\u00e9rdidas cuando un negocio es rentable por ejemplo si en un concierto se generan los costos equiv alen el artista queda con un d\u00e9ficit de figura por si esto fuera poco cuando el manager cobra su comisi\u00f3n de sobre el bruto equivalente la deuda del artista asciende figura tipos de comisi\u00f3n basad en el bruto la compensaci\u00f3n con base en el neto en el bruto es un modelo arriesgado para el personal manager ya que percibe ganancias si el artista pierde dinero pero demuestra lealtad ya que comparte las p\u00e9rdidas con el artista examinemos por un momento el ejemplo del concierto el artista qued\u00f3 con un d\u00e9ficit de por lo que el manager obtiene ganancia alguna por lo general el personal manager negocia porcentajes del neto m\u00e1s altos que los del bruto por ejemplo si un concierto genera bruto neto un del bruto equivale un del neto figura el manager que planea percibir una ganancia similar al comisionar sobre el neto exige un porcentaje mayor por lo que el artista debe examinar estas propuesta cuidadosamente por otro lado algunos artistas se exceden en sus gastos reduciendo consecuentemente la cifra del neto en una gira por ejemplo podr\u00eda solicitar los servicios de transporte alimentaci\u00f3n m\u00e1s costosos lo cual se deduce de la ganancia b ruta reduciendo el neto con \u00e9l la comisi\u00f3n del manager en estos casos el manager agrega cl\u00e1usulas estrictas al contrato para restringir los gastos figura tipos de comisi\u00f3n basada en el neto tipos de compensaci\u00f3n parte escalonado tope e n el neto salario categorizado transcripci\u00f3n continuemos con los cuatro tipos de compensaci\u00f3n restantes el m\u00e9todo escalonado implica definir porcentajes distintos dependiendo de las metas alcanzadas por ejemplo si se venden unidades si se venden figura la idea es que el manager gana porcentajes mayores cuando el artista est\u00e1 iniciando conforme se estabiliza genera mayores ingresos la comisi\u00f3n se reduce en porcentaje pero el monto percibido aumenta cualquier manage r prefiere un porcentaje peque\u00f1o de una suma mayor que lo contrario figura tipos de comisi\u00f3n escalonada la comisi\u00f3n basada en el bruto con tope en el neto se fundamenta en la premisa de que la ganancia del manager puede exceder un porcentaje de la ganancia neta la premisa es promover la igualdad de condiciones entre el manager el artista explorem os un ejemplo m\u00e1s figura este manager gana del bruto con un tope de del neto si el monto bruto es de los gastos de su comisi\u00f3n del bruto equivaldr\u00eda lo cual excede el del neto al aplicar el tope su ganancia se reduce as\u00ed la cifra de tope en del neto establece que la ganancia m\u00e1xima del manager nunca exceder\u00e1 la del artista sin embargo a\u00fan con un tope una agrupaci\u00f3n tendr\u00eda que dividir entre sus integrantes en estos escenarios el man ager gana m\u00e1s que el artista figura tipos de comisi\u00f3n bruto con tope en el neto la modalidad de salario se implementa en casos excepcionales con artistas que generan sumas muy altas la comisi\u00f3n del personal manager es sustituida por una suma f ija de hasta seis siete cifras en algunos casos tambi\u00e9n se incurre en cobros por adelantado para cubrir costos operativos para terminar es importante resaltar que el tipo de comisi\u00f3n por categor\u00eda es muy com\u00fan implica una combinaci\u00f3n de los cinco tipos que hemos visto por ejemplo bruto en discos vendidos neto por todas las ganancias percibidas trav\u00e9s de publishing conciertos un adelanto para el trabajo realizado en desarrollo art\u00edstico coaching negociando la comisi\u00f3n del manager para giras con p\u00e9rdidas transcripci\u00f3n c\u00f3mo se lidia con la comisi\u00f3n del personal manager si una gira genera las ganancias esperadas primero es importante definir contractualmente lo que es una gira con p\u00e9rdidas por ejemplo si se genera ganancia neta en m\u00e1s de un concierto si las ganancias netas de un concierto son suficientes para cubrir las p\u00e9rdidas del siguiente es importante para el artista negociar este tipo de posibilidades algunos managers aceptan agregar cl\u00e1usulas al contrato estipulan que recibir\u00e1n comisi\u00f3n si una gira genera ganancias lo hacen porque consideran que esto sucede en parte debido que su trabajo es deficiente es una pol\u00edtica de trabajo similar la del tipo de comisiones con tope en el neto el artista debe pre pararse buscar asesor\u00eda actuar cuidadosamente ya que los personal managers son grandes negociadores construyen argumentaciones elocuentes en estas situaciones m\u00e9todos para lidiar con p\u00e9rdidas en las giras todos los managers est\u00e1n de acuerdo con eliminar su comisi\u00f3n por completo bajo estas circunstancias este tema debe incluirse en las negociaciones al redactar las cl\u00e1usulas del contrato de manejo art\u00edstico ya que el artista puede verse en serios proble mas si adem\u00e1s de perder dinero en una gira debe pagar su manager una comisi\u00f3n del bruto adem\u00e1s de proponer una comisi\u00f3n nula la combinaci\u00f3n de cuatro m\u00e9todos de negociaci\u00f3n se utiliza para lidiar con las giras que generan ganancias comisi\u00f3n reduci da pago diferido cifra m\u00ednima cifra m\u00ednima escalonada hablemos de la comisi\u00f3n reducida el artista habiendo recibido una negativa al proponer reducir la comisi\u00f3n cero puede negociar reducirla por ejemplo si el contrato establece una comisi\u00f3n es t\u00e1ndar del las cl\u00e1usulas para giras con p\u00e9rdidas podr\u00edan detallar una comisi\u00f3n del figura figura giras con p\u00e9rdidas comisi\u00f3n reducida el segundo m\u00e9todo consiste en definir los t\u00e9rminos para el pago diferido de la comisi\u00f3n esta premisa establece que el artista acepta que el personal manager tiene derecho una comisi\u00f3n pero que debe esperar que el artista genere ganancias para poder costearla adem\u00e1s es posible establecer una cifra m\u00ednima partir de la cual el manager tiene derecho su comisi\u00f3n figura por ejemplo si la gira genera una ganancia neta m\u00ednima de por fecha el manager recibe su comisi\u00f3n bajo estas circunstancias tambi\u00e9n se puede negociar una cifra m\u00ednima escalonada para establecer la comisi\u00f3n reducida por ejemplo al generar una ganancia neta entre la comisi\u00f3n est\u00e1ndar partir de de esta manera el artista se garantiza que su manager trabajar\u00e1 para optimizar la ganancia neta dado que est\u00e1 en su mejor inter\u00e9s recibir una mayor comisi\u00f3n figura giras con p\u00e9rdidas comisi\u00f3n con cifra m\u00ednima restringiendo la comisi\u00f3n del manager exclusiones deducciones comisiones dobles transcripci\u00f3n si el personal manager cobra su comisi\u00f3n de todas las ganancias que recibe el artista existen rubros de los cuales el manager recibe comisi\u00f3n para el artista que est\u00e1 iniciando su carrera puede ser dif\u00edcil conseguir personal manager lo cual se presta para que acepte t\u00e9rminos que deber\u00eda veamos tres categor\u00edas restringidas las exclusiones deducciones comisiones dobles exclusiones el artista puede reducir incluso excluir la comisi\u00f3n de su personal manager c uando est\u00e1 establecido en alg\u00fan nicho espec\u00edfico considera que requiere de sus servicios en esta \u00e1rea bajo esta premisa el manager trabaja el \u00e1rea \u00e1reas acordadas como exclusiones contractuales ya que sabe que su comisi\u00f3n es reducida nula e xaminemos un par de casos figura si un compositor establecido desea incursionar como artista el manager cobra comisi\u00f3n est\u00e1ndar por sus producciones pero reduce su comisi\u00f3n en el \u00e1rea de composiciones un otro caso muy com\u00fan es el de artist que forman parte de otro nicho en la industria del entretenimiento actores de cine por ejemplo que contratan un personal manager para su carrera como exponente musical bajo esta relaci\u00f3n el manager obtiene su comisi\u00f3n de toda actividad en la industr ia musical pero tiene derecho contrataciones de actuaci\u00f3n que corresponden al agente del actor figura personal manager exclusiones deducciones en varias situaciones el artista recibe dineros para sufragar gastos operativos estos claramen te forman parte de sus ganancias por lo que se deducen antes de calcular la comisi\u00f3n del manager para evitar malentendidos el artista debe velar por que se detallen las deducciones en su contrato de manejo art\u00edstico exploremos algunas categor\u00edas los costos de grabaci\u00f3n cuando se firma un contrato discogr\u00e1fico la compa\u00f1\u00eda le paga al artista un adelanto parte de este adelanto debe cubrir los costos de producci\u00f3n por lo cual la comisi\u00f3n del manager se debe calcular despu\u00e9s de cubrir estos costos incluyendo la tarifa del productor musical de igual manera en los conciertos las ganancias generadas deben cubrir el costo de alquiler de equipo como luces sonido por lo cual se deducen estos costos antes de calcular la comisi\u00f3n en el tema de regal\u00edas por coautor\u00eda el pago se realiza uno de los autores el manager deber\u00eda cobrar su comisi\u00f3n del total sino del porcentaje que corresponde su artista cuando un artista con un contrato discogr\u00e1fico hace una gira \u00e9sta genera suficiente dinero la compa\u00f1\u00eda puede inyectar capital para ayudar con el d\u00e9ficit este rubro se conoce como apoyo para giras tour support deber\u00eda formar parte de la comisi\u00f3n del manager ya que es utilizado para pagar deudas rentabilizar la gira comisiones dobles es com\u00fan que el artista forme una sociedad u otra configuraci\u00f3n de negocios de esta manera todos los pagos se hacen la sociedad esta su vez emite pagos al artista como persona f\u00edsica la comisi\u00f3n del personal manager se ca lcula con la cifra pagada la sociedad de otro modo el artista podr\u00eda recibir la suma completa en su sociedad pagarse un salario bajo definir que la comisi\u00f3n del manager se calcule con base ese salario la comisi\u00f3n doble se puede generar si el manager adem\u00e1s de cobrar su comisi\u00f3n nivel corporativo cobra otra comisi\u00f3n cuando el artista recibe su salario la mayor\u00eda de contratos de management permiten t\u00e9cnicamente que se produzca esta situaci\u00f3n pero se lleva la pr\u00e1ctica por ejemplo si se emite un pago la sociedad por el manager cobra su comisi\u00f3n est\u00e1ndar recibe figura la sociedad su vez paga al artista seg\u00fan lo que definan sus finanzas supongamos que el man ager deber\u00eda cobrar su comisi\u00f3n otra vez sobre los para protegerse el artista debe velar por que se estipule contractualmente la prohibici\u00f3n este tipo de comisiones dobles figura personal manager comisiones dobles actividades recom endadas semana actividad investigue el nombre del manager de un artista que le guste busque entrevistas en las que aparezca esta persona qu\u00e9 responsabilidades tiene qu\u00e9 acciones toma para beneficiar la carrera de su artista actividad realice una ficha resumen de los tipos de compensaci\u00f3n del personal manager actividad si usted fuera artista cu\u00e1l m\u00e9todo de compensaci\u00f3n preferir\u00eda para su contrato con un personal manager cu\u00e1l ser\u00eda su segunda opci\u00f3n por qu\u00e9 semana definiendo la duraci\u00f3n del contrato de manejo art\u00edstico transcripci\u00f3n cu\u00e1nto dura un contrato de manejo art\u00edstico el artista debe ser precavido negociar el t\u00e9rmino m\u00e1s corto posible tomando en cuenta que el manager intentar\u00e1 negociar un t\u00e9rmino prolongado el est\u00e1ndar hist\u00f3ricamente ha sido entre a\u00f1os sin embargo en los \u00faltimos a\u00f1os la duraci\u00f3n de los cont ratos de management tiende verse definida por ciclos de \u00e1lbum un ciclo de \u00e1lbum es el per\u00edodo comprendido entre el inicio de la producci\u00f3n musical hasta que finalizan las giras promoci\u00f3n correspondientes dicho lanzamiento comercial estos ciclos n convenientes para el manager porque son congruentes con su obtenci\u00f3n de comisiones si se establece un t\u00e9rmino por a\u00f1os el contrato podr\u00eda terminar en medio de una gira por ejemplo las comisiones por todo su trabajo de preparaci\u00f3n se ver\u00edan en riesgo metas alcanzadas el t\u00e9rmino del contrato puede acortarse prolongarse seg\u00fan metas definidas este es un mecanismo conveniente para ambas partes ya que un manager puede cosechar el fruto de su esfuerzo despu\u00e9s de trabajar durante mucho tiempo para posici onar su artista el artista puede prescindir de sus servicios si logra cumplir las promesas planteadas por lo general las metas se presentan en dos variedades ganancias generadas cantidad de ventas al definir ganancias generadas se establece una cifra m\u00ednima en un plazo definido por ejemplo si el trabajo del manager durante el primer ciclo genera el contrato se renueva autom\u00e1ticamente durante el segundo ciclo podr\u00eda renovarse si se alc anza la cifra de as\u00ed sucesivamente esta cifra es variable dependiendo del tipo de artista un solista que toca covers en fiestas tiene una expectativa distinta que una banda de rock con un circuito de gira establecido adem\u00e1s el manager tiene e l derecho de exigir que se incluyan ganancias potenciales por contratos rechazados por el artista de esta manera se evita que el artista busque salirse del contrato de management reclamando que gan\u00f3 suficiente dinero despu\u00e9s de rechazar varias ofertas de trabajo otra modalidad de prolongaci\u00f3n contractual es contabilizar la cantidad de unidades vendidas de un producto espec\u00edfico por lo general \u00e1lbumes lanzamientos digitales por ejemplo renovar el contrato solamente si se venden copias tes de concluir el segundo ciclo nuevamente esta cifra var\u00eda dependiendo del tipo de artista renovaci\u00f3n de esta manera un contrato de manejo art\u00edstico se puede renovar terminar autom\u00e1ticamente trav\u00e9s de la documentaci\u00f3n de las metas alcanzadas fallidas otra manera de terminar el contrato incluye la redacci\u00f3n de una carta por parte del artista en la cual se prescinde de los servicios del manager es un despido esencialmente el t\u00e9rmino se puede prolongar indefinidamente si las metas se alcanza n sin embargo en general es recomendable mantenerlo un m\u00e1ximo de tres cuatro ciclos ganancias despu\u00e9s del t\u00e9rmino transcripci\u00f3n el contrato de management est\u00e1 finalizado el artista pasar\u00e1 firmar un nuevo contrato con otro manager c\u00f3mo se elimita el alcance de las comisiones del primer manager para evitar que tanto el viejo como el nuevo reciban comisiones de los mismos rubros un manager puede recibir comisiones a\u00f1os despu\u00e9s de la terminaci\u00f3n de su contrato con el artista d\u00e9cadas inclusiv e ning\u00fan artista quiere pagar comisiones dos managers al mismo tiempo por esto es necesario definir cu\u00e1ndo el manager anterior dejar\u00e1 de recibir pagos despu\u00e9s de terminado su contrato condiciones contractuales todos los contratos de manejo art\u00edstic estipulan condiciones bajo las cuales el manager contin\u00faa recibiendo comisiones a\u00fan despu\u00e9s de la finalizaci\u00f3n del t\u00e9rmino dichas condiciones se resumen lo siguiente el manager tiene derecho cobrar su comisi\u00f3n si las ganancias se generan bajo cont ratos iniciados negociados substancialmente durante el t\u00e9rmino por ejemplo por discos grabados lanzados durante la duraci\u00f3n del contrato cuando sus ventas se prolongan m\u00e1s all\u00e1 de su finalizaci\u00f3n incluso incluye pagos por discos que se produjer durante el t\u00e9rmino pero cuyo contrato discogr\u00e1fico se firm\u00f3 antes de su terminaci\u00f3n es importante observar el uso de la palabra substancialmente ya que puede hacer hincapi\u00e9 distintas interpretaciones legales abriendo la puerta para que el manager anterior reciba comisiones de distintos tipos de negociaciones que quedan pendientes son consumadas por el nuevo manager respecto este aspecto son de particular cuidado las actividades que involucran regal\u00edas tales como las grabaciones el registr de composiciones cl\u00e1usulas espec\u00edficas todos los contratos son distintos por lo que el artista debe defender sus intereses en diferentes categor\u00edas para grabaciones publishing existen dos tipos de cl\u00e1usulas en el primer tipo el manager solamen te recibe comisiones de discos grabados lanzados durante el t\u00e9rmino lo cual es m\u00e1s conveniente para el artista el segundo incluye una comisi\u00f3n reducida por lo general de la mitad cuando el disco se lanza despu\u00e9s del t\u00e9rmino del contrato ya que el man ager trabaj\u00f3 solamente una parte de lo necesario para recibir su compensaci\u00f3n en el \u00e1rea de conciertos giras las cl\u00e1usulas deben definir el alcance de las comisiones cuando el t\u00e9rmino concluye durante antes del inicio de una gira por ejemplo esta blecer un porcentaje reducido si el manager solamente particip\u00f3 de su planeaci\u00f3n por este motivo es recomendable terminar un contrato de manejo art\u00edstico si la organizaci\u00f3n de una gira ha dado inicio algunos abogados negocian una fecha l\u00edmite para el cese de todo tipo de comisiones que puede ser de a\u00f1os e incluye etapas escalonadas que reducen el porcentaje con el paso del tiempo el artista debe analizar su contrato de management cuidadosamente buscar asesor\u00eda legal para evitar cl\u00e1usulas fr\u00edvolas con t\u00e9rminos sin final por ejemplo las comisiones ser\u00e1n deducidas para todas las grabaciones hechas partir de este momento e indefinidamente en el futuro incluyendo todos los formatos de reproducci\u00f3n que generen ganancia para el artista c\u00f3mo encontrar el manager adecuado transcripci\u00f3n todo artista necesita personal manager sin embargo todos los managers necesitan artistas especialmente los establecidos debido que su cartera de clientes alcanza un nivel estable ir\u00f3nicamente este es el tipo de personal manager m\u00e1s perseguido c\u00f3mo se encuentra un manager examinemos algunos escenarios figura el mejor escenario posible es cuando un manager de alta reputaci\u00f3n prominente que cuenta con una red contactos establecida muestra entusiasmo compromiso con un artista lo cual es muy raro cuando el artista es relativamente nuevo esto se debe que los managers establecidos se interesan por artistas que representen una oportunidad clara de ganar sumas considerables de dinero en plazos cortos de tiempo un artista nuevo por lo general produce un retorno de inversi\u00f3n bajo en el corto plazo en contraste representa el uso de mucho tiempo recursos la segunda mejor opci\u00f3n m\u00e1s posible para el artista nuevo es generar inter\u00e9s en una persona que trabaje para un manager prominente consolidado dicha persona muestra su entusiasmo funge como p ortavoz del artista ante el manager proporcionando la recomendaci\u00f3n de negociar un posible contrato algunos managers de rango medio cuentan con la visi\u00f3n para buscar artistas nuevos durante su etapa de estabilidad tienen necesidad de firmar contr atos nuevos pero cuentan con el \u00edmpetu de negocios para arriesgarse por un artista con potencial por otro lado existen situaciones en las que un manager poderoso toma el contrato con un artista porque le debe un favor un contacto que considera import ante finalmente tenemos el caso m\u00e1s posible para el artista nuevo que es optar por un manager joven sin experiencia pero con la energ\u00eda disposici\u00f3n para hacer lo que sea por su artista figura encontrando manager escenarios existen difere ntes combinaciones de estos escenarios sin embargo el artista debe optar por un tipo de manager establecido bien uno sin experiencia poner en una balanza las caracter\u00edsticas que comprometer\u00e1 figura en un extremo el manager establecido tiene clientes de alto rango que consumen su tiempo atenci\u00f3n por lo que dentro de su cartera de clientes un artista nuevo entra un nivel prioritario bajo sin embargo con el poco tiempo que le dedica puede hacer aportes de impacto trav\u00e9s de su influen cia red de contactos reputaci\u00f3n por otro lado el manager sin experiencia puede dedicar todo su tiempo energ\u00eda para promover al artista apasionadamente proporcionarle toda la atenci\u00f3n necesaria pero carece del posicionamiento para generar impacto e n el corto plazo figura tipos de manager seg\u00fan su relaci\u00f3n con el artista cediendo poder al manager persona clave apoderamiento legal transcripci\u00f3n el artista debe ser especialmente cuidadoso al contratar su personal manager porque por lo general \u00e9ste toma decisiones que tienen repercusiones serias en su carrera en su vida tanto nivel creativo como administrativo legal por este motivo debe prestar cuidado dos aspectos de su contrato de manejo art\u00edstico las cl\u00e1usulas de persona cl ave apoderamiento legal persona clave la persona clave es la persona que act\u00faa como personal manager es una relaci\u00f3n simple que se establece directamente cuando el artista firma su contrato con un manager espec\u00edfico sin embargo cuando el artista fir el contrato de manejo art\u00edstico con una agencia corporaci\u00f3n sociedad de management la persona asignada que ejerce el rol de personal manager podr\u00eda renunciar enfermarse irse de vacaciones pensionarse en estos casos el artista queda en circunst ancias desfavorables ya que la compa\u00f1\u00eda tiene la potestad de asignarle otro manager esta persona necesariamente coincidir\u00e1 con su visi\u00f3n profesional para evitar que el artista quede la deriva con un manager indeseado la cl\u00e1usula de persona clave key man define la persona espec\u00edfica con quien se establece la relaci\u00f3n de manejo art\u00edstico establece la terminaci\u00f3n del contrato si esta persona llega faltar por alg\u00fan motivo apoderamiento legal el apoderamiento legal consiste en que el personal manager puede actuar en nombre del artista muchos abogados est\u00e1n en contra de esta configuraci\u00f3n porque le da demasiado poder al manager desliga al artista de muchos procesos importantes para controlar su negocio como por ejemplo la firma de contratos contrataci\u00f3n despido de miembros del equipo de trabajo firma de cheques otras acciones que tienen repercusiones financieras legales estrat\u00e9gicas as\u00ed el artista su abogado pueden proponer cl\u00e1u sulas que delineen excepciones para otorgar poder legal al personal manager como por ejemplo si el artista est\u00e1 disponible para firmar un acuerdo de \u00edndole especifica si el manager ha obtenido una autorizaci\u00f3n verbal del artista para proceder para casos puntuales como compromisos para presentaciones personales de m\u00e1s de fechas limitados al mes pr\u00f3ximo el artista es responsable de su carrera incluso en las decisiones que por negligencia delega al personal manager por este motivo es de crucial importancia definir contractualmente una persona espec\u00edfica para este rol su nivel de apoderamiento legal para actuar en nombre del artista la entrevista con el personal manager transcripci\u00f3n despu\u00e9s de evaluar las credenciales del artista escuchar su m\u00fasica el manager determinar\u00e1 si vale la pena reunirse para discutir un posible contrato el manager lleva la ventaja por ser un especialista en reuniones su trabajo consiste en reunirse constantemente con todo tipo de personas consideran este factor el artista se debe preparar para presentar la informaci\u00f3n clave analizar cuidadosamente la comunicaci\u00f3n que se desarrollar\u00e1 durante la reuni\u00f3n lo largo de la entrevista el artista se pregunta qu\u00e9 puede inferir de las respuestas pre guntas del manager para ganar una ventaja estrat\u00e9gica durante la entrevista examinemos algunas preguntas que puede hacer el manager la informaci\u00f3n de fondo que desea indagar con ellas figura la cual se divide esencialmente en categor\u00edas objetivos visi\u00f3n de negocio experiencia en el oficio art\u00edstico habilidades personales actitud continuaci\u00f3n veremos brevemente en qu\u00e9 consiste cada una de estas categor\u00edas objetivos visi\u00f3n de negocio el manager indaga la seriedad p rofesionalidad del artista respecto su carrera al preguntarle sobre temas relacionados con deseos de superaci\u00f3n organizaci\u00f3n del equipo de trabajo estrategias para crecimiento profesional relaciones con otros managers deudas relaciones con sus fans actualidad del negocio de la m\u00fasica algunas preguntas podr\u00edan ser qu\u00e9 desea lograr con su carrera art\u00edstica qu\u00e9 tan organizado es usted como artista tiene acuerdos previos de manejo art\u00edstico si un fan le describiera en dos frases cu\u00e1 les ser\u00edan cu\u00e1l cree que sea la mayor amenaza para usted como artista experiencia en el oficio art\u00edstico adem\u00e1s de la investigaci\u00f3n previa sobre el oficio portafolio del artista el manager se interesa por averiguar su disposici\u00f3n para trabajar prol ongada sistem\u00e1ticamente en desarrollar sus habilidades creativas de imagen presentaci\u00f3n personal mediante preguntas como qu\u00e9 experiencia tiene componiendo grabando m\u00fasica qu\u00e9 tan frecuentemente se ha presentado en vivo durante el \u00faltimo a\u00f1 qu\u00e9 detalles conforman su imagen como artista habilidades personales actitud finalmente el manager desea saber si puede entablar empat\u00eda con el artista si esta persona tiene la actitud correcta para trabajar algunas preguntas comunes incluyen en cu\u00e1les \u00e1reas requiere gu\u00eda entrenamiento c\u00f3mo porqu\u00e9 termin\u00f3 su relaci\u00f3n con un miembro antiguo de su equipo de trabajo figura la entrevista preguntas subtexto entrevista el artista el artista por su lado tambi\u00e9n eval\u00faa al manager durante la entrevista determinando si le conviene ingresar una relaci\u00f3n contractual veamos algunas preguntas que puede plantear cu\u00e1les artistas ha representado cu\u00e1l fue su nivel de \u00e9xito con ellos con quienes trabaja actualmente qu\u00e9 opina de mis oportunidades en el negocio qu\u00e9 tan fuerte es su red de contactos qui\u00e9n conoce que puede colaborar con mi carrera qu\u00e9 tipo de ganancias espera obtener conmigo como su cliente cu\u00e1les gastos va cubrir usted cu\u00e1les espera que yo cubra qu\u00e9 vamos lograr en los primeros seis meses c\u00f3mo va usar mi tiempo para desarrollar mi carrera usted va dirigir mi carrera personalmente ser\u00e1 otra persona que est\u00e1 bajo su cargo el inter\u00e9s principal del artista es determinar el tipo de conexiones de negocios que el manager puede poner su disposici\u00f3n as\u00ed como el tiempo recursos que le dedicar\u00e1 si ambas partes expresan inter\u00e9s en iniciar la relaci\u00f3n esta entrevista sienta l bases de las cl\u00e1usulas del contrato de management que hemos visto anteriormente estudios de caso parte jimmy hendrix elvis presley actuando en nombre del artista transcripci\u00f3n la relaci\u00f3n entre el artista su manager se fundamenta en la confi anza idealmente el manager toma las mejores decisiones para la carrera del artista produciendo una relaci\u00f3n financiera fruct\u00edfera para ambos en un plazo que se puede extender indefinidamente analicemos dos casos en los que la relaci\u00f3n con el artista f ue muy provechosa financieramente se extendi\u00f3 hasta su muerte jimmy hendrix michael jeffreys tuvieron una relaci\u00f3n que solamente dur\u00f3 cuatro a\u00f1os figura mientras que elvis presley tom parker trabajaron juntos durante casi veinte figura figura jimmy hendrix figura elvis presley jimmy hendrix michael jeffreys en hendrix inici\u00f3 su relaci\u00f3n contractual de manejo art\u00edstico compartido con jeffreys otro manager chas chandler bajo una comisi\u00f3n de para cada uno figura este es agresivamente alto a\u00fan bajo los est\u00e1ndares actuales dos a\u00f1os m\u00e1s arde jeffreys compra su parte del acuerdo chandler llegando obtener comisiones de hasta un figura michael jeffreys con la potestad total de manejo art\u00edstico jeffreys inici\u00f3 una etapa de continuas excesivas fechas de concierto entre figura esto llev\u00f3 al artista niveles peligrosos de stress culminando con su muerte al ahogarse por una sobredosis de pastillas figura jimmy hendrix en vivo en los contratos que firm\u00f3 jeffreys con hendrix se revelan cl\u00e1usulas usuales en las que jeffreys se convierte en el due\u00f1o de sus creaciones art\u00edsticas una de las m\u00e1s sobresalientes dice todas las grabaciones hechas en virtud del t\u00e9rmino presente todas las grabaciones reproducciones hechas de los mismos partir de e ste momento junto con las presentaciones personales implicadas en dicho plazo ser\u00e1n de nuestra propiedad absoluta libres de reclamaciones de cualquier tipo por parte suya de cualquier persona la libertad de jeffreys para crear una agenda de presentac iones personales excesiva demuestra un inter\u00e9s en generar riqueza en lugar de defender los intereses del artista un error de criterio por parte del artista al ceder demasiado poder su manager elvis presley parker en la edad de a\u00f1os e lvis presley ingres\u00f3 la tutela de tom parker quien se dedicaba la promoci\u00f3n de shows en la escena country de los estados unidos el primer contrato firmado le da parker comisiones de un sobre todas las ganancias del artista lo cual es alto per aceptable en el corto plazo para artistas nuevos a\u00f1os m\u00e1s tarde el contrato fue renovado aumentando las comisiones de parker un otorgando poder legal para realizar contratos en su nombre figura tom colonel parker elvis ni siquiera l e\u00eda los contratos confiaba ciegamente en parker para resolver los detalles nuevamente este error de criterio por parte del artista afecta su carrera produciendo un impacto que pasa desapercibido solo en parker gan\u00f3 m\u00e1s que elvis quien tuvo ganancias superiores al mill\u00f3n de d\u00f3lares estas comisiones del se mantuvieron hasta la muerte de parker en a\u00f1os despu\u00e9s de la muerte de elvis figura elvis presley en vivo m\u00e1s all\u00e1 de la influencia cuestionable que tuvieron las decis iones de ambos managers sobre el deceso de sus artistas sus acciones como apoderados legales tuvieron un impacto negativo en las carreras de ambos artistas el compromiso \u00e9tico del personal manager es un factor vital para establecer una alianza que m\u00e1s ll\u00e1 del lucro genere calidad de vida para el artista estudios de caso parte celine dion potestad compromiso visi\u00f3n de mercado transcripci\u00f3n la relaci\u00f3n de negocios en la industria musical que tiende salirse m\u00e1s de la norma es la existente entre el personal manager el artista cuando se incurre en porcentajes de comisi\u00f3n altos bajos pagos diferidos incluso contratos verbales que se pr olongan por d\u00e9cadas como hemos dicho ya es una relaci\u00f3n basada en confianza lealtad la potestad de entrar en la zona de excepciones se genera trav\u00e9s de la inversi\u00f3n extraordinaria de tiempo recursos esfuerzo realizada por el manager para alcanzar las metas proporcionar al artista las condiciones que necesita para desarrollarse el artista en respuesta estos esfuerzos aporta grandes niveles de compromiso analicemos el caso de celine dion rene angelil su manager hasta junio de figur rene angelil inicios de la d\u00e9cada de angelil se desempe\u00f1aba como manager en canad\u00e1 cuando recibi\u00f3 un demo solicitado de celine dion que entonces ten\u00eda a\u00f1os de edad figura ella envi\u00f3 el demo por su propia iniciativa solici tando que angelil manejara su carrera art\u00edstica quien eventualmente lo hizo lleg\u00f3 creer tanto en su artista que hipotec\u00f3 todos sus bienes acumulados durante dos d\u00e9cadas de actividad en la industria para financiar dos \u00e1lbumes figura celine dio n los a\u00f1os al cumplir a\u00f1os angelil firm\u00f3 un contrato con la artista en el cual acordaron un de comisi\u00f3n cifra que como sabemos es inusualmente alta gracias la acertada asesor\u00eda de angelil dion ingres\u00f3 clases de ingl\u00e9s para perfeccion ar el idioma pas\u00f3 por una etapa de mejoramiento de imagen que incluy\u00f3 cirug\u00eda dental est\u00e9tica todos estos esfuerzos le ayudaron vender m\u00e1s de millones de \u00e1lbumes posicionarse como uno de los shows m\u00e1s cotizados de las vegas figura celine dion el compromiso sobresaliente entre un manager como angelil una artista talentosa como celine dion es una combinaci\u00f3n muy lucrativa adem\u00e1s la visi\u00f3n de mercado que llev\u00f3 angelil asesorar su artista para incursionar en un mercado espec\u00edfico la disposici\u00f3n de la artista para hacer los cambios es el tipo de comportamiento estrat\u00e9gico que hace la diferencia entre un \u00e9xito local moderado la proyecci\u00f3n internacional incluso mundial estudios de caso parte bruce springsteen amistad en foque de negocios transcripci\u00f3n la relaci\u00f3n prolongada entre manager artista por lo general se deriva de una compatibilidad personal una amistad que genera la alianza de negocios una visi\u00f3n compartida respeto absoluto por las opiniones mutuas el art ista es el experto en su m\u00fasica mientras que el manager es el experto en el negocio ambos escuchan opinan libremente porque saben que sus objetivos estrategia son el mismo el caso de bruce springsteen es particular por su historia personal inici os de la d\u00e9cada de se consideraba s\u00ed mismo como un artista evitando los aspectos comerciales limit\u00e1ndose trabajar para su audiencia en parte este comportamiento se debi\u00f3 malas experiencias que tuvo vendiendo mercader\u00eda en las etapas temprana de su carrera en conoci\u00f3 john landau quien ha manejado su carrera por m\u00e1s de a\u00f1os figura figura john landau landau trabaj\u00f3 con springsteen en el estudio de grabaci\u00f3n se convirti\u00f3 en m\u00e1s que una gran influencia su amistad con el artista le gan\u00f3 su posici\u00f3n de personal manager en entrevistas landau afirma que las decisiones siempre las han tomado juntos deli berando preguntando por su opini\u00f3n mutua con el tiempo este manager pudo demostrar su artista que una carrera prolongada sostenible se basa en el \u00e9xito continuo del negocio que genera estas afirmaciones se convirtieron en la realidad de springstee n quien contin\u00faa vendiendo sus discos llenando conciertos por ejemplo su gira del a\u00f1o gener\u00f3 m\u00e1s de millones figura bruce springsteen la industria musical tiene un estigma muchos artistas incursionan en el negocio con la promesa de nunca venderse es decir de rechazar las propuestas para hacerse comerciales su premisa es permanecer leales su arte sus fans es responsabilidad del personal manager guiar al artista mostrarle que existe un abanico de posibilidades que permite conservar la identidad art\u00edstica al mismo tiempo generar sostenibilidad de negocio prolongada actividades recomendadas semana actividad si usted fuera artista le gustar\u00eda mantener una relaci\u00f3n de negocios vitalicia con su personal manager qu\u00e9 factores incidir\u00edan en renovar su contrato indefinidamente con su personal manager qu\u00e9 acciones actitud de negocios presentar\u00eda como artista para corresponder con estas expectativas actividad en su opini\u00f3n cu\u00e1les son los factores m\u00e1s importan tes para elegir un personal manager utilice la informaci\u00f3n del video para fundamentar su respuesta actividad bas\u00e1ndose en los estudios de caso de esta lecci\u00f3n realice uno por su cuenta investigue la historia de la relaci\u00f3n entre el manager que sel eccion\u00f3 su artista as\u00ed como los frutos positivos nocivos generados por la relaci\u00f3n de negocio semana rol del abogado transcripci\u00f3n el abogado de industria musical tiene funge m\u00e1s all\u00e1 del \u00e1mbito legal en el cual revisa contratos defiende los intereses de sus clientes su rol m\u00e1s importante incluye proporcionar asesor\u00eda colaborar en la estructuraci\u00f3n de negocios utilizar sus conta ctos para promover proyectos contar con un buen abogado es una de las mayores ventajas competitivas que puede tener un artista el abogado de industria musical se especializa en numerosas \u00e1reas legislaci\u00f3n de derechos de autor impuestos producci\u00f3n discogr\u00e1fica de eventos en vivo redacci\u00f3n modificaci\u00f3n de contratos acuerdos intermediaci\u00f3n litigaci\u00f3n adem\u00e1s posee conocimiento clave de todas las dimensiones del negocio para poder explicarlo sus clientes para desplazarse profesionalm ente constantemente participa en negociaciones de acuerdos entre artistas managers publishers casas disqueras agentes dem\u00e1s espacios de negociaci\u00f3n e interacci\u00f3n incluyendo todos los participantes de la industria con el tiempo llega conocer todos los tratos acuerdos contratos que se desarrollan en todas las \u00e1reas de la industria musical como por ejemplo contratos con discogr\u00e1ficas contratos para presentaciones en vivo contratos para managers agentes promotores estudios m\u00fas icos de sesi\u00f3n otros contratos de distribuci\u00f3n contratos de publishing protecci\u00f3n de derechos de autor abogados \u00e1reas de trabajo los abogados se desempe\u00f1an en dos \u00e1reas principales transacciones litigaci\u00f3n en la industria musical las tran sacciones son los acuerdos de intercambio de bienes servicios entre entidades profesionales cualquier relaci\u00f3n de trabajo que se establezca entre dos partes es una transacci\u00f3n los abogados se encargan de documentar formalizar los t\u00e9rminos para su implementaci\u00f3n por otro lado la litigaci\u00f3n consiste en tomar la v\u00eda legal para resolver conflictos en la mayor\u00eda de los casos por rompimiento de cl\u00e1usulas contractuales defensa de los derechos de sus clientes relativamente pocas disputas llegan lo tribunales gracias las negociaciones previas que realizan los abogados para llevarlas un acuerdo as\u00ed la mayor\u00eda del trabajo de los abogados consiste en servicios transaccionales veamos algunos ejemplos de funciones que realizan diario partic ipar en reuniones para informarse redactar borradores de contratos registrar derechos de autor investigar sospechas de violaci\u00f3n de derechos de autor revisar el trabajo creativo de sus clientes para asegurarse de que su originalidad organizar detalles de coautor\u00eda entre artistas prominencia del abogado en la industria musical transcripci\u00f3n el poder en la industria musical est\u00e1 centralizado en ning\u00fan grupo de personas los agentes tienen muchos contactos pero est\u00e1n limitados su esfera de influencia en la escena de la m\u00fasica en vivo los personal managers est\u00e1n limitados la cantidad de clientes que pueden tener la gran cantidad de tiempo que le dedican cada uno los business managers pueden tener clientes grandes pero est\u00e1n limitados sus \u00e1reas de trabajo por lo general tienen poca influencia esto se debe que por la naturaleza financiera de su trabajo carecen de conexiones relevantes cualquier circunstan cia que requiera el uso comercial de la m\u00fasica productos relacionados con m\u00fasica amerita el involucramiento de un abogado por este motivo los abogados cuentan tres ventajas que les permiten estar enterados generar una gran cantidad de contactos se re\u00fanen con muchos clientes requiriendo poco tiempo para atender cada uno carecen de un campo de enfoque al trabajar transaccionalmente todo tipo de negociaciones al estar involucrados con tantas personas todo el tiempo tienen muchos contacto acceso informaci\u00f3n consecuentemente los abogados desarrollan mucho conocimiento de lo que ocurre en varias \u00e1reas de la industria en otras palabras su trabajo es muy eficiente nivel de networking ya que tienen la potestad de decidir cu\u00e1l com pa\u00f1\u00eda individuo recomendar cuando identifican una necesidad de negocio de igual manera pueden recomendar los servicios de business personal managers por este motivo tener un buen abogado mantener una relaci\u00f3n en buenos t\u00e9rminos con \u00e9ste est\u00e1 en el mejor inter\u00e9s de cualquier participante de la industria musical concluimos as\u00ed que el gremio de los abogados es uno de los m\u00e1s prominentes en la industria musical qu\u00e9 buscar en un abogado transcripci\u00f3n los abogados tienen diferentes maneras de ejer cer su profesi\u00f3n tres categor\u00edas definen sus capacidades de obtener buenos resultados para clientes espec\u00edficos estas son el estilo la influencia la discreci\u00f3n las cuales veremos brevemente continuaci\u00f3n estilo para algunos artistas tener empat\u00eda con su abogado es importante existen abogados que acompa\u00f1an constantemente al artista actuando como si fuera un integrante m\u00e1s de la agrupaci\u00f3n este nivel de involucramiento les facilita dar seguimiento asesor\u00eda inmediata puesto que est\u00e1n inmersos en la realidad diaria del artista especialmente durante las giras tambi\u00e9n existen abogados que son excelentes negociadores pero carentes en el \u00e1rea del oficio legal sus opuestos los grandes expertos en c\u00f3digos legales legislaci\u00f3n pero que est\u00e1n tan presentes en la carrera del artista por lo que fallan en entender sus estrategias estos son solo tres ejemplos de la infinidad de estilos que existen el artista debe prestar atenci\u00f3n verificar si el estilo de su abogado es congruente con sus objetiv os influencia hemos visto que la mayor\u00eda de entidades profesionales en la industria se interesan por estar en buenos t\u00e9rminos con sus abogados la influencia que un abogado ejerce puede tener gran peso en el resultado de una negociaci\u00f3n por ejemplo las compa\u00f1\u00edas discogr\u00e1ficas pueden ignorar correos llamadas telef\u00f3nicas de artistas pero si el correo viene de un abogado influyente es muy seguro que recibir\u00e1 atenci\u00f3n un abogado con influencia obtiene resultados r\u00e1pidamente si cuenta con el conoc imiento adecuado es capaz optimizar al m\u00e1ximo los resultados de la negociaci\u00f3n discreci\u00f3n el artista debe prestar atenci\u00f3n evitar el tipo de abogado indiscreto que habla acerca de las vidas negocios de sus clientes si lo hace con uno lo hace con odos estos individuos adem\u00e1s de violar el canon \u00e9tico tienen mala reputaci\u00f3n curiosamente en algunos casos su indiscreci\u00f3n es utilizada para promover informaci\u00f3n adrede negociando la tarifa del abogado transcripci\u00f3n cu\u00e1nto es el costo est\u00e1ndar de contratar un abogado un abogado de industria puede cobrar entre por hora sin embargo la mayor\u00eda cobra por hora sino trav\u00e9s de una tarifa porcentual en un rango del al adem\u00e1s existen dos modalidades de cobro utilizadas para obtener una garant\u00eda de inversi\u00f3n inicial participaci\u00f3n sobre los negocios que atrae el abogado adelantos el cobro anticipado por los servicios prestados puede tomar dos formas adelanto deducible de la tarifa final una tari fa plana el pago por lo general se realiza mensualmente se calcula trav\u00e9s de una proyecci\u00f3n aproximada de costos es decir de horas trabajadas value billing el t\u00e9rmino value billing significa que el abogado recibe una compensaci\u00f3n correspondiente al peso de su contribuci\u00f3n para obtener mejores resultados en un negocio se utiliza en combinaci\u00f3n con una tarifa por hora adelantos si por ejemplo en un contrato discogr\u00e1fico el abogado solamente participa en la confecci\u00f3n del contrato su tarifa se def ine por las horas trabajadas pero si su participaci\u00f3n incluye la elaboraci\u00f3n de una estrategia el uso de sus contactos para obtener porcentajes mayores entonces su tarifa se calcular\u00e1 con base en los beneficios obtenidos as\u00ed el abogado cobra value bi lling cuando participa estrat\u00e9gicamente en la negociaci\u00f3n presenta las partes interesadas crea el negocio desde cero en estos casos el artista debe negociar con su abogado cuidadosamente para obtener al menos una cifra aproximada del value bil ling as\u00ed evitar sorpresas desagradables por lo general se trata caso por caso es conveniente escalonar las diferentes posibilidades seg\u00fan los resultados obtenidos por ejemplo si se gana m\u00e1s de el abogado recibe un por debajo de esta cifra la entrevista transcripci\u00f3n al igual que el personal manager el abogado es un experto en negociaciones reuniones de manera que el artista debe prepararse asesorarse antes de entrevistar un posible abogado el objetivo del artista de ser encontrar un profesional que tenga valores de compromiso transparencia honestidad disponibilidad ense\u00f1ar veamos algunas preguntas que el artista plantea durante esta entrevista tiene experiencia en la industria musical cu\u00e1l es su tar ifa tiene un contrato escrito para su tarifa le molesta si un consultor externo revisa el contrato con cu\u00e1les artistas ha trabajado experiencia tarifas el objetivo de preguntas como estas es determinar la experiencia del abogado en el \u00e1rea espec\u00edfica de la industria musical incluso el artista podr\u00eda preguntarle al abogado c\u00f3mo manejar\u00eda situaciones espec\u00edficas con el fin de determinar su pericia profesional adem\u00e1s al determinar los costos pol\u00edticas de cobro del abogado el artista obtie ne una perspectiva respecto su estilo de trabajo tipo de influencia conexiones que tiene en el negocio el contrato respecto los contratos para tarifas el artista debe consultar al abogado lo que sucede al final del t\u00e9rmino si hay porcentajes de por medio se pueden presentar implicaciones similares los contratos de management en cuyo caso el abogado tendr\u00eda der echo cobrar comisiones a\u00fan despu\u00e9s de finalizada la relaci\u00f3n laboral adem\u00e1s algunas legislaciones locales por ejemplo la de california en estados unidos requieren que los acuerdos tarifarios queden registrados por escrito para que sean efectivos el artista consulta al abogado si est\u00e1 bien que una tercera persona revise el contrato el abogado que se oponga dicha solicitud deber\u00eda ser contratado dado lo sospechoso de este comportamiento la persona externa contratada revisa el contrato indepen dientemente asesora al artista respecto sus implicaciones pr\u00e1cticas especialmente si incluye cifras porcentuales referencias el artista consulta al abogado sobre clientes que est\u00e9n su mismo nivel al igual que con el personal manager la finalidad es contactar estos clientes para verificar el trato que reciben del abogado al hablar con estos clientes el artista indaga si el abogado responde llamadas correos electr\u00f3nicos si es eficaz en su trabajo si se da la tarea de dar asesor\u00eda en termin olog\u00eda legal cu\u00e1nto le toma resolver situaciones para sus clientes as\u00ed el artista indaga el nivel de satisfacci\u00f3n general de los clientes del abogado considerando la duraci\u00f3n de la relaci\u00f3n un cliente m\u00e1s antiguo puede dar referencias con m\u00e1s conocimi ento de causa que uno nuevo condiciones para que el abogado preste servicios extralegales transcripci\u00f3n muchos artistas se preguntan puede mi abogado fungir como personal manager algunos clientes solicitan recomendaciones de sus abogados para ubicar agentes personal managers en casos especiales los abogados se involucran en servicios extralegales que consisten en ofrecer los servicios de otros integrantes del equipo de trabajo por ejemplo el abogado del artista podr\u00eda administrar su compa\u00f1\u00eda de publishing esta situaci\u00f3n es riesgosa puesto que cuando un abogado presta servicios en dos categor\u00edas profesionales distintas se expone conflictos de intereses para evitar implicac iones indeseadas el abogado asesora detalladamente al artista \u00e9ste emite una exenci\u00f3n es decir un documento que libera al abogado de sus obligaciones legales cuando funge con otro rol profesional los colegios de abogados rigen estrictamente estas si tuaciones estableciendo que los abogados pueden ingresar en ning\u00fan tipo de transacci\u00f3n de negocios con sus clientes adquirir inter\u00e9s financiero intencionalmente en la empresa de un cliente que sea potencialmente adversa la de otro cliente menos que se cumplan ciertas condiciones para que se produzca leg\u00edtimamente la relaci\u00f3n profesional por servicios extralegales primero la relaci\u00f3n debe ser justa razonable con el cliente divulgada transmitida por escrito al cliente en un modo de f\u00e1cil c omprensi\u00f3n para \u00e9ste segundo el cliente debe ser informado por escrito sobre su libertad de buscar representaci\u00f3n legal alternativa de su propia escogencia tercero el cliente debe dar su consentimiento por escrito para confirmar que est\u00e1 de acu erdo con los t\u00e9rminos de la transacci\u00f3n la forma redacci\u00f3n general de estas condiciones puede cambiar entre diferentes colegios profesionales de abogados pero sus objetivos de transparencia eliminaci\u00f3n de conflictos de intereses son siempre los mism os de esta manera el abogado adquiere la facultad de prestar servicios profesionales al artista fuera del \u00e1rea legal si cumple con las premisas anteriores podr\u00eda desempe\u00f1ar el rol de cualquiera de los miembros del equipo de trabajo c\u00f3mo despedir un abogado transcripci\u00f3n el artista tiene el poder de romper sus relaciones de trabajo con cualquiera de los miembros de su equipo incluyendo al abogado por ley est\u00e1 en su derecho de despedirle en cualquier momento pesar de esta libertad el artista de tomar la decisi\u00f3n con calma buscar primero la v\u00eda de la comunicaci\u00f3n la mayor\u00eda de los conflictos tiene soluci\u00f3n c\u00f3mo se lleva cabo el despido esta es la parte m\u00e1s sencilla simplemente el artista emite un documento escrito llamado carta de terminaci\u00f3n en esta carta se detalla el motivo del despido se solicita como cortes\u00eda profesional entregar al nuevo abogado todos los materiales importante del archivo del artista en algunos casos incluso ambos abogados se re\u00fanen en presencia del artista para hacer una entrega verbal de los detalles operativos los asuntos m\u00e1s relevantes obligaciones contractuales el despido necesariamente detiene las obligaciones legales que el artista tiene con el abogado un ejemplo com\u00fan se presenta cuando el contrato con el abogado incluye comisiones porcentuales el artista debe continuar pagando dichas comisiones por las g anancias obtenidas de contratos negociados antes de haber finalizado la relaci\u00f3n precisamente por este tipo de situaciones el artista debe actuar precavidamente la hora de firmar su contrato con el abogado en este aspecto el objetivo principal es lim itar las obligaciones legales despu\u00e9s de la finalizaci\u00f3n del t\u00e9rmino incluyendo el alcance de las comisiones ganancias porcentuales un plazo espec\u00edfico en algunos casos la comisi\u00f3n se reduce la mitad despu\u00e9s de una cantidad de a\u00f1os cesa por comp leto algunos a\u00f1os despu\u00e9s la cantidad de tiempo es negociable el objetivo es evitar que las comisiones se prolonguen indefinidamente despu\u00e9s del despido para lograr consolidar estas cl\u00e1usulas en el contrato con el abogado el artista debe buscar asesor \u00eda durante la negociaci\u00f3n actividades recomendadas semana actividad entreviste un artista preg\u00fantele si ha lidiado con abogados si lo ha hecho qu\u00e9 ventajas ha tra\u00eddo su carrera este abogado se especializa en industria musical c\u00f3mo se negoci\u00f3 la compensaci\u00f3n del abogado por dichos servicios actividad al buscar un abogado de industria musical siempre es \u00fatil preguntar todos los contactos personales buscando una recomendaci\u00f3n pregunte entre sus conocidos hasta encontrar alguien que le recomiende un abogado necesariamente especializado en industria musical cu\u00e1ntas personas tuvo que recurrir semana introducci\u00f3n el trabajo espec\u00edfico del abogado transcripci\u00f3n el abogado se desempe\u00f1a en el \u00e1mbito legal colaborando con transacciones litigaci\u00f3n su rol espec\u00edfico incluye tareas que var\u00edan dependiendo del caso por requerimiento cotidiano del artista un d\u00eda podr\u00eda redactar un contrato otro podr\u00eda realizar una nvestigaci\u00f3n para determinar si una obra infringe los derechos de autor de su cliente cuando dos creaciones musicales se asemejan el due\u00f1o de la creaci\u00f3n registrada m\u00e1s antigua tiene el derecho de demandar por plagio si se comprueba que es una copia escuchemos una melod\u00eda utilizada en una pel\u00edcula audici\u00f3n recomendada melod\u00eda encuentros cercanos del tercer tipo dada su naturaleza caracter\u00edstica esta melod\u00eda fue registrada su uso queda limitado los due\u00f1os del material intelectual entonces surge una pregunta qu\u00e9 es infringir los derechos de autor cualquier secuencia musical se puede registrar dependiend de la legislaci\u00f3n local las especificaciones pueden ser distintas por ejemplo una secuencia de notas puede registrarse como en el caso de la melod\u00eda que reci\u00e9n escuchamos as\u00ed el rol espec\u00edfico del abogado implica desempe\u00f1ar tareas de negociaci\u00f3n investigaci\u00f3n asesor\u00eda legal elaboraci\u00f3n revisi\u00f3n contractual defensa de los derechos del artista muchas otras durante esta lecci\u00f3n delimitaremos el marco pr\u00e1ctico del oficio del abogado en sus aspectos tanto transaccionales como de litigaci\u00f3n adem\u00e1s veremos las v\u00edas que el artista puede tomar con ayuda de su abogado cuando sus derechos son violentados c\u00f3mo el objetivo principal es buscar m\u00e9todos de resoluci\u00f3n para este tipo de conflictos con el fin de evitar demandas adem\u00e1s exploraremos las consecuencias de tomar la v\u00eda legal analizando algunos casos de plagio violaci\u00f3n de propiedad intelectual proceso de negociaci\u00f3n elaboraci\u00f3n firma de contratos transcripci\u00f3n el abogado transaccional participa en la negociaci\u00f3n redacci\u00f3n firm de contratos proporcionando asesor\u00eda al cliente c\u00f3mo funciona el proceso de firma de un contrato etapas negociaci\u00f3n primero una ambas partes tiene una necesidad que requiere una relaci\u00f3n contractual durante la etapa de negociaci\u00f3n se realizan uniones formales informales donde se establecen los t\u00e9rminos de la relaci\u00f3n entre las partes el abogado necesariamente est\u00e1 presente durante esta etapa al finalizar esta etapa se presenta un antecontrato conocido como draft por su nombre en gl\u00e9s es un documento que se genera partir de lo acordado durante la etapa de negociaci\u00f3n en este aspecto es fundamental para el artista tomar nota de todos los aspectos clave que se conversan durante las negociaciones etapas antecontrato este antecon trato tambi\u00e9n se conoce como carta de intenci\u00f3n letter intent incluye como m\u00ednimo las estipulaciones generales de lo acordado durante las reuniones el aporte de cada una de las partes en el intercambio para suplir los intereses mutuos las c ondiciones m\u00e1s importantes puntos clave que se debe respetar para iniciar la relaci\u00f3n de negocios de modo sostenible etapas redacci\u00f3n en respuesta la carta de intenci\u00f3n uno de los abogados redacta el contrato en algunos casos los abogados desarro llan sus propias plantillas que modifican para incluir los datos espec\u00edficos como los nombres e identificaciones de las partes adem\u00e1s se agrega toda la informaci\u00f3n crucial los detalles finales de la negociaci\u00f3n lo acordado por ambas partes los hechos que constituyen un rompimiento de contrato las consecuencias que se impondr\u00e1n si ocurre dicho rompimiento el vocabulario terminolog\u00eda de los contratos puede variar el objetivo principal es utilizar lenguaje espec\u00edfico en los aspectos cl ave dejando un m\u00ednimo margen de interpretaci\u00f3n abierta en caso de que la relaci\u00f3n escale un conflicto entre las partes entrega revisi\u00f3n modificaci\u00f3n firma del contrato finalmente el documento se entrega ambas partes para su revisi\u00f3n posible modificaci\u00f3n cuando ambas partes est\u00e1n satisfechas con las condiciones estipuladas se procede firmar en presencia de los abogados por lo general el personal manager tambi\u00e9n est\u00e1 presente relaci\u00f3n entre adversarios conflictos de intereses transcripci\u00f3n c\u00f3mo se procede cuando dos clientes del mismo abogado desean iniciar una relaci\u00f3n de negocios cuando dos individuos entidades ingresan la etapa de negociaci\u00f3n se convierten en adversarios por definici\u00f3n necesariamente se comportan e modo negativo pero buscan proactivamente obtener toda ventaja posible para optimizar las condiciones beneficios de la relaci\u00f3n contractual el abogado juega un rol importante en esta relaci\u00f3n entre adversarios sin embargo cuando ambas partes tienen e l mismo abogado es necesario tomar algunas decisiones debido los conflictos de intereses que se pueden generar cada parte debe tener consejer\u00eda legal separada este tipo de situaci\u00f3n es com\u00fan debido que las personas recomiendan su abogado quienes c onocen consecuentemente por ejemplo el artista su business manager podr\u00edan tener el mismo abogado existen tres posibilidades para enfrentar este tipo de situaciones ambas partes consiguen otro abogado esta es la posibilidad m\u00e1s inusual se pres enta por lo general bajo conflictos bastante serios una de las partes consigue otro abogado este m\u00e9todo es m\u00e1s com\u00fan el abogado se queda con quien ha trabajado m\u00e1s tiempo si ninguna de estas posibilidades es satisfactoria los clientes pueden recu rrir mediadores para negociar llegar un acuerdo el abogado hace m\u00e1s que redactar lo acordado por lo general estos mediadores son personal managers para evitar el riesgo de la imparcialidad el abogado tiene la responsabilidad \u00e9tica de notifi car sus clientes de cualquier conflicto de intereses posible el artista debe actuar cautelosamente considerar la posibilidad de que su abogado tambi\u00e9n represente legalmente miembros de su equipo de trabajo posibles futuros adversarios m\u00e9todos de resoluci\u00f3n de conflictos cortes de reclamos arbitraje transcripci\u00f3n cuando se rompe una cl\u00e1usula contractual el artista percibe una violaci\u00f3n de sus derechos el abogado proporciona asesor\u00eda en la resoluci\u00f3n del conflicto evaluando las consecuencias para determinar si es rentable iniciar procesos legales esta rentabilidad solo implica la relaci\u00f3n costo beneficio sino los recursos que se invierten al llevar un caso los tribunales m\u00e1s espec\u00edficamente tanto el demandar como enfrentarse una demanda representa necesariamente una inversi\u00f3n de tiempo energ\u00eda lo cual puede generar desgaste emocional afectar el proceso creativo desarrollo del artista por este motivo los abogados aconsejan sus clientes buscar v\u00edas alternativas de r esoluci\u00f3n de conflictos entre las que sobresalen tres principales las cortes de reclamos el arbitraje la mediaci\u00f3n si el conflicto se logra solucionar se hace necesario tomar la v\u00eda legal de la litigaci\u00f3n es importante resaltar que tanto estas denominaciones como sus implicaciones pr\u00e1cticas pueden cambiar entre diferentes pa\u00edses zonas dependiendo de la legislaci\u00f3n local cortes de reclamos la corte de reclamos es un recinto legal donde las personas presentan sus casos se representan s\u00ed mi smas tiene jurisdicci\u00f3n limitada una ciudad localidad espec\u00edfica su \u00e9nfasis principal son casos relacionados con cobro normalmente el reclamante llena un formulario paga una cuota peque\u00f1a para presentar su caso la corte convoca las partes implicadas cada parte presenta su caso sin abogados de por medio recurriendo la evidencia testigos que consideren necesarios el juez escucha emite los t\u00e9rminos de su resoluci\u00f3n incluyendo multas si una de las partes se presenta la otra gana p defecto arbitraje en el m\u00e9todo llamado arbitraje se selecciona una persona por acuerdo entre las partes seg\u00fan su experiencia en la industria este \u00e1rbitro es imparcial puede tener relaciones financieras con ninguna de las partes para llevar cabo la resoluci\u00f3n las partes se re\u00fanen en un recinto menos formal que una corte existen reglas respecto la manera en la que cada una de las partes presenta su caso pero de igual manera se presenta evidencia testigos al igual que en la corte de reclamos el \u00e1rbitro es cucha delibera emite una resoluci\u00f3n es posible incluir cl\u00e1usulas de arbitraje en los contratos definiendo el \u00e1rbitro por adelantado la organizaci\u00f3n de resoluci\u00f3n de arbitraje la que se recurrir\u00e1 si se genera un conflicto m\u00e9todos de resoluci\u00f3n e conflictos mediaci\u00f3n litigaci\u00f3n transcripci\u00f3n continuemos hablando sobre m\u00e9todos de resoluci\u00f3n de conflictos la mediaci\u00f3n la litigaci\u00f3n mediaci\u00f3n en la mediaci\u00f3n un tercero neutral gu\u00eda las negociaciones buscando una resoluci\u00f3n sostenible de com\u00fan beneficio un m\u00ednimo de condiciones aceptables normalmente esta resoluci\u00f3n incluye un monto pagar cuando se alcanza una resoluci\u00f3n ambas partes fir man un acuerdo que estipula los t\u00e9rminos de la mediaci\u00f3n incluyendo fechas montos m\u00e9todos de pago la tarifa del mediador se sufraga como un costo compartido entre las partes al igual que con el arbitraje es posible incluir una cl\u00e1usula de mediaci\u00f3n en los contratos para definir este m\u00e9todo de resoluci\u00f3n por adelantado litigaci\u00f3n cuando las negociaciones con m\u00e9todos alternativos logran ning\u00fan acuerdo se hace necesario recurrir la demanda est\u00e1ndar que involucra todos los medios m\u00e9todos legales de la litigaci\u00f3n como ya mencionamos las demandas son el \u00faltimo recurso ya que su resoluci\u00f3n puede ser costosa lenta muchas veces exasperante para las partes una parte demanda por un monto espec\u00edfico dependiendo de los da\u00f1os causados por la violac i\u00f3n de t\u00e9rminos contractuales el aparato legal act\u00faa como intermediario proporcionando los recintos las condiciones de litigaci\u00f3n las partes presentan sus casos incluyendo evidencia testigos ante un jurado un juez durante procesos que pueden tomar meses en alcanzar su final por estos motivos los abogados aconsejan sus clientes colaborar realizar un an\u00e1lisis antes de proceder con una demanda con el fin de determinar si vale la pena su realizaci\u00f3n continuaci\u00f3n procederemos estudiar tre casos distintos de uno de los conflictos m\u00e1s comunes en la industria musical la violaci\u00f3n de derechos de autor mejor conocida como plagio an\u00e1lisis de casos plagio inconsciente transcripci\u00f3n la violaci\u00f3n de derechos de autor es uno de los casos de emanda m\u00e1s reincidente en la industria musical analicemos uno de particular trascendencia causa del veredicto de plagio involuntario george harrison vs bright tunes music corporation por la canci\u00f3n sweet lord la canci\u00f3n de harrison fue lanzada e n noviembre de audici\u00f3n recomendada george harrison sweet lord este fue su primer tema como solista estuvo en primera posici\u00f3n por cinco semanas en las listas alrededor del mundo adem\u00e1s fue el single m\u00e1s vendido de en el r eino unido actualmente ocupa la posici\u00f3n n\u00famero en el top las mejores canciones de la historia de la revista rolling stone escuchemos el tema de la parte demandante hes fine de la agrupaci\u00f3n chiffons lanzada en audici\u00f3n recomenda da chiffons hes fine la semejanza es indiscutible en bright tunes corporation entidad representante de la agrupaci\u00f3n chiffons demand\u00f3 harrison sus compa\u00f1\u00edas estadounidenses e inglesas otras compa\u00f1\u00edas relacionadas con la canci\u00f3n apple records bmi hansen publications los abogados de harrison intentaron llegar una resoluci\u00f3n fuera de la corte ofreciendo comprar el cat\u00e1logo completo de bright tunes quienes por su parte declinaron la oferta solicitaron los derec hos de la canci\u00f3n sweet lord cambio de un de las regal\u00edas que generara despu\u00e9s de muchas negociaciones harrison ofreci\u00f3 bright tunes antes de que iniciara el juicio para determinar si ambas canciones eran similares las partes llegaron un acuerdo el juicio di\u00f3 inicio en los abogados de harrison intentaron comprobar que las canciones eran distintas presentando testigos del proceso de composici\u00f3n declarando que sweet lord fue inspirada en la canci\u00f3n oh happy day libr e de derechos de autor despu\u00e9s de todos los procedimientos legales el juez emiti\u00f3 un veredicto en contra de harrison declarando que cre\u00eda que el plagio se haya producido deliberadamente al final harrison fue declarado culpable de plagio involuntario tuvo que pagar el rol del abogado es vital para evitar este tipo de situaciones la materia prima para la creaci\u00f3n musical es limitada por lo cual muchas composiciones son similares al analizar las canciones de un lanzamiento comercial veri ficar si infringen derechos de autor el artista puede evitarse p\u00e9rdidas considerables es una medida preventiva dado que los conflictos solamente se generan cuando la canci\u00f3n logra un \u00e9xito comercial gran escala lo cual es dif\u00edcil de predecir durante l composici\u00f3n an\u00e1lisis de casos el artista que se plagi\u00f3 s\u00ed mismo transcripci\u00f3n hablemos de john fogerty creedence lo particular de este caso radica en el origen personal de los conflictos que pueden escalar demandas el precedente la banda cre edence clearwater revival es al d\u00eda de hoy una de las m\u00e1s representativas de finales de la d\u00e9cada de e inicios de los con \u00e1lbumes como bayou green river pesar de su corta trayectoria su influencia ha marcado innumerables m\u00fasicos especialmente en los estados unidos en ccr lanz\u00f3 la canci\u00f3n run jungle escrita por fogerty que recibi\u00f3 la certificaci\u00f3n de oro de la riaa audici\u00f3n recomendada run jungle ccr debido numerosos conflictos personales creativos administrativos de negocios los integrantes de ccr perdieron millones de d\u00f3lares la banda termin\u00f3 por disolverse en con el objetivo de liberarse de las obligaciones contractuales de su contrato con ccr john fogerty cedi\u00f3 sus derechos de todo el cat\u00e1logo de ccr as\u00ed la discogr\u00e1fica fantasy records con su due\u00f1o saul zaentz pas\u00f3 ser due\u00f1a de los derechos de distribuci\u00f3n publishing de ah\u00ed en adelante john fogerty podr\u00eda tocar sus propias canciones sin pagar licencias fantasy esta situaci\u00f3n provoc\u00f3 roces personales cre\u00f3 una brecha entre zaentz fogerty el conflicto fogerty continu\u00f3 con su carrera en lanz\u00f3 la canci\u00f3n old man road que tuvo un \u00e9xito comercial bastante prominente alcanzando la d\u00e9cima posici\u00f3n en el hot de billboard de estados unidos numerosas listas alrededor del mundo incluyendo canad\u00e1 suiza austria alemania nueva zelanda audici\u00f3n recomendada old man road john fogerty dicho \u00e9xito disgust\u00f3 saul zantz due\u00f1o de fantasy quien declar\u00f3 que esta canci\u00f3n era b\u00e1sicamente run jungle pero con una letra distinta demand\u00f3 fogerty en la corte federal en otras palabras john f ogerty se hab\u00eda plagiado s\u00ed mismo copiando una canci\u00f3n de la cual ten\u00eda derechos de autor es importante destacar zantz fotgergy estaban en los mejores t\u00e9rminos en ese momento el disco centerfiled que inclu\u00eda la canci\u00f3n old man downd r oad conten\u00eda otras canciones como mr greed zanz cant dance en las que fogerty describ\u00eda un personaje ladr\u00f3n ad\u00faltero asesino fans cr\u00edticos compart\u00edan la opini\u00f3n de que estas canciones eran ataques dirigidos zaentz quien respondi\u00f3 con una dema nda por difamaci\u00f3n de millones esta demanda fue resuelta entre las partes fuera de los tribunales resoluci\u00f3n volviendo la demanda por derechos de autor el caso se present\u00f3 en la corte federal de san francisco en fogerty se represent\u00f3 si mismo ferozmente e incluso llev\u00f3 su guitarra la corte para interpretar ambas canciones demostrar que las canciones eran distintas la \u00fanica semejanza siendo el estilo inherente de haber sido compuestas por la misma persona el jurado deliber\u00f3 r\u00e1pidame nte en pocas horas llegaron la decisi\u00f3n un\u00e1nime de que las canciones cumpl\u00edan con el requerimiento legal de ser substancialmente similares como para constituir una violaci\u00f3n de derechos de autor pesar de salir victorioso fogerty a\u00fan estaba expu esto las tarifas de sus abogados que sumaban m\u00e1s de un mill\u00f3n de d\u00f3lares entre sus consejeros personales los representantes legales de su discogr\u00e1fica warner brothers present\u00f3 numerosas apelaciones para recibir un reembolso por sus costos legales p ero todas fueron denegadas hasta que present\u00f3 su caso en la corte suprema de los estados unidos en donde se emiti\u00f3 una decisi\u00f3n su favor el papel de los abogados es complejo requiere de un amplio conocimiento del aparato legal para continuar nsistiendo hasta donde sea necesario para defender los derechos patrimonio del artista an\u00e1lisis de caso plagio con acuerdo extrajudicial transcripci\u00f3n veamos ahora un caso m\u00e1s com\u00fan de violaci\u00f3n de derechos de autor un artista hace uso de la m\u00fasica de otro sin solicitar la autorizaci\u00f3n legal adecuada la particularidad de este caso es que nunca lleg\u00f3 los tribunales sino que las partes llegaron un acuerdo extrajudicial escuchemos ambas canciones comparemos audici\u00f3n recomendada ice ice bab vanilla ice audici\u00f3n recomendada pressure queen david bowie la similitud es bastante notoria de hecho el recurso de tomar muestras de otras canciones para incluirlas como parte del beat es sumamente com\u00fan en el rap hip hop escuchemo un ejemplo de una canci\u00f3n que utiliza una muestra de otra canci\u00f3n come de puff daddy con una muestra de kashmir de led zeppelin aunque en este caso la muestra es una regrabaci\u00f3n del pasaje musical audici\u00f3n recomendada come puff daddy el conflicto volvamos al tema la canci\u00f3n pressure fue lanzada en por la agrupaci\u00f3n queen en colaboraci\u00f3n con david bowie alcanz\u00f3 los primeros lugares de las listas en estados unidos alemania holanda argentina australia suiza a\u00f1os m\u00e1s tarde en vanilla ice utiliz\u00f3 la l\u00ednea mel\u00f3dica de pressure en su canci\u00f3n ice ice baby sin solicitar una licencia en otras palabras queen david bowie recibieron las regal\u00edas que les correspond\u00edan ni supieron que sus derechos de aut estaban siendo violados fue sino hasta que ice ice baby alcanz\u00f3 los primeros lugares de las listas en estados unidos incluyendo el top de billboard que la canci\u00f3n lleg\u00f3 la atenci\u00f3n de queen bowie en su canci\u00f3n vanilla ice modific\u00f3 ligeram ente la l\u00ednea de bajo para crear una versi\u00f3n distinta evitar problemas legales pero la diferencia es tan peque\u00f1a que se pudo defender este caso nunca lleg\u00f3 los tribunales dado lo indiscutible del plagio las partes llegaron un acuerdo la suma nunca se divulg\u00f3 los medios pero probablemente fue un monto considerablemente alto adem\u00e1s parte del acuerdo extrajudicial incluy\u00f3 agregar los integrantes de queen david bowie en los cr\u00e9ditos de coautor\u00eda recibiendo as\u00ed las regal\u00edas correspondient es de todas las versiones posteriores de la canci\u00f3n ice ice baby en este caso los abogados de vanilla ice fallaron en investigar la canci\u00f3n lo suficiente para identificar el plagio hacer las recomendaciones pertinentes su cliente actividades reco mendadas semana actividad melod\u00eda de pel\u00edcula observe el video del siguiente link httpwwwyoutubecomwatchvmycbgsrnjk esta es la audici\u00f3n recomendada analice la cantidad de notas presentes en la melod\u00eda descargue el audio de esta melod\u00eda un dispositivo m\u00f3vil simplemente memor\u00edcela c\u00e1ntela una persona que haya vivido durante la d\u00e9cada de reconoce la melod\u00eda le es familiar este poder de recordaci\u00f3n es el que se busca proteger al registrar una melod\u00eda actividad escuche las audiciones recomendadas escuche la similitud entre ambas canciones analice el caso seg\u00fan los criterios vistos en el video de esta lecci\u00f3n actividad investigue alg\u00fan caso de plagio diferente los expuestos en esta lecci\u00f3n cu\u00e1les canciones artistas estuvieron implicados en su opini\u00f3n las canciones son similares integraci\u00f3n de equipo business manager agente productor semana rol del business manager transcripci\u00f3n c\u00f3mo maneja un artista sus finanzas ciertamente muchos artistas fallan en informarse detalladamente sobre sus obligaciones financieras incluyendo temas de impuestos procesos de cobro contadur\u00eda pagos de servicios contratados el business manager se contrata con el fin de liberar al per sonal manager de estas responsabilidades como ya hemos determinado el \u00faltimo integrante que ingresa al equipo de trabajo es por lo general el business manager debido que su responsabilidad principal es la gerencia financiera de los artistas incluyend an\u00e1lisis control para garantizar sostenibilidad de negocios la mayor\u00eda cuenta con t\u00edtulos de administraci\u00f3n de negocios con especialidad en contadur\u00eda conocimientos en temas de negociaci\u00f3n inversiones banca e impuestos veamos algunas responsabil idades puntuales que el business manager realiza diariamente se encarga de realizar los pagos de parte del artista los integrantes de su equipo personas que prestan servicios profesionales como m\u00fasicos coristas asistentes t\u00e9cnicos de montaje e ntre otros asesora analiza al artista en temas de inversi\u00f3n brinda seguimiento los ingresos gastos del artista se encarga de realizar el pago de los impuestos tanto nivel local como internacional adem\u00e1s maneja los asuntos financiero personales del artista como testamentos divorcios sociedades dem\u00e1s involucramiento compromiso el rol del business manager es vers\u00e1til ya que puede contratar otros profesionales para ejecutar tareas en las cuales se desempe\u00f1e por ejemplo agente tributarios bancarios contadores corredores de bolsa consultores de inversiones su papel principal m\u00e1s all\u00e1 de estas tareas espec\u00edficas es proporcionar asesor\u00eda prevenir al artista cuando sus negocios corren riesgos financieros se convierte en un portador tanto de buenas como de malas noticias nivel \u00e9tico las comunica de modo inmediato transparente puede colaborar de modo proactivo en tareas que afectan directamente la vida personal profesional del artista como por ejemplo negociar obtener hipotecas para las casas del artista proteger las ganancias del artista trav\u00e9s de diversas t\u00e9cnicas financieras pagar cuentas de negocios personales del artista monitorear suplir las necesidades relacionadas con seguros de vida salud bienes proporcionar soporte financiero durante la disoluci\u00f3n de relaciones contractuales como sociedades matrimonios informar asertivamente al artista cuando entra en estado de negaci\u00f3n financiero gastando m\u00e1s de lo que gana istribuyendo sus ganancias de modo desmedido irresponsable para cumplir con todas estas tareas efectivamente el business manager debe tener compatibilidad con el equipo de trabajo principalmente con el personal manager el abogado qu\u00e9 buscar en un business manager transcripci\u00f3n el artista debe prepararse para seleccionar su business manager recopilando criterios para el momento en que su negocio se desarrolle hasta llegar un estado que requiera de manejo financiero hablemos de tres \u00e1reas principales la experiencia del busi ness manager sus condiciones de trabajo sus aspectos administrativos experiencia la experiencia del business manager es un aspecto operativo que garantiza al artista el orden que necesita en sus asuntos financieros figura es importante indagar respecto la forma en la que el business manager maneja las inversiones adem\u00e1s de conocer si es contador p\u00fablico autorizado al igual que su trayectoria con clientes espec\u00edficos en la industria musical bajo circunstancias similares las del artista ya sea locales internacionales adem\u00e1s deben quedar claros los servicios que el business manager presta adicionales al manejo contable como por ejemplo impuestos inversiones proyecciones presupuestos testamentos patrimonios seguros sociedades mediante estas indagaciones es posible identificar el estilo de trabajo del business manager qu\u00e9 tan discreto yo conservativo es su manejo del dinero las cuentas el artista debe rechazar respuestas gen\u00e9ricas como nos acomodamos las necesidades de nuestro cliente es crucial conocer los detalles grandes rasgos se debe responder la pregunta qu\u00e9 har\u00e1 este business manager para m\u00ed cu\u00e1les son sus motivaciones por ejemplo el business manager necesariamente es cpa sino que puede contrata r alguno en su equipo de trabajo debe demostrar su conocimiento de la industria musical los flujos de capital de las secciones del mercado en las que participa el artista para saber con qui\u00e9nes tiene relaciones financieras el artista debe manejar las estipulaciones legales locales e internacionales de impuestos pago de regal\u00edas regulaciones dem\u00e1s adem\u00e1s el artista debe expresar su intenci\u00f3n de aprender e informarse es responsabilidad del business manager ense\u00f1arle explicarle para que pued mantenerle al tanto de sus estados financieros \u00e1rea experiencia cu\u00e1l es su filosof\u00eda de inversi\u00f3n es un cpa es privado es necesario que sea cpa algunos bms contratan cpas en su equipo de trabajo representa clientes en la industria music al muchos bms tienen experiencia es importante que conozca los flujos de capital de las secciones del mercado en las que participa el artista este conocimiento le ayuda saber qu\u00e9 cu\u00e1nto qui\u00e9nes cobrar ha manejado cuentas de persona en situaciones similares la m\u00eda tiene experiencia internacional impuestos en varios pa\u00edses regal\u00edas legislaci\u00f3n otros afines qu\u00e9 servicios adicionales ofrece adem\u00e1s de pagar cuentas administrar el dinero cu\u00e1nto cobrar\u00e1 por estas tareas adicionales impuestos inversiones proyecciones presupuestos pron\u00f3sticos de los ingresos coordinaci\u00f3n de testamentos planeamiento de patrimonios monitoreo de necesidades de seguros disoluci\u00f3n de sociedades divorcios tiene inter\u00e9s en educar explicar figura business manager experiencia condiciones de trabajo las condiciones de trabajo establecen los t\u00e9rminos generales de la relaci\u00f3n contractual entre el artista el business manager figura la negocia ci\u00f3n de una tarifa la revisi\u00f3n del acuerdo por escrito son sumamente importantes aunque muchos business managers trabajan sin contrato en el aspecto contractual el artista debe tener cuidado de establecer una relaci\u00f3n que le asocie por un per\u00edodo de tiempo es recomendable tener la libertad de prescindir de los servicios del business manager en cualquier momento otras preguntas se relacionan con su modo operativo veamos tres ejemplos los seguros de errores omisiones conocidos como eo por su siglas en ingl\u00e9s le pagan al artista por los errores que el business manager comete es importante conocer los montos \u00e1reas de cobertura exactas de este tipo de seguros en la mayor\u00eda de los casos cubre solamente contabilidad respecto comisiones algunos business managers reciben comisiones de las entidades las cuales dirigen los fondos del artista como compa\u00f1\u00edas de seguros bancos agentes de valores fondos de inversi\u00f3n estas comisiones referenciales son una compensaci\u00f3n que incentiva al business manager trabajar dineros con entidades espec\u00edficas pueden crear conflictos de intereses que le motivan asesorar al artista seg\u00fan su inter\u00e9s de recibir un ingreso adicional por este motivo el artista debe indagar acerca de dichas comisiones tes de iniciar su relaci\u00f3n con el business manager otro aspecto clave es la disposici\u00f3n del business manager ser auditado el artista debe expresar su intenci\u00f3n de contratar una persona independiente para supervisar el trabajo del business manager pe ri\u00f3dicamente observar su reacci\u00f3n al presentar esta posibilidad algunos artistas se sienten c\u00f3modos realizando estas auditor\u00edas porque piensan que refleja desconfianza pero realmente es una pr\u00e1ctica com\u00fan \u00e9tica la cual todo manager honesto estar\u00e1 dispuesto someterse figura business manager condiciones de trabajo \u00e1rea administrativa finalmente el aspecto administrativo comprende detalles de los servicios prestados por el business manager como el tipo de reportes que entregar\u00e1 su f recuencia si trabaja por su cuenta tiene personas subcontratadas para tareas espec\u00edficas otros procedimientos generales como la firma de cheques los pagos que deben de estar bajo el control directo del artista figura en este aspecto es rec omendable que el artista firme sus propios cheques como m\u00ednimo proporcione aprobaci\u00f3n verbal autorizaci\u00f3n electr\u00f3nica los cheques emitidos de igual manera debe aprobar supervisar los pagos los miembros del equipo personas contratadas espor\u00e1di camente figura business manager \u00e1rea administrativa seleccionando al business manager transcripci\u00f3n c\u00f3mo seleccionar al business manager hablemos primero de lo que se recomienda con raras excepciones involucrar miembros de la familia en la vida financiera del artista es extremadamente peligroso primero porque en la mayor\u00eda de los casos est\u00e1n calificados para realizar el trabajo pero m\u00e1s relevante que esto es el hecho de que una persona cercana dif\u00edcilmente tiene criterios objetivos para tomar decisiones financieras sus errores diferencias con el artista pueden provocar problemas nivel personal referencias como hemos ha blado ya las referencias de los miembros del equipo de trabajo son el primer recurso de b\u00fasqueda pero el artista debe aplicar criterio estas recomendaciones ya que pueden venir fundadas en intereses personales en el verdadero beneficio del artist por ejemplo si el personal manager recomienda al business manager con quien trabaja para otros artistas esta circunstancia puede ser contraproducente si el artista tiene una diferencia de criterio con el personal manager ya que el business manager po dr\u00eda apoyar la posici\u00f3n del personal manager en lugar de la del artista estos conflictos de intereses pueden traer numerosos problemas al flujo operativo financiero del negocio por lo que se deben identificar manejar con sumo cuidado al entrevi star business managers analizar sus opciones el artista debe considerar que la efectividad de la persona elegida puede hacer la diferencia entre un futuro asegurado con seguridad financiera el final abrupto de su carrera art\u00edstica negociaci\u00f3n de tar ifas transcripci\u00f3n existen diferentes modos de pagarle al business manager porcentaje pago \u00fanico cobro por hora trabajada una combinaci\u00f3n de los anteriores la mayor\u00eda de los artistas optan por los pagos porcentuales debido que representan u na inversi\u00f3n menor en comparaci\u00f3n los pagos por hora fijos el est\u00e1ndar es de un del bruto sin embargo bajo estas circunstancias los business managers negocian una tarifa m\u00ednima de entre mensuales lo cual es razonable ya que deben cubrir sus costos operativos en el caso de business managers que trabajan para artistas prominentes el m\u00ednimo puede ser mucho mayor as\u00ed el artista est\u00e1 en su responsabilidad de proponer un tope cuando el business manager solicita un m\u00ednimo para evitar que el porcentaje negociado exceda una cifra m\u00e1xima dicho tope es variable depende de la cantidad de dinero que el artista gane la cantidad de trabajo que le genere al business manager por ejemplo para artistas posicionados el m\u00ednimo puede rondar l os mensuales el entre lo cual significa que el artista gana aproximadamente millones anuales este tipo de negociaci\u00f3n es beneficiosa para el business manager porque le garantiza una ganancia m\u00ednima le motiva generar may ores flujos de caja cuando su tarifa es por porcentaje debe ser solo de los dineros recibidos durante el tiempo en el que el business manager est\u00e1 bajo contrato cl\u00e1usulas de terminaci\u00f3n pueden aplicar en estas situaciones para definir que despu\u00e9s del t\u00e9rmino se generar\u00e1n comisiones ni deducciones adicionales adem\u00e1s se debe de especificar si incluye ganancias sobre inversiones tratar rubros como las comisiones dobles de manera cuidadosa detallada supervisi\u00f3n auditor\u00edas transcripci\u00f3n una de l \u00e1reas m\u00e1s sensibles en el negocio del artista es el flujo de dineros sabiendo esto el artista debe mantenerse al tanto supervisar cuidadosamente al business manager contratado muchos artistas cometen el error de tratar sus asuntos financieros negli gentemente adquiriendo la actitud descrita en la frase hable con mi business manager este es uno de los comportamientos de negocios m\u00e1s arriesgados que el artista puede tomar puede delegar negligentemente muchas tareas su vestuario alimentaci\u00f3n selecci\u00f3n de estudios de grabaci\u00f3n relaciones p\u00fablicas pero el manejo de su dinero hem os visto casos como el de jimmy hendrix elvis que cometieron errores similares que fueron cubiertos por la magnitud de su \u00e9xito el artista debe preguntarse entonces mi carrera es lo suficientemente exitosa como para cubrir errores financieros en la mayor\u00eda de los casos las repuesta es negativa esta es la raz\u00f3n por la cual los artistas supervisan auditan sus business managers persona clave si se contrata un business manager que asigna tareas otras personas es importante conocer estas personas definir cl\u00e1usulas contractuales que establezcan los roles responsabilidades obligaciones legales pertinentes cuando el trabajo es realizado por un grupo de personas auditor\u00edas supervisi\u00f3n adem\u00e1s de supervisar de cerca peri\u00f3dicamente los estados financieros con el business manager el artista contrata una entidad persona tercera neutral para verificar la efectividad de su trabajo durante la auditor\u00eda privada se estudian los reportes del business manager para analizar el impacto c onsecuencias de sus decisiones algunos documentos analizados incluyen sumarios de los dineros entrantes salientes presupuestos declaraciones de ganancias p\u00e9rdidas an\u00e1lisis de estado de inversiones otras actividades financieras externas del artista al final de la auditor\u00eda el artista recibe un reporte que especifica si el business manager est\u00e1 robando extraviando dineros tomando acciones decisiones financieras inefectivas absurdas descuidadas acatando tomando acciones positivas respecto la regulaci\u00f3n tributaria local e internacional manteniendo registros claros ordenados completos cumpliendo con sus obligaciones compromisos contractuales un beneficio secundario de las auditor\u00edas privadas es organizar los estados actividades financieras anticipando auditor\u00edas por parte de las entidades estatales federales nacionales locales lo cual puede ayudarle al artista corregir situaciones proactivamente antes de enfrentar consecuencias legales configurac iones de negocios transcripci\u00f3n las obligaciones legales del artista as\u00ed como ciertas implicaciones operativas se definen por su configuraci\u00f3n de negocios por ejemplo en varios pa\u00edses la regulaci\u00f3n de impuestos indica que los gastos de negocios son ded ucibles de impuestos dependiendo de la legislaci\u00f3n federal estatal local la configuraci\u00f3n de negocios establece diferentes ventajas e implicaciones como por ejemplo presenta al individuo ante las entidades financieras como un negocio como una persona desprende al individuo de responsabilidades cargas legales expone la organizaci\u00f3n al individuo posibles consecuencias financieras legales como deudas demandas protege al individuo de p\u00e9rdidas financieras personales ante un proceso legal el riesgo de p\u00e9rdida de la organizaci\u00f3n equivale al val total de la organizaci\u00f3n mientras que el individuo arriesga perder todos sus bienes veamos algunas posibilidades de configuraciones de negocios que son recomendadas al artista por parte del business manager junto con el abogado es importante resalt ar que los nombres as\u00ed como las caracter\u00edsticas de estas configuraciones pueden variar entre diferentes pa\u00edses empresa independiente esta configuraci\u00f3n se genera cuando el artista como persona f\u00edsica trabaja independientemente siendo su propio jefe est os artistas tienen obligaciones legales con nadie m\u00e1s que consigo mismos las personas quienes contratan esta configuraci\u00f3n es simple de crear pero implica el mayor riesgo de responsabilidad legal ya que tiene un alcance personal ilimitado es decir que el artista debe responder con sus propios bienes patrimonio al enfrentar procesos legales de cobro demanda sociedad la sociedad es la configuraci\u00f3n m\u00e1s utilizada por agrupaciones art\u00edsticas aunque en sus inicios la mayor\u00eda de los grupos musica les carecen de un acuerdo por escrito que estipule las condiciones de la relaci\u00f3n de negocios en la sociedad un grupo de personas pasa formar una entidad llamada artista trav\u00e9s de un documento que estipula las condiciones iniciales as\u00ed cualquiera e los miembros de la sociedad puede actuar en su nombre de la misma manera ante cualquier proceso legal todos los miembros est\u00e1n sujetos las consecuencias tanto nivel profesional como personal corporaci\u00f3n en la corporaci\u00f3n el artista pasa forma r parte de una entidad privada para la cual trabaja es una constituci\u00f3n de negocios bastante formal requiere un acta constitutiva registrada ante la entidad estatal correspondiente las corporaciones son reguladas gubernamentalmente su derecho de prop iedad se basa en estructuras de acciones lo cual facilita su transferencia la corporaci\u00f3n protege al artista de responsabilidad legal debido que es una entidad legal en s\u00ed misma proporcionando mayor protecci\u00f3n que la sociedad la empresa independient e responsabilidad limitada la compa\u00f1\u00eda de responsabilidad limitada es similar una sociedad pero como su nombre lo estipula limita las responsabilidades personales de los miembros ante procesos legales al igual que la corporaci\u00f3n su configuraci\u00f3n es compleja debido que requiere un acta constitutiva registrada trav\u00e9s de las entidades locales estatales pertinentes se diferencia de la corporaci\u00f3n en el alcance personal al que se exponen sus miembros al enfrentar procesos legales as\u00ed como en otro aspectos relacionados con impuestos por ejemplo si un individuo es demandado sus dividendos son cobrables si es miembro de una corporaci\u00f3n pero lo son si forma parte de una compa\u00f1\u00eda de responsabilidad limitada por otro lado los miembros de las corporaciones pueden utilizar las p\u00e9rdidas reportadas de la corporaci\u00f3n como deducibles en sus declaraciones de impuestos el abogado el business manager deben analizar el estado actual del artista su planeamiento estrat\u00e9gico para determinar la configu raci\u00f3n de negocios m\u00e1s eficaz en el corto mediano largo plazo considerando su proyecci\u00f3n local e internacional sus implicaciones legales operativas la configuraci\u00f3n de negocios m\u00e1s popular loan corporations transcripci\u00f3n cu\u00e1l es la configur aci\u00f3n de negocios m\u00e1s utilizada por artistas posicionados los artistas con experiencia en el negocio prefieren utilizar la compa\u00f1\u00eda de responsabilidad limitada esta elecci\u00f3n se debe diferentes beneficios que ofrece en el \u00e1mbito tributario por lo gener al se utiliza una variedad conocida como loan corporation empresa de colocaci\u00f3n profesional entidad intermediaria que subcontrata los servicios del artista e ingresa en relaciones contractuales con otras personas entidades interesadas en sus servi cios de esta manera la compa\u00f1\u00eda recibe los dineros de los contratos le paga al artista un salario por servicios de entretenimiento prestados protegi\u00e9ndole de cualquier proceso legal en su contra por ejemplo si la compa\u00f1\u00eda es due\u00f1a de las regal\u00edas del artista firma un contrato de distribuci\u00f3n discogr\u00e1fica la contraparte hace una demanda solamente estar\u00edan en riesgo las regal\u00edas los bienes personales del artista como su casa su cuenta bancaria estar\u00edan protegidos este mecanismo se utiliza para proteger al artista sus bienes tanto personales como familiares de demandas fr\u00edvolas por otro lado la compa\u00f1\u00eda proporciona servicios legales financieros al artista as\u00ed como representaci\u00f3n en algunos casos todos los gastos de negocios son deducible de impuestos debido que el artista es un empleado de la compa\u00f1\u00eda pesar de que esta es la configuraci\u00f3n m\u00e1s utilizada se debe escoger ciegas recordemos que la elecci\u00f3n se realiza trav\u00e9s de recomendaciones informadas por parte del abogado el business manager colocaci\u00f3n profesional contratos discogr\u00e1ficos como ya hemos visto la compa\u00f1\u00eda de responsabilidad limitada realiza colocaci\u00f3n profesional al mismo tiempo protege al artista de responsabilidades legales en el \u00e1mbito del contrato discogr\u00e1fico la compa\u00f1\u00eda subcontrata al artista para que preste sus servicios profesionales la discogr\u00e1fica figura en teor\u00eda el artista podr\u00eda recibir los dineros de la discogr\u00e1fica en forma de salario despu\u00e9s evadir sus responsabilidades des pidi\u00e9ndose s\u00ed mismo de su compa\u00f1\u00eda declarando esta en bancarrota la discogr\u00e1fica en este caso podr\u00eda demandar al artista directamente solo su compa\u00f1\u00eda de responsabilidad limitada figura compa\u00f1\u00eda de responsabilidad limitada colocaci\u00f3n pro fesional para evitar esta situaci\u00f3n las discogr\u00e1ficas requieren que el artista firme un documento llamado carta inductiva carta lateral que obliga al artista cumplir con las relaciones de su compa\u00f1\u00eda si esta falla en hacerlo figura de esta manera se garantizan que el artista abogar\u00e1 por cumplir con las disposiciones del contrato discogr\u00e1fico en lugar de buscar rutas legales para evadirlo figura compa\u00f1\u00eda de responsabilidad limitada carta lateral actividades recomendadas semana actividad artistas finanzas investigue sobre un artista exitosoa que haya manejado mal sus finanzas compare sus ganancias en periodos cortos de tiempo con sus gastos actividad investigue sobre un artista exitosoa que haya diversificado sus negocios fuera de la industria musical por ejemplo invirtiendo en hoteler\u00eda moda belleza etc qu\u00e9 tipo de productos maneja actividad con el fin de comprender mejor el video investigue el proceso mediante el cual se supervisa audita un contador semana qu\u00e9 es un booking agent transcripci\u00f3n qu\u00e9 es un booking agent hemos mencionado que el booking agent es la persona respon sable llevar cabo el contacto negociar de parte del artista para confirmar los detalles de sus presentaciones en vivo la definici\u00f3n del rol de un agente incluye cualquier actividad realizada para conseguir oportunidades de empleo al cliente entidad contratante como tales los agentes en otros nichos de la industria del entretenimiento son conocidos tambi\u00e9n como representantes enfoque principal en otras \u00e1reas de la industria del entretenimiento como la televisi\u00f3n el cine los deportes el rol del agente es mucho m\u00e1s prominente que en la industria musical por ejemplo en el sector del cine los agentes cuentan con mucho poder para influir en la carrera de sus clientes lo cual les permite controlar muchos aspectos de esta industria su figura se podr\u00eda comparar hasta cierto punto la del personal manager de la industria musical estos acompa\u00f1an sus clientes lo largo de sus carreras colabo rando con su planeamiento estrat\u00e9gico negociaci\u00f3n posicionamiento como profesionales en su nicho de negocio en contraste los agentes de industria musical se dedican casi exclusivamente conseguir contratos para presentaciones personales en vivo enfo cados conciertos en su gran mayor\u00eda esta tarea se conoce como booking est\u00e1 directamente relacionada con el manejo de agenda de las presentaciones personales de un artista el personal manager el artista definen un rango de tiempo en su calendario pa ra presentaciones personales en \u00e1reas geogr\u00e1ficas espec\u00edficas esta es la materia prima del booking agent que toma ambas variables realiza toda la log\u00edstica necesaria para confirmar la m\u00e1xima cantidad de presentaciones posible adem\u00e1s de encontrar fech ubicaciones para los conciertos de sus clientes el booking agent se involucra en negociaciones de otros tipos de presentaciones personales tales como comerciales de televisi\u00f3n radio castings para patrocinio de giras especiales de televisi\u00f3n eventos de caridad entre muchos otros es importante resaltar que el agente de la industria musical se puede involucrar en negociaciones concernientes grabaci\u00f3n composici\u00f3n mercader\u00eda merchandise por lo cual su rol es tan crucial en la carrer del artista como lo es el personal manager cuando un agente se involucra en estas \u00e1reas est\u00e1 realizando un cruce al \u00e1rea profesional del music business management rol caracter\u00edsticas transcripci\u00f3n en la estructura de la industria musical el agente forma parte del \u00e1rea de music business management hemos hablado del su funci\u00f3n principal en el equipo de trabajo exploremos algunos detalles de su rol en la carrera del artista el agente se desempe\u00f1 como mediador entre el talento el comprador al decir el talento nos referimos al artista artistas que forman parte de la cartera de clientes del agente quienes \u00e9ste consigue oportunidades para presentaciones en vivo por otro lado el co mprador es la persona entidad que contrata el talento esto incluye productores de conciertos compa\u00f1\u00edas promotoras de eventos incluso due\u00f1os de salas de conciertos venues en general durante la pr\u00f3xima lecci\u00f3n nos enfocaremos en los promotores sus relaciones con el equipo de trabajo primario as\u00ed como su rol general en el sector de la m\u00fasica en vivo en t\u00e9rminos de negociaci\u00f3n las responsabilidades del agente para asegurar oportunidades de presentaci\u00f3n en vivo incluyen la log\u00edstica contractual as\u00ed se involucra en la determinaci\u00f3n de tarifas es decir el costo de los tiquetes de entrada los eventos lo cual es en parte una implicaci\u00f3n de la tarifa que el artista cobra para presentarse esta es una negociaci\u00f3n que se lleva cabo entre el age nte sus contrapartes las compa\u00f1\u00edas promotoras representantes de los venues nivel de implementaci\u00f3n estrat\u00e9gica su rol incluye comunicarse coordinar con el personal manager para asegurarse de que las presentaciones que negocia sean congruentes con la estrategia del artista por ejemplo el tipo de salas de concierto para un pianista cl\u00e1sico es distinto al que requerir\u00eda una banda de rock artista de hip hop el booking agent debe conocer el segmento demogr\u00e1fico meta para buscar lugares que por su ubicaci\u00f3n p\u00fablico habitual sean congruentes con las estrategias de management caracter\u00edsticas del booking agent el rol del agente en la carrera del artista exige que \u00e9ste presente habilidades buenas sino extraordinarias de comunicaci\u00f3n venta cre dibilidad manejo de relaciones profesionales e interpersonales el agente debe ser capaz de comunicarse asertivamente trav\u00e9s de todos los medios disponibles para ubicar sus clientes en diferentes salas de conciertos lo cual es crucial para el posici onamiento del artista el rol de campo del booking agent incluye estar en los lugares donde se presenta m\u00fasica en vivo conociendo los due\u00f1os de los venues viajando con sus clientes entre concierto concierto estas circunstancias convierten al booki ng agent en uno de los participantes de la industria que se involucra m\u00e1s en la identificaci\u00f3n de talento artistas nuevos con potencial en el negocio lo cual sirve de hincapi\u00e9 para su incursi\u00f3n como personal managers al identificar un artista nuevo el agente podr\u00eda tomarle bajo su tutela con el fin de expandir su circuito de conciertos si el artista carece de personal manager el agente podr\u00eda potencialmente manejar su carrera el objetivo del artista debe ser encontrar un profesional que tenga va lores de compromiso transparencia honestidad disponibilidad ense\u00f1ar veamos algunas preguntas que el artista plantea durante esta entrevista tiene experiencia en la industria musical cu\u00e1l es su tarifa tiene un contrato escrito para su tarifa le molesta si un consultor externo revisa el contrato con cu\u00e1les artistas ha trabajado experiencia tarifas el objetivo de preguntas como estas es determinar la experiencia del abogado en el \u00e1rea espec\u00ed fica de la industria musical adem\u00e1s al determinar los costos pol\u00edticas de cobro del abogado el artista obtiene una perspectiva respecto su estilo de trabajo tipo de influencia conexiones que tiene en el negocio si hay porcentajes de por edio se pueden presentar implicaciones similares los contratos de management en cuyo caso el abogado tendr\u00eda derecho cobrar comisiones a\u00fan despu\u00e9s de finalizada la relaci\u00f3n laboral adem\u00e1s algunas legislaciones locales por ejemplo la de california en estados unidos requieren que los acuerdos tarifarios queden registrados por escrito para que sean efectivos el abogado que se oponga dicha solicitud deber\u00ed ser contratado dado lo sospechoso de este comportamiento la persona externa contratada revisa el contrato independientemente asesora al artista respecto sus implicaciones pr\u00e1cticas especialmente si incluye cifras porcentuales referencias el arti sta consulta al abogado sobre clientes que est\u00e9n su mismo nivel al igual que con el personal manager la finalidad es contactar estos clientes para verificar el trato que reciben del abogado al hablar con estos clientes el artista indaga si el abogad responde llamadas correos electr\u00f3nicos si es eficaz en su trabajo si se da la tarea de dar asesor\u00eda en terminolog\u00eda legal cu\u00e1nto le toma resolver situaciones para sus clientes as\u00ed el artista indaga el nivel de satisfacci\u00f3n general de los cliente del abogado considerando la duraci\u00f3n de la relaci\u00f3n un cliente m\u00e1s antiguo puede dar referencias con m\u00e1s conocimiento de causa que uno nuevo la entrevista transcripci\u00f3n la selecci\u00f3n del agente es una responsabilidad del personal manager si el artist carece de esta figura en su equipo de trabajo el booking agent reporta directamente al artista caso contrario cuando el artista cuenta con personal manager su contacto con el agente es m\u00ednimo ocasional estar\u00e1 presente en las presentaciones en vivo en las reuniones previas al inicio de una gira el resto del tiempo el agente se encuentra en contacto con promotores negociando las fechas de presentaciones personales del artista en contacto con el personal manager para reportar los avances solic itar autorizaci\u00f3n para tomar diversas v\u00edas de acci\u00f3n en sus negociaciones ya sea que el artista cuente con un personal manager para administrar coordinar los esfuerzos del booking agent tiene la responsabilidad ineludible de seleccionarle cuidados amente qu\u00e9 busca un agente el agente maneja varios artistas simult\u00e1neamente un booking agent puede desarrollar su cartera de clientes de modo casi ilimitado dependiendo de su capacidad personal de organizaci\u00f3n su efectividad disposici\u00f3n de tiempo algunos agentes llegan manejar m\u00e1s de artistas en algunos casos dado que obtiene ganancias por comisi\u00f3n su objetivo es maximizar dichas ganancias para lograr este fin buscan talento constantemente entre artistas que ofrezcan tres aspectos princip ales shows de calidad las presentaciones que provocan impacto en la audiencia demuestran la capacidad del artista de atraer desarrollar su negocio capacidad de convocatoria cuando un artista cuentan la capacidad comprobable de convocar sus fa ns diversos eventos el agente obtiene cifras aproximadas de la cantidad de entradas que se vender\u00e1n lo cual solo le beneficia econ\u00f3micamente sino que le proporciona informaci\u00f3n valiosa para facilitar su trabajo facilidad de colocaci\u00f3n este factor incorpora diversas variables desde el g\u00e9nero musical del artista hasta su reputaci\u00f3n trato interpersonal para un booking agent es complejo trabajar con un artista que los venues quieren recibir esto se puede deber malas experiencias anteriores q ue los organizadores de eventos hayan tenido con artistas similares con el mismo artista adem\u00e1s salas de eventos espec\u00edficas reciben ciertos tipos de espect\u00e1culos rechazan otros por ejemplo un restaurante podr\u00eda por pol\u00edtica interna recibir ba ndas de rock con estas variables en mente cuando el booking agent analiza un cliente prospecto procede investigarlo en diferentes categor\u00edas experiencia presencia en el mercado este aspecto trata de la cantidad de presentaciones entradas vendidas en periodos definidos cu\u00e1nto cobra por presentaci\u00f3n d\u00f3nde se ha presentado el \u00e1rea geogr\u00e1fica de su circuito de conciertos cualquier otro detalle que demuestre el posicionamiento del artista respecto al posicionamiento profesional el agente indaga sobre el equipo de trabajo del artista si cuenta con contrato discogr\u00e1fico patrocinios contratos de distribuci\u00f3n entre otros qu\u00e9 busca r en un agente de manera similar la que un agente tiene varios clientes en su cartera el artista puede contar con varios booking agents especializados en zonas geogr\u00e1ficas mercados espec\u00edficos por ejemplo un artista europeo podr\u00eda contar con un agente para su circuito de conciertos europeo otro para sus presentaciones en am\u00e9rica del norte de esta manera el artista indaga diversos factores veamos algunas preguntas espec\u00edficas que podr\u00edan citarse en una entrevista cu\u00e1ntas zonas geogr\u00e1ficas tiene acceso con cu\u00e1ntos venues ha trabajado puede proporcionar una lista tienen acuerdos con estos venues puede proporcionar los porcentajes de incremento en convocatoria cantidad de fechas que ha logrado pa ra un artista espec\u00edfico cu\u00e1l es su tarifa tiene clientes que se encuentren en condiciones similares las m\u00edas qu\u00e9 logros ha tenido con ellos al igual que con los otros integrantes del equipo de trabajo es necesario indagar el trato que el agente da clientes que est\u00e1n al mismo nivel del artista estas muchas otras interrogantes ayudan al artista su manager seleccionar al booking agent adecuado negociaci\u00f3n tarifa t\u00e9rmino transcripci\u00f3n al negociar con el agente es importante contem plar su configuraci\u00f3n de negocios existen dos modalidades de trabajo para el booking agent puede trabajar de modo independiente para una agencia m\u00e1s all\u00e1 de este factor el artista su manager deben negociar varias categor\u00edas tarifa como mencionamos anteriormente el agente gana por comisi\u00f3n dicha comisi\u00f3n var\u00eda entre sobre las fechas confirmadas por lo general exige porcentajes altos para eventos peque\u00f1os sin embargo la mayor\u00eda de los agentes cobra un del bruto al igual que con otros profesionales de la industria los agentes pueden negociar tarifas reducidas de hasta para artistas que generan grandes ganancias en sus conciertos de igual manera es posible para el artista negociar tarifas escalonadas estableciendo comisiones al tas al inicio de su relaci\u00f3n con el agente reduciendo el porcentaje conforme sus conciertos generan m\u00e1s ganancias tarifa relaci\u00f3n sindical en diferentes zonas geogr\u00e1ficas dichas tarifas se ven reguladas por sindicatos como la federaci\u00f3n americana de \u00fasicos afm la federaci\u00f3n americana de artistas para televisi\u00f3n radio aftra al incorporarse entidades como estas los artistas se ven protegidos por los l\u00edmites que establecen el m\u00e1ximo que puede cobrar un agente por lo general un adem\u00e1s estos sindicatos tambi\u00e9n regulan la actividad de las agencias otorg\u00e1ndoles franquiciamiento esta modalidad establece que los artistas incorporados solamente pueden ser representados por agentes que forman parte de la franquicia es decir aquellos que se apegan las restricciones dictadas por el sindicato t\u00e9rmino por lo general las agencias negocian t\u00e9rminos de tres a\u00f1os m\u00e1s sin embargo es recomendable para el artista presionar para reducir este t\u00e9rmino un a\u00f1o cuanto menor el t\u00e9rmino es m\u00e1s con veniente para el artista ya que puede terminar la relaci\u00f3n si \u00e9sta produce los beneficios esperados incluso cuando se logra negociar el t\u00e9rmino es posible incluir cl\u00e1usulas que proporcionen la posibilidad de terminar el contrato si se cumplen ci fras espec\u00edficas de ganancia es importante resaltar que algunos agentes independientes trabajan con sus clientes sin necesidad de firmar ning\u00fan tipo de contrato estableciendo una relaci\u00f3n de confianza que puede prolongarse indefinidamente aspectos con tractuales territorio exclusiones transcripci\u00f3n al negociar con el agente agencia es importante ver m\u00e1s all\u00e1 de la tarifa duraci\u00f3n del contrato para contemplar dos aspectos pr\u00e1cticos el territorio geogr\u00e1fico las actividades que cubre la relaci\u00f3n de representaci\u00f3n territorio la zona geogr\u00e1f ica de acceso los contactos que posee un agente son vitales para los resultados que su trabajo puede traer la carrera del artista este es uno de los beneficios de trabajar con agencias su alcance geogr\u00e1fico es internacional mundial en algunos caso lo cual puede representar un arma de doble filo ya que su especializaci\u00f3n por \u00e1rea geogr\u00e1fica puede ser deficiente en ciertas zonas as\u00ed se establecen tres categor\u00edas de cobertura seg\u00fan el nivel del artista para los artistas nuevos de perfil termedio las agencias exigen dar cobertura mundial conforme el artista se desarrolla puede llegar ganar suficiente poder de negociaci\u00f3n como para renegociar su contrato excluir ciertas \u00e1reas geogr\u00e1ficas para contratar agentes agencias especiali zadas en mercados espec\u00edficos para extender su cobertura muchas agencias subcontratan los servicios de otras agencias agentes locales al obtener derechos de exclusi\u00f3n el artista puede eliminar la agencia mediadora recurrir directamente al especia lista local los artistas m\u00e1s prominentes al llegar un nivel suficientemente alto pueden incluso eliminar la agencia extranjera negociar directamente con los promotores de conciertos trav\u00e9s de sus abogados personal managers exclusiones al igua l que con el personal manager el artista debe asegurarse de que el agente se involucre en las ganancias obtenidas de otras actividades diferentes las presentaciones personales espec\u00edficamente los conciertos las exclusiones contractuales incluyen ac tividades como grabaciones composici\u00f3n regal\u00edas en grabaciones de soundtracks comerciales publicaci\u00f3n de libros mercader\u00eda producci\u00f3n musical es posible incluso excluir costos de cobro antes de aplicar las comisiones es decir si el artista debe emandar para cobrar se deduce el costo de la demanda antes de calcular el porcentaje de la comisi\u00f3n del agente el kit de medios funciones transcripci\u00f3n todo artista debe contar con un paquete promocional conocido tambi\u00e9n como kit de medios kit de pr ensa este paquete incluye informaci\u00f3n que el agente utiliza para presentar al artista ante diversas entidades informando sobre su estado de negocios posicionamiento actual es una herramienta crucial de mercadeo publicidad que cumple tres funciones presenta al artista al entregar el kit de medios los promotores el agente presenta al artista generando una impresi\u00f3n significante que diferencia al artista de su competencia esta primera impresi\u00f3n vende al artista su show de manera atractiva l promotor revelando que el artista es profesional serio organizado experimentado \u00fanico creativo por encima de todo una opci\u00f3n viable como evento en el mercado el kit de medios informa proporcionando recursos que el promotor utiliza para la p ublicidad del evento una vez confirmada la fecha la presentaci\u00f3n organizaci\u00f3n de la informaci\u00f3n es tan importante como la informaci\u00f3n misma es por esto que la estructura del paquete promocional debe ser simple para facilitar la extracci\u00f3n de datos la informaci\u00f3n se debe presentar de modo accesible conciso e interesante finalmente el paquete promocional mercadea el promotor env\u00eda elementos del paquete la prensa para promover el concierto e invitar la audiencia comprar tiquetes el dise\u00f1o la informaci\u00f3n deben presentarse con la finalidad de alcanzar medios de comunicaci\u00f3n como peri\u00f3dicos revistas con elementos que les invite escribir art\u00edculos solicitar entrevistas el kit de medios elementos transcripci\u00f3n veamos algunos de los e lementos m\u00e1s importantes del kit de medios es importante resaltar que adem\u00e1s del medio impreso todos estos elementos pueden formar parte de un kit electr\u00f3nico que el artista pone disposici\u00f3n del p\u00fablico en su sitio web que el agente env\u00eda por correo electr\u00f3nico sus prospectos de negocios biograf\u00eda la biograf\u00eda es el curr\u00edculum del artista incluye informaci\u00f3n concisa acerca de su carrera incluyendo datos principales la descripci\u00f3n del artista proporciona informaci\u00f3n clara sobre el tipo de presentaci\u00f3n que ofrece as\u00ed como su g\u00e9nero estilo musical el trasfondo incluye la historia del artista miembros de la banda equipo de trabajo en general crea puntos de inter\u00e9s espec\u00edficos como por ejemplo la nacionalidad influencias tempranas del artista que tienen una influencia espec\u00edfica en la presen taci\u00f3n del show del artista las presentaciones especiales son eventos importantes en los que el artista ha participado tales como premiaciones ceremonias apariciones en televisi\u00f3n radio festivales conciertos prominentes tambi\u00e9n se incluy en las grabaciones m\u00e1s representativas las m\u00e1s recientes en las que el artista ha participado as\u00ed como otros tipos de cr\u00e9ditos de producci\u00f3n composici\u00f3n cualquier colaboraci\u00f3n en proyectos musicales es necesario proporcionar una lista exhaustiva solamente los aspectos m\u00e1s importantes recientes el resto se pueden listar en la secci\u00f3n de informaci\u00f3n general que veremos m\u00e1s adelante citas los comentarios de la prensa promotores medios de comunicaci\u00f3n e incluso otros artistas que han exp resado su opini\u00f3n respecto al artista son extractos de art\u00edculos entrevistas m\u00e1s extensos en los que ha aparecido el artista presentaciones en ubicaciones sobresalientes esta secci\u00f3n incluye las presentaciones del artista en salas de conciertos festivales de prestigio ofreciendo as\u00ed un vistazo breve de la experiencia que el artista tiene en presentaciones de alto calibre informaci\u00f3n general esta hoja proporciona toda la informaci\u00f3n general que necesariamente forma parte del bio como por eje mplo categor\u00edas de presentaciones efectuadas por el artista festivales clubes shows de televisi\u00f3n entre otros proyectos especiales talleres una discograf\u00eda videograf\u00eda listando todos los lanzamientos en los que el artista ha participado entre vistas art\u00edculos estas son las versiones completas de donde se extraen las citas que forman parte de la biograf\u00eda incluye art\u00edculos notas de peri\u00f3dicos revistas son importantes porque comunican al promotor que el artista tiene presencia en medios e comunicaci\u00f3n comunicado de prensa una muestra de un comunicado de prensa es una herramienta invaluable ya que proporciona toda la informaci\u00f3n clave para publicaciones de longitud espec\u00edfica de manera que el peri\u00f3dico revista se ahorra el trabajo de investigar obtiene la informaci\u00f3n que necesita por otro lado el artista se garantiza que los detalles pertinentes ser\u00e1n publicados fotos videos muestras de audio el dise\u00f1o de imagen para el artista su proyecci\u00f3n mediante el uso de fotos videos audio en l\u00ednea se ha convertido en un est\u00e1ndar de industria el sitio web del artista as\u00ed como su p\u00e1gina de youtube facebook otras redes sociales permiten construir una estructura de comunicaci\u00f3n visual auditiva que evidencian las caracter\u00edsticas del artista su posicionamiento en el mercado su nivel profesional el kit de medios es una herramienta fundamental para el agente ya que le ayuda comunicarse asertivamente trabajar sus contactos de negocios de modo efectivo actividades recomend adas semana actividad entreviste una banda que haga conciertos pregunte c\u00f3mo negocian sus presentaciones lo hace un miembro del grupo lo hace una persona externa la banda qu\u00e9 pasos siguen para negociar confirmar una presentaci\u00f3n busque semejanzas contrastes entre estas pr\u00e1cticas la figura del agente descrita durante esta lecci\u00f3n actividad entreviste al administrador de un venue sala de conciertos c\u00f3mo se negocian las presentaciones de m\u00fasica en vivo con qui\u00e9n se realizan di chas negociaciones qu\u00e9 informaci\u00f3n presenta dicha persona para que el show del artista sea tomado en cuenta para una contrataci\u00f3n actividad entreviste un artista que realiza presentaciones en vivo si tiene agente realice las siguientes pregunta qu\u00e9 es lo m\u00e1s importante que hace esta persona c\u00f3mo se lleg\u00f3 contratarle qu\u00e9 t\u00e9rminos fueron m\u00e1s importantes al contratar dicho agente qu\u00e9 beneficios ha tra\u00eddo el agente la carrera del artista si tiene agente describa sus funciones al artista realice las siguientes preguntas qu\u00e9 buscar\u00eda en un agente con qu\u00e9 potestad exigir\u00eda tales cosasqu\u00e9 presentar\u00eda al agente para garantizarle que trabajar juntos ser\u00eda una buena relaci\u00f3n de negoc ios c\u00f3mo negociar\u00eda la tarifa del agente semana el promotor su posici\u00f3n responsabilidades dentro de la industria de la m\u00fasica transcripci\u00f3n el promotor es la persona f\u00edsica jur\u00eddica que ofrece entretenimiento un mercado espec\u00edfico es de cir es quien se encarga de contratar espect\u00e1culos para ofrecerlos un mercado definido seg\u00fan su tama\u00f1o posicionamiento los promotores pueden producir conciertos espec\u00edficos para diferentes artistas pueden contratar toda la gira de conciertos de uno varios artistas esto implica hacerse cargo de las actividades relacionadas con la producci\u00f3n promoci\u00f3n de los eventos como por ejemplo invertir capital en el concierto cubrir los costos operativos de la presentaci\u00f3n en vivo realizar los es fuerzos de mercadeo publicidad para el show implementar la log\u00edstica de venta de tiquetes es importante resaltar que el promotor asume el riesgo financiero es decir la posibilidad de conseguir un retorno de inversi\u00f3n roi por sus siglas en ing l\u00e9s esto sucede cuando las ventas de los tiquetes cubren los costos incurridos aseguran un margen de utilidad relaci\u00f3n con el equipo primario es importante mencionar que el promotor forma parte del equipo primario del artista sin embargo es l contraparte del booking agent recordemos que el agente es quien se encarga de posicionar al artista en eventos conciertos espec\u00edficos en esta modalidad operativa el promotor es un cliente potencial del artista al comprar una varias fechas de un sh ow en vivo del artista el booking agent funge como intermediario en dichas negociaciones responsabilidades el promotor tiene varias responsabilidades analic\u00e9moslas continuaci\u00f3n desarrollar la negociaci\u00f3n de los precios finales de los tiquetes para el concierto desarrollar los procesos de negociaci\u00f3n de las tarifas del artista este proceso debe realizarse con el booking agent del artista organizar negociar con el venue la venta de los productos mercanc\u00edas del artista recordemos que un venue es un espacio privado destinado presentar espect\u00e1culos de entretenimiento incluidos los musicales por extensi\u00f3n el venue es la entidad leg al que negocia contrata las presentaciones en dicho espacio conseguir patrocinios que permitan faciliten la cobertura de los costos del concierto efectuar la organizaci\u00f3n de la configuraci\u00f3n del escenario esto implica que es responsabilidad del promotor facilitar el escenario equipo t\u00e9cnico luces entre otros elementos para que el artista desarrolle el show proporcionar el recurso humano necesario para poder desarrollar el concierto desarrollar las actividades contables necesarias pro curar que se cumpla con las regulaciones leyes de la regi\u00f3n en la que se desarrolle el concierto esto implica determinar los elementos tributarios de seguridad se protecci\u00f3n de seguros entre otros tipos de promotores transcripci\u00f3n hasta ahora hemos analizado las funciones responsabilidades del promotor en el negocio de la m\u00fasica adicionalmente es importante determinar la forma en la que los diversos tipos de promotores realizan sus actividades econ\u00f3micas tipos de promotor alcan ce geogr\u00e1fico existen cuatro tipos principales de promotores estos tipos de promotores son segmentados mediante su alcance geogr\u00e1fico continuaci\u00f3n analizaremos los estos cuatro tipos de promotores promotor local atiende mercados peque\u00f1os normalmen te este tipo de promotor trabaja en ciudades localidades espec\u00edfica participando en la organizaci\u00f3n de conciertos peque\u00f1os promotor regional el promotor regional atiende mercados un poco m\u00e1s extensos como provincias condados estados nacional este tipo atiende el mercado de todo un pa\u00eds para lo cual cuentan con las capacidades operativas log\u00edsticas para atender diversos mercados en un pa\u00eds espec\u00edfico internacional el promotor internacional atiende los mercados de un pa\u00eds espec\u00edfico sin embargo tambi\u00e9n extiende sus negociaciones mercados internacionales tipos de promotor participaci\u00f3n en el mercado asimismo los promotores se categorizan seg\u00fan su participaci\u00f3n dentro del mercado del entretenimiento los presentadores de entretenimi ento son grupos corporativos encargados de producir eventos gran escala para lograrlo promueven los eventos trav\u00e9s de sus divisiones empresariales veamos algunas promotoras de este tipo anschutz entertainment group aeg concerts west messina group marshall arts los promotores independientes por su parte trabajan mercados m\u00e1s peque\u00f1os son la contraparte local de las corporaciones que les contactan en ocasiones espec\u00edficas con el fin de tomar ventaja de su conocimiento de los mercado locales apariciones personales primera parte transcripci\u00f3n en el negocio de la m\u00fasica el artista que desea mantenerse relevante debe adquirir experiencia present\u00e1ndose en vivo constantemente para artistas nuevos de posicionamiento intermedi recibir ganancias considerables de esta actividad resulta dif\u00edcil como ya sabemos para algunos artistas es necesario contar con un contrato discogr\u00e1fico vender grandes cantidades de copias de discos para lograr llenar un venue para algunos otros artistas llenar un venue requiere que se vendan grandes cantidades e copias es normal que al inicio de la carrera del artista las presentaciones en vivo generen p\u00e9rdidas esto se debe los gastos que representa trasladarse al venue posiblemente percibir ganancias reducidas nulas por el show realizado egresos por pariciones personales las giras de conciertos son costosas para el artista por lo tanto es fundamental determinar una estrategia para cubrir los costos analizar los posibles ingresos que la gira pueda generar para esto es necesario que el artista en colaboraci\u00f3n con su personal business manager desarrolle un presupuesto que proyecte la forma en que las finanzas del artista se comportar\u00e1n durante la gira de conciertos algunos de los aspectos generadores de gastos que debe considerar el artista son los siguientes alimentaci\u00f3n transporte alojamiento contrataci\u00f3n de personal t\u00e9cnico alquiler de equipo seguros pago de comisiones en caso que existan estos elementos se deben considerar tambi\u00e9n en caso que el artista sea una banda ya que el n\u00famero de miembros de la banda puede aumentar la cantidad de egresos disminuir la cantidad de ingresos por estos motivos el desarrollo apropiado de un presupuesto antes del inicio de la gira es fundamental los presupuestos son utilizados por los artistas de perfil alto tambi\u00e9n es utilizado por los promotores para identificar la viabilidad de producir el concierto en este aspecto la capacidad del artista su equipo de trabajo de negociar conciertos conseguir contratos para presentacione en vivo yace en gran medida en su capacidad de presentar propuestas relevantes plausibles financieramente apariciones personales segunda parte transcripci\u00f3n apariciones en vivo de artistas nuevos generalmente la forma en la que los artistas nuevos se presentan en vivo es trav\u00e9s de presentaciones en venues peque\u00f1os con capacidad de personas participando como acto de apertura en una gira de una artista mayor para que un artista nuevo figure como acto de apertura en una gira de conciertos es necesario en algunos casos que el artista cuente con un contrato discogr\u00e1fico tenga un contrato discogr\u00e1fico el movimiento de las producciones discogr\u00e1ficas del artista es un indicador importante ventas bajas de discos posiblemente se seleccione al artista para abrir los conciertos sin embargo es posible que la influencia del personal manager del artista logre conseguirlo ventas considerables el artista contar\u00e1 con ventaja n egociativa sin embargo esto asegura un contrato para abrir conciertos influencia en el p\u00fablico algunos artistas venden muchos discos pero cuentan con un single que genera una cantidad de seguidores considerable lo cual genera inter\u00e9s en prom otores artistas principales discogr\u00e1ficas esta estrategia se utiliza cuando el artista principal tiene la capacidad de convocatoria requerida para el concierto requiere de un espect\u00e1culo adicional para vender m\u00e1s entradas con esto en mente es com\u00fan que los artistas internacionales contraten un artista local para su espect\u00e1culo de apertura en algunos casos es necesario que el artista nuevo pague al artista principal por abrir los conciertos lo cual puede ser registrado como un gasto de mercadeo co n el fin de generar mayor exposici\u00f3n al p\u00fablico otra forma en la que los artistas nuevos pueden presentarse en vivo es mediante las presentaciones en festivales ya que normalmente existen espacios dentro del festival dedicados artistas nuevos aparicio nes en vivo de artistas de rango medio un artista de rango medio cuyo promedio de venta de discos est\u00e9 en el rango estable de entre copias tiene mayores oportunidades de conseguir presentaciones en vivo pagas estas presentaciones en vivo pueden darse como actos de apertura de conciertos de artistas mayores siendo el artista principal de un concierto en venues peque\u00f1os que tenga una capacidad de entre personas la cantidad de ganancia que se puede generar de presentaciones en vivo en esta etapa de la carrera de un artista var\u00eda dependiendo del precio de los tiquetes de la capacidad de los venues en donde se desarrolle el show adem\u00e1s se debe considerar el factor estad\u00edstico de venta de tiquetes que depende de diversos factores incluyendo la trayectoria del artista las condiciones predominantes del mercado local para consumir el espect\u00e1culo as\u00ed muy pocos artistas pueden pretender vender el de los tiquetes de un concierto bajo todas esta circunstancias las ganancias que pueden generar los artistas en el rango medio se encuentran entre los por presentaci\u00f3n adicionalmente es posible para un artista de este rango generar ganancias adicionales resultantes de las utilidades despu\u00e9s de egresos apariciones personales tercera parte transcripci\u00f3n artistas consolidados los artistas consolidados son aquellos quienes alcanzaron el pico en sus carreras durante las d\u00e9cadas anteriores desde hasta inicios del presente siglo estos artistas se caracterizan por haber realizado giras mundiales ventas de discos en el orden de los millones de unidades vendidas tambi\u00e9n se caracterizan por tener giras constantes que les aseguran ingresos fijos normalmente este tipo de artistas se presentan en venues como anfiteatros festivales ferias centros de entretenimiento casinos el mercado de los artistas consolidados est\u00e1 conformado por personas mayores con ingreso suficiente para costear las entradas de las presentaciones en v ivo dichas presentaciones se categorizan de la siguiente manera soft tickets el p\u00fablico va al venue por una raz\u00f3n que es el artista puede que el venue tenga actividades de otro tipo que requieran los servicios del artista casinos clubs entre otros hard tickets el p\u00fablico va al venue directamente consumir el entrenamiento que brinda el artista el p\u00fablico compra este tipo de tiquete con la intenci\u00f3n de ver el show de un artista espec\u00edfico esta es la finalidad expresa de visitar el venue la categorizaci\u00f3n en los tiquetes tambi\u00e9n existe con artistas nuevos de rango medio por ejemplo un artista que tenga un acto de apertura en un concierto de un artista mayor se considerara como soft ticket si en el concierto el artista es el principa l los tiquetes se consideran como hard tickets muchos de estos artistas son considerados como superstars paul mccartney madonna entre otros durante las pr\u00f3ximas secciones de la lecci\u00f3n analizaremos la forma en la que se trabajan las giras este ipo de artistas aspectos legales riders primera parte transcripci\u00f3n para las presentaciones en vivo es necesaria la confecci\u00f3n de un contrato este contrato se establece entre el agente el promotor sin embargo su confecci\u00f3n es responsabilidad del abogado personal manager agente del artista el contrato normalmente especifica las clausulas tradicionales que especifican las fechas partes involucradas lugar entre otros elementos como tal el contrato es una base los riders son el elemento m\u00e1s importante del contrato siendo un adendum de dicha base especifican informaci\u00f3n m\u00faltiple relacionada con la presentaci\u00f3n del artista analicemos los aspectos que se incluyen dentro de este documento egresos gastos costos normalmente cuando existe un punto de separaci\u00f3n de las ganancias del concierto la gira es decir las ganancias se dividen entre el artista el promotor es necesario que se especifique el tope m\u00e1ximo de gastos egresos que la producci\u00f3n del concierto represente de esta manera el artista puede calcular sus posibles ganancias adicionales asimismo es posible que el artista cuente con la posibilidad de verificar los gastos reales del concierto gira tiquetes gratis los tiquetes gratuitos son un ru bro normal en las presentaciones de entretenimiento son entregados al artista al promotor del evento se utilizan para promocionar el concierto en algunas ocasiones se utilizan para llenar el concierto debido una baja asistencia el artista debe con siderar que la cantidad de tiquetes gratuitos emitidos reduce los ingresos en el punto de separaci\u00f3n split point asimismo esto pone en riesgo la cobertura de los costos del concierto por lo tanto la cantidad de tiquetes gratuitos se establece dentro del rider el orden de importancia este es un aspecto que se debe tomar en consideraci\u00f3n cuando se generan los materiales publicitarios del concierto la gira el artista principal querr\u00e1 tener el espacio m\u00e1s grande en la publicidad promoci\u00f3n del co ncierto por lo tanto tiene la capacidad de definir la presencia el tama\u00f1o del nombre de otro artista en la publicidad aspectos legales riders segunda parte transcripci\u00f3n grabaci\u00f3n el rider tiene que establecer fuertes restricciones de grabar el espect\u00e1culo del artista de cualquier manera grabar este tipo de material puede generar problemas legales asociados la compa\u00f1\u00eda discogr\u00e1fica los derechos de autor actualmente evitar que los espectadores del concierto tomen fotograf\u00edas graben el c oncierto es imposible sin embargo se puede evitar que tanto el promotor como su equipo de trabajo graben de alguna manera el espect\u00e1culo del artista mercanc\u00edas productor del artista es necesario especificar dentro del rider que la empresa que facil ita el merchandising para el artista tenga la exclusividad de la venta de los productos del artista entrevistas promociones el rider tiene que especificar que el promotor puede disponer del artista para realizar entrevistas promoci\u00f3n en medios locales sin contar con el consentimiento previo del artista catering adem\u00e1s debe indicar los servicios de alimentaci\u00f3n que se le ofrecer\u00e1n al artista su equipo de trabajo este aspecto se negocia con el promotor ya que en algunos casos se puede limitar su participaci\u00f3n en este servicio adicional aspectos t\u00e9cnicos dentro del rider es necesario especificar los elementos t\u00e9cnicos requeridos para la presentaci\u00f3n en vivo algunos de los elementos que se toman en consideraci\u00f3n son los siguientes el tama\u00f1o del escenario el equipo que debe proveer el promotor requerimientos el\u00e9ctricos requerimientos de seguridad camerinos pruebas de sonido en algunos casos es necesario confeccionar un rider t\u00e9cnico que forme parte del rider general este documento es fundamental en la correcta implementaci\u00f3n del show ya que proporciona todos los detalles del equipo utilizar los requerimientos el\u00e9ctricos de potencia aspectos legales un rider est\u00e1 lleno de m\u00faltiples aspectos legales que se deben considerar dentro de este apartado se tiene que considerar las razones por las que se puede cancelar la presentaci\u00f3n las repercusiones resultantes negociando la tarifa para el artista primera parte transcripci\u00f3n respecto las ganancias del artista del promotor es necesario considerar que cada una de las partes debe generar las suficientes ganancias para cubrir los costos operativos obtener una utilidad que le permita capitalizar por lo tanto es necesario qu e ambas partes determinen la suma de dinero neta necesaria para asegurar la continuidad operativa esta cifra se conoce como bottom line el booking agent debe conocer esta informaci\u00f3n para negociar la tarifa del artista asimismo el promotor debe conocer el flujo de neto de efectivo que requiere en algunos casos se deben incluir dentro del pago los elementos perif\u00e9ricos que recibe el artista del promotor durante su presentaci\u00f3n en vivo como por ejemplo publicidad promoci\u00f3n porcentajes residuales ent otros ahora es necesario determinar c\u00f3mo negociar el pago del artista conociendo la importancia del presupuesto para determinar el flujo neto de efectivo para el artista el promotor en la actualidad existen cinco formas espec\u00edficas para establecer la tarifa del artista continuaci\u00f3n analizaremos cada una de ellas porcentaje directo es la obtenci\u00f3n de ingresos mediante el c\u00e1culo de un porcentaje de las entradas vendidas es decir el artista tiene derecho un porcentaje de las ganancias obten idas por venta de entradas por ejemplo supongamos que un artista relativamente nuevo ha recibido la posibilidad de hacer un show en un venue este artista cuenta con mucha capacidad de convocatoria por lo que el due\u00f1o del venue negocia un pago del de las ventas totales de entradas el porcentaje que reciba un artista mediante este m\u00e9todo de negociaci\u00f3n puede ser hasta el de las ventas de entradas por lo que es una buena opci\u00f3n para artistas con capacidad de convocatoria simplemente intere sados en ganar experiencia darse conocer garant\u00eda directa tarifa directa este tipo de garant\u00eda es establecida normalmente por el artista para establecerla es necesario analizar los costos los egresos resultantes de presentarse en un venue esp ec\u00edfico para determinar las posibles ganancias esta modalidad de pago resulta muy apropiada para artistas nuevos que cuenta con gran capacidad de convocatoria ya que por lo general las ganancias son mucho mayores que un porcentaje de las ventas de ent radas en algunos casos se realiza el pago de porcentajes adicionales por las ventas de entradas analizaremos este caso en otra forma de pago para el artista la garant\u00eda directa est\u00e1 limitada por el nivel del artista cuanto mayor nivel de exposici\u00f3n de l artista mayor ser\u00e1 su tarifa viceversa la cifra correspondiente la garant\u00eda de un artista superstar es mucho mayor la que puede negociar un artista de rango medio negociando la tarifa del artista segunda parte transcripci\u00f3n garant\u00eda tarif m\u00e1s porcentaje para este tipo de pago es necesario analizar los ingresos brutos de la venta de tiquetes se toma la capacidad del venue se estima la cantidad de p\u00fablico que puede asistir al concierto seguidamente se establecen los egresos de la producci\u00f3n del concie rto cuando se cuenta con un ingreso neto estimado es posible negociar la tarifa para el artista el pago de un porcentaje adicional de las utilidades de la presentaci\u00f3n utilizando el t\u00e9rmino splitpoint que analizaremos m\u00e1s adelante en resumidas cuent este t\u00e9rmino define las ganancias que el artista obtiene cuando la venta de tiquetes del concierto genera excedentes m\u00e1s all\u00e1 de la cobertura de los costos garant\u00eda contra porcentaje en esta modalidad la ganancia del artista se define por la cifr mayor entre las dos formas garant\u00eda porcentaje esto quiere decir que durante la negociaci\u00f3n se establece una tarifa x pero tambi\u00e9n se establece un porcentaje por lo tanto en caso que la tarifa sea mayor al monto resultante de aplicar el porcentaj e establecido la paga del artista ser\u00e1 la tarifa igualmente si el monto resultante de la aplicaci\u00f3n del porcentaje es mayor la tarifa el pago del artista ser\u00e1 el porcentaje por ejemplo se establece con el promotor una tarifa de un porcentaje del de los tiquetes vendidos contra si la venta de tiquetes genera el porcentaje corresponder\u00eda dado que el es inferior que la tarifa negociada el pago al artista es la tarifa establecida si en el mismo ejemplo el ingreso fuera de el equivaldr\u00eda por lo que la tarifa se validar\u00eda garant\u00eda m\u00e1s bonos este m\u00e9todo de pago se basa en una tarifa estableciendo ganancias adicionales modo de comisi\u00f3n para el artista dicha comisi\u00f3n se establece mediante la utilizaci\u00f3n de factores de asistencia la presentaci\u00f3n en vivo por ejemplo supongamos que se ha establecido una tarifa fija de d\u00f3lares para el artista adicionalmente se establece que partir de tiquetes vendidos bonificar\u00e1 al artista adicionalmente por la venta de cada adicionales se suman la comisi\u00f3n del artista por lo tanto si se vendieron tiquetes el artista recibir\u00e1 una comisi\u00f3n de negociando la tarifa del artista escenarios transcripci\u00f3n antes de analizar los escenarios de pago al artista determinemos los valores monetarios porcentuales que utilizaremos para determinar cada uno de los modelos de pago figura figura variables para el c\u00e1lculo del pago al artista utilizando las cifras anteriores determinemos los c\u00e1lculos que se tiene que realizar para calcular la utilidad neta prevista figura calculo de la utilidad neta pagando al artista una garant\u00eda tarifa directa en este escenario las ganancias tales esperadas se le restan la tarifa del artista el monto esperado de egresos el resultado de la aplicaci\u00f3n esta operaci\u00f3n matem\u00e1tica corresponde la utilidad neta asignada al promotor garant\u00eda directa m\u00e1s porcentaje analicemos ahora la forma en la que se calcular\u00eda el pago del artista mediante el uso de una garant\u00eda m\u00e1s un porcentaje del neto figura calculo de la utilidad neta pagando al artista una garant\u00eda directa m\u00e1s un porcentaje del neto como podemos ver el c\u00e1lculo del subtotal de egresos es el resultado de la suma de la tarifa del artista m\u00e1s los egresos estimados adicionalmente el c\u00e1lculo de la tarifa del promotor se hace con base en el subtotal de los egresos el total de ingresos es la suma del subtotal de los egresos m\u00e1s la tarifa del promotor la ganancia bruta prevista menos el total de egresos da como resultado una utilidad antes del punto de divisi\u00f3n splitpoint finalmente se hace la distribuci\u00f3n porcentual de ganancias para el artista el promotor garant\u00eda contra porcentaje analicemos ahora el m\u00e9todo de pago al artista basado en garant\u00eda directa contra porcentaje del neto figura pago al artista mediante m\u00e9todo garant\u00eda directa contra porcentaje del neto en este cas espec\u00edfico las posibles ganancias del artista son mayores utilizando un porcentaje del neto esto quiere decir que la garant\u00eda directa utilizada tiene que ser reembolsada al promotor por esta raz\u00f3n en el cuadro se nota la suma de la tarifa del artista al porcentaje de ganancia del promotor en este m\u00e9todo es necesario utilizar la tarifa del artista para realizar el c\u00e1lculo de los egresos garant\u00eda m\u00e1s bonos ahora analicemos el m\u00e9todo de c\u00e1lculo del pago del artista considerando el pago de una garant\u00eda directa el pago de bonos adicionales figura pago al artista mediante el uso de una garant\u00eda directa bonos en este caso consideramos el pago de bonos de d\u00f3lares partir de la venta de tiquetes adem\u00e1s se aplica un bono de ad icional cada tiquetes m\u00e1s vendidos presupuestos transcripci\u00f3n un presupuesto es un estado financiero previsional este presupuesto es utilizado con el fin de analizar la viabilidad de un proyecto por lo general es necesario analizar los egresos los ingresos del mismo proyecto en la industria musical los presupue stos tiene la misma funci\u00f3n por lo general se utilizan en escenarios de producci\u00f3n musical producci\u00f3n de presentaciones en vivo del artista para entender la funcionalidad del presupuesto es necesario indicar los componentes que deben ser incluidos de ntro del mismo continuaci\u00f3n analizaremos los elementos presentes dentro del presupuesto para una gira de conciertos egresos aspectos personales tarifa del artista salarios de los miembros de la banda tour manager equipo de trabajo vi\u00e1ticos viajes alquiler de veh\u00edculo alquiler de camiones alquiler de buses tarifas a\u00e9reas gastos de parqueo combustible mantenimiento de veh\u00edculo hospedaje equipo de trabajo del artista tarifas del booking agent tarif del manager tarifas del publicista asistentes de oficina aspectos t\u00e9cnicos alquiler de equipos alquiler de pa alquiler de luces escenario decoraci\u00f3n seguros seguros de riesgo seguros de negocios seguros para equipos e instrumentos seguro vehicular anuncios publicidad anuncios en conjunto con la compa\u00f1\u00eda discogr\u00e1fica anuncios publicitarios del tour exportaciones e importaciones tarifas otros gastos ingresos tarifas por presentaciones en vivo porcentajes estimados por splits puntos de divisi\u00f3n ingresos por mercanc\u00edas patrocinios subvenciones las utilidades previstas son la resta los ingresos totales de los egresos totales de esta manera es posible para un artista determinar qu\u00e9 tan viable es firmar un concierto una gira de conciertos actividades recomendadas semana busque dos canciones que usen fraseo jazz explique la secci\u00f3n de la canci\u00f3n donde se use dicho fraseo especificar nomb de canci\u00f3n artista busque dos canciones que usen fraseo balada especificar nombre de canci\u00f3n artista busque tres canciones que presenten contra temas sobresalientes explique los motivo de su elecci\u00f3n semana introducci\u00f3n transcripci\u00f3n la figura del productor musical es fundamental para el artista as\u00ed como el personal manager es el estratega principal en la carrera del artista el productor es el responsable de dar vida la m\u00fasica del artista en congruencia con los planes planteados p management respetando plazos de entrega especificaciones sumamente detalladas todas estas caracter\u00edsticas se plasman en el producto musical repercuten directamente en c\u00f3mo el p\u00fablico percibe al artista durante esta lecci\u00f3n analizaremos el papel del productor musical en la carrera del artista analizando los diferentes roles que toma nivel administrativo creativo humano pondremos estos roles en contraste con el trasfondo la formaci\u00f3n profesional del productor para lograr poner en contexto la importancia de contratar un productor que se acople la visi\u00f3n estilo planteados por el equipo de management adem\u00e1s estudiaremos los diferentes factores que influyen en la negociaci\u00f3n de la tarifa del productor musical rol del productor transcripc i\u00f3n qu\u00e9 es un productor musical muchas personas se hacen esta pregunta cuando ven los cr\u00e9ditos de una canci\u00f3n el productor musical es el encargado de asegurarse de que el producto musical se realice entregue en un plazo definido esto le convierte en el director del proyecto musical en t\u00e9rminos administrativos creativos humanos al igual que un supervisor de producci\u00f3n industrial su trabajo consiste en llevar la fabricaci\u00f3n el producto del estado al estado b figura figura proceso de producci\u00f3n en el caso de la producci\u00f3n musical el estado consiste en el material creativo que sirve de materia prima para la conceptualizaci\u00f3n de un mensaje tal como un grupo de ideas temas sentimientos que se desean transmitir el estado b cons iste en un producto terminado listo para su lanzamiento al mercado que por lo general recibe el nombre de master figura figura proceso de producci\u00f3n musical bajo este paradigma operativo el productor musical debe crear un producto tan gible partir de materia prima intangible lo cual le convierte en el responsable de maximizar el proceso creativo de varias personas involucradas en el proceso de producci\u00f3n supervisar liderar el equipo de trabajo tomando decisiones creando un din\u00e1mica de avance coordinar el proyecto en t\u00e9rminos administrativos encarg\u00e1ndose de reservar contratar calendarizar presupuestar tramitar hacer todo el trabajo de escritorio necesario demos un vistazo general las etapas de un proyecto musi cal los procesos necesarios para traer la propuesta creativa del equipo de management una realidad tangible etapas del proyecto musical management emite las especificaciones del producto que necesita para lanzar su artista dar inicio una etapa en su implementaci\u00f3n estrat\u00e9gica el productor musical debe tomar estas especificaciones convertirlas en un producto supongamos para t\u00e9rminos de esta explicaci\u00f3n que estamos hablando de un disco para un lanzamiento comercial para obtener la versi\u00f3n final de este disco es necesario implementar varias etapas dependiendo de la fuente de consulta las etapas requeridas pueden cambiar pero en general se implementan tres procesos principales figura la preproducci\u00f3n la producci\u00f3n la post producci\u00f3n cada uno con varias etapas internas figura la preproducci\u00f3n consiste en planear preparar todos los insumos necesarios letras m\u00fasica selecci\u00f3n de instrumentos arreglos instrumentales b\u00e1sicos durante la preproducci\u00f3n se toma toda esta materia prima se inician los procesos para obtener componentes tangibles este proceso implica la finalizaci\u00f3n de los arreglos instrumentales la grabaci\u00f3n de las canciones el inicio de la edici\u00f3n seleccion ando el material utilizarse en las versiones finales de cada canci\u00f3n posteriormente la postproducci\u00f3n implica editar mezclar con el fin de compilar todas las grabaciones realizadas obteniendo las versiones finales de cada canci\u00f3n finalmente el proceso culmina con la masterizaci\u00f3n etapa que produce la versi\u00f3n final del disco reuniendo todas las canciones terminadas figura procesos de producci\u00f3n figura etapas del proyecto musical trasfondo \u00e1reas de preparaci\u00f3n acad\u00e9mica transcripci\u00f3n como encargado general del proyecto el productor musical debe planear elaborar realizar dirigir supervisar cada etapa esto requiere conocimientos multidisciplinarios dependiendo del proyecto sus responsabilidades pueden cambiar ya q ue las condiciones de trabajo cambian tambi\u00e9n en un proyecto podr\u00eda ser necesario sentarse terminar la composici\u00f3n de las canciones con el artista en otro el compositor podr\u00eda tener todas las canciones listas el mismo seguimiento cercano podr\u00eda ser n ecesario en cualquiera de las etapas del proyecto arreglo instrumental grabaci\u00f3n edici\u00f3n mezcla masterizaci\u00f3n esto pone en evidencia que el productor debe estar preparado para hacer un an\u00e1lisis cr\u00edtico del trabajo de cada persona en el equipo determinar si se realiz\u00f3 correctamente caso contrario proponer v\u00edas de acci\u00f3n asertivamente as\u00ed la formaci\u00f3n profesional del productor musical su trasfondo general le da varias herramientas para ejercer su oficio por nombrar unos cuantos el p roductor musical cuenta con conocimientos te\u00f3ricos pr\u00e1cticos de m\u00fasica conocimiento de diversos g\u00e9neros musicales experiencia manejando tecnolog\u00eda de vanguardia capacidad para coordinar trabajo en equipo habilidades interpersonales de nego ciaci\u00f3n habilidad de toma de decisiones estas un sinf\u00edn de otras caracter\u00edsticas convierten al productor musical en una figura de importancia en los proyectos musicales es preciso tener presente que en el oficio de producci\u00f3n como en muchos otros se ponen en pr\u00e1ctica habilidades conocimientos destrezas adquiridos trav\u00e9s de la experiencia integral de vida por este motivo existen tantos tipos de productores como personas en el mundo con diferentes habilidades interpersonales pragm\u00e1ticas e resoluci\u00f3n de problemas conflictos as\u00ed como diferentes niveles de formaci\u00f3n profesional en diversos campos desde interpretaci\u00f3n instrumental hasta producci\u00f3n ingenier\u00eda negocio musical funciones administrativas transcripci\u00f3n el aspecto administrativo de la producci\u00f3n musical es un factor fundamental de la base operativa de un proyecto es uno de los roles que los productores musicales delegan administradores asistentes coordinadores de producci\u00f3n ya que releva su carga les permite enfocarse en sus funciones creativas que veremos m\u00e1s adelante qu\u00e9 tareas implica cumplir con el rol administrativo estamos hablando de toda responsabilidad de planeamiento coordinaci\u00f3n confirmaci\u00f3n papeleo estos detalles son necesario para proporcionar al artista un ambiente creativo libre de interrupciones de manera que se deben tratar con suma seriedad veamos algunos ejemplos de las responsabilidades administrativas del productor musical c\u00e1lculo e investigaci\u00f3n de costos actua lmente la mayor\u00eda de los proyectos musicales cuentan con presupuestos espec\u00edficos limitados por lo que el productor desarrolla una cartera de contactos proveedores de servicios de esta manera cuando recibe un proyecto sabe qu\u00e9 instalaciones utiliza r\u00e1 para trabajar qui\u00e9nes contratar\u00e1 para manejar el dinero efectivamente la realizaci\u00f3n de presupuestos est\u00e1 muy ligada con la investigaci\u00f3n de costos el productor calcula presenta diferentes propuestas para convertirse en una opci\u00f3n viable ante la entidad contratante adem\u00e1s de gestionar los dineros la elaboraci\u00f3n de calendarios es una tarea que ayuda al productor controlar el avance del proyecto en plazos etapas definidas con el fin de entregar resultados en las fechas acordadas contra ctualmente la gesti\u00f3n de recursos humanos es un factor ineludible que incluye castings entrevistas contrataci\u00f3n todo lo relacionado con el manejo de los colaboradores del proyecto esto incluye la convocatoria de las personas necesarias para difere ntes sesiones de trabajo su conteo de horas pagos correspondientes la gesti\u00f3n administrativa permite al productor musical adquirir control sobre el proceso creativo el cual debe contar con m\u00e1rgenes de comodidad para producir los resultados deseados funciones creativas transcripci\u00f3n el desempe\u00f1o creativo del productor es un gran diferenciador su toma de decisiones capacidad de aportar creativamente al proyecto en este aspecto el productor se acopla la din\u00e1mica del equipo de trabajo para suplir las necesidades compensar las carencias brindar seguridad los miembros que colaboran creativamente en cada etapa del proyecto veamos algunas de las responsabilidades creativas que el productor musical desempe\u00f1a supervisa el concepto estilo en este aspecto el productor musical trabaja para comprender el concepto las especificaciones que management proporciona al realizar este trabajo de conceptualizaci\u00f3n se convierte en el l\u00edder creativo del proyecto alineando los esfuerzos de todos los c olaboradores para que los resultados obtenidos en cada etapa respondan las premisas establecidas por el equipo de management supervisa el desempe\u00f1o creativo de autores compositores m\u00fasicos instrumentistas arreglistas ingenieros t\u00e9cnicos de grab aci\u00f3n editores cualquier otra persona involucrada en la colaboraci\u00f3n creativa del proyecto se comunica asertivamente utilizando referencias vocabulario espec\u00edficos por ejemplo para trabajar con el arreglista podr\u00eda hablarle de gestionar cuidadosam ente los instrumentos con registro grave como el bajo el bombo al tener la misma conversaci\u00f3n con un ingeniero de mezcla utilizar\u00eda lenguaje distinto hablando en t\u00e9rminos de rangos de frecuencias aconseja proporciona coaching los cantantes tros instrumentistas dando indicaciones para que su interpretaci\u00f3n sea coherente con el concepto sonoro del proyecto durante las sesiones de grabaci\u00f3n analiza cuidadosamente cada canci\u00f3n proporciona recomendaciones para mejorarlas resolver bloqueo creativos que puedan presentar los compositores arreglistas ingenieros de mezcla al cumplir tareas como las anteriores el productor musical controla la aleatoriedad que puede generarse en el proceso creativo acumulado al poner diferentes facetas e un mismo producto en manos de diversas personas dependiendo de su estilo de trabajo podr\u00eda dar m\u00e1s menos potestad de toma de decisiones los miembros del equipo de trabajo buscando un balance para optimizar los resultados de la colaboraci\u00f3n colecti va funciones nivel humano transcripci\u00f3n el productor musical juega un papel sumamente importante nivel humano asumiendo la responsabilidad de crear el ambiente id\u00f3neo para que el artista pueda fluir creativamente debido la interacci\u00f3n de diferen tes personalidades en el equipo de trabajo el productor musical debe asegurarse de crear un ambiente de armon\u00eda toma de esta manera los roles de mediador negociador conciliador motivador veamos algunos ejemplos de situaciones en las que el producto r interviene nivel humano concilia discusiones hablando por separado con cada persona generando un compromiso mutuo para mejorar el ambiente de trabajo canaliza resentimientos emociones contraproducentes para propiciar un mejor rendimiento identifica personalidades situaciones potencialmente conflictivas encontrando medios proactivos para evitar posibles conflictos resuelve argumentos creativos buscando proponiendo diferentes puntos de conciliaci\u00f3n crea espacios para que el arti sta libere presi\u00f3n proporciona apoyo emocional al artista en sus momentos de inseguridad frustraci\u00f3n generando momentum en la producci\u00f3n musical existen momentos de \u00edmpetu creativo momentos en los que la m\u00fasica toma una potencia emocional que es dif\u00edcil de recrear artificialmente trav\u00e9s de cuidadosas intervenciones nivel humano el productor musical puede generar las c ondiciones para que se produzcan estos momentos cuando las etapas de preproducci\u00f3n se cumplen exitosamente el artista sabe lo que tiene que hacer durante la grabaci\u00f3n c\u00f3mo hacerlo sin embargo es muy com\u00fan ingresar al estudio de grabaci\u00f3n con material compuesto recientemente el artista en el mejor de los casos se ha habituado parcialmente este material de manera que al grabar gran parte de su energ\u00eda concentraci\u00f3n est\u00e1n enfocados en interpretar correctamente por circunstanc ias como estas es complicado para el artista experimentar la m\u00fasica emocionalmente en el momento de la grabaci\u00f3n lo cual le dificulta transmitir dichas emociones efectivamente el productor debe estar alerta e identificar los estados emocionales del arti sta para asegurarse de que el momento musical siendo grabado tiene la potencia emocional adecuada de otro modo puede tomar las acciones que considere apropiadas para llevar al artista al estado emocional requerido incluyendo tomar descansos dialogar b romear cualquier otro m\u00e9todo que modifique el estado emocional del artista las responsabilidades humanas son uno de los factores diferenciadores m\u00e1s importantes para el productor musical que trav\u00e9s de sus habilidades interpersonales crea relaciones duraderas con las personas con las que trabaja negociaci\u00f3n transcripci\u00f3n cu\u00e1nto gana un productor en las etapas tempranas de la producci\u00f3n musical el productor formaba parte de la n\u00f3mina de colaboradores de la compa\u00f1\u00eda discogr\u00e1fica obten\u00eda su compen saci\u00f3n trav\u00e9s de un salario sin embargo durante entre las d\u00e9cadas de productores de la talla de snuff garrett george martin notaron que el resultado de su trabajo generaba millones de d\u00f3lares para las compa\u00f1\u00edas discogr\u00e1ficas por lo cual empezaron solicitar porcentajes de las ventas de los discos bajo los est\u00e1ndares de ese entonces tal idea se consideraba escandalosa sin embargo poco poco los productores fueron ganando terreno en el mundo de las regal\u00edas hasta abandonar las planil las de modo definitivo hoy en d\u00eda el productor musical se desempe\u00f1a como profesional independiente compensaci\u00f3n el productor musical lucra de dos maneras mediante regal\u00edas adelantos es importante resaltar que la compensaci\u00f3n del productor es un c osto de producci\u00f3n en otras palabras su c\u00e1lculo incluye los rubros que se deben pagar por alquiler de tiempo de estudio otros costos relacionados con la grabaci\u00f3n estos deben ser cubiertos por separado las regal\u00edas est\u00e1ndar est\u00e1n en un rango de entre de las ventas de los discos canciones algunos productores de artistas de perfil alto logran hasta cuando sus producciones son muy exitosas el adelanto es una tarifa fija que el productor recibe para iniciar sus labores en el pr oyecto la cifra se puede calcular de dos maneras calculando un porcentaje del presupuesto de producci\u00f3n negociando una tarifa fija en ambos casos el adelanto es deducible de las regal\u00edas lo cual significa que cuando las ventas del material discogr\u00e1fi co generan ganancias el productor recibe sus regal\u00edas cuando estas sobrepasan el monto del adelanto el adelanto porcentual se calcula con base en el costo total de la producci\u00f3n por lo general alcanza de un un de dicho costo en algunos ca sos cuando el productor tiene potestad de negociaci\u00f3n este porcentaje puede alcanzar hasta un en el caso de los adelantos por tarifa fija los rubros pueden variar dependiendo del g\u00e9nero musical grandes rasgos los adelantos pueden rondar desde unos pocos cientos de d\u00f3lares hasta dependiendo de lo posicionado que est\u00e9 el productor un factor interesante en la compensaci\u00f3n del productor es que puede aumentar sus ganancias al ser due\u00f1o de un estudio de grabaci\u00f3n lo cual es bastante com\u00fan hoy en d\u00eda un productor due\u00f1o de su propio estudio obtiene ganancias solo por sus honorarios de producci\u00f3n sino por otros conceptos como horas de estudio edici\u00f3n mezcla adem\u00e1s los productores due\u00f1os de estudios de grabaci\u00f3n pueden involucrarse en producci\u00f3n ejecutiva negociando con artistas prometedores para cobrar adelanto e invertir h oras de estudio en el proyecto cambio de un porcentaje alto de las regal\u00edas de una tarifa diferida detalles de negociaci\u00f3n transcripci\u00f3n existen algunos detalles importantes en la negociaci\u00f3n con el productor musical que el artista debe considerar regal\u00edas desde la primera unidad vendida curiosamente los productores tienen una ventaja en lo que respecta regal\u00edas porque reciben un porcentaje de todas las unidades vendidas los artistas por su lado empiezan percibir sus regal\u00edas solamente despu \u00e9s de que las ventas de los discos recuperan la inversi\u00f3n en costos de producci\u00f3n realizada por la compa\u00f1\u00eda discogr\u00e1fica en el caso del productor musical recibe regal\u00edas bajo la modalidad conocida como record one es decir desde la primera unidad vendida recordemos que si el productor recibi\u00f3 un adelanto percibe sus regal\u00edas record one sino hasta que se recupera el costo de dicho adelanto pero en los casos en los que el productor recibe adelanto las regal\u00edas son pagas desde la primera unidad que se vende regal\u00edas retroactivas desde la primera unidad vendida otra modalidad similar consiste en que el productor recibe sus regal\u00edas sino hasta que la compa\u00f1\u00eda discogr\u00e1fica recupera su inversi\u00f3n es decir cuando las ventas del disco cubren los cos tos de producci\u00f3n cuando se alcanza este punto la modalidad conocida como retroactive record one establece que el productor recibe todas sus regal\u00edas de modo retroactivo desde la primera unidad vendida en otras palabras el productor recibe regal\u00ed sino hasta que la discogr\u00e1fica recupera su inversi\u00f3n partir de este punto recibe sus regal\u00edas acumuladas seg\u00fan la cantidad de unidades vendidas lo cual incluye las unidades vendidas durante el lapso de recuperaci\u00f3n de la inversi\u00f3n el riesgo que co rre el productor musical cuando negocia sus regal\u00edas bajo esta modalidad es que arriesga recibir regal\u00edas del todo si las ventas del disco son suficientes como para recuperar la inversi\u00f3n resumen transcripci\u00f3n durante esta lecci\u00f3n hemos explorado el papel del productor musical la interacci\u00f3n que tiene con el equipo del artista analizamos su rol tanto administrativo como creativo humano en las etapas de implementaci\u00f3n del proyecto musical preproducci\u00f3n producci\u00f3n postproducci\u00f3n estudiamos el trasfondo tanto profesional como humano que diferentes productores musicales pueden tener c\u00f3mo afectan la manera en la que \u00e9ste ejerce su oficio adem\u00e1s aprendimos que la mejor manera en la que el productor musical aporta valor agregado se diferen cia como profesional es gestionando todos los factores de modo organizado detallado para proporcionar las condiciones necesarias para que el artista se desempe\u00f1e creativamente finalmente delineamos los detalles m\u00e1s importantes de las maneras en las qu e el productor percibe sus ganancias al ser contratado incluyendo adelantos regal\u00edas la figura del productor musical es fundamental en la carrera del artista su cuidadosa selecci\u00f3n hace la diferencia en la proyecci\u00f3n planeamiento de carrera tanto corto como largo plazo actividades recomendadas semana actividad entreviste al productor musical m\u00e1s experimentado que logre encontrar cu\u00e1l es el enfoque m\u00e1s importante de su trabajo como productor qu\u00e9 le diferencia de otros productores por qu\u00e9 el involucramiento del productor es importante para el proyecto musical c\u00f3mo negocia su tarifa para trabajar en un proyecto actividad contin\u00fae con la entrevista al productor respecto la implementaci\u00f3n del proyecto musical cu\u00e1les son las etapas para convertir unas cuantas canciones en un producto musical de categor\u00eda comercial internacional cu\u00e1l de estas etapas es la que m\u00e1s requiere atenci\u00f3n del productor analice su respuesta en contraste con las etapas vistas durante esta lecci\u00f3n actividad entreviste un artista que haya trabajado con un productor cu\u00e1les fueron las aportes m\u00e1s importantes que el productor musical hizo durante el proyecto en t\u00e9rminos administrativos cu\u00e1les fueron las aportes m\u00e1s importantes que el productor musical hizo durante el proyecto en t\u00e9rminos creativos cu\u00e1les fueron las aportes m\u00e1s importantes que el productor musical hizo durante el proyecto en t\u00e9rminos humanos oportunidades laborales en la industria musical semana pasos principales en una negociaci\u00f3n transcripci\u00f3n cada escenario de negociaci\u00f3n es diferente los puntos elementos que se negocian son variables desde una tarifa contrato por compensaci\u00f3n profesional hasta los t\u00e9rminos de la relaci\u00f3n laboral entre manager artista el abanico de posibilidades que e existente para escenarios de negociaci\u00f3n en la industria musical es muy amplio bajo tales circunstancias es necesario considerar que existen numerosas t\u00e9cnicas de negociaci\u00f3n utilizadas en todos los \u00e1mbitos del quehacer humano exploremos de modo gener al las tres etapas en las que se desarrolla una negociaci\u00f3n com\u00fan estableciendo criterios recopilando informaci\u00f3n alcanzando una resoluci\u00f3n establecer criterios al establecer criterios cada una de las partes involucradas en la negociaci\u00f3n identific sus necesidades objetivos sentando una serie de premisas que permiten darle fluidez al proceso de negociaci\u00f3n el cual presenta su vez interrogantes como las siguientes qu\u00e9 necesita la contraparte qu\u00e9 deseo lograr es posible solventar la necesidades mutuas asimismo en esta etapa se deben evaluar las condiciones m\u00ednimas necesarias para proceder con el negocio conocidas en conjunto como bottom line esta lista de condiciones se utiliza como un margen de emergencia ya que alcanzarlo ignifica que el negocio es viable al llegar este punto se debe abandonar la negociaci\u00f3n ya que finiquitar el negocio producir\u00eda p\u00e9rdidas recopilaci\u00f3n de la informaci\u00f3n como su nombre lo indica este proceso implica investigar la informaci\u00f3n neces aria para adquirir una ventaja de negociaci\u00f3n esto significa que se afectar\u00e1 la otra parte sino que es posible para una persona mediante la informaci\u00f3n determinar las diferentes formas de generar buenos negocios este proceso implica lo siguiente investigar la otra parte antes de iniciar negociaciones tener esta informaci\u00f3n presente para identificar oportunidades durante la negociaci\u00f3n buscar las posibles ventajas u oportunidades mediante el uso de la informaci\u00f3n obtenida resoluci\u00f3n acu erdo este proceso permite la culminaci\u00f3n de las negociaciones por lo tanto para llegar \u00e9l es necesario contar con los criterios la informaci\u00f3n suficiente para poder llegar un acuerdo de beneficio mutuo al llegar este tipo de acuerdo es necesar io tener en consideraci\u00f3n lo siguiente tomar nota de los puntos acordados afinar detalles hasta llegar al acuerdo final compara lo acordado con los criterios establecidos construcci\u00f3n de relaciones transcripci\u00f3n la construcci\u00f3n de relaciones interpersonales es fundamental para el posicionamiento profesional en el negocio de la m\u00fasica sin importar el \u00e1rea de la industria en la que se trabaje en este campo cuyas ra\u00edces se establecen en la interacci\u00f3n coloquial e ntre personas que disfrutan del arte la creaci\u00f3n de una red de contactos facilita la generaci\u00f3n constante sostenida de nuevos acuerdos de negocios la capacidad para desarrollar buenas relaciones interpersonales es una habilidad individual que es m\u00e1s menos espont\u00e1nea en diferentes personas sin embargo algunos aspectos ayudan fortalecer esta habilidad analicemos cinco de estos al ser un campo profesional tan competitivo la perseverancia persistencia son fundamentales en todo momento se debe mantener una perspectiva de comunicaci\u00f3n negociaci\u00f3n el objetivo debe ser construir relaciones largo plazo con la mayor cantidad posible de personas con las que se interact\u00faa tener presente en todo momento que cada contacto se hace con una sola pe rsona al tomar ventaja de la atenci\u00f3n que se obtiene de cada persona cada vez es posible construir una red de contactos s\u00f3lida basada en la confianza el factor humano se debe considerar en toda interacci\u00f3n para construir relaciones dada la cantid ad de barreras que se debe sortear para lograr un objetivo en este negocio es f\u00e1cil perder de vista una cosa todo aquel con quien negociemos es un ser humano integral complejo con una historia motivaciones pasiones buenos malos d\u00edas tener pres ente este factor implica prestar atenci\u00f3n cada persona desarrollando empat\u00eda actuando de manera jovial en lugar de ver cada interacci\u00f3n como un obst\u00e1culo el pude significar en este momento plantearse un objetivo en este negocio tiene una implicaci\u00f3n de facto recibir numerosas negativas en el camino su obtenci\u00f3n la persistencia es un factor clave por lo que dichas negativas deben tomarse como un rechazo personal sino como una discrepancia de negocios recibir un como respue sta se debe tomar como una afirmaci\u00f3n similar las siguientes esta oferta de negocio es favorable para m\u00ed en este momento en este momento cuento con el tiempo para analizar fondo esta propuesta estas frases simplemente significan que la contraparte encuentra beneficio en la propuesta presentada esta perspectiva es muy \u00fatil para mantener altos niveles de motivaci\u00f3n lo cual es absolutamente necesario para sobrevivir en la industria musical fortalecer buenas relaciones interpersonal es nivel de negocios permite contar con mayor cantidad de respuestas en plazos cortos de tiempo desarrollar negociaciones en un ambiente agradable menos tenso contar con mayores oportunidades de recomendaci\u00f3n establecer relaciones largo p lazo con personas que desarrollan sus carreras convirti\u00e9ndose en aliados estrat\u00e9gicos contactos con potestad de negociaci\u00f3n basta con preguntar cualquier profesional establecido por las personas con quienes estudi\u00f3 para identificar nombres de profes ionales igual de prominentes en la industria analicemos cinco premisas importantes para la construcci\u00f3n de relaciones respetar el tiempo la posici\u00f3n de cada persona desde el personal de limpieza recepci\u00f3n hasta el productor ejecutivo m\u00e1s exitoso mostrar inter\u00e9s genuino en las prioridades objetivos de la contraparte nuevamente recordar que estamos interactuando con un ser humano es \u00fatil para ganar una perspectiva de comunicaci\u00f3n para trabajar en ambientes agradables es necesario participar en su creaci\u00f3n sin importar si estamos en el estudio de grabaci\u00f3n en una sala de espera en un concierto las interacciones de negocios presentan oportunidades de incluir un factor coloquial hasta personal en algunas ocasiones investigar la posic i\u00f3n ventajas limitaciones de la contraparte al negociar esto permite proponer ideas que funcionen para ambas partes lo cual refleja transparencia e inter\u00e9s en los objetivos mutuos comunicarse consultivamente motivar nuestro interlocutor conti nuar hablando al permitir que las personas hablen de s\u00ed mismas se obtienen temas de conversaci\u00f3n para interacciones futuras junto con la oportunidad de escuchar sentir inter\u00e9s genuino por la contraparte elogiar sinceramente recordar las virtudes de las personas evitando mencionar sus fallas errores al reconocer recordar las habilidades de otros es f\u00e1cil dar referencias poco poco la persona que reconoce los talentos ajenos los recomienda se posiciona como una persona referente quie n todos sus contactos acuden cuando necesitan contratar servicios en \u00e1reas espec\u00edficas la negociaci\u00f3n win win transcripci\u00f3n la filosof\u00eda de la negociaci\u00f3n ganar ganar win win por su nombre en ingl\u00e9s consiste en la consideraci\u00f3n de los beneficios que obtendr\u00e1 cada una de las partes esto permite la identificaci\u00f3n de v\u00edas para el cumplimiento de los objetivos de ambas partes la negociaci\u00f3n win win habilita la construcci\u00f3n de relaciones de negocios largo plazo ya que se busca una negociaci\u00f3n que funcione bajo un concepto de cooperaci\u00f3n de competici\u00f3n como ya sabemos cada una de las partes dentro de la negociaci\u00f3n busc ar\u00e1 maximizar su beneficio sin embargo este m\u00e1ximo beneficio implica afectar la contraparte todo lo contrario conocer los objetivos de la otra parte permite determinar puntos de com\u00fan beneficio para todos los implicados en la negociaci\u00f3n las sigui entes premisas establecen el marco de la negociaci\u00f3n win win todos los participantes sienten que ganaron cada participante se interesa por los objetivos de los otros cada parte est\u00e1 convencida de que la otra negoci\u00f3 justamente cada una de las p artes siente que la relaci\u00f3n se puede prolongar despu\u00e9s de terminada la negociaci\u00f3n cada una de las partes conf\u00eda en que los t\u00e9rminos de la negociaci\u00f3n contrato ser\u00e1n respetados por la contraparte m\u00e1s all\u00e1 del mero acato motivado en la penalizaci\u00f3n c ontractual t\u00e9cnicas de negociaci\u00f3n parte transcripci\u00f3n en la actualidad existen gran n\u00famero de t\u00e9cnicas de negociaci\u00f3n que facilitan la consecuci\u00f3n de los objetivos propios los objetivos de alg\u00fan tercero al que se represente la pr\u00e1ctica efectiv de estas t\u00e9cnicas permite desarrollar las propias habilidades de negociaci\u00f3n analicemos algunas t\u00e9cnicas de negociaci\u00f3n preguntas abiertas formular preguntas abiertas permite recopilar informaci\u00f3n importante que se puede utilizar para cerrar la nego ciaci\u00f3n las preguntas abiertas son las que requieren respuestas extensas m\u00e1s all\u00e1 de una sola palabra monos\u00edlabos como s\u00ed analicemos algunos ejemplos preguntas abiertas qu\u00e9 experiencia tiene manejando artistas en el g\u00e9nero latino c \u00f3mo se sinti\u00f3 respecto al desarrollo de su cartera de clientes durante el \u00faltimo a\u00f1o preguntas cerradas ha manejado artistas en el g\u00e9nero latino tuvo una temporada exitosa el \u00faltimo a\u00f1o respuestas positivas esta t\u00e9cnica de negociaci\u00f3n busca lo contrario que la anterior pero existe un detalle es necesario formular la pregunta estrat\u00e9gicamente para que genere una respuesta positiva de manera que esta t\u00e9cnica se implementa mediante preguntas cerradas bajo dos premisas una persona que resp onde positivamente est\u00e1 m\u00e1s abierta al dialogo que quien responde de forma negativa para formular preguntas precisas se debe utilizar informaci\u00f3n confirmada analicemos algunos ejemplos de este tipo de preguntas usted est\u00e1 recibiendo bandas en su festival eso debe requerir un equipo t\u00e9cnico muy efectivo cierto perm\u00edtame confirmar si entend\u00ed lo que acaba de decir el a\u00f1o pasado sus ventas fueron inferiores respecto al a\u00f1o anterior al formular pregun tas cuya \u00fanica respuesta es positiva es posible movilizar al interlocutor responder positivamente otras preguntas establecer valor antes de mencionar preciostarifas para implementar esta t\u00e9cnica se hace \u00e9nfasis en los beneficios antes de mencionar ning\u00fan tipo de precio tarifa es necesario enfatizar en el valor de lo que se negocia la necesidad que tiene la otra parte por llegar un acuerdo al establecer el val la negociaci\u00f3n se enfoca en la percepci\u00f3n del beneficio fuera del \u00e1mbito cuantitativo es una t\u00e9cnica de ventas b\u00e1sica el vendedor de autom\u00f3viles desea que su prospecto se siente al volante active la ignici\u00f3n presione el acelerador sienta el soni del motor el aroma de la tapicer\u00eda de cuero esta experiencia de negociaci\u00f3n ser\u00eda muy distinta si el vendedor recibe al cliente con un r\u00f3tulo mostrando el precio del veh\u00edculo por lo general la mayor\u00eda de personas que inician una negociaci\u00f3n con pre paraci\u00f3n previa entran la reuni\u00f3n con sus objetivos en mente estos objetivos toman la forma de datos cuantitativos el tema de costos tarda en tocar la superficie bajo esas circunstancias c\u00f3mo movemos el enfoque de la negociaci\u00f3n hacia los benef icios se trata pues de atender estas preguntas mediante la formulaci\u00f3n de otras que desv\u00eden la atenci\u00f3n hacia el valor veamos un ejemplo en el que un promotor negocia con un agente recordemos que el agente llama al promotor para vender un concierto de su artista lo primero que el promotor trae colaci\u00f3n es el tema del costo promotor cu\u00e1nto va costar agente cu\u00e1ntos asientos tiene la sala promotor agente cu\u00e1ndo fue la \u00faltima vez que un artista lleno su sala promotor dos a\u00f1 os agente nosotros vendimos todos los tiquetes en los \u00faltimos conciertos antes de hablar de cifras el agente logr\u00f3 comunicar que su artista vende todos los tiquetes un beneficio notorio para el promotor veamos algunos ejemplos de aspectos que se p ueden considerar para agregar valor un producto musical cr\u00e9ditos de grabaci\u00f3n venues en los que el artista se present\u00f3 la historia del artista la reputaci\u00f3n de su equipo de trabajo ventas del producto presencia en medios de comunicaci\u00f3n como reportajes publicaciones trav\u00e9s de la presentaci\u00f3n de beneficios el proceso de negociaci\u00f3n se convierte en un intercambio que va m\u00e1s all\u00e1 de transacciones financieras se mueve la b\u00fasqueda del beneficio mutuo t\u00e9cnicas de negociaci\u00f3n parte transcripci\u00f3n presentar documentaci\u00f3n conforme la negociaci\u00f3n progresa lo largo de varias interacciones se hace necesario desarrollar un documento que incluya todos los acuerdos alcanzados detalles conversados al documentar cada interacci\u00f3n es posible enviar un documento antes de cada uni\u00f3n estableciendo los avances m\u00e1s recientes sentando las bases para agilizar el cierre del acuerdo en muchos casos estos documentos contienen cifras como porcentajes precios tarifas lo cual elimina el margen de error generado al confiar en la mem oria de las personas presentes en estos documentos la informaci\u00f3n se presenta de modo resumido conciso estableciendo par\u00e1metros que proporcionan ventajas de negociaci\u00f3n cualquiera de las partes puede utilizar esta documentaci\u00f3n como referencia ya sea antes durante las negociaciones adem\u00e1s los negociadores experimentados conforman borradores que incluyen t\u00e9rminos generales de acuerdos anteriores este tipo de documento se presenta como mi documento est\u00e1ndar que delinea los t\u00e9rminos generales con los que se trabajan al presentar este tipo de documento se gana una postura profesional se comunica la contraparte la experiencia que se tiene ser capaz de retirarse en algunos casos es posible lograr un acuerdo que permita la generaci\u00f3n de un beneficio por lo tanto es necesario desarrollar la capacidad de retirarse de la negociaci\u00f3n en algunos casos una de las partes termina aceptando las condiciones por la presi\u00f3n que significa el tiempo dinero invertidos en la negociaci\u00f3n al conocer el bottom line se puede reconocer que el negocio ser\u00e1 infructuoso lo cual facilita retirarse de la negociaci\u00f3n admitiendo las p\u00e9rdidas necesarias veamos algunos aspectos que se deben tomar en cuenta en este tipo de escenarios involucrarse demasi ado ni necesitar una resoluci\u00f3n especifica si se necesita una resoluci\u00f3n es de crucial importancia permitir que la otra parte lo sepa analizar constantemente la negociaci\u00f3n verificar si se est\u00e1n cumpliendo los criterios requeridos comunicar la contraparte la posibilidad de retirarse da cierto poder en la negociaci\u00f3n ya que comunica una postura de desapego algunas ventajas de retirarse de la negociaci\u00f3n en un escenario poco efectivo son las siguientes se evita constituir un acuerdo que fa lle en satisfacer los intereses establecidos se demuestra fortaleza de car\u00e1cter de apegarse los objetivos originales se asume el tiempo recursos invertidos como una p\u00e9rdida poco significativa ya que un trato por debajo de bottom line puede genera r mayores p\u00e9rdidas la otra parte podr\u00eda reaccionar para hacer concesiones continuar con la negociaci\u00f3n uso del tiempo durante el proceso de negociaci\u00f3n es fundamental establecer la fecha l\u00edmite para emitir una resoluci\u00f3n un acuerdo principalmente porque es recomendable negociar con urgencia al analizar la negociaci\u00f3n se hace posible manejar una agenda para determ inar las fechas en las que se debe obtener resoluciones avances de la negociaci\u00f3n si la agenda se cumple se proyecta la inversi\u00f3n necesaria para continuar con la negociaci\u00f3n se comunica la contraparte que si se cumplen los plazos ser\u00e1 necesa rio retirarse de la negociaci\u00f3n sin embargo es posible otorgar la contraparte oportunidades para finalizar el trato t\u00e9cnicas de negociaci\u00f3n parte transcripci\u00f3n dejar de lado la t\u00e9cnica de negociaci\u00f3n conocida como dejar de lado consiste en p ostergar la negociaci\u00f3n de algunos puntos que se logran conciliar esto permite seguir negociando otros puntos para aprovechar el tiempo avanzar lo cual agrega presi\u00f3n concluir la negociaci\u00f3n cuando se retoma el tema pol\u00e9mico este tema punto pos tergado vuelve ser negociado una vez se alcanzan acuerdos en algunos puntos adicionales es recomendable dejarlo para el final especialmente si es un tema primordial en la negociaci\u00f3n una de las ventajas de postergar algunos de los temas en la nego ciaci\u00f3n es que haber llegado varios acuerdos adicionales trae una perspectiva fresca una reacci\u00f3n emocional de ambas partes para conciliar el acuerdo final el intercambio cuando nos referimos un intercambio nos enfocamos en una negociaci\u00f3n en onde una de las partes hace una propuesta que satisface las necesidades de la otra parte en algunos casos cuando existe una presi\u00f3n por terminar la negociaci\u00f3n se tiende aceptar un negocio que posiblemente satisfaga todas las necesidades sin emb argo es posible negociar alg\u00fan tipo de intercambio que permita nivelar la negociaci\u00f3n por ejemplo si un manager negocia con un artista un porcentaje m\u00e1s alto de lo que este est\u00e1 dispuesto ceder manager requiero un de sus participaciones en pel \u00edculas para tener rentabilidad artista mi est\u00e1ndar es un cumple con mis premisas sin embargo acepto artista necesito nivelar el que perd\u00ed en participaciones para pel\u00edculas deduzc\u00e1moslo de su tarifa en merchandise m\u00e9todo socr\u00e1tico el m\u00e9todo socr\u00e1tico de negociaci\u00f3n fundamentado mediante el planteamiento de silogismos permite la resoluci\u00f3n de desacuerdos mediante la utilizaci\u00f3n de la t\u00e9cnica de afirmaci\u00f3n pregunta la principal finalidad de esta t\u00e9cnica de neg ociaci\u00f3n es comprobar que la otra persona est\u00e1 equivocada en lugar de probar la veracidad del argumento propio esta t\u00e9cnica se basa en la siguiente premisa si usted est\u00e1 equivocado yo estoy en lo correcto veamos c\u00f3mo aplicar este tipo de negociaci\u00f3n primero formulamos una afirmaci\u00f3n que resuma el argumento luego encontramos escenarios en los que el argumento sea falso paso seguido formulamos preguntas para confirmar dichos escenarios de manera tal que la contraparte responda de manera afirm ativa finalmente formulamos una afirmaci\u00f3n que resuma lo que la contraparte acept\u00f3 examinemos un ejemplo simplificado dos personas observan un vaso parcialmente lleno de agua interlocutor entonces est\u00e1 diciendo que el vaso est\u00e1 casi vac\u00edo interlocutor s\u00ed interlocutor pasando el agua este medidor podemos ver que tenemos ml de agua correcto interlocutor s\u00ed interlocutor el vaso tiene una capacidad de ml verdad interlocutor s\u00ed lo puedo ver interlocutor en otras palabras ml de agua son ml sin importar el vaso equivoco interlocutor tiene raz\u00f3n el vaso es enga\u00f1oso est\u00e1 casi lleno en realidad t\u00e9cnicas de negociaci\u00f3n parte m\u00e9todos dram\u00e1ticos transcripci\u00f3n examinemos algunos m\u00e9 todos dram\u00e1ticos que hacen uso de recursos que necesariamente van de acuerdo con la negociaci\u00f3n win win pero son ampliamente utilizados en todos los \u00e1mbitos de la industria m\u00e9todos dram\u00e1ticos el perro muerto el m\u00e9todo dram\u00e1tico denominado perro muerto consiste en proponer t\u00e9rminos descabellados poner un perro muerto sobre la mesa hace que cualquier otra cosa que se proponga posteriormente suene m\u00e1s razonable esta t\u00e9cnica baja la guardia de la contraparte ya que nada parecer\u00e1 tan absurdo despu\u00e9s de la primera proposici\u00f3n m\u00e9todos dram\u00e1ticos el reductor esta t\u00e9cnica es similar la anterior pero en lugar de presentar una propuesta exagerada se reacciona de manera exagerada la propuesta de la contraparte sin importar si \u00e9sta es exagerada se utiliza para detener de forma dram\u00e1tica la proposici\u00f3n de la contraparte que podr\u00eda retractarse si tiene la guardia baja proponer una alternativa m\u00e1s beneficiosa retomemos el ejemplo del vendedor de veh\u00edculos que presenta el costo su cliente vendedor el costo de este autom\u00f3vil es de prospecto qu\u00e9 jam\u00e1s puedo pagar eso vendedor espere espere d\u00e9jeme pensar bueno si rebajo mi comis i\u00f3n el precio se reduce en este caso el precio justo del veh\u00edculo podr\u00eda perfectamente ser el que el vendedor cita inicialmente pero la reacci\u00f3n exagerada del cliente provoca tal impacto que el vendedor siente la necesidad de retractarse costa incluso de su propio beneficio cediendo su comisi\u00f3n para reducir el precio como mencionamos anteriormente estas t\u00e9cnicas siempre est\u00e1n en armon\u00eda con la negociaci\u00f3n win win m\u00e9todos dram\u00e1ticos polic\u00eda buenomalo este m\u00e9todo se presenta al negociar con dos personas una de estas personas juega el rol de un polic\u00eda malo mostrando una actitud antagonista la otra persona se comporta como un polic\u00eda bueno mostrando una actitud emp\u00e1tica de esta manera la contraparte sentir\u00e1 un acercami ento con la persona emp\u00e1tica posibilitando as\u00ed obtener informaci\u00f3n para usarla dentro de la negociaci\u00f3n en otras palabras la contraparte sentir\u00e1 que una de las figuras presentes en la negociaci\u00f3n est\u00e1 de su lado m\u00e9todos dram\u00e1ticos autoridad superio r este m\u00e9todo de negociaci\u00f3n se utiliza con el fin de hacerle saber la contraparte que existe una autoridad superior que tomar\u00e1 una decisi\u00f3n respecto la negociaci\u00f3n en este caso una figura de autoridad puede ser un jefe socio comit\u00e9 supervisor e inclusive una entidad inventada trav\u00e9s de la cual se evade la responsabilidad de la decisi\u00f3n final este m\u00e9todo se utiliza normalmente para comunicar que se aceptar\u00e1 alg\u00fan t\u00e9rmino de la negociaci\u00f3n transfiriendo la responsabilidad otra persona q uien la contraparte tiene acceso para contrarrestar esta t\u00e9cnica es posible solicitar hablar directamente con el encargado convencer la contraparte de presentar el negocio ante esta autoridad superior en este punto se pueden producir dos posibili dades si la contraparte se niega interceder es porque los t\u00e9rminos de la negociaci\u00f3n son inaceptables independientemente de que exista la autoridad superior si por otro lado la contraparte est\u00e1 de acuerdo en interceder quiere decir que existe un nivel de empat\u00eda suficiente como para continuar con la negociaci\u00f3n resumen transcripci\u00f3n lo largo de esta lecci\u00f3n analizamos las diferentes t\u00e9cnicas utilizadas durante las negociaciones analizamos la importancia de realizar una planificaci\u00f3n previ la negociaci\u00f3n para identificar los elementos que pueden ser utilizados como herramienta de negociaci\u00f3n por otro lado analizamos las formas en las que se puede desarrollar la negociaci\u00f3n las posibles alternativas para concluir las negociaciones de manera positiva negativa asimismo analizamos la importancia de perfeccionar habilidades interpersonales para desarrollar relaciones contactos buenas negociaciones entidades flujos de capital parte transcripci\u00f3n como hemos visto hasta el momento la industria musical se basa en su gran mayor\u00eda en la venta de experiencias de entretenimiento para diversas audiencias tomando diferentes formas desde m\u00fasica para pel\u00edculas hasta conciertos venta de singles por medi os digitales veamos un ejemplo muy general del tipo de relaciones que se producen para llevar estos productos al consumidor final c\u00f3mo se establecen flujos de capital entre las \u00e1reas de emisi\u00f3n recepci\u00f3n de material creativo figura las cuale se conforman por el artista compositor de un lado la audiencia p\u00fablico del otro figura \u00e1reas de emisi\u00f3n recepci\u00f3n de material creativo primero tenemos los artistas que se presentan en vivo ante el p\u00fablico los compositores que c rean las canciones figura los artistas son representados por personal managers mientras que los compositores firman contratos con entidades que les ayudan vender sus creaciones musicales figura figura artistas compositores figura managers publishers los publishers por su lado negocian emiten licencias para el uso del material creativo en diferentes medios incluyendo producciones discogr\u00e1ficas es aqu\u00ed donde entran las compa\u00f1\u00edas discogr\u00e1ficas la escena part icipando en el proceso de adquisici\u00f3n de licencias de las canciones firma de contratos con los artistas que las utilizar\u00e1n adem\u00e1s otorgan adelantos los artistas para que estos cubran los costos de producci\u00f3n de sus lanzamientos discogr\u00e1ficos figura asimismo los managers hacen contacto coordinan con los agentes quienes negocian con los promotores para organizar eventos presentaciones en vivo del artista figura compa\u00f1\u00edas discogr\u00e1ficas agentespromotores las discogr\u00e1ficas tie nen ramificaciones lo largo ancho de toda la industria musical con productores musicales song pluggers medios de comunicaci\u00f3n masiva fabricantes muchos otros contactos trav\u00e9s de los cuales gestionan la producci\u00f3n del material creativo su promo ci\u00f3n correspondiente colocaci\u00f3n disponibilidad del p\u00fablico figura figura alcance de las discogr\u00e1ficas entidades flujos de capital parte transcripci\u00f3n los medios de promoci\u00f3n distribuci\u00f3n que est\u00e1n bajo el control de las compa\u00f1\u00edas discogr\u00e1ficas hacen posible la colocaci\u00f3n de los productos en tiendas tanto f\u00edsicas como en l\u00ednea as\u00ed como su posicionamiento en diferentes medios de transmisi\u00f3n como radi sistemas de membrec\u00eda televisi\u00f3n por nombrar unos pocos figura figura posicionamiento del producto musical las sociedades de cobro se encargan del manejo colectivo de los derechos de las creaciones de los artistas compositores asociados proporcionando licencias cobrando regal\u00edas para as\u00ed generar el primer flujo de capital de nuestro ejemplo de vuelta al bolsillo del compositor figura figura flujo de capital sociedades de cobro finalmente el p\u00fablico compra el producto las tiendas generando otro flujo de capital esta vez de vuelta al artista trav\u00e9s del trabajo de transmisores promotores agentes el p\u00fablico tambi\u00e9n escucha el material asiste los conciertos generando otro flujo de capital hacia el artista figura estos flujos de capital son directos antes de que el dinero llegue al bolsillo del artista es ne cesario el involucramiento de varias entidades participantes como abogados managers hasta la discogr\u00e1fica misma cuando por ejemplo antes de iniciar el pago de regal\u00edas se debe deducir el adelanto otorgado al artista para pagar costos de producci\u00f3n figura flujos de capital compra de m\u00fasica asistencia conciertos el anterior ejemplo junto con todos los contenidos del curso hasta este momento nos ayuda comprender las relaciones entre entidades participantes los flujos de cap ital material creativo que se establecen entre el p\u00fablico el artista aunque es una descripci\u00f3n muy general que puede variar incluso contar con m\u00e1s eslabones en la cadena nos es \u00fatil para comprender las interacciones que se producen en la industria musical perspectiva de negocios del artista transcripci\u00f3n hemos ganado una perspectiva global al analizar las interacciones entre entidades participantes en la industria musical el artista profesional vive en este medio debe desempe\u00f1arse de modo c ongruente con el tipo de negocio que desea establecer de otro modo podr\u00e1 ser competitivo qu\u00e9 puede hacer un artista para presentarse como una opci\u00f3n atractiva ante un personal manager antes de siquiera considerar reunirse con un rtista el manager le eval\u00faa pregunta sus contactos para verificar si le conocen analiza su relaci\u00f3n con agentes due\u00f1os de salas de conciertos verifica su presencia en l\u00ednea trav\u00e9s de su sitio web redes sociales seguidores videos vistos dem\u00e1 integralmente esta evaluaci\u00f3n busca definir qu\u00e9 tan profesionalmente el artista maneja sus negocios como dijimos anteriormente este es un factor clave para competir en la industria musical se manifiesta trav\u00e9s de diferentes aspectos el artista p rofesional se prepara meticulosamente para sus presentaciones en vivo con el objetivo de lograr una conexi\u00f3n real con su audiencia dar la mejor primera impresi\u00f3n posible en caso de que hayan personas presentes evalu\u00e1ndole como un prospecto de negocio desarrolla un compromiso real con sus fans presentando productos de alta calidad en cada oportunidad sin importar si es un concierto una grabaci\u00f3n en el estudio una firma de aut\u00f3grafos una entrevista en televisi\u00f3n su conducta est\u00e1 al nivel de los planes que tiene para su carrera gestiona su imagen tanto personal como en el escenario en internet todo de modo alineado con el concepto que desea comunicar sus fans desarrolla una postura vocabulario lenguaje corporal apropiados lo m\u00e1s importante de este tipo de acciones es la perspectiva del artista su actitud refleja una disposici\u00f3n de negocios que est\u00e1 en armon\u00eda con su visi\u00f3n art\u00edstica el artista profesional se preocupa por conocer su audiencia hacer lo que sea necesario pa ra desarrollar una conexi\u00f3n real trabajando de manera seria comprometi\u00e9ndose la vez con su propia visi\u00f3n creativa actitud comercial transcripci\u00f3n hemos hablado del compromiso que el artista toma en el contexto profesional de la industria musical es te tema es un tanto delicado debido que existe pol\u00e9mica alrededor del balance entre el compromiso creativo del artista su perspectiva de negocios llamemos actitud comercial este balance tener actitud comercial se confunde con otro fen\u00f3meno en e l cual el artista pierde su identidad art\u00edstica haciendo concesiones tomando estrategias de negocio con el fin de alcanzar \u00e9xito comercial reiterando entonces al hablar de actitud comercial nos referimos al balance entre el compromiso creativo la perspectiva de negocios atender exclusivamente uno de estos dos aspectos por lo general trae consecuencias negativas si el objetivo del artist es obtener satisfacci\u00f3n creativa vivir de su oficio simult\u00e1neamente es importante resaltar que la m\u00fasica como arte puede ser una pr\u00e1ctica sin fines de lucro sin embargo al iniciar su carrera el artista debe reconocer que hacer canciones para presentarlas en vivo grabarlas es una actividad que se lleva cabo con el obj etivo de ganar dinero en algunos casos el artista ne\u00f3fito teme que el negocio cambie su m\u00fasica hasta el punto de perder consistencia con su identidad art\u00edstica ir\u00f3nicamente la identidad art\u00edstica es lo que buscan las discogr\u00e1ficas managers productor es publishers en fin toda la industria en general es la ventaja competitiva que hace \u00fanico especial un artista esta identidad es uno de los pocos aspectos que un artista dif\u00edcilmente puede crear de modo artificial debido su profunda relaci\u00f3n con la identidad integral del artista como ser humano sus creencias trasfondo familiar cultural socioecon\u00f3mico intelectual emocional ahora esto quiere decir que la identidad del artista sea perfecta en su estado original en general los partici pantes de la industria se esfuerzan por trabajar diversos detalles para potenciar el alcance de esta identidad crear mayor empat\u00eda con el p\u00fablico mayor impacto emocional cada vez que el p\u00fablico tiene una interacci\u00f3n con el artista as\u00ed el artista debe trabajar con su personal manager para delimitar esta pr\u00e1ctica esto puede incluir el hacer cambios en su manera de vestir hablar crear interpretar su m\u00fasica su comportamiento en general el negocio el arte pueden existir en armon\u00eda mantener el balance propio de la actitud comercial es una labor diaria que el artista debe moderar cuidadosamente teniendo presentes sus objetivos de negocio revisando constantemente su identidad creativa estructuras de poder en la industria musical parte transcripci\u00f3n todo artista debe prepararse para desplazarse en el negocio musical hasta el momento hemos hablado de algunas implicaciones como la actitud comercial las interacciones que se producen entre los participantes las entidades de la industria adicionalmente el artista debe comprender las estructuras de poder para informarse sobre qui\u00e9nes cuentan con predominancia en estas \u00e1reas existen cinco categor\u00edas principales amistad dinero acceso \u00e9xito trayectoria amistad en todos los nichos de n egocio en especial en la industria del entretenimiento el poder se halla en los contactos que se tienen a\u00fan m\u00e1s all\u00e1 en las amistades es casi imposible encontrar una persona que sea poderosa por su propia cuenta esta es precisamente la raz\u00f3n por la cual el artista debe formar una red de contactos trav\u00e9s del inter\u00e9s genuino por las personas los contactos de negocios vienen van seg\u00fan la posici\u00f3n de relevancia del artista si el negocio es fructuoso est\u00e1n cerca en los momentos dif\u00edciles dejan de contestar las llamadas las verdaderas amistades demuestran su compromiso al permanecer disponibles dispuestas cooperar sin importar la posici\u00f3n de relevancia del artista si est\u00e1 pasando por un buen mal momento en su carrera estas amistades se convierten en alianzas estrat\u00e9gicas que con el tiempo le ayudan al artista posicionarse dinero as\u00ed como en otras industrias el poder en el negocio de la m\u00fasica est\u00e1 ligado tanto tener dinero como tener potencial de ganarlo est\u00e1 de m\u00e1s decir que el dinero influye en la toma de decisiones en la postura que se tiene en una negociaci\u00f3n por ejemplo las discogr\u00e1ficas tienen la habilidad de influenciar las decisiones de nominaci\u00f3n selecci\u00f3n de artistas para las ceremonias de premiaciones musi c award shows por su nombre en ingl\u00e9s al controlar los mecanismos de promoci\u00f3n distribuci\u00f3n las discogr\u00e1ficas influyen solo en las ventas sino en las estad\u00edsticas que generan nominaci\u00f3n si trav\u00e9s de diferentes \u00e1reas de influencia una canci\u00f3n se posiciona en las listas de favoritos en las emisoras de radio televisi\u00f3n medios en general se aumentan las posibilidades de que una mayor masa de personas se vea expuesta dicha canci\u00f3n consecuentemente los artistas nominados los que se presentan en dichas entregas de premios aumentan sus ventas de m\u00fasica entradas conciertos lo cual su vez genera mayores ganancias para la compa\u00f1\u00eda discogr\u00e1fica de esta manera cuando las discogr\u00e1ficas pueden negociar agresivamente con sus nuevos artistas que tienen acceso al capital para garantizar niveles de promoci\u00f3n distribuci\u00f3n que de otro modo ser\u00edan casi imposibles el dinero les proporciona poder acceso en esta industria algunos individuos tienen acceso personas con poder de toma de decisio nes este acceso les da poder dicho poder aumenta si adem\u00e1s de acceso tienen influencia sobre estas personas este poder se crea trav\u00e9s de una constante construcci\u00f3n de relaciones interpersonales veamos algunos ejemplos los booking agents tienen acceso promotores otros compradores de talento contar con un booking agent que tenga este tipo de contactos representa tener acceso las mejores oportunidades de presentaci\u00f3n en vivo en el caso de los programadores de radio tienen acceso cone ctar al artista con su audiencia ya que deciden si las canciones se reproducen por su lado los managers abogados tienen acceso personas con poder conexiones son capaces de realizar conexiones de negocio con altas posibilidades de \u00e9xito el acceso es una de las razones por las cuales el artista debe conformar un equipo de trabajo con personas que tengan sus propias redes de contactos esto proporciona grandes posibilidades de expansi\u00f3n en la industria musical estructuras de poder en la dustria musical parte transcripci\u00f3n continuemos analizando las estructuras de poder en la industria de la m\u00fasica \u00e9xito dar seguimiento al propio \u00e9xito es uno de los m\u00e1s grandes retos que un artista se puede plantear ya que representa trabajar bajo es t\u00e1ndares en constante aumento en su mayor\u00eda los logros en el negocio de la m\u00fasica se miden con dinero un ejemplo notable es el de michael jackson su disco thriller que vendi\u00f3 m\u00e1s de millones de copias as\u00ed como un disco exitoso las giras exitosas le dan poder al artista rolling stones con su gira bigger bang que concluy\u00f3 en amas\u00f3 m\u00e1s de medio bill\u00f3n de d\u00f3lares dar seguimiento los \u00e9xitos anteriores es la mejor manera de mantenerse relevante de lo contrario cada vez que se falla en mej orar un \u00e9xito anterior la carrera de artista entra en declive mantenerse relevante es la tarea constante del artista en crecimiento trayectoria dada la din\u00e1mica de cambio tan agresiva del negocio de la m\u00fasica el solo hecho de tener una carrera prolongada le proporciona poder al artista la industria desecha todos los d\u00edas al talento que es improductivo comercialmente de manera que mantenerse en el negocio indica que el talento propuesta del artista se mantiene relevante esta relevancia genera una reputaci\u00f3n que va directamente ligada al poder de la trayectoria artistas cuyas carreras se prolongan m\u00e1s de veinte a\u00f1os llegan ser las personas que tienen los secretos del \u00e9xito en la industria el contacto de este tipo de artistas es altamente cotizado debido su capacidad para abrir puertas realizar conexiones en general brindar asesor\u00eda sumamente valiosa tener las amistades correctas co ntar con acceso capital personas con poder de toma de decisiones dar seguimiento cada \u00e9xito generar reputaci\u00f3n trayectoria son herramientas invaluables por lo que es de suma importancia para el artista comprender el poder que conllevan estas estructuras en la industria musical resumen transcripci\u00f3n durante esta lecci\u00f3n dimos un vistazo general algunas implicaciones de negocios importantes en la industria musical recapitulamos acerca de la estructura de la industria con sus \u00e1reas principales su categorizaci\u00f3n en participantes entidades los miembros del equipo primario hablamos de las interacciones que se producen en este contexto global cuando participantes entidades se relacionan en todas las \u00e1reas de la industria para crear vender experiencias de entretenimiento la audiencia gener ando flujos de capital entre la audiencia el artista compositor vimos un ejemplo general de un escenario para analizar c\u00f3mo el material creativo emitido por compositores artistas alimenta la maquinaria de la industria genera grandes ganancias tant para ellos como para todos los implicados en el proceso estudiamos las implicaciones de la postura de negocios del artista c\u00f3mo el balance entre esta postura la integridad art\u00edstica genera una actitud comercial que le ayuda moderar sus actividade diarias con el fin de tener una carrera prolongada significativa finalmente hablamos sobre las estructuras de poder de la industria amistad dinero acceso \u00e9xito trayectoria trav\u00e9s de las cuales el artista puede actuar estrat\u00e9gicamente para desarrollar el negocio que genera permanecer relevante lo largo de su carrera actividades recomendadas actividad investigue el flujo de capital que generan servicios de streaming como spotify c\u00f3mo se asignan las regal\u00edas qui\u00e9nes son sus beneficia rios actividad busque informaci\u00f3n sobre las sociedades de cobro c\u00f3mo funcionan de qu\u00e9 manera protegen la propiedad intelectual qu\u00e9 flujos de capital generan para un artista compositor actividad entreviste un artista que tenga varios a\u00f1os de experiencia como profesional en la industria musical realice las siguientes preguntas cu\u00e1l es su perspectiva de negocios d\u00f3nde est\u00e1 la l\u00ednea entre tener una visi\u00f3n profesional de su carrera comprometer su identidad creativa en su opini\u00f3n cu\u00e1les son los factores m\u00e1s importantes que un artista debe comprender para tener una carrera prolongada sostenible financieramente semana introducci\u00f3n identificaci\u00f3n de oportunidades transcripci\u00f3n durante este curso nos hemos enfocado en la figura del artista c\u00f3mo el equipo de servicios de negocios gira alrededor de la actividad econ\u00f3mica que este genera en la primera lecci\u00f3n en la anterior nos enfocamos en la perspectiva global viendo la indu stria musical como una gran maquinaria que proporciona experiencias de entretenimiento musical al p\u00fablico utilicemos ahora todos los conocimientos que hemos adquirido para darle un giro al enfoque del curso concluir analizando las diversas oportunidades profesionales disponibles en esta industria empat\u00eda oportunidades profesionales durante el transcurso de las lecciones anteriores hemos delineado las caracter\u00edsticas de varios participantes situaciones comunes en la industria tomando en cuenta esta informaci\u00f3n realicemos ahora un autoan\u00e1lisis con el fin de identificar qu\u00e9 tipo de rol nos gustar\u00eda tomar en la industria musical analicemos algunas interrogantes en tres categor\u00edas diferentes con cu\u00e1l categor\u00eda sentimos m\u00e1s empat\u00eda categor\u00eda soy un l\u00edder natural integro r\u00e1pidamente en ambientes sociales las personas buscan para pedirme consejos intereso genuinamente en otras personas recuerdo f\u00e1cilmente las personas nuevas que conozco puedo manejar personas enojadas conflictivas para llegar un acuerdo tengo un para influir en la gente hacerles ver mis puntos de vista puedo identificar acertadamente el potencial de una persona proyecto negocio prefiero estar en consta nte movimiento que trabajando en un mismo lugar por varias horas al d\u00eda gustan los ambientes din\u00e1micos llenos de cambio tengo una mente r\u00e1pida que reacciona acertadamente en situaciones de negociaci\u00f3n categor\u00eda puedo seguir marcar e imitar r itmos f\u00e1cilmente gusta trabajar en equipo es f\u00e1cil percibir la afinaci\u00f3n puedo identificar disonancias con facilidad puedo crear m\u00fasica con mucha facilidad gusta analizar contenido musical encontrar \u00e1reas de mejora soy una persona ap asionada puedo contagiar ese dinamismo las personas que rodean puedo trabajar bajo presi\u00f3n con fechas de entrega agresivas tomo decisiones r\u00e1pido lo pienso mucho para cambiar de parecer puedo comunicar objetivos otras personas obtener resultados espec\u00edficos soy eficiente planeando e implementando proyectos categor\u00eda tengo una memoria sobresaliente para datos e informaci\u00f3n secuencial los n\u00fameros la matem\u00e1tica son f\u00e1ciles para m\u00ed gusta analizar informaci\u00f3n para proporcionar recomendaciones puedo analizar problemas encontrar soluciones f\u00e1cilmente gusta trabajar solas trabajo meticulosamente puedo identificar los detalles inmersos en altas cantidades de informaci\u00f3n puedo defender mi postura aunque signifique generar un conflicto con otras personas soy paciente gusta leer puedo hacerlo r\u00e1pidamente gusta explicar ense\u00f1ar estas preguntas conforman ning\u00fan tipo de prueba de aptitudes pero delinean las caracter\u00edsticas de los participantes del equipo primario que hemos analizado lo largo del curso la categor\u00eda uno corresponde al personal manager al booking agent la segunda al productor musical la tercera al business manager al abogado senti r empat\u00eda con las caracter\u00edsticas que definen el perfil de un participante de la industria son indicadores que tienen cierto peso en las posibilidades profesionales que podemos tomar si identifico con ninguno de los roles anteriores durante est lecci\u00f3n exploraremos algunas de las posibilidades m\u00e1s representativas analizando los tipos de oficios que conforman la industria musical las expectativas financieras de desempe\u00f1arse en esta industria flujos de capital transcripci\u00f3n por lo general los que trabajamos en la industria musical nos sentimos apasionados por lo que hacemos sin embargo cualquiera que pretenda incursionar en esta industria debe hacerse una pregunta tarde temprano cu\u00e1nto dinero ganar\u00e9 qu\u00e9 opciones de crecimiento profesional tendr\u00e9 veamos los detalles para hacernos una idea repasemos las tarifas modos de cobro que tiene cada uno de los participantes del equipo primario el personal manager puede ganar de un un del bruto hasta un el neto sobre todas las actividades econ\u00f3micas que genere para su artista el business manager gana haciendo cobros \u00fanicos por hora trabajada en algunos casos cobra porcentajes de hasta por su lado el abogado cobra un porcentaje de entre algunos cobran por hora los especializados en el negocio del entretenimiento pueden cobrar entre por hora el booking agent gana hasta un del adelanto sobre las fechas co nfirmadas pero por lo general cobran un del bruto su tarifa est\u00e1 regulada por los sindicatos en algunas regiones del mundo finalmente el productor musical puede cobrar un porcentaje de entre del costo total de la producci\u00f3n este adel anto es deducible de las regal\u00edas que pueden ir entre para productores de artistas superestrellas esta es una referencia de la expectativa laboral que existe aunque las cifras pueden variar dependiendo de la zona del mundo la trayectoria del pr ofesional e incluso seg\u00fan los cambios en la balanza econ\u00f3mica del sector de la industria musical mundial veamos entonces las ganancias reportadas en dicho mercado laboral cifras recopiladas por la federaci\u00f3n internacional de la industria fonogr\u00e1fica fpi por su nombre en ingl\u00e9s esta es una organizaci\u00f3n global sin fines de lucro que representa los intereses de la industria musical realizando investigaci\u00f3n de mercado muchas otras actividades relacionadas con comercio internacional tecnolog\u00eda comuni caciones representaci\u00f3n legal internacional para la reducci\u00f3n global de pirater\u00eda en su reporte investing music de las ventas anuales reportadas alrededor del mundo en los segmentos relacionados con la industria musical ascendieron b illones tabla incluyendo ingresos por publicidad radial ventas al por menor de m\u00fasica grabada espect\u00e1culos en vivo ventas de instrumentos musicales publicidad en televisi\u00f3n revistas publishing derechos de representaci\u00f3n estas cifras dev elan que el negocio de la m\u00fasica est\u00e1 lleno de oportunidades exploremos continuaci\u00f3n las \u00e1reas de desempe\u00f1o profesional que genera toda esta actividad econ\u00f3mica tabla ingresos globales fuente wwwifpiorg la dura realidad transcripci\u00f3n antes de iniciar la conversaci\u00f3n sobre las oportunidades de desarrollo profesional disponibles en esta industria revisemos algunos factores de la realidad diaria de muchos de los oficios del negocio de la m\u00fasica el rechazo es personal para cumplir bjetivos es necesario contactar diferentes personas presentar propuestas negociar las puertas est\u00e1n cerradas para llegar abrirlas se debe recibir muchas respuestas negativas este negocio promete grandes recompensas financieras los pocos que lo gran sortear estos obst\u00e1culos alcanzar las audiencias masivamente de manera que recibir respuestas negativas se debe tomar con un rechazo personal significa en este momento al tratar con las personas que controlan las puertas esas pers onas que filtran solicitudes para entidades con poder es importante tener paciencia perseverar el \u00e9xito lo merecen solamente aquellos que est\u00e1n preparados persisten hasta que se producen las circunstancias adecuadas para recibir un s\u00ed relevancia solo quien es relevante puede jugar un rol en la industria musical la relevancia tiene que ver con el \u00e9xito actual previo continuo con la capacidad de enfocarse en la agenda necesidades de las dem\u00e1s personas el profesional aspirante se enfoca en demo strar que sus servicios son relevantes en el \u00e9xito continuo del negocio de otras personas planeamiento de carrera transcripci\u00f3n volvamos las interrogantes que mencionamos anteriormente cu\u00e1ntas opciones laborales existen en el negocio de la m\u00fasica cu\u00e1l quiero perseguir cu\u00e1l es mi plan el plan de carrera es como un mapa que se traza para definir objetivos de posicionamiento veamos algunos factores importantes en dicho planeamiento autoan\u00e1lisis es importante analizar nuestra afinidad con los perfiles de diferentes oficios preguntas como gusta estar detr\u00e1s de escenas en el escenario presto atenci\u00f3n los detalles nos pueden ayudar identificar fortalezas debilidades definici\u00f3n de metas al definir nuestras metas debemos tomar en cuenta necesidades preferencias personales as\u00ed como nuestros objetivos de empleo corto mediano largo plazo veo trabajando en una compa\u00f1\u00eda discogr\u00e1fica un estudio de grabaci\u00f3n en un escenario conecta ndo equipo mezclando interpretando un instrumento present\u00e1ndome ante una audiencia la respuesta preguntas como estas define un espectro de metas posibles preparaci\u00f3n una vez identificadas las metas es posible definir las acciones necesarias par incursionar en el mercado laboral trav\u00e9s de diferentes opciones de educaci\u00f3n entrenamiento programas de pasant\u00eda trabajo gratuito participaci\u00f3n en audiciones el profesional se prepara para iniciar su carrera en la industria la obtenci\u00f3n de dip lomas licencias certificaciones afiliaci\u00f3n gremios asociaciones son parte importante de este proceso colocaci\u00f3n laboral una vez concluye la etapa de preparaci\u00f3n acad\u00e9mica el profesional sondea el mercado laboral intentando ingresar al negoci por todos los medios su disposici\u00f3n entrevistas audiciones env\u00edo de demos presentaci\u00f3n de portafolios correos para presentarse ante diferentes organizaciones en algunos casos considerando las opciones para formar un negocio propio ascenso una vez colocado el profesional alcanza una etapa de estabilidad que le permite planear su crecimiento considerando las posibilidades los contactos que logre desarrollar en algunos casos los profesionales cambian de \u00e1rea de la industria un bajista podr \u00eda incursionar como booking agent un business manager especializarse en derecho musical todo esto se definido por las oportunidades que el profesional desee crear trav\u00e9s de una continua preparaci\u00f3n conforme pasa el tiempo el profesional llega u n estado de posicionamiento en un nicho espec\u00edfico se queda en \u00e9l durante el resto de su carrera etapa durante la cual inicia sus planes de retiro actividades recomendadas actividad ases\u00f3rese respecto su potencial de colocaci\u00f3n profesional en la industria de la m\u00fasica inicie respondiendo las preguntas de las categor\u00edas presentadas en el primer video con cu\u00e1l categor\u00eda siente mayor empat\u00eda actividad realice el planeamiento de carrera descrito en el video de esta lecci\u00f3n actividad de acuerdo al autoan\u00e1lisis realizado durante esta lecci\u00f3n cu\u00e1l de los campos de desempe\u00f1o profesional elegir\u00eda justifique su respuesta semana campos de desempe\u00f1o carreras creativa transcripci\u00f3n hablemos de las posibilidades laborales en la industria existe una infinidad de roles puestos los que se puede aspirar dependiendo del perfil profesional que se tenga analicemos cuatro categor\u00edas carreras creativas performance direcci\u00f3n producci\u00f3n tecnolog\u00eda carreras creativas como su nombre lo indica las carreras creativas se relacionan con la generaci\u00f3n de la materia prima de la industria tanto nivel musical como nivel l\u00edrico veamos algunos ejemplos de trabajos en esta \u00e1rea compositor profesional el compositor profesional se enfoca en un nicho de mercado ya sea el de grabaci\u00f3n publicidad televisi\u00f3n videojuegos cualquier otro que se acomode sus objetivos personales la mitad de su tiempo se dedica producir creaciones musicales la otra mitad se dedica promover sus demos es decir intentando colocar sus creaciones en proyectos de producci\u00f3n ya sea por medio de artistas productores managers cualquier otro contacto que pueda explotar este campo es alt amente competitivo por ejemplo los productores musicales llegan formar alianzas con compositores de su preferencia para diferentes tipos de proyectos por lo que el trabajo de un compositor nuevo es un producto que tenga particular demanda es respo nsabilidad del compositor crear sus propias oportunidades debido estas condiciones la mayor\u00eda de los compositores tienen un ingreso fijo en forma de salario su ingreso sostenibilidad de negocio depende m\u00e1s que todo del \u00e9xito comercial que tengan sus canciones en el mercado adem\u00e1s los compositores se asocian un publisher realizan composiciones para este de modo exclusivo por un plazo definido estos tratos por lo general implican que el publisher paga adelantos al compositor cambio de p orcentajes altos de las regal\u00edas de sus canciones una vez estas generan dividendos autor el autor se dedica solamente escribir letras es un \u00e1rea de desempe\u00f1o realmente dif\u00edcil debido que la mayor\u00eda de los m\u00fasicos escriben sus letras piensan que pueden hacerlo bien el autor profesional entonces debe contar con un talento extraordinario aun as\u00ed se beneficia al fungir adicionalmente como compositor de formar alianzas estrat\u00e9gicas con uno varios compositores adem\u00e1s el autor tambi\u00e9n tiene portunidades laborales en el campo de la m\u00fasica para teatro publicidad compositor de m\u00fasica para ni\u00f1os la m\u00fasica para ni\u00f1os se encuentra en discos programas de televisi\u00f3n pel\u00edculas sitios de internet e infinidad de otros medios de transmisi\u00f3n entr etenimiento cualquiera que tenga un peque\u00f1o en casa puede dar testimonio del poder que tiene esta m\u00fasica la asombrosa capacidad que tiene de capturar la atenci\u00f3n de su peque\u00f1a audiencia el compositor de m\u00fasica para ni\u00f1os trabaja partituras se especia liza en maneras de presentar informaci\u00f3n en un estilo simple pero sin caer en lo aburrido u ordinario arreglista este profesional toma las composiciones terminadas las convierte en arreglos instrumentales agregando capas de instrumentos para converti r la composici\u00f3n en un producto musical que se acople las especificaciones de la entidad contratante desde entregar partituras impresas para su interpretaci\u00f3n en el estudio de grabaci\u00f3n hasta programaci\u00f3n de arreglos instrumentales con instrumentos en oftware que emulan interpretaciones humanas el arreglista puede trabajar para compa\u00f1\u00edas de producci\u00f3n compositores directores de eventos en vivo publishers algunos llamados editores musicales se encargan de tareas de transcripci\u00f3n edici\u00f3n de par tituras mientras que otros desarrollan partituras originales para producci\u00f3n discogr\u00e1fica m\u00fasica para cine televisi\u00f3n campos de desempe\u00f1o performance transcripci\u00f3n continuemos hablando de los campos de desempe\u00f1o principales en las \u00e1reas de performance canto otros instrumentos en general performance cantante el oficio de cantante ofrece una vasta cantidad de posibilidades en el campo de la m\u00fasica comercial los cantantes pueden desarrollar sus carreras tanto como solistas como en los campos de grupos de canto coros acompa\u00f1antes para m\u00fasica en vivo adem\u00e1s pueden posicionarse como cantantes para producci\u00f3n musical actores cantantes cantantes bailarines la capacidad de contar con opciones de empleo estables tiene que ver con las habilidades del cantante las carreras exitosas en este campo profesional son una combinaci\u00f3n de apariciones en vivo grabaciones un factor que es importante resaltar es que la c arrera de los cantantes profesionales involucra viajes constantes los plazos m\u00e1s prolongados en los que un cantante se queda en un solo lugar es cuando se involucran en la grabaci\u00f3n de un disco qued\u00e1ndose en la misma locaci\u00f3n entre uno dos meses de es ta manera la primera preocupaci\u00f3n del cantante es mantener un buen nivel de salud pesar de estar viajando constantemente los cantantes normalmente participan en audiciones para conseguir trabajo adem\u00e1s de tener las credenciales profesionales la maci\u00f3n superior en canto se deben preocupar por desarrollar sus habilidades de actuaci\u00f3n carisma en el escenario que son factores importantes que hacen la diferencia en estos castings performance instrumentista al igual que los cantantes los instru mentistas viajan mucho algunos se llegan posicionar como parte del equipo de un artista se mantienen de gira todo el tiempo otros optan por un modo operativo con menos viajes se dedican participar en grabaciones tocar en conciertos locales e mpleando su tiempo restante como tutores educadores musicales sus horarios diarios incluyen horas de pr\u00e1ctica de t\u00e9cnica repertorio adicionales las horas de ensayo si tienen contratos las agrupaciones musicales con las que se presentan un aspecto importante de este trabajo es que genera ingresos por temporada la mayor\u00eda de los m\u00fasicos que trabajan para orquesta \u00f3pera compa\u00f1\u00edas de baile son contratados por temporada nivel de preparaci\u00f3n profesional el rol del instrumentista es altamente exi gente requiriendo una gran dedicaci\u00f3n iniciada desde la ni\u00f1ez en la mayor\u00eda de los casos para competir en el campo de la m\u00fasica orquestal los estudiantes por lo general deben completar maestr\u00edas e incluso doctorados en interpretaci\u00f3n instrumental sin mportar la formaci\u00f3n superior que tenga el instrumentista debe estar familiarizado con las din\u00e1micas de ensayo tanto en el campo cl\u00e1sico como en el popular los d\u00edas en los que exist\u00eda una l\u00ednea definida entre los m\u00fasicos cl\u00e1sicos los de jazz han termin ado actualmente todo m\u00fasico instrumentista profesional debe ser capaz de desempe\u00f1arse en ambos medios campos de desempe\u00f1o direcci\u00f3n producci\u00f3n transcripci\u00f3n ahora analicemos dos roles de liderazgo en los equipos de presentaciones en vivo grabaci\u00f3n el director el productor musical director musical art\u00edstico la mayor\u00eda de int\u00e9rpretes musicales requieren alg\u00fan tipo de direcci\u00f3n los m\u00e1s comunes son los irectores de orquesta \u00f3pera su rol principal consiste en liderar los ensayos e interpretaciones en vivo as\u00ed como desarrollo de partituras arreglos instrumentales en ciertos casos algunos directores llegan desempe\u00f1arse como directores art\u00edsticos e jerciendo tareas de selecci\u00f3n de directores solistas invitados al mismo tiempo trabajando con managers de orquestas para planear presupuestos operativos contratar despedir m\u00fasicos adem\u00e1s los directores art\u00edsticos negocian contratos de grabaci\u00f3n p ara la orquesta con la que trabajan dadas todas estas responsabilidades musicales los directores art\u00edsticos por lo general requieren la ayuda de un director asistente los directores asistentes los directores art\u00edsticos se mantienen tan ocupados con los roles que su trabajo les exige que cuentan con tiempo para buscar fuentes alternativas de ingreso la caracter\u00edstica com\u00fan entre todos los directores es su liderazgo postura de dominancia adem\u00e1s casi todos tienen formaci\u00f3n extensiva incluyend educaci\u00f3n formal e instrucci\u00f3n privada con \u00e9nfasis en interpretaci\u00f3n instrumental composici\u00f3n direcci\u00f3n en el campo de la m\u00fasica popular los directores son int\u00e9rpretes instrumentistas en su mayor\u00eda involucrados en composici\u00f3n arreglo instrumental ensayos en muchos casos dirigen las obras de su propia autor\u00eda productor musical hemos hablado fondo del productor musical en la lecci\u00f3n es importante recalcar su rol como l\u00edder similar la del director musical existiendo una diferencia mar cada el productor musical gestiona la ejecuci\u00f3n de proyectos de producci\u00f3n musical que involucran tanto tareas de \u00edndole musical como ensayos composici\u00f3n arreglo instrumental al igual que tareas t\u00e9cnicas como edici\u00f3n grabaci\u00f3n mezcla masterizaci\u00f3 n esta naturaleza h\u00edbrida multidisciplinaria del oficio del productor le diferencia del director de m\u00fasica cl\u00e1sica popular como mencionamos en la lecci\u00f3n el productor trabaja como profesional independiente su campo de trabajo es altamente com petitivo la mayor\u00eda hoy en d\u00eda cuenta con estudios de grabaci\u00f3n propios donde realizan ensayos sesiones de composici\u00f3n grabaci\u00f3n mezcla todo lo que se necesite para sus proyectos contratando estudios externos solamente para tareas espec\u00edficas como grabaci\u00f3n de ensambles orquestales bater\u00edas existe una diversa gama de productores musicales dependiendo de su \u00e1rea de especializaci\u00f3n profesional su trasfondo personal un productor podr\u00eda desempe\u00f1arse mejor en el \u00e1rea de negocios encontrando tale nto seleccionando las canciones correctas para grabar contratando profesionales para realizar la parte t\u00e9cnica otro podr\u00eda ser un maestro del cuarto de control iniciando su carrera como ingeniero de sonido m\u00fasico de sesi\u00f3n de esta manera cada productor tiene un trasfondo singular que por lo general incluye desempe\u00f1o extraordinario en un \u00e1rea aleda\u00f1a de la industria ya sea en el aspecto de negocio musical en los campos de desempe\u00f1o creativo performance t\u00e9cnico lo cual les proporciona una per spectiva de trabajo que extrapolan su modo operativo en los proyectos de producci\u00f3n campos de desempe\u00f1o tecnolog\u00eda transcripci\u00f3n las \u00e1reas t\u00e9cnicas de la industria musical requieren de innumerables individuos para desempe\u00f1ar tareas relacionadas con montaje de sonido cubriendo todos los aspectos de dise\u00f1o implementaci\u00f3n operaci\u00f3n de equipos sistemas relacionados con producci\u00f3n musical sonido en vivo transmisi\u00f3n de radio televisi\u00f3n existe una diferencia entre el t\u00e9cnico el ingeniero de audio por lo general el t\u00e9cnico tiene un grado de preparaci\u00f3n inferior su experiencia laboral se reduce operar conectar equipo participar como asistente en los procesos de producci\u00f3n musical sonido en vivo realizando tareas como edici\u00f3n de audio supervisi\u00f3n de implementaci\u00f3n de sistemas integrados de sonido por otro lado el ingeniero es un graduado universitario en campos como electr\u00f3nica electricidad f\u00edsica audiolog\u00eda ac\u00fastica ciencias de la computaci\u00f3n ingenier\u00eda de sonido espec\u00edf icamente lo cual incluye una formaci\u00f3n h\u00edbrida de varias de las especializaciones anteriores los ingenieros pueden dedicarse dise\u00f1o prueba de equipo de audio para diversas ramas incluyendo pero limit\u00e1ndose las tecnolog\u00edas de grabaci\u00f3n refuerz de sonido en vivo adem\u00e1s se pueden dedicar al dise\u00f1o ac\u00fastico de espacios de grabaci\u00f3n mezcla de sonido masterizaci\u00f3n mantenimiento de equipo muchas otras \u00e1reas relacionadas con la presentaci\u00f3n de productos musicales para desempe\u00f1arse en el cam po de tecnolog\u00eda un grado acad\u00e9mico en m\u00fasica e ingenier\u00eda es deseado pero pocos profesionales cuentan con dicha preparaci\u00f3n las opciones laborales pueden generar ingresos sumamente altos por ejemplo un ingeniero de mezcla posicionado puede cobrar ent por canci\u00f3n en g\u00e9neros como el rock los que mezclan para g\u00e9neros como el hip hop pueden cobrar hasta por canci\u00f3n otras \u00e1reas adem\u00e1s de las \u00e1reas de desempe\u00f1o profesional delineadas anteriormente existe una gran cantidad e campos en los que se puede hacer carrera en la industria musical incluyendo roles ejecutivos en las compa\u00f1\u00edas discogr\u00e1ficas publishers trabajos en medios de comunicaci\u00f3n masiva venta de mercader\u00eda educaci\u00f3n publicidad campos relacionados con imag en como cine televisi\u00f3n video por internet animaci\u00f3n servicios legales equipos de implementaci\u00f3n promoci\u00f3n de conciertos giras firmas de management agencias servicios legales dise\u00f1o de instrumentos musicales entre muchos muchos otros todo esto sin integrar el factor del emprendedurismo trav\u00e9s del cual innumerables personas crean sus propios horizontes profesionales en la industria de la m\u00fasica" +} diff --git a/tL-How Much To Join TAXI A&R Music Service.json b/tL-How Much To Join TAXI A&R Music Service.json new file mode 100644 index 0000000000000000000000000000000000000000..b24ab8af3897d6b712c3e1854b169fd06d3d0429 --- /dev/null +++ b/tL-How Much To Join TAXI A&R Music Service.json @@ -0,0 +1,5 @@ +{ + "filename": "tL-How Much To Join TAXI A&R Music Service", + "department": "Manager", + "cleaned_text": "ta r g e yo u r u c h e u l elist music publishers recordlabels film tv musicsupervisorsleft rightabcmtvnbcspikefoxcbscapitol recrordswarner brothersbravoatlanic recordshbouniversal music groupaeshowtimehistoryrounderusaparamountemivhanimal planet pmpage warner brothers recordsbetsongbmgespninterscope recordsfox sportsword recordstntcnbccnnhallmark networkownpbsthe science channelsyfytbsclick see music industry lookingfor right nowget free daily music opportunity alertsheres help outaxi delivers targeted opportunities right front doorrecord labels publishers music libraries film tv musicsupervisors tell us kind songs instrumental tracks artiststhey currently need tell see match yourmusic send us ar team prescreen thecompany needs pmpage music ontarget great send musicbecomes solicited came trusted industry sourcethats usyoull get different opportunities every month comein nearly every genre think rock pop country adultcontemporary modern rock jazz filmtv new age instrumentaland style youd commonly hear radio inmovies tv shows video games commercialsthousands independent songwriters artists composers havemade record deals publishing deals film tv music licensing dealsand countless sync placements using taxiplus free membersonly convention youll get tolisten learn mingle many industrys top decisionmakersthousands songwriters artists composers come overthe world network music industry decision makers eachother taxi road rallyi told rally would lifechanging experience itproved absolutely trueadriana lycettewant meet top music industry executivesfacetofaceyoull get plenty chances free membersonly conventionthe road rally music conventions cost much perperson become taxi member youll get two free ticketsto many people think best convention kind pmpage thats value get free taxi membershipjoin us rally meet top film tv music supervisorsproduction music library executives music publishers multiplatinumproducers hit songwriters music marketing experts arexecutives major indie labels carefully select paneliststeachers mentors give honest answers without theego hipperthanyou attitude youll find otherconventionsif want network collaborate musicians andsongwriters convention feel like heaven earth peoplewho come rally world famous warm unbelievablyinclusive incredibly generous powerful weekend youliterally wont want end pmpage hollywood trailer music supervisor naaman snell takes look cdgiven taxi member al sanchez hollywood film music supervisor beth amy rosenblatt takes cds froma member amazing music supervisor listening qa panelheld saturday taxi road rallyyo u keep moneyif strike deal make gazillion dollars youll keep gazilliondollars percentages publishing splits go taxi entire yearof service inexpensive youll probably spend less taxithan designer coffee much less youd spend tripto la ny nashville couple hours music attorneyclick join taxi pmpage yo u l l l g e f u l l n e ye rmoneyback guarantee confident youll love belonging taxi wellshoulder risk think industry listings arent bestyouve ever seen well refund membership fee full dontthink feedback helps improve music ditto samegoes unmatched customer service call question ora problem youre greeted one friendliest helpfulpeople youve ever met business well refund membershipfeeand thats day guarantee full oneyear guaranteeyes read correctly give full year make sure yourehappy listings feedback customer service yourenot mail letter day period telling us youre notand well refund first years membership feefor obvious reasons cant guarantee youll get deal taxior music forwarded depends music youpitch well target pitches guarantee appliesonly first year membership fee include renewals orany additionalupgraded services offered taxiwe regret cant give refunds based financial difficulties theinability dedicate appropriate time writing pitching yourmusic taxi outside success quality recordings orbecoming discouraged music isnt yet pmpage help thats wed like use service afull yeargetting opinions family friends isnice butgetting objective detailed feedback hollywood musicsupervisors hit songwriters ar people publishers recordproducers priceless become part taxi like havingyour personal team industry pros giving tips techniquesand fresh ideasmany members use feedback whip music shapebefore spend time money record album submit itto record labels music supervisors music libraries publishersyoull never regret didnt add bridge change lyricor make chorus punchier play industry pro orrelease finished record well help get right itsetched stone much worth youthis works better hopehow many years already wasted hoping success fallfrom sky lap taxi gives specific targets anddeadlines help stop procrastinating become proactivewhy wait music supervisors ar people publishers stumbleon web page millions songwriters composers andartists competing attentioncan honestly say social media significant impact onyour career friends followers great music pmpage industry decision makers asking music much much betterclick join taxitaxi members music hollywoodblockbusters tv shows virtually every networkand desks ar executives every majorlabelgot questionsdoes taxi take percentagetaxi almost sounds good true know legitimatewhy companies tell taxi theyre looking fordoes taxi get listings artists bands songwriters composerswhat styles music frequently requestedwho ar peoplecant buy directory tip sheet send music recordcompanies myselfdo get one chance send musicwill taxi give feedback every song instrumental track submitdoes taxi submission feedoes taxi split submission fees companies requestingmusicdoes taxi check companies works withif music forwarded chances listened toby ar person asked itisnt much competition expect music beforwardeddoes taxi members places ushow taxi handle submissions pmpage percentage members get forwardedwhats taxis success ratiowhat kinds deals taxi members signedcan sign publishing management production companyand send material several people membershipcan join studio submit demos clientshow much taxi costhow long membership lasthow much renew membershipshould wait material totally finished join taxiyo u l l f n l l g e yo u r h music business competitive dont run raceyou chance win taxi membership keep wellinformed highlymotivated connected real musicindustry ever dreamed possibleready quit procrastinatingso say ready quit procrastinating manyyears talking something serious yourmusic opportunity right front time nowbecome member taxi today get heardclick join taxi pmpage" +} diff --git a/tL-MARKETING-OVERALL-ARTIST-CHECKLIST-docx.json b/tL-MARKETING-OVERALL-ARTIST-CHECKLIST-docx.json new file mode 100644 index 0000000000000000000000000000000000000000..4e3af9b5b71ab399b0d2f26624ecefaba66b2964 --- /dev/null +++ b/tL-MARKETING-OVERALL-ARTIST-CHECKLIST-docx.json @@ -0,0 +1,5 @@ +{ + "filename": "tL-MARKETING-OVERALL-ARTIST-CHECKLIST-docx", + "department": "Marketing", "Manager", + "cleaned_text": "music marketing plan table contents nuts bolts music distribution bandartist website brand social media digital service provider dsps email lists newsletter preparing release timeline week music release day ready publicity marketing playing live streaming real life networking keeping momentum keep music coming keeps momentum fan nurturing create consistent content ongoing social media strengthen vipindustry connections making money nuts bolts music distribution digital distribution moves lot faster used still choose right distributor different distribution channels use allow get music digital service providers recommend cd baby customer support call like marketing platform called showco however others distrokid onerpm tunecore distributors dont cover everything independently need also aware additional distribution outlets increased reach list includes soundcloud pandora aggregators like weeks get music itunes spotify amazon music digital service providers dsps speak rep regarding exact release timing ensure enough time speak major dsps release possible upload entire album upload first second etc single apple likes full albums available preorder open additional placement options tip new music used come tuesdays friday official release day choose friday release music even release party saturday astrologer says best date monday look like noob release day tip ordering physical copies music make sure get plenty time especially running presale release party want offer physical products show bandartist website brand music industry built appearances taken seriously important complete professional looking online presence built marketing plan starts home website need modern functional site update website section fans easily get music player automatically plays please news section latest happenings epk newsletter signup offers incentive ariel wrote detailed guide help architecture please keep mind artist branding starting point well thought brand abstract malleable concept maybe difficult know youre heading right direction brand starts biosignature story talk part series also incorporates colors style copywriting fonts photos visuals must alignment brand make sure carry brand across socials use current single artwork text top images promote release date new music videos tour announcements love tool called canva fast easy banner graphics social skin creation social media time energy need spent building strong online presence order taken seriously artist time comes start actively promoting many artists dont know basics try skip steps hiring shady companies swiftly build audiences might best idea fake followers limited knowledge use channels properly hurt promotional efforts solid social strategy must focus themes narrative must plan consistent content constantly fan nurturing keep mind music bloggers fans visit socials see kind existing following want catch vibe stale overly promotional boring profiles help chances engaging content calendar crucial component social media success dont leave chance download social media organizer properly schedule plan posts instagram popular visual social platform experienced meteoric rise best way get great instagram using emulating people already know use well post photos choose least two hashtags photos found make sure take time select popular hashtags people looking also create owned hashtags ie cyberprmusic addition hashtags also add captions photos posting caution selective crosspost socials want tell separate story social channel get people join get fatigued posts across channels also post stories posts drive views created two guides help take deeper dive musicians guide instagram advanced instagram tips musicianstwitter even though lot artists turning backs twitter still encourage keep active profile journalists music bloggers still actively use want connect platform make happen every single person interact real life followed twitter friends musicians bloggers producers clubs etc increase followers following people many follow back target similar sounding artists follow twitter followers high probability may also like music keep profile active tweets use buffer little one hour schedule weeks worth tweets vary topics tweet career news output interests passions hobbies news politics sports andor culture great topics share engage connect around facebook paytoplay reality facebook page get real exposure suggest build ad budget marketing plans time time goals place complete page active frequent posts make sure page attractive cover banner discussed install apps work promotional tools music suggest store bandcamp tunecore cd baby tab mailing list signup form mailchimp youtube youtube first place millions people go search music powerful platform artists getting discovered artist looking increase awareness imperative presence youtube professional looking channel cover image linked socials people connect across platforms make categories group videos easy viewing behind scenes official music videos live performances also highlight official music video featured spot top often see musicians leaving artist name title video terrible search engines create list tags make sure include keywords place important keywords phrases start tag fields use adjectives describe music similar artists also keywords latter show therelated videos section videos viewed often see description sections left blank crucial tells viewer watching provides links content website socials digital service provider dsps digital service provider dsp another term music streaming services also mean music stores build effective marketing plan without working knowledge dsps course includes drive fans followers spotify get included playlists get intimate remember dsps take deep dive vital dsps spotify soundcloud click image get ultimate guide ebook spotify distributor choice releases new songs spotify able claim verify spotify profile spotify artists allows review listener analytics check new playlist adds add artist pick make playlists keep photo bio date crucial understand basics spotify know help created great series videos guide important thing must know submit tracks directly playlist curators considered inclusion official spotify playlists apple music apple music artists launched august view quick snapshot musics overall performance identify milestones alltime bests glance expand understanding details trends time discover songs getting shazamed apple owns shazam see many people listening music time countries plus update profile photo portal find sign apple music artists amazon big one make sure amazon profile online updated reviews music posted platform helps search people using alexa stream music sure verbally findable check alexa friend see verbally discoverablesoundcloud soundcloud goto platform plan publicity main platform music bloggers many podcasters use accept tracks consideration embeds soundcloud presence key deciding factor music covered soundcloud also allows create private links music released select tracks send industry folks anyone wish share preview course soundcloud also robust community music fans creators great place connect give receive feedback bandcamp bandcamp essence directtofan ecommerce solution also vast community fans understand paying artists directly best way support discovery features like fan accounts music feed artist recommendations introduce music new fans potentially drive sales bandcamp also email collection capabilities subscription service like patreon grow email list make money plus many artists success showcasing past releases selling bundles great revenue stream pandora pandora million active users artist marketing platform called amp artist marketing platform builtin amp allows record second messages attache tracks plus target specific regions build stories share also pays royalties sound exchange make sure signed digital distributors say music sent pandora experience still send music using brand new independent artist submissions portal understand dsp graphics sizing make sure put best foot forward dsp guide shows exact dimensions images dspemail lists newsletter email ability nurture list important part musicians marketing plan release strategy want skip dont important entire lab focused improve email called level email game social media key attracting crowd building engagement said email still vital asset build generating revenue make relationships fans socials turn relationships customers email according direct marketing association email marketing produced roi return investment every spent writing effective newsletter contacting mailing list month also need understand concept email nurture sequences spend money mailing list service provider help design rich looking email provide analytics tracking capabilities measure effectiveness newsletters make adjustments need premier solution many clients enjoy working mailchimppreparing release timeline week music release tasks planning everything cant stuff genie back bottle release struggle managing time help watch week timeline come life special video musicians masterclass gave new orleans three months music releases register performing rights organization probably already know case collect royalties youll need sign performing rights organization pro short well soundexchange three options us pros ascap sesac bmi live royalties bmi ascap offer portals collect royalties playing live songs registered pro database log enter dates performed songs performed songs pro companies payout quarterly sure enter performances soon otherwise could miss deadline also register soundexchange focuses royalties recording mechanical rights performing rights organization focuses royalties song performance rights document recording creation journey fans may feel mundane writing recording mixing mastering studio etc really exciting fans taking behindthescenes journey music release great way form stronger bond current growing base send updates recording mixing mastering going using videos photos via socials plus capture longerform stories instagram stories newsletter engage following milestones like artwork song titles polling fans holding contests select cover title go fans weigh photos graphics get involvedwith process goal activity get people excited engaging sharing updates choose pr marketing plan big component releasing new music getting pr accomplish hiring team going diy route hiring pr team make sure homework make sure music good fit firms approach philosophy sure team talks wellthoughtout plan campaign pr company work make sure fully prepared introduced press first part job engage firm youre going doityourself approach tips effective music pr campaign choose playlisting plan submit music directly spotify simply sign artist account spotify analytics label choose best song submitting take extra care give detailed description song supplying relevant information song easily guide editors best place music build playlisting initiatives dont know steps set playlist follow stepbystep guide start building sharing playlists need build plays impacts current song promoting well forthcoming singles use interesting titles themes grab peoples attention aid search find playlist curators pitch course easier said done easy find curators possible dedication google socials great places start reddit active spotify playlists page also quite submithub access small fee two months music release get great photos make sure least great images variety important music blogs feature square horizontal photos getting photos taken think brand think variety keep images fresh time goes byfinalize single album ep artwork artwork ready look brand amazing ask designer animate break tiles instagram resize social posts research spotify presave marketing platform right need run campaign get spotify track presaved great services choose featurefm action pages help build audience site action pages highly engaging pages reward fans taking actions want platforms want provide deep insight audience toneden also facilitate social media followslikes andor email addresses free downloads also optimize facebook ads via toneden customize ads showco owned cd baby integrated use well focus increasing audience recording new music may taken eye constant grind takes keep socials email list growing takes lot heavy lifting whole band team helping use social media tuneup system diagnose one sites socials get updated kept consistently find friends people admire bloggers artists venues local spots like hang etc twitter instagram facebook friend away increase audience many people follow follow back also start reaching people inbox outbox get list remember illegal sign people integrity ask person newsletter place able monetize dont skip step prep content calendar content calendar outlined assets need release dates assetaction needed countdowns art reveals listening party live release party announcements ticket links calls action like spotify presaves fodder add content calendar use smm tracker organize posts vips help keep track content post see tab platform several team ina band assign one platform per person also see vip tab add industry people need connect real life six weeks music release submit music distributor leading music release single two make sure let know releasing singles first ep case must single artwork ready time tunecore cd baby aggregators like weeks pitch music itunes spotify google play amazon music digital service providers dsps launch facebook like campaign get followers page done long time go personal facebook page ask friends like page know may seem crazy time facebook catching lot heat promoters venues music bloggers still look social numbers make sure consistently growing dont buy fake fans ever one month music release release first single great way build buzz get fans excited also get music bloggers interested reviews place help build overall online profile press side house aim appropriate blog targets brand new artist pitchfork probably appropriate go smaller targeted music blogs said sure reach within reason dream targets singles best idea wait reach loftier sites album album reviews take considerable amount time look music sites reserving full album review slots anticipated albums dont feel disappointed dont get full album ep reviews en vogue days download read spotify soundcloud guide make sure platforms set correctly done need get working youannounce music release event live show listening party play live shows book release show something make show special others decorate venue work bar create special shot cocktail presell merch pack hire party bus ask food truck pull outside venue etc dont play create listening party small bar create afterwork happy hour choose local favorite coffee shop starting dont think draw large crowd hold listening house party wine tasting cupcake bakeoff fondue party etc think fans make special course key announce tickets sale share links launch music pr playlisting campaign great way build buzz hiring pr team launch two weeks music release build momentum keep excitement socials scheduling countdowns across socials write day newsletter ready go hold contest win new music give away tickets show listening party release day ready prep website change artwork landing page announce new music add announcement news section skin socials use canva size design create ctas platform post well instagram change bio announce release add musical note appropriate emoji add streaming link cta listen create release tile post album single art say create instagram story video postgo instagram live talk fact music available ask fan feedback facebook make fun video release boost boost buy ad announcing release fans look alike audience edit section include new release post status update announcing release pin top timeline feature go facebook live talk fact music available ask fan feedback spotify header profile photo keep date line rest social profiles image gallery choose images aligned brand recent music social media links add links socials heres spotify adding image gallery spotify bio characters share fans update whenever makes sense keep bio updated include shows notable press new singles add artists pick designate song album playlist artists pick appear top profile note add custom image pick share tour dates preferred read twitter tweet release announcement pin tweet top profile page go buffer program tweets times day next days youtube customize top banner profile picture announce new music add bitly link mention release section upload cover art track streaming backgroundnewsletter send newsletter announcement mailing list publicity marketing pr takes time effort execute well sadly many artists believe pr blasting press release top music sites googled never works pr placements start astute research bio signature story cornerstone brand bio need solid story build marketing pr suggest hiring professional write musician bio call signature story around even strong writer challenging write professional writer able craft compelling bio effectively conveys important details keeping audience mind case includes press music industry read steps guide would delighted write one feel like still need boost listen signature story webinar music press outreach first people target local press outlets covered past applicable contacting blogs make personal sure research writerjournalist site best appropriate always include soundcloud link set private music released follow full music pr guide detail handle process touched part plan ahead content multiple press outreaches new music video remixes tour dates dont want repeat message new music build targeted media list many ways start building targeted media list one method identify musician band slightly along fits musical wheelhouse take note press outlets getting featured great chance publications may also feature learn pr ariel amazing deepdive courseblog savviness gets placements start familiarize blogs podcasts outlets appropriate release live smaller town read nyc la chicago may local press go big goal might review pitchfork whats backup pitchfork doesnt respond doesnt respond followups pitchfork even right outlet showcase project sure large audience right audience ok answer research thing need send first pitch find come download ultimate guide music publicity tip keep mind music blog made content written humans comes time pitch pitching increase chances interested first interested make connection following socials strike conversation twitter instagram opportunity arises conversation literally anything music recommended way send email publicist could familiarity existing relationships help getting emails opened help new music featured drive friends fans family marketing platforms responsible driving likes streams facebook youtube spotify streaming sites also need drive subscribers email list marketing platforms key tools help get fans take powerful actions pay forever like saving profiletrack spotify subscribing youtube channel watching video liking facebook page visit saturated crowded space approx new tracks added spotify day according dmr platforms vital read post understand featurefm toneden showco use deeply incorporated total tuneupsplaying live streaming already building touring playing live home continue builds momentum made need helping hand lab taught brilliant kyle weber indie move iotm walks exactly get better gigs hometown new markets undoubtedly limitations often tour likely wont able tour every market solution shows try live streaming streaming show also great way interact fans personal direct level live streaming concert audience online viewers filmed home interesting location access great tool connect fans artists big small taking advantage keep engaged present current fanbase generate revenue increase brand awareness stream facebook instagram however robust platforms offer features geared towards creating official shows two major players stageit concert window picking two quite similar allow either charge set ticket price many artists use pay want model gives fans way pay tha ask lucrative keeping shows fresh different help increasing viewership showtoshow play game end performance midway using chat features trivia would easy game fans could win merch prizes play new cover songs week ask fans covers play post question facebook page instagram tile song suggestion gets likes comments ones cover guest performers join great way add new element live stream cross promoting others fans time lab mobilize fan army teacher client eli lev musicians covered fleetwood macreal life networking make music without mastering power live networking thats problem digital tools available us way many artists believe hide behind screen launch careers dreams without ever talking humans face face building irl networking planning key many artists shy introverted part come easily crucial connect dots digital world real world even want studio musician never tour still need able meet people find potential work hard break comfort zone met many artists struggle anxiety sense networking means selling successful people go meet people help reasons musicians need network connect new fans gain sphere influence source referrals fans everyone connected online offline become resource fans keeping momentum keep music coming keeps momentum music marketing plan days consistent releasing spotify recommends new release every weeks releasing singles videos keep fans engaged consistently striving also want submit new track playlisting consideration skill set need understand use spotify download ultimate guide streaming brush effective ways get music remember youre limited releasing original new tracks best practice keeping fans engaged spotify plan release something every weeks mean write new songs although always great coursecreate alternate versions tracks get dj remix one songs famous dj choose someone familiar whats trending hype goal worked artist love youre interested holding remix contest contact folks indaba music put together great remix campaigns take page nirvana release album strippeddown unplugged versions studio tracks great way show different side band appeal potential new listeners lastly release live album preferably release show show work long audio top quality make videos video integral part music marketing plan share upload videos official music videos lyric videos live videos vlogs facebook live sessions instagram live etc record cover songs music fans love covers recording cover songs great strategy music marketing plan works gain awareness tapping people already know provides fun content share cover artists inspire similar sounding artists covering song outside genre great way tap new fan base pianist scott davis decided combine love heavy metal piano pieces recording result millions youtube hits metal covers new fans heavy metal community scott invited open godsmack korn pod sevendust vince neil m\u00f6tley cr\u00fce queensr\u00ffche please note legally sell cover song need obtain pay mechanical license harry fox agency foremost mechanical licensing agency us legally make money cover songs work company hits fan nurturing desperate desire connect many fans possible artists forget everyone need understand differences create separate way communicating community may following simply liked sunglasses cat idea even musician others waiting like comment every post iwrote part series explains nurture one next level fan community super fans fans primarily closest friends live audience know name play live attend shows regularly buy merch first responders post socials follow multiple channels important remember talk fans live shows get much face time community engaged fans fans active online audience newsletter subscribers blog readers video watchers rss subscribers active social media engagers frequently comment engage facebook twitter etc community ambient fans fans passive online audience social media friends aware via twitter facebook instagram etc dont actively communicate may ever even heard music yet dont neglect email list study write email nurture sequences emails still going month socials never go stale may big news item new release doesnt mean stop communicating regular basis also consistently building list create consistent content ongoing social media update socials every day update daily respond interact post things happening life news food parenting fashion art sports musicians topics engage connect around follow social media pyramid content guidance use hashtags mcm man crush monday transformationtuesday wcw woman crush wednesday tbt throwback thursday newmusicfridayadd hashtags instagram course also social media channels alive active visualize buzzworthy moments press social mediaworthy moments generate better anytime fan playlister music blog mentions share create tiles ctas links spotify soundcloud apple music etc ideas visualize keep socials fresh ask family friends fans write reviews music apple music amazon cd baby submit music pandora consideration get accepted use pandora amp program make gifs boomerangs keep visuals fun check new spotify playlist adds thank playlist curator facebook instagram lives consistently pr blog newspaper magazine show listing podcasts etc pr quotes highlights articles make share time mix radio adds showcase station logo tag dj live show announcements ticket sale dates film tv placements milestones spotify playlist counts award nominations wins etc follow ctas follow spotify facebook twitter etc focus leverage whole point music release strategy first place leverage get big picture goals client wanted higher profile gigs around hometown denver leveraged pr hits strategically sharing visuals promotersvenues targeting writing personal email saying retained pr team increase visibility work hard promote shows booked playevery time featured article posted across social channels tagged venues artists appeared efforts began get gigs something competition strong pr proving would promote use similar strategy moral story always share successes strengthen vipindustry connections never met successful musician rely least people music industry even never want sign label need team help could include management booking agents service based companies handle things like play listing publicity marketing production list goes music conferences incredible place meet types people music conferences conferences give opportunity networking selfgrowth want memorable music conferences invaluable looking learn grow industry many types choose small intimate huge overwhelming hyperfocused general matter decide attend opportunity network meet established professionals make connections artists vital growth heres guide favorite conferences music mentors artists im looking introverts dont like conferences read industry newsletters sites get inspiration keep people latest industry news highly recommend signing diy musician water music platform stream hypebot billboard biz newsletters many wonderful mentors know working tirelessly help support artists free paid options love teachers labs classes follow suz rockstar advocate bobby owsinski cheryl b engelhardt eli lev randy chertkow jason feehan brady sadler kyle weber iotm also highly recommend rockstars pitched best advice marketing including ari herstand bree noble rick barker bryan calhoun ross barbersmith ryan kairillamaking money want considered artist hobbyist right making money key music marketing plan ongoing strategy made last part lot building needs happen monetize many ways make money business may thought many lab making money music features randy chertkow jason feehan authors indie band survival guide making money music come ways make money merchandise merch become sophisticated last years need order bunch xl mens fruit loom tshirts three favorite merch ideas usb flash drives different kind merch item sell load music pictures videos lyrics sheet music etc vinyl hot right according recent guardian article sales vinyl reached year high consumers young old embraced physical formats music make sure keep fact ordering take months make sure prepared mail carry shows heavy diy craft items also love idea creating unique diy items vehicle selling music client mary jennings sells bolo ties shows etsy store shes road loved hanging watching fans try ties set please avoid costly music marketing plan mistake need create merchandise fanbase buy merch need sense want crowdfunding crowdfunding great way fund album tour big idea time campaign ends contributors invested idea journey increasing loyalty levels super fan status however must keep mind average crowdfunding campaign raises according fundable takes dedication perseverance pull successfully also crowd crowdfunding make sure real dedicated fan base try order raise would need around backers would give average order raise would need around backers would give average book crowdstart walk stepbystep entire campaign comes amazing done bonuses subscription sites another area artists moving towards people sign receive music via bandcamp support creation videos content patreon people dont buy cds anymore even downloads decline people willing support artists need give platform interesting items experiences offer patreon patreon content means want consistent content keep patrons happy make sure share exclusive content available patreon page ultimately success kind crowdfunding strategy come reaching network newsletter social media getting involved funding helping spread word patreon friends networks experiences backstage meet greets private skype sessions dinner band show possibilities built music marketing plan dont need run crowdfunding campaign sell experiences make sure fans know mention patreon website across socials mention youtube videos include link page video descriptions dont want finish reading part guide overwhelmed write total tuneups clients intention take afull year successfully implement requires mindset allow stay long haul making music playing live parts hard focus elements outlined challenging cyber pr labs designed cyber pr labs address every part may know effective targeted fashion cost less bucks give access great community likeminded artists well amazing teachers handpicked run lab" +} diff --git a/tL-Manager-Music-Business.json b/tL-Manager-Music-Business.json new file mode 100644 index 0000000000000000000000000000000000000000..c23610251eb051960a20022334d872f1f713a8c5 --- /dev/null +++ b/tL-Manager-Music-Business.json @@ -0,0 +1,5 @@ +{ + "filename": "tL-Manager-Music-Business", + "department": "Manager", + "cleaned_text": "networking strategies new music business dan kimpelnetworking strategies new music business dan kimpel rights reserved part book may reproduced transmitted form means electronic mechanical including photocopying recording information storage retrie val system without written permission thomson course echnology ptr except inclusion brief quotations review artistpro thomson course echnology ptr logos related trade dress trademarks thomson course echnology ptr may used without written permission publisher general manager thomson course echnology ptr stacy l hiquet executive editor mike lawson associate director marketing sarah odonnell manager editorial services heather talbot marketing manager kristin eisenzopf senior editor mark garvey marketing coordinator jordan casey project editor copy editor dan foster scribe tribe thomson course echnology ptr editorial services coordinator elizabeth furbish cover designer interior layout ech stephen ramirez indexer katherine stimson proofreader gene redding back cover photo davis daviswwwdavisanddavisorg trademarks property respective owners important thomson course echnology ptr cannot provide software support please contact appropriate software manufacturers technical support line web site assistance thomson course echnology ptr author attempted throughout book distinguish proprietary trademarks descriptive terms following capitalization style used manufacturer information contained book obtained thomson course echnology ptr sources believed reliable however possibility human mechanical error sources thomson course echnology ptr others publisher guarantee accuracy adequacy completeness information responsible errors omissions results obtained use information readers particularly aware fact internet everchanging entity facts may changed since book went press educational facilities companies organizations interested multiple copies licensing book contact publisher quantity discount information training manuals cdroms portions book also available individually tailored speci\ufb01 c needs isbn library congress catalog card number printed canada wc thomson course echnology ptr division thomson course echnology thomson place boston httpwwwcourseptrcom iiiacknowledgments thank family ohio yuji nick los angeles associates ascap bmi sesac inviting interview songwriters composers arthur bernstein mark featherstonewitty ian gardner martin isherwood liverpool institute performing arts lipa students inspired text friends colleagues luis gloria villegas keo woolford jeffrey tennyson bobbi marcus dan desouza john joann braheny scott denise davis marta woodhull john philip shenale david edward byrd joe beserra richard moll susan wong armando soria kenny kerner guy marshall brett perkins denise bradley martin cervantes simon barber david quan amazing karan longbrake whose energy inspired since high school thanks mike lawson artistpro diligent editor dan foster appreciation always mark garvey \ufb01 rst convinced author grateful thanks tena clark staff disc marketingdmi networks firehouse recording studios pasadena california special gratitude ronny schiff whose support immeasurable selected interviews book conducted song biz pro\ufb01 les feature stories written music connection magazine thank senior editor mark nardone publishers eric bettelli j michael dolan associate editor michael mollura pro\ufb01 le lindy robbins appeared songwriters market thank editor ian bessler writers digest booksivabout author dan kimpel one american medias foremost authorities popular music songwriters contributes dizzying variety print electronic mediums including books interactive cds magazines web sites videos new media \ufb02 united airlines worldwide hear audio interviews hit recording artists songwriters united entertainment network dan conducts workshops subject music business networking universiti es conferences seminars across north america england visit dans web site wwwdankimpelcomvcontents introduction xi chapter personal paths music business kind person assessing strengths songwriters musicians music biz pros aspiring moguls technical triumphs born succeed reinvention signs universe commitment key time come today summary chapter modern music business transmission secondary expanding contracting genres new music entrepreneurs music kids soundtrack fast track internet notions fish fowl mosaic mediums radio salvation satellite public internet radio chris thomas acoustic essence music publishing way major indie labels networking strategies new music business vimusic biz marionettes pulls strings validation american idolization summary chapter personalities plus ten successful attributes music biz professionals negative notions put negative positive find reasons feel good visualize success network people respect observe traits smooth road myths reinvention old old summary chapter true tales dont power coulda shoulda woulda youre bridges aflame celebrity ten strategies interacting celebrities would reach needs look around sixth sense drugs music biz road john mayer old rock viicritical crises drama queens ten networking strategies dispelling crisis treat everyone respect summary chapter making contact body language good grooming clothes horse ups downs capitol tower ten visual cues look conversation instigation ten conversation leaders sensitive areas assumptions avoid anyone youre introduced complimentary consideration remembering names drop name business cards working room hidden opportunities practice makes perfect fine art studio hang chapter telephone email telephone sound reflections power telephone basics telephone tracking cell phones antennas satan cell phone etiquette email contentsnetworking strategies new music business viiichapter creating effective tools trade press kits folder cover letter cd dvd bio photo fullcourt press credibility credits man gorilla suit extreme strategies rejection ten thoughts overcoming rejection ten reasons calls returned webwise need web site additional resources chapter live venues ventures gigology creative outlets alternative venues inventing show soft ticket make soft ticket show work sounded fabulous ten postperformance tips performance peeves ten commandments club land club clues soundman scenarios scams compilation cds performing rights ixchapter success stories jeffrey steele country craftsman lindy robbins late bloomer luis resto lost music bob malone road warrior summary chapter go wanna go nashville new york los angeles emerging cities map music conferences tips maximize conference experience world beat afield chapter defining direction questions artists questions aspiring moguls teamwork management need manager look manager want manager law yer agents publicist artists responsibilities get job chapter wrap creative confluence five tips personal references contentsnetworking strategies new music business xback home making happen given conclusion appendix resources xiintroduction know know knows every single deal ive ever seen go music business direct result personal contact way music business different enterprise people business know trust believe deliver required expected circumstance many ways however music business radically different industries built vibe tied trends fashion media communicates intangible com modity capable mirroring profound emotions networking strategy networking communicationsimple human interac tion strategy art devising employing plans toward goal follows networking strategies plans toward successful career via personal relationships truth told always new music busi nessthe signi\ufb01 cant recent changes merger major record companies rise inde pendent labels artists leveling playing \ufb01 eld internet although changes signi\ufb01 cant success still determined per sonal relationships repeat every single deal ive ever seen go music business direct result personal contact book intended guide making personal strengths relationships others work networking strategies new music business xiifor connecting others share aspirations energies enthusiasm allowing collective talents shine whether youre professional aspirant music business songwriter recording artist musician composer music editor music educator music publisher dj publicist pr expert entertainment lawyer plan working raging rivers tiny ants upbeat positive attitude sense work well world drive evolve progress succeed music business attitudes light path destinies selfful\ufb01 lling prophe cies positive energy transmit via music return ampli\ufb01 ed multiplied said ability control course speci\ufb01 c destiny may questionable nashville interviewing songwriter vocalist extraordinaire michael mcdonald offered analogy imagine raging river rapids comes footlong log moving incredible speed front log perched tiny ant looks marvels man im really driving thing im music business survivor survived \ufb02 ourished career taken hard scrabble bars ohio power centers nashville london tokyo new york hollywood xiiifor past two half decades ive made home los angeles career trajectory includes phases songwriter musician manager pub licist creative director event producer journalist editor lecturer author continue invent new outlets re\ufb02 ect love music songwriters utilize expand knowledge evershifting \ufb01 eld im strong believer like tiny ant story cannot make things happen put position things happen case point penned \ufb01 rst book networking music business author indeed point barely published articles pivotal position nonpro\ufb01 organization grow ing list stellar contacts boundless enthusiasm subject ministrations patient editor learned write book subsequently invited travel across us canada lecture music conferences institutions soon \ufb01 gured someone expert personal contacts music business would best served using talents advance career rather making questionable living foisting views words impressionable readers creative director national academy songwriters honored work many greatest singersongwriters history american popular music joni mitchell john fogerty tom petty robbie robertson gamble huff ashford simpson jackson browne burt bacharach wrote edited produced created made invaluable contactsintroductionnetworking strategies new music business xivalas destiny nonpro\ufb01 organizations treacherous one three years departed cushy corner of\ufb01 ce th \ufb02 oor sunset boulevard highrise moved operations home hills los angeles district known eagle rock remember said position things could happen continent away liverpool institute performing arts lipa college founded sir paul mccartney head music arthur bernstein dropped school library \ufb01 nd book read train trip grabbed mine next day sent fax inviting come england teach oneweek master class based book lipas graduating seniors turned \ufb01 veyear venture expanded realm international contacts appreciation british food immeasurably sadly people need book never read know theyre ones hip room bluster way often using aggression belligerence mask fears uncertainties always remaining clueless remember call singersongwriter arizona networking book \ufb01 rst released network ing ok people want stay studio write songs record get paid caller never told get gig suspect didnt know eitherxvthe power yes learned long ago music business someone asks something correct answer yes im talking jumping airplanes youre afraid heights playing classical toccata youre speed metal guitarist within realm reason possibilities others see us often exceed limitations see order gig get gig order get gig understand gig aspire position record label publish ing \ufb01 rm performing rights organization seldom see positions advertised paper anywhere online \ufb01 lled people inside business never outside career took another dramatic leap longtime friend ms ronny schiff vp audio pro gramming disc marketing dmi entertainment networks asked conduct audio interview classic british rockers moody blues program heard worldwide united airlines pas sengers united entertainment network since ive conducted hundreds interviews united speaking studio everyone leonard cohen hollanddozierholland brian wilson rufus wainwright legendary rock hall fame induct ees hottest new band pleasure interview known ronny socially incred ible opportunity never would arisen time ive become goto guy song writerrelated mediums print music connection introductionnetworking strategies new music business xvimagazine biweekly west coast music publication welcome home prose contribute column song biz pro\ufb01 le songwriter com poser singersongwriter every issue well cover stories feature interviews estimate ive interviewed hit makers magazine write inter view three us performing rights organizations ascap bmi sesac ive conducting camera interviews ascaps pop film television rhythm soul awards quizzing camera every one elvis costello clint eastwood love say yes ascap bmi sesac asks moderate conference panel never ask much pay whether theres check involved im always glad service visibility endeavors introductions hit writers credits far greater value hun dred dollars dedicated gig sometimes people react busy always seem remind truth dont job work extra hard invent career never existed singular people within exten sive world contacts made possible always made creed deliver beyond expected joy real worldthat outside entertainment spherewe often encounter attitude much less percent committed store post of\ufb01 ce car xviiwash wherever interact others dont sometimes feeling work simply going motionssleepwalking quitting time music business like made passionate energetic supercharged individuals dedicate totally craft cause executives well \ufb01 fth decades begin day personal trainer \ufb01 mile run strap ping headset round calls east coast successful managers combing clubs sunset strip checking bands artists wee hours making farmers market power breakfast recording engineers taking advan tage free studio time develop projects songwriters collaborating hours perfecting line indie bands scouring hinterlands vans sleep ing fans \ufb02 oors enlisting street teams spread news theyre looking watches waiting quitting time waiting proverbial thing happen changing course business con stant commitment career support around us context pages sincere intention offer options possibilities af\ufb01 rma tion inspiration occasional harsh slap reality true suspect dear reader already many tools communication help succeed youre interested enough honing people skillsand introductionnetworking strategies new music business xviiiunderstand vital isthat youve chosen read book please note never encourage anyone anyone networking strategies involve transforming another entity becoming manipulative reptilian creature disguising way rather tak ing positive aspects projecting others id like conclude introduction brief list precepts de\ufb01 ne overall philosophy talent information ability necessary ingredients developing career people power ultimately determine success precepts networking strategies person others want help succeed objective long career play longrange game treat everyone equal respect understand others words emotions fame fortune synonymous happiness life dependent either change good crossroads technology show business opportunity play game truly believe win project genuine positive energychapter personal paths music business every networking trick book help goods dont claim able improve chops musician word \ufb02 ow songwriter business acumen music biz whiz however necessary talents con tinue develop ultimately \ufb01 nd way express build viable career mentioned introduction personal path music business began hometown ultimately led three music capitals europe boy dreamt rocking stadiums endless accolades unfathomable riches struggling musician dealing shady club owners elusive agents bare bones tours rusted vans kept image mind grew fainter replaced another image signpost inquiring talents given deep question think put earth dothe kind person powerful character trait possess music business kind person others want see succeed substitute quality way manufacturer synthetically inner strength effective successful interaction music business must bene\ufb01 parties equally con cept based radio call letters wifm broadcasting question whats fortunately youre beginning career probably strengths may immediately apparent instance level enthusiasm power potential progress careers sometimes joy creating music around becomes obscured diluted meeting someone energized theyre creating upward career trajectory inspiring one reasons enjoy teaching lecturing gives special opportunities meet coming make mistake music business thrives new blood everyone music business like ever longtime friends industry seem disconnected cultivating quality prefer ring instead work theyve worked years opinion leads stag nation feel given moment might airplane landing lax someone getting plane meet probably willnetworking strategies new music businesschapter personal paths music business assessing strengths enthusiasm kind person oth ers want see succeed believe life music calling proceed first love second skill levels knowledgebased skills generally acquired education experience include computer skills languages technical musical abilities name transferable skills portable skills take communication people skills analytical problem solving planning equally important personal traits special qualities include dependable \ufb02 exible friendly hard working expressive formal punctual team player songwriters capable creating words music move wide audience directing energies songs time \ufb01 nding outlets music remember exists core songsthe intent beliefare qualities resonate strongest accepting special songs rare\ufb01 ed stratosphere hits however buyers music continually remind songwriters dont write lifewrite mine often experiences personal paradoxically universal well songwriting collaboration secretjust look billboard charts cowritten songs networking strategies new music business rule marketplace collaborations existand makes certain combinations workare subjects strong opinions heated debate mercenary judgments certain amount cosmic songwriter juju mystical beliefs trio genres currently comprises majority record salesrb including hiphop often lists collaborators use samples country popare whelmingly dominated groups writers choosing right partner partners probably cru cial decision songwriter make meet collaborators live music capital advantage endless classes workshops panels seminars live outside new york nashville los angeles may work harder still possible make contacts ill address best ways later book networking strategy songwriters songwriters sometimes indistinguishable public large songwriting organizations area great way make local contacts online check wwwjustplainfolkscom musicians music business cooperative endeavors sure maybe play solo perform exclusively karaoke bars sooner later youll need include players expand soundchapter personal paths music business playing band profoundly challenging experience course equally rewarding bands history pop music rolling stones u longlived often ever band unit perform short time leave band breaks continue way networking strategy hanging local music store great place interact ask clerks advice theyre probably players totally plugged post ads online local papers make contacts sit favorite coffeehouse copy guitar bass percussion magazine prominently arranged table see begins talking wear tshirts display logo music manufacturers music biz pros aspiring moguls music business might viewed pyramid large numbers people resources supporting tiny fraction artists go hugely successful work business must adjust transforms develop new skills go \ufb02 ow many ways youre support position business possibly best position ascend industry recall class artist management ucla extension great place meet people way observing panel eminent lawyers agents managers record execs one stated \ufb02 atly people long careers music business sitting herenetworking strategies new music business networking strategy energetic economically challenged volunteer help coordinate music conference event youll position make valuable contacts inside however never let primary responsibili ty slide simply hype help event still tried true way meeting others technical triumphs teaching colleges encounter students full\ufb02 edged musicians dont play conventional musical instruments tools trade sam plers protools similar studio gadgetry djs remixers experiencing unprecedented prominence music business europe dance music rules urban centers us latest trends often delivered club savvy djs palette creation widened dramati cally technology sampling boon many songwriters uncommon see writer penned rb chestnut late early honored cowriter song year performing rights organizations sample song used latest beyonce smash networking strategy studio wizards studio technical people generally home behind mixing board social situations recently lectured group audio engineering students college sacramento requested help polish networking skills audio engineering society convention san francisco worked chapter personal paths music business prolific engineers los angles ive observed one common trait sense quiet assurance sympathy concentration engineering studio work future cant go wrong studies basic psychology addition effective engineers know also proficient musicians born succeed always ask students lecture rank birth order become new area study intriguing barometer personality collaborative situationparticularly bandbirth order make huge difference interaction various personalities oldest child often weight expectations placed wellmeaning parents oldest chil dren often moody occasionally lack sensitivity intimidating particularly pushing people hard refusing take answer oldest children gravitate toward positions responsibility corporate heads doctors ministers band leaders almost us presidents either \ufb01 rst born child \ufb01 rstborn son family two \ufb01 rst astronauts sent space \ufb01 rst borns two children often eldest also responsible siblings learn give orders music biz many producers recording artists oldest children middle children often mediators adept bridging opinions middle children ability see sides story empathize diversity opinions often peacefully resolve potentially networking strategies new music business disruptive con\ufb02 icts middle children may feel negative lot life less special essence best worlds middles tend make friends easily often work harder keep theyre usually good keeping secrets middle children may gravitate positions musicians lawyers artist managers exercise usually impresses classes teach correctly predict majority students youngest children families reason quite simple youngest children compete older siblings often use clowning entertainment call attention side may expect others make decisions take responsibilities many times overachiev ers using every means disposal compete older siblings laterborns tend creative much likely reject status quo many per formers youngest children children often self centered younger years effective relationships children home adults often con\ufb01 dent well spoken children usually afraid make decisions comfort able opinions generally like things organized often time often creative scenarios meant empirical scienti\ufb01 c facts moreover character trait nega tive certainly recognized muted need bechapter personal paths music business reinvention biology strong suite assure learn cells mutate change order survive suc cessful music business career emotionally ful\ufb01 lling hopefully long one want childrenglory riches etcis generally supplanted point desire stability contentment sense something right world music business never stable environment changes sweeping huge artists become disposable part equation yet paradoxically artists drive business remain center around swirls every imaginable participant lawyer signs makeup artist makes look good camera roadie changes guitar strings choices careers music business incredible outside public sees artist music business insiders know legions hardworking creative souls propping propelling forward happens artists exceed minutes fame might produce records write songs develop talent open recording studios become record label executives remember theyre already inside business move laterally choose longterm practitioners music business likely one career beginning networking strategies new music business musicians love understanding music create options spent many years trenches songwriter musician know like call answering machine sing fragment song dont want forget song placed hold interminably track major artist taken record week release important know miracle seamless verse melody seems written experience invaluable interviewing songwriters consider songwriter even though lon ger write songs prefer express prose allows many words say want say write prose still think songwriter concentrate intro second verse moves story foreward bridge takes message upwards always remember songwriters mantra dont bore us doris get chorus signs universe recent conversation young man id met electronica composerperformer los angeles informed pursuing new career actor universe sent signs told paraphrasing words heard deliver lecture \ufb02 attered could quote inspired revisit message behind directive one point life worn performing clubs decided take respite playing live music well good still needed pay bills chapter personal paths music business applied lowlevel parttime public relations gig saying goes veil liftedi realized untapped reservoir talents abilities sub sequently returned music business side desk much greater reward universe sent sign years later managing keo woolford artist hawaii despite power charisma song writing conceptual abilities rough time getting signed record deal however approached prestigious los angeles theater inquired keo would willing write per form oneman piece based hawaiian origins segment multiartist performance although skeptical im singer remember say ing convinced unprecedented opportunity show smash los angeles times theater critic raved show held suddenly young man thought singer became soughtafter actor nice coda saw perform audience starring revival king london palladium lives new york continues break new ground actor writer yes writes songs also contributed project nominated recent grammy reggae album year things happen signi\ufb01 cance entertain ment world often happen naturally easily science involvedits vibe feel right instincts tell youif youve trying knock doors years songs music maybe time step back quiet listen networking strategies new music business commitment key one situation often comes course lectures consultations meet artists song writers de\ufb01 ne career trajectories way professional musician awhile im getting back think chance make lets de\ufb01 ne terms make mean obtain record deal make living musician songwriter \ufb01 nd way share something special audience third alternative answer probably yes someone working fulltime job support ing family fully developed career outside music probably write songs spare time play weekend shows future compro mised present level comfort recording artists tend signed progressively younger ages else could live van tour across country eating frozen burritos stores survive three hours sleep fans \ufb02 oor dedicate entire existence living breathing music theyre america touching audiences rule dont wives husbands kids home needing fed experience people successful music biz dont options dont choose music music chooses certainly place tell people cannot truly believe music business never canoe chapter personal paths music business blithely enter exit moves roaring river step travels torrents far beyond reach never get business never really point youll grab paddle face rapids push networking strategies fortitude foresight weather changes create niche \ufb01 establish real audience music bulletproof list close personal contacts us stay business often made tremendous sacri\ufb01 ces maybe weve watched members peer group taken lofty cor porate positions purchased palatial homes made six\ufb01 gure incomes keep mind never compare lives person singularand one life live music chooses us us \ufb01 nd way survive thrive time come today concept artist concept artist time timing crucial widescale artis tic acceptance look famous historical model beatles group introduced us critical timepresident john f kennedy assassinated country undergoing severe depression anxiety better dispel gloom four sunny boys liverpool brimming hope melodynetworking strategies new music business biggest artists often express values direct opposition times live elvis rose eisenhower era straitlaced con servative wall street values reagan administration omnisexual antics madonna provided welcome counterpoint optimism clinton administration dark grunge \ufb02 ourished political hip hop course melding metal rap \ufb02 owered political climate george w bush say alter musical artistic approach take advantage sociologi cal edge well aware recently panel university southern california usc marshall altman ar columbia records chase music business away becomes shared marshall meant current trend reinvent attempt part time youve written songs recorded costumedpiercedtattooeddyed conform another new trend supplanted youre trying emulate youll look cheesy dated worse youll credibility since trying portray \ufb01 rst place wasnt even second see bandwagon late jump pop music cyclicif believe eventually cycle come around chapter personal paths music business summary creativity doesnt outlet path stagnates deadend true creativity de\ufb01 ned simply ability create art divining outlets interactions others part community begin modify monitor success contacts move also risechapter modern music business modern music business reinvents blind ing speed us stay abreast changes adaptable new technologies new genres music new artists always invent new methods using talents chapter youll meet key industry players weathered changes turned advantage transmission secondary wax digital transmission music business always drastic technological \ufb02 ux lecture attended liverpool sir george martin related began career weights dropped ceiling resultant motion made wax mastering discs go aroundmachines unreliable sir george principal owner air studios facility boasts satellite technology enabling music recorded sound stage london immediately syncd picture hollywood long way postwar ropes pulleys past cds ipods blackberries ringtones whatever comes next book drastic changes technology may seem vital understand power people make music run music business arena wildcard often comes play something totally unexpected real breaks expanding contracting genres artists willing work correspond ing good news possible \ufb01 nd audience almost type music new genres con stantly invented emo childrens music americana electronica beyond niche markets make possible literally genre \ufb02 ourish like commoditybased business locate audience buyers music recent years hiphop moved underground street music dominate mainstream rock forms always place convergence hip hop via creative mashups new styles merge intensity metal urban verbal expression attract fans styles rock hiphop peoples music neither rock hiphop conservative form shared roots outlaw cultures time appropriated mainstream forms decidedly globalyou even hear japanese chapter modern music businessnetworking strategies new music business korean rappers emulating gangstas south central los angeles pop music always place pantheon styles currently strongest market pop tweensthat young listeners ages represent huge buying demographic information lost disney creators television programs feature music geared burgeoning demographic country music \ufb02 ying huge bubble back subsequently burst leaving many pala tial of\ufb01 ces vacant along music row radio market remains huge however current crop new country stars raised rock capable generating enthusiastic live audiences concerts praisebased music contemporary christian christian rock two genres experiencing enormous growth dance music popular urban centers us maintains enormous in\ufb02 uence europe uk new music entrepreneurs sometimes seems like everyone entered music business cant go cup coffee starbucks without seeing latest cd sale caffeinated conglomerate success ray charles genius loves company due small part million sales coffee counter putumayo records founded clothing store new york began putting together world music compilations play shoppers soon customers begging purchase copies music giving birth pro\ufb01 table record label many examples music creators turned handsome pro\ufb01 following passions often far beaten track id like share experiences music kids music always part mae robertsons life educator new york holds masters degree early childhood development education often used music calm students birth \ufb01 rst child mae left teaching opened success ful chain natural\ufb01 ber clothing stores westchester county new york one night friend jackson overheard singing traditional folk song water wide rocking baby sleep suggested mae record album traditional songs geared families new career path revealed debut night struck resonant chord public eager positive familyoriented music since mae never promoted record wasnt aware breaking rules winning enthusiasm would na\u00efvely call magazine newspaper editors say youre going review arent surprisingly initial cd sold copies \ufb01 rst year eventually mae robertson sold clothing stores dedicated new career founding record label called lyric partnerschapter modern music businessnetworking strategies new music business center extensive network signi\ufb01 cant songwriters mae began championing founding troubadour series ongoing concert program fourth season featuring slate nationally touring acoustic artists staged workplay theatre birmingham alabama performances intimate experiences fans singersongwriter genre whether shes singing sweet lullabies children creating sophisticated words adults mae robertsons personal vision mortar artistry want listeners get lost songs beauty melodies truth lyrics want give back dreams soundtrack fast track anytime music played environmenta super market mall gym onboard aircraftsomeone made conscious decision select major record labels hip purchase spots artists domestic international \ufb02 ights cloth ing stores movie theaters best part trend given consumer occasions hear music given program music like companies work formore gigs corporations also well aware power music positively affect buyers use variety methods far sophisticated simple jingles past year founding disc marketings employees could \ufb01 neatly one compact car today pasadena californiabased music new media marketing company employees housed lavishly refurbished old pasadena california \ufb01 rehouse location inspired name adjoining studio firehouse recording west coasts largest protools facility tena clark gold platinum songwriter record producer founded company domi nates niche audio video new media print media especially music disc marketing dmi networks deploys ingenious methods companies enhance promote corporate branding mar keting products consumers customized cds enhanced cdroms cd packages companys \ufb01 rst month operation clark landed deal american retail icon sears roebuck co beginning disc marketing since created strategic music entertainment partner ships recognizable corporate brand names world including cocacola united airlines toyota cond\u00e9 naste general mills target victorias secret proctor gamble princess cruises mrs fields cookies disc marketing secured unprecedented contract produce in\ufb02 ight audio entertainment united airlines enjoyed million monthly travelers worldwide company also provides in\ufb02 ight audio entertainment presi dential vice presidential planes air force uniteds domestic carrier ted regal cinemedia disc marketing continues expand new divisions including record company music library enable new campaigns new clients new chapter modern music businessnetworking strategies new music business technologies however music still companys treasured resource tena clark recently produced grammynominated album church songs soul inspiration patti labelle chaka kahn dr maya angelou plus dionne warwicks \ufb01 rst ever christmas album first foremost heart im songwriter con\ufb01 rms clark may begun song eight short years later tena clark disc marketing orchestrating global chorus commerce art vision internet notions wellnoted quarters rise technology digital transmission music radically changed industry know internet makes possible \ufb01 nd worldwide market music theoretically independent artist online leverage major pop act harddisc based recording systems notably industry standard protools make possible record seamless cd sonic solace spare bedroom theory make available via internet send digitally without ever leave house according platinum producer glen ballard dave matthews band doubt alanis morissette polar express \ufb01 ltering artists \ufb01 ne art hes hearing \ufb01 ne artists net hit acts internet one insists whole myth wait going get great music theres one act penetrated theres \ufb01 lter people trying identifying talentmost people arent really going able \ufb01 lter getting removed lot mediocre stuff mediocre stuff right journalist receive independent cds press kits weekevery week unless something comes quali\ufb01 ed means im expecting previous knowledge relationship artist representatives choice ignore theres simply much music absorb save ears listen simply produced cd enough qualify artist media coverage positioning like cannot purchased outstanding music real audience angle back days manager producer label someone believe artists talents proceeded career longer fish fowl de\ufb01 nitions need assigned whether artist inde pendent simply unsigned case point bellrays riverside california year international career could envy many major label act let alone independent one bellrays possess stage charisma unwavering conviction profound ability impart belief audiences bellrays usually dont send free promo copies cds anyone welcome attend show purchase musicchapter modern music businessnetworking strategies new music business uncommon stance hypehappy town dealing bunch idiots says bellrayss tony fate many condescending phone calls ar guy thought going jump dick called us guy read something someone wrote thrown desk opened page says yeah send tape well many tapes get day read us going well dont want send tape forget sure forget bassist bob vennum adds print thou sand things give away giving away money singer lisa kekaula continues album baby promotional tool band labor love hurt pain im giving away better worthy fate reveals band certainly open right kinds relationships real people set net leave holes trickle talk people plan really like music talk anyone open mind brainat least intelligent line getting free ride anybody else let somebody never seen us probably wont show guest list hes got budget pay ass come even coming pocket give cd weve got people come shows id rather let free sit outside time cross america bellrays four smart professionals white dodge van like church van small church explains kekaula buzzed austins sxsw toured nashville pussy shared stages artists like wayne kramer rocket crypt muffs addition tony fate designs promo materials cd jackets tshirts know bands dont worry things says kekaula dinosaurs norm bands getting permanent height road handling things comes back audience connection weve got lot foot soldiers working us dont publicity money reason people know us weve working key networking strategy artists bands touring locally regionally still best way get word band music success stories come everywhere omaha akron sacramento make strong enough impression home market believe record labels find youthats theyre paid mosaic mediums wellpublicized downturn cd sales comes rise visual mediums devour music network cable television video games independent \ufb01 lm explosion \ufb01 lm independent studio releases network cable television video games spawned outlets new music shake stratocaster good thing independent artist band song featured network television show highpro\ufb01 le \ufb01 lm chapter modern music businessnetworking strategies new music business delivers much sync fee performance income indelible sign media credibility emerging artists bands song \ufb01 lm television show offers crucial exposure key market sync fees help substantial monies back end payments performing rights organization ascap bmi sesac exam ple represent considerable sum songwriters songs television expectation much lower recently song aspect come made pop product states robert kraft chief executive fox music everything short hand television vehicle delivering songs demographic marc ferrari los angelesbased mastersource came music picture standpoint musicianrecording artist got semiaccidentally admits majorlabel recording artist keel \ufb01 albums another band mca grunge thing happened suddenly wasnt hip guy success song used small straighttovideo \ufb01 lm ended using giving screen credit giving money like wow hadnt thought providing music \ufb01 lm tv time started representing material would asked something didnt know write like reggae country rap turned friends mine thats started repd friendsmastersource placed songs movies including good gets fight club girl interrupted sixth sense mastersource tv cred include ally mcbeal buffy vampire slayer er friends ferrari proactive seeking new talent found lot writers reviews los angeles based magazine music connection offers took ads also still read every issue demo con cert reviews \ufb01 nd many talented artists right backyard taxi independent ar company also theyve found great things us dont want discourage people following dreams pursing major record deals concludes ferrari internet everything else major label deal isnt endall used filmtv growing channels shows music intensive ever networking strategy songwriterartists want venture world music film television create two mix es material one without vocals way scene calls music dialogue option radio salvation major radio never amenable independent emerging artists back early days rock n roll labyrinthine system payola place assure chapter modern music businessnetworking strategies new music business select records would played radio limitations imposed today consolidation airwaves one monolithic corporation clear channel airwaves free belong people severely regulated federal decrees fcc fact radio integral component expose new artists fans uplift local acts regional national levels accordingly extremely dif\ufb01 cult obtain signi\ufb01 cant airplay independent artists successful radio promotion revolves around making managing relationshipswho know know making right contacts presenting right pitch designing best spin convince station playing music radio pro motion therefore art demands certain style artists neither desire cultivate true speci\ufb01 c artists fugazi phish achieved monumental record sales without radio exceptions probably cant alone radio area need enroll assistance expert someone manager speci\ufb01 cally responsible radio promo tion therefore may time hire independent radio promotion company best way get interest indie release still one real success story one market still lot labels particularly universal atlantic always checking bds soundscan looking potential pickups says sean ross vp music programming edison media research former editor chief billboards radio magazine airplay monitor even spins week two one chart reporting station least get record lis tened somebody major label ar outset youre better building base one market staying touch gatekeepers market absence organic story youre prob ably going get putting promoters record airplay given promoter guarantee record stations good enough relation ship get anything air thats enough put spins board perhaps probably nights probably enough propel record signi\ufb01 cant activity says ross generally acknowledged radio promotion aligned career moves merchan dising touring common sense might dictate artist doesnt need promoter record going distributed way otherwise lis tening audience cannot buy record defeating entire purpose generating airplay radio promoter bryan farrish believes cds conventional stores irrelevant advise people forget brick mortar sell gigs says farrish getting physical store much work amount sell youll one good gig year distribution go shows sell ten cds \ufb01 tshirts pocket cash plus whatever gig pays people reading might think radio need stores theyre trying emulate label works things dont want emulatechapter modern music businessnetworking strategies new music business joel denver president access promotions background onair personality music director editor rr agrees terrible go garner airplay spend time effort distribution dont youre going sell anything especially brick mortar level also important goodlooking web site lot bells whistles something thats clean operates well keep simple stupid make sure audiences \ufb01 nd songs youre going sell make payable credit card paypal idea make good experience person visit ing site listening music consolidation major radio advent clear channel ownership might seem opportunities airplay indie artists evaporating bryan farrish doesnt see way consolidation moot point everyone reading going affect anyone stations never accessible like something changed thirty years ago indie artists wouldnt getting station joel denver also sees glass half full think theres abundant amount opportunity consolidation major labels provides great opportunities smaller labels pitch product send music via internet although lot program directors playing safe also plenty want play new things test shows key marketing new acts radio explains farrish many markets something like indie hour play independent music program music directors reached sent music communication followed something indie radio pro moter excels reached phone dif\ufb01 cult college maybe expect one two spins get big stations charts shows relationships quali\ufb01 ed independent pro moter bring ultimately supreme value also artist band foster main tain alliances joel denver shares example music director lot years deal ings promoters remember program director staging concerts needing band \ufb01 relationship band town got cartage money per diem open show cultivate relationship band band goes something thats shit youve got feel good helping band theyll good door swing ways work local band winwin satellite public internet radio satellite radio may change instead adver tising subscribers pay fee unlimited listening channels occupy niches specialized pro grammingworld music hardcore punk hawaiian musicevery conceivable style artist patti witten experienced successful power indie promotion think future aaa diy artists like publiccommunity radio stations whose mainstay npr pri programming chapter modern music businessnetworking strategies new music business right demographic reach lis teners seek alternatives mcclear channel ilk want heard world cafe sounds eclectic weekend edition sales spikes huge features npr especially presence amazon digital download sites satellite stations also good market us indie promoters spe cialize succeed markets \ufb01 nd \ufb02 ooded queries diyers like major metropolitan center public radio proven taste maker west coast station kcrw reaches relatively small radio audience however audience reaches test marketers refer multiplierslisteners hear song artist spread word take artist next level \ufb01 lm directors music supervisors journalists tiny station based city college santa monica in\ufb02 uence music heard billions listeners movies television shows worldwide streaming internet radio syndicated show sounds eclectic cd compilation name stations sponsorship events los angeles san francisco new york kcrws image belies origins basement santa monica city college city angels eyepopping big screen ads laemelle movie theaters advertise cinemagoing avantgarde policy kcrw proudly open door music director nic harcourt esti mates station receives maybe cds per week although tiny fraction ever make air literally everything comes heardchris thomas acoustic essence returning weekend joshua tree singersong writer duo chris thomas greeted multiple phone messages excited friends heard one songs onair kcrwfm news pair whose ep vista street sessions passed mutual friend stations music director nic harcourt in\ufb02 uential dj programmed show eventually included nprs syndicated sounds eclectic introduced national audience rustic realness chris thomas chris anderson memphis tennessee thomas hien munich germany connected via transatlantic bond island hopping greece anderson soon student liverpool institute performing arts lipa england \ufb01 rst met friend hiens connected two long distance eventually hien came visit anderson recounts initial sighting future partner liverpool train station cowboy hat john lennon pinstriped beige blue suit python skin boots sun glasses big metal briefcase time hien enrolled lipa lived anderson group student musicians chris thomas discovered shared af\ufb01 nity english folk music john renbourn sandy denny bert jansch \ufb01 rst major coventure multimedia teaming local art maven devised cook au van whereby would tool across europe truck converted cookingeating space invite celebrities like bill drummond klf jarvis cocker pulp onboard create dinners chapter modern music businessnetworking strategies new music business videotape proceedings anderson behind camera stayed england edit shop project meanwhile hien relocated los angeles knocked around commercial songwriting scene anderson attended art school devon england eventually two reconvened time hollywood year locked house writing playinga great year creative reminisces hien document songs prepare arrange ments recorded live guitars banjo mandolin occasional creaking kitchen chair singersongwriter alexi murdoch heard homespun sounds invited chris thomas open show hip hollywood venue hotel cafe never performed live duo chris thomas prepared playing open mic la club actually took mic single akg condenser gathered around like modern day carter family additional ampli\ufb01 cation simple presentation underscored honesty songs recalls hien thought audience would hate vulnerable music got done really quiet huge applause wow man naturalness remains duos matic line thats seems confers anderson feels like music doesnt belong usits almost automatic boosted alexi murdoch show aided harcourts continued airing music kcrw chris thomas demand presented unadorned art growing audience \ufb01 rst two months didnt book gigs notes anderson called us since signed major management \ufb01 elding multiple label offers \ufb01 rst fulllength album also placed song documentary set screen european cities friend hiens anderson met greek island mykonos passed chris thomas cd nic harcourt serendipity perhaps success duo testimony music illu minated purity conviction appealing sound vista street sessions rare gem exquisite song craft intimate understated performances magical blend two singers breathing together one voice music like friendship says chris effortless af\ufb01 rms thomas music publishing way songwriters doubt familiar term unsolicited material best way make contact publisher anyone else industry mat ter direct referral attorney another songwriter representative ascap bmi sesac two key songwriting events mentioned elsewhere book west coast songwriters association conference durango songwriters expo present unprecedented opportunities comfortable supportive environments music publishers willingness connect songwriters controlled situations mean may pitched contacting company \ufb01 rst know types music publish recent credits strengths lie chapter modern music businessnetworking strategies new music business listen whether theyre accepting material order determine might \ufb01 important understand songwritingpublishing terminology know sync license mechani cal constitutes copyright meaning reversion clause aware declare pub lisher want sell songs youve given away amateur songs never sold published covered collected days selling songs thankfully ended decades ago educate business reading music money success jeff todd brabec craft business songwriting john braheny bigger publishers generally deal artists already signed major record deals sign songwriters interested writerproduc ers especially already attained cuts publishing deal make desirable collaborator publishers often make cowriting matches even youre signed major publisher youll still expected hustle outlets songs contacts viable outlets new songs \ufb01 lm television networking strategy songwriters days unattached writer single song long songwriting political proposition look billboard charts youll observe virtually songs top positions cowritten right music publisher integral part songwriting successproof someone believes songsmajor indie labels enthusiasm wonderful quality imagine running friend band hearing proclaim following hey man come check gig capitol records comin interesting notion entire capitol tower coming wont room anyone else club reality individual coming hear band hes currently employed capitol records guess may next week steady employment music business volatile proposition therefore imperative comprehend credo relationships never companies rather relationships individuals working companies ive known many artists championed ar executive signed company six months later hed exited company art ist orphaned champion advocate lead project shelved never released point artist choice either sit contract repay advances recording costsa expensive proposition ive stated book change good example ar person interested probably moving better position another company youll contact may better around dominance major labels clearly coming conclusion indie labelsfreethinking companies often chapter modern music businessnetworking strategies new music business started shoestring propelled forward strength musicare creative center \ufb02 edgling \ufb01 rms partnerships international power houses complete circle like great companies pastatlantic vanguard asylum motownpower returned strength music music biz marionettes pulls strings infants squalling away cribs mommy comes picks us makes everything ok adults learn solve problems create realities quell sobbing maybe music business aspirants never move beyond infantile phase thinking performing substandard backwater venues recording endless demos imagining somehow somewhere powerful music industry executive sweep lift \ufb02 stratospheres fame mythologies show business rich enticing tales theyre \ufb01 ctional era one hoping get foothold multibillion dollar record business prove themselveslocally region ally internationallywith compelling music undeniable career trajectory equally true aspiring record company management music publishing executives one comes nowhere direct line energetic college student books shows university tireless volunteer local songwriter organization band drive hours per form minute opening slot intern takes initiative artist wont wait venue call back create success recently helped college student acquaintance mine land intern gig record company second week called complaining hed yet done anything even remotely musical carried boxes around whats boxes queried hey one starts top late composer henry mancini quoted advising dont music business music business youve sold one cd gig congratulations youre validation art validates creator many times aspiring needy recording artists songwriters make contact industry simply need heard often even pursuing real music business career per se wrestled musical cre ation depths psyche want someone else hear like sonic mirror need grati\ufb01 cation re\ufb02 ection someone wants spend money try get music business believe someone take doesnt matter much spend however dont goods wont progress fur ther ive watched artists supporters given immeasurable sums money demo submission services socalled music business insiders questionable lawyers overbilling public relations \ufb01 rms none chapter modern music businessnetworking strategies new music business dollars spent goodexcept course recipients bank account cannot buy way business american idolization england years back took note television show pop idols featuring competition singers winner determined votes immense television audience students lipahipper hip musiciansdespised concept mesmerized potential cross marketing could achieved surprised us version american idol became smash hit types shows nothing new major bowles amateur hour american idol day star search also audience entertainment standpoint shows hoot confess guilty pleasure well buffoonery aspect \ufb01 rst hook prelimi nary round audiences like see someone act dumber uk explained audi ences always root underdogthe singer speech impediment vocalist doesnt svelte shape others true degree us well overweight teddy bear single mother nerd turned glamour boy found fame shows given voice screaming school vocal histrionics every note sung divided interminable syllables wrung dry ohio watching american idol show parents house mother passed room observed shrieking contestant competing \ufb01 nals dont know shes good commented mother sure loud show embodies multiple layers classic enter tainment funny humor built cruelty laughing deluded thinking talent early auditions pathos ragstoriches stories cinderellalike transformations winning contestants geeks gods goddesses least audience par ticipation emotional connections voting phoneins truth found fame showwith notable exception one william hunghave working craft young lives wellseasoned professionals fanatical devotion craft unerring instincts toward art alluring fantasy may seem one comes nowhere britney spears christina aguilera justin timberlake mouseketeers children grew business line called entertainers musicians songwriters experience choice callingthe undeniable need expression music performance hardwired dominant thread fabric existence identity something happens pm televisionchapter modern music businessnetworking strategies new music business summary cd sales simply one facet emerging multi platform media market music science would scrutinized analyzed dominated corporations nothing succeeds like sound honest music succeed honest others mediumpersonalities pluschapter chapter examines importance personalities ill suggest speci\ufb01 c ways gauge strengths possible weaknesses ill begin shared attributes successful music biz practitioners ten successful attributes music biz professionals talent explained introduction book every persuasive trick book wont help goods talent incredibly lucky people born us lifelong pursuit develop musical talent eitherit may talent sales convincing oth ers offering support clarity training education singers songwriters band members fairly self evident always bene\ufb01 lessons networking strategies new music business onthejob experiences especially hanging pro\ufb01 cient youre inclined business side things creed applies reading business youre \ufb01 rst fundamental rule panel recently la college senior member ar staff major record label many read billboard every week queried room paltry third attendance raised hands noted want music business dont read publication every single executive reads billboard email journals hits magazine available online dont computer use one local library browse librarys magazines simply go local borders barnes noble bookstore stand magazine counter read ask leave educat ing period time youll begin draw correlation executives events demys tify multilevel interconnected business universities colleges offer classes music business although often tell students didnt advantage educational years formed bands bought vans went road moved nashville new york la teach ing learning environment like liverpool institute performing arts uk cal poly pomona southern california welcome af\ufb01 rmation yes real academic pursuit always real value situation human contacts make big personality personality bears resemblance talent us born others take longer develop entertainment business absolutely \ufb01 lled individuals large personalitiesquirky offbeat entertaining relegate domain personal strongly in\ufb02 uenced levels con\ufb01 dence strong personality often mirrors high degree self con\ufb01 dence necessary enter room like bull charging ring buttonhole everyone attendance dominate proceedings winning personality ability draw others positive outlook ive believe ability positive people determine outcome destinies strength convictions winning attitudes ill reiterate belief positive thoughts energies attract positive results enthusiasm simply bluster hype honest result something share others feel absolutely essential much telephone time journalist taken speaking publicists call pitches clients tell enthusiasm real simply hourly billing much words intentions energies behind music people sixth sense instances publicist ask listen client promise music absolutely affect chapter personalities plusnetworking strategies new music business hopefully thats true music doesnt affect ploy wont work entertainment value youre entertainment business doesnt make sense must also provide entertainment speak interact shared thought panel recent songwriter confab greeted derision fellow panelist somewhat curmudgeon might add wearing irides cent green shirt multicolored mardi gras beads acquired local wine tasting event out\ufb01 made point remainder day highly identi\ufb01 able anyone wanted seek entertainment limited inperson effect chapter telephone email talk importance giving good phone lives businesses transmit power entertainment must intrinsic performance value called playing roleits lawyer courtroom determines dynamic minister pulpit makes police of\ufb01 cer \ufb01 gure authority desire determination put desire determination together believe theyre interrelated desire wish craving longing determination \ufb01 rmness purpose resolve haircutter armando full intriguing insights born raised los angeles recently observed takes guys weird small towns come hollywood kick ass found interesting number levels hes right seem disproportionate number success stories emanate transplants middle country kid resented fact born middle ohio realize fact helped provide determination focus career didnt music art scene friends invented one created venues music performance inclinations bonded us yes viewed outsiders alienation found outlet art getting lima ohio beginning understood couldnt make living would leave sanctuary loving fam ily \ufb02 nest live poverty strange cities road leaving home propelled fueled energy day rarely anyone lucky enough stay comfort zone especially beginning career commitment timing people sometimes say dont make year im going something different oh boy think happen career someone states objective constructed around time constraints time relative \ufb02 exible continuum careers although invent goals look toward mile stones attempting align time grid selfdefeating proposition stated onset book cannot make things happen put position things happen may take years decades chapter personalities plusnetworking strategies new music business even time entire career music life live creating working chooses us give dreaded something fall back negating undermining deter mination sure might step back access situation open eyes new possibilities create variations theme commitment total cant expect others reactions art work percent either create opportunities spoon fed music business guarantee person elevate walk successful career path trained virtually every powerful manager agent promoter business began humble ground promoting local shows handling beginning artists booking high schools colleges local shows dont say im thinking im consider ing im wondering us succeed music business options always forever understand permit emotion overtake logic college professor told better chance winning lottery getting record deal admit ted dejected music business student oh great need another cynical academic de\ufb02 ating dreams student shame teacher spouting drivel hed said bruce springsteen michael stipe andre big boi outkast talking apples oranges simply relationship winning game chance building career point major record label would interested artist discussed throughout book majorlabel deal may even best road enterprising creative artist particularly historic time independent artists emerging new power brokers speaking record deals friend mine recently two labels regularly coming shows interested signing attempted play two compa nies ante speak ended alienating labels attempting determine company sign based analytical mind breaking advances percentages contract details paying attention emotional commitment offered earnest ar man genuinely believed power music lawyers managers paid well analytical understanding business course prerequisite dont permit logic derail heart soul truly logical normal wouldnt even music business would negative notions know well naysayers pessimists prophets doom gloom ar people wouldnt know good song bit em butt record companies crooks gangsters commercial music bullshit negativity tellingly potent force often manifests character traits including chapter personalities plusnetworking strategies new music business selfdoubt lack selfworth low selfesteem also highly contagious allow negative people power de\ufb02 ate us bring us levelin short make us feel bad longtime player bristle hear putdowns music industry want enter telling business ive devoted majority life sham con dark netherworld shady characters disreputable operators im also keenly aware selfdefense mechanism used doubt abilities bother succeed industry thats shithouse theyre projecting sense doom entire business music life optimists much suc cessful reaching career heights much power selfful\ufb01 lling prophecythose expect succeed attendant human factor positive energy attracts positivity positive people attract others course essential business built buzz fueled energy eternal promise next big thing savvy business people clamber get train thats already rolling since music businesses supports interactive quest attach others service success even scienti\ufb01 c evidence proving opti mists live longer productive lives experience less illness mental physical achieve far pessimists optimistic frame mind modulates nervous system study \ufb01 rstyear law students ucla showed optimists higher lev els disease\ufb01 ghting killer cells blood pessimists planning course action keep mind always easier change way think world change world put asked critique selfpenned bio new acoustic duo included phrase age negligible overproduced music advised edit line since clear theyd superimposed prejudices opinions piece uplifting music making shine comparison others also might pitch ing executives signed produced promoted negligible overproduced music passing judgment music dicey proposition students music schools make grave pro nouncements based prejudices gently remind musicians arent ones buying recordsits general public pop music speci\ufb01 cally seems raise hackles course sells students detest british students detest american country sure certain styles music speak us others dont music people essential open forms expression hear form music thats unfamiliar begin analyzing reference points performers look like chapter personalities plusnetworking strategies new music business audience connecting pointsfor example fashion politics lifestyles roughly two decades hiphop music estimated annual cd sales billion sur rounding culture become indomitable force occasion ive heard harsh judgments made rap hiphopthats music one kinder pronouncements judgments serve diminish opinion speaker also makes wonder dislike black music black people recall disco sucks craze late burning donna summer records hate relentless beat dislike danc ing discos whether teen pop tuvan throatsinging contend something learned every form music often projected harsh negative judgments closed mind jealousy someone says hate rap music appalled put words hate music one sentence individual would choose work negative positive order break essential eliminate negative people life ok maybe mem bers family even spouse partner case must acknowledge eliminate negative in\ufb02 uence children programmed speci\ufb01 c often unintentional ways families recon\ufb01 gure patterns thought \ufb01 rst essential identify traits amplify negativity working music industry position required interaction large staff one key employees would invariably attend planning meetings scowl face would begin every sentence phrase problem whether planning show conference publication event one dark cloud hovering conference table always predicting dire outcome events yet transpired remember rushing backstage one shows remark ing great show complaint ive heard far stopped taken aback dont want hear criticism asked applause still ringing hall insisted probably guess outcome history company cutbacks made restruc turing announced \ufb01 rst one let go collaborative relationships value team member thinks potential liabilities one wants exist constant onslaught relentless negativity one wants hear managing artists would sometimes encounter music business colleagues intent tossing wet blanket proceedings whats guy manage often beginning would take note didnt call name would indicate preliminary meetings speci\ufb01 c record label would hear oh com pany theyre lot problems arent simple negativitychapter personalities plusnetworking strategies new music business find reasons feel good im inveterate listmaker yearly monthly weekly daily plans action proverbial small stuff often fuels vital daytoday operations something everyday music business career research internet reading billboard library watching observing videos mak ing calls going hear music plans intentional charted much better course action check items youve accomplished addition made progressive steps forward career also achieved something thats reason pat back remember small victories accomplish ments add time use time effectively pick prime time prioritize tasks asking accomplishing help get want \ufb01 ten years visualize success exercise used teaching liverpool institute performing arts stands mind room full students asked one young man wanted accomplish career id like make enough money buy house answer would house cottage lane dimensions house upstairs stairs color door red door went list suddenly ephemeral house visualizing began take shape mind way moving hed built imagination network people respect observe traits throughout book ive emphasized value mak ing others feel good conducted oncamera interview legendary rb powerhouse vocalist patti labelle \ufb01 rst words introduction compliment sport coat reached felt sleeve small act sure one spoke immeasurably interest kindness others fortunate come guid ance powerful music business mentors respect others feelings vital trait im reminded successful people doubts fears struggles natural feel way face daunting odds taking music mar ketplace value aligning supportive network caring friends colleagues cannot emphasized unless crystal ball may know contacts ultimately arrive rest assured youre around strong upbeat positive people likely already way formidable desti nations hopefully smooth road week moderated hit songwriter panel hollywood diy convention formidable panel assembled bmi guests including chad hugo one half multiple chapter personalities plusnetworking strategies new music business grammy awardwinning writing production duo neptunes conclusion allotted time opened room questions attendees one young man strode mic announced im give cd chad hugo neptunes chad explained legal rami\ufb01 cations possible accept material youre probably familiar scenario unknown songwriter claims song stolen famous artist undoubtedly cases proven entirely without merit must proven every instance access record labels recording artists producers songwriters accept material unknown source run risk open ing future legal liability course successful recipient greater probability might occur successful income gen erating songs ever deemed stolen hence famous unsolicited material credo legal challenges secondary telling action young man mind deduced quickest way top via someone already pointed needed \ufb01 nd next chad hugo neptunes matrix jimmy jam terry lewis indignantly countered proclamation like cadillac want fastest smoothest ride thats neptunes oh simple one make famous sail considerable coattails launch career course neptunes craft tracks would amazing mercantile world neptures reportedly earn hundreds thousands dollars creating track fees gladly paid record companies label ar staff publishers managers surrounded immense support staff two songwriterproducers pulling talented artists pool making stars entire creative mechanism myths fallacy myth misconception think quickest way success others already since ive interviewed bestknown songwriterproducers business ill aspiring songwriters ask could give cd insert one matrix glen ballard jimmy jam terry lewis say first understand role pantheon music business im journalist interviewer suddenly start whipping demos press kits wouldnt business long would also id staking reputation materials presented play present music anyone impor tance nothing left chance talents undeniable ive publicists rave clients music arrives subpar result never trust persons judgment would certainly less likely listen anything sent future matter chapter personalities plusnetworking strategies new music business cold hearted reality business time wasted listening inadequate badly conceived music time lost never regained plus depressing ever played anything lumi naries mentioned yes track new artist ended included \ufb01 lm years self protection reputation assurance anything present future similar sterling quality reinvention talented people often distinct disad vantage recognizing sets us apart crowd wake morning stare dishev eled image mirror go daily lives creating magicliterally conjuring something nothing music art often easy overlook incredible abilities weve bestowed sometimes takes someone outside sphere make us realize gifted lucky really earlier book referenced career progression cities decades vocations music always core refer evolution rein vention learning reinvent prime ingredient longevity every stage life needs changing children aspiring musicians performers probably motivated perceived status glory stars observed popular media burning need communicate drives many musicians become songwriters feeling powerless motivates many songwriters become producers dis satisfaction way music business run may inspire record producer become record executive reinvention works natural pro gression steps business well aware time move beyond playing bands writing songs couldnt continue wished venues repeated opportuni ties dried time ticked away knew time change nothing stays sameeither career mov ing moving know bands stayed steady course waiting record deal never comes continue make exactly moves play venues ultimately burn audience one wants go place things year year human nature requires stimulation old old allegedly albert einstein said thing expecting different result mark insanity certainly truth state ment music industry becomes wary time business marked newest freshest hippest artists arent perceived adjectives attached suffer time chapter personalities plusnetworking strategies new music business example wellknown los angeles band residency one citys in\ufb02 u ential clubs even though ar reps would come see group play year consensus good hadnt signed interesting reality often easier sign artist deal theyve already deal words even theyve dropped cred ibility proven enterprising record label may willing take change would new unproven act similarly often easier song recorded history previous recordings speak herd mentality music indus try creating invention real world would concoct something one ever seen music business trend connects rush duplicate initial successes shoe gazing emo rock bands lithesome pop singers recently jailed hiphop felons \ufb02 agwaving country acts public bought something buy herein lies another paradox pop music savvy combination fresh familiar summary discouragement fact life endeav ors ive witnessed multitudes people longer navigate treacherous currents music business choose make lives elsewhere good creates opportunities rest us im einstein heres another theory cant get business youre words youre really business dont give full commitment need stability life steady pay check odds wont entertainment industry especially early stages career business walk path also clear brush pave well thats much normal people youre normal family tell making living crazy business need something fall back youre energetic goal oriented create opportunities strongest resource fallback position song something believe singersong writer shawn mullins says dont let pass someday youll wake asking sat desk sucking corporate breast music soul show pathchapter personalities pluschapter true tales chapter examines various truelife scenarios youll venture behind velvet rope view underpin nings music business participants dont prior presenting twohour networking music business seminar popular california music conference ran old acquaintance hall way uttering single word greeting thrust \ufb02 yer promoting upcoming show hands would come see speak today informed breathlessly know ive got network ing thing oh good meant could use anonymously course example lecture afternoon combination in\ufb02 ated ego sense insecurity volatile combo one quite common entertainment business purposes lets examine simple dynamics conversation people seem think communication terms project come across others perceive exact opposite approach works best begin virtually every sentence word tiresome situation try beginning social interaction question like new projects working youre pro jecting query interest youve also served proverbial ball across imaginary net conversation partner concludes explanation recent endeavors probability ask youve got going turn making others feel important vital communi cation skill honestly listening others say asking questions move conversation along offering af\ufb01 rmations like must wonderful realizing project wonders impart warm glow truthful honestly care make work power heres interesting note verbal communication suppose friend romantic partner drops home following fun day recreation say thanks really good time examine emotional impact reply compared added signi\ufb01 cance variation thanks really good time youchapter true talesnetworking strategies new music business note difference youve connected emo tions pleasure presence another person youve included response easy way give added impact declaration addition word coulda shoulda woulda beginning songwriter \ufb01 rst experienc ing industry interest songs made common mistakei talked something happened cowriter song recorded major star day thrilled told everyone within hearing range coupfriends family audi ences gigs performing complete strangers parties time went encountered folks invariably would ask whats happening song time went artist changed producers labels direction song never released meanwhile credibility issues since big break id trumpeted proudly went bellyup heres categorical advice subject big brother used caution back ohio almost doesnt count anything horseshoes recording artists particularly nashville think noth ing putting hundred songs presented songwriters publishing companies hold sure may interested cutting also theory theyre taking good songsthose written writers may otherwise recorded chart competitorsout circulation song certain released artists typically record songs need given project calendar popular music little relationship real world artists \ufb01 lms television shows dropped songs replaced last possible second youve got one thing going obviously irons \ufb01 greater probability one turning red hot tired phrase waiting see dead giveaway nothing happening people going dont ever wait thanking others successes projects welcome sense humility example honor perform bene\ufb01 song recorded open show surrounded brilliance admit things dont turn without conveying rancor bitterness one likes sore loser keep mind successes endear us others willingness survive swells adversity persevere take hits get back upchapter true talesnetworking strategies new music business always crowing next big thing nothing materialize greatly damage credibility better enigmatic slightly mysterious overblown pretentious people really going dont tell better exude quiet con\ufb01 dence project bellow human bullhorn much better someone else speak positively huff puff emit endless clouds selfserving hype behalf given back ground sales public relations natural tout accomplishments talents friends colleagues turn im socially many close friends business return favor someone tells band amazing \ufb01 le away information little dumpster dubbed hype someone band tell saw amazing band last night intrigues especially trust persons judgment nothing effective marketing word mouth someone else speak behalf much effective blowing horn honestly believe promote friends theyll provided youve got going youre tag teams equally effective social situations chapter making contact speak value tricks remembering names course instances forget im socially music industry tagteam partner well discuss contingency beforehand dont introduce name \ufb01 rst seconds introduce ill explain unnamed party offer name know attend events others make sure share common agenda dont take romantic part ners business events given option id rather invite friend whose social skills trust devotee networking strategies one close business friends executive music publishing division major hollywood \ufb01 lm studio perspec tive business much market savvy bottomline dollars cents oftenquixotic outlook us weve got covered contrasts make us effective tag team socially also possesses acerbic sense humor doesnt take seriously sees big picture knows \ufb01 ts bridges a\ufb02 ame mention friend another reason coming world music publishing employed veteran music publisher business decades represented lucrative catalogs friend worked endless hours endured low man totem pole position rewarded monetarily work since boss extraordinarily cheap \ufb01 nally left company good terms considered writing letter chapter true talesnetworking strategies new music business boss telling indignities hed suffereda kissoff letter fortunately reconsidered couple years road music division one worlds largest \ufb01 lm studios looking executive called veteran publisher recommendation referred friend celebrity interviewer journalist often \ufb01 nd presence foremost hit makers american music meeting legends consummate thrill never lose sight need credible interview material earlier year bel air home quincy jones taping video segment commemorating anniversary performing rights organization ascap mr jones course one cele brated record producers history video crew set anticipation arrival maid served veg gies fruit salsa chips nice touch looked notes thought ahead would say introduced pop maestro although number possible scenarios ran head realized interaction would take course video producer brought mr jones corner room wed arranged set introduced us shook quincy jones hand looked straight eye said hey manhey man responded quincy jones amazing everything know experienced trenches music business distilled two words didnt prostrate mr jones feet tell inspiration profound honor meet instincts com manded remain casual relaxed mirroring energy felt emanating mr jones living los angeles unusual see brad pitt local eatery ben af\ufb02 eck porsche santa monica freeway beyonce shopping bling celebrity serious business business music ive found interview celebrities enjoy interviews never ask typical celebritydriven questions save supermarket tabloids concern inter views music creation clint eastwood metallica queen latifah brian wilson im reminded draws us together creative people us us ten strategies interacting celebrities sometime career meet people media consider celebrities always instincts guide communication skills level selfcon\ufb01 dence determine outcome contact following tips keep mind opportunity arises interact celebritieschapter true talesnetworking strategies new music business always keep mind theyre people acknowledging music contributions \ufb01 ne dont overdo know draw line fan make mistake celebrities love fans dont work themno autographs photos please respect physical space observe interac tions handlers managers publicists cues dont presumptuous careful age telling diva certain years listened little boy endear trust need initiate conversation ask general life questions opposed career questions example town show chance enjoy city know someone common excellent icebreaker always works well word caution however since human relationships volatile ever shifting make sure name drop someone artist still good relationship dont offer information havent asked current projects political opinions artisticmusical judgments never put pressure musical celebrity listen look anything keep doors open let know much enjoyed meeting hopefully youll see future would reach fresh since happened last night outside club hollywood interviewed hugely success ful songwriterproducer monthly event songwriters studio left venue accosted foyer aspiring singersongwriter offered dont want waste time im going want contact year get hold hit maker answered dan knows ask walked away making responsible hit maker gently de\ufb02 ected inquiry mention story another reason aspiring songwriter projected insecurity vague year dialogue therefore inquiry served real purpose foist hit writers face nanosecond knowing contact someone one arts must mastered business responsibility contacteein case hit writerto offer contact information finally offputting pretentious beginning songwriter assume multiplatinum grammy award chapter true talesnetworking strategies new music business winning legend would remember year nowlet alone want work needs recently lectured music business class well known california college next day received following email dear dan attended class last night talking stu dents afterward didnt want disturb im sending email instead life ive dreamed lyricist know takes make dreams come true class said youre writing web site one founders kenneth babyface edwards would please give attached lyrics put music thank talented lyricist following reply dear talented dont wish sound cold opinion mr edwards probably need whitney houston need either celine dion toni braxtonwhy first songwriter writes lyr ics need \ufb01 nd collaborators create music songs exist complete unit im far concerned issues dreams wonderful things indeed creative people share ability see beyond mundane limitations everyday life goals dreams deadlines establishing career music business need understand marketplace material realities seize control career succeed find acts artists coming require direction material instead looking fantasizing babyface look level \ufb01 nd next babyface timbaland diane warren attach people whose success pre dict indeed one buy overnight success mythology set disappointment exploita tion music business built relationships decades business every deal ive seen go result personal contact hard work dedication perseverance people skills never known anyone start top something else bothers shy come talk class came meet offer advice could make contact assertive enough make humble acquaintance intimidated would presence platinum hitmakerchapter true talesnetworking strategies new music business ive read lyrics agree potential youre selling short fantasizing relationship virtually unattainable babyface \ufb02 woodwork give check million dollars make famous wheremaybe even classis artist writer producer talent determination go way exactly needs best wishes dan kimpel look around mentioned response music professionals need become clairvoyant able ascertain encounter necessary ingredi ents go way align chance time someone becomes successful theyre far immersed career time think music professionals comfortable level aremajor producers work major talent hit songwriters write hit artists contacted songwriters convinced next faith hill single get theyll tell rule determines best songs get recorded masterful artists get signed record deals deserving among us long pro\ufb01 table careers certainly unknown songwriters also tools create stunning lyrics music enough simply skills access reputation necessary well thats entire book understand faith hill huge talent songwriters artists nashville pitch songs projects order unknown songwriters even faint hope getting song \ufb01 rst build career puts par wouldnt make sense artist magnitude would \ufb01 nest song crafters music business writing songs especially sixth sense music people \ufb01 nely tuned abilities recognize encourage future hit makers recall intrigu ing examples historyof young man living car street two years later sharing mansion lisa marie presley bag boy friendly customers local supermarket signed multirelease deal virgin records earnest young man washington dc hired sell ads music trade publication president successful record label relates primary creedthat cannot make things happen put position success take tremen dous determination force focus must exist beliefchapter true talesnetworking strategies new music business drugs music biz teaching series classes ill generally announce next days text declaration tomorrow well drugs alcohol usually met much applause young charges course dont plan turn hallowed halls learning willie nelsons tour bus speaking realities life musician certain substances bear discussion im certainly puritan regarding myths musical life imperative understand loom way success historically nothing robbed musical creators giftsand lives like drugs alcohol child actually ohio didnt get suntil observed hijinks beatles stones various tribes san francisco bay area seemingly throes psychedelic creation stunned losses brian jones jimi hendrix janis joplin jim morrison later suicide kurt cobain impact fans drug use affects everyone around fam ily friends fellow musicians music many musicians rite passage everyone moves intact judgments based strict professionalism level operate people need utterly dependable substance trait makes less make others less inclined work themmost music business professionals operated arena drugs alcohol accepted social ingredients ive heard implied certain cynics back day record labels actually preferred certain degree drug dependency artists made easier control therefore predictable always way millionselling artist perceived without substances different atten tion given new aspiring artist times change deduce career stalled substances take heart music cities narcotics alcoholics anonymous meetings terri\ufb01 c places network road john mayer reliability consistency trademarks successful musicians interview many rising artists im aware endure grammy award winner john mayer related rigors wake six morning show night sing morning tv show youve got rehearse song three times youre singing two songs youve got six songsactually eight songs morning including performance go radioanother \ufb01 songs every song sing theres jackass didnt set levels right youre bridge get international armswaving stop sign sorry john levels messed let hear beginning turns voice chopped liver mayer avows constant travel interviews early morning performances sap vocal subtlety leaving strident vocal tones chapter true talesnetworking strategies new music business cut mix exhaustion whirlwind underway mayer also concerned hes cursing loves mostsinging songs still \ufb01 nal time day sings song invariably favorite shares live audience play songs million times long front crowd wants hear pro claims instead dented microphone guy insists picking vocals guitar old rock business telling people cannot observe shambling dinosaurs make majorlabel contingent record business youll observe young teen stars mostly female signed increasingly younger ages even country musiclong bastion grizzled faces hatwearing journeymenis immune trends featuring strapping young men wouldnt place beefcake calendar much rise video marketing tool also demo graphics recorded music purchasing younger lets face new pop music much in\ufb02 uence teens moved subsequent stages lives say older audiences dont buy musicthey also buy concert tickets mer chandise record numbers older audiences resistant new music remain loyal artists grew listening way come often way per ceived even though need change career direction others perceptions us keep us pigeonholed limited following email communiqu\u00e9 addresses two concerns one reinvention another ageism dear dan ive professional music industry twenty years many us began performer songwriter developed another career worked successfully behindthe scenes capacity almost two decades later ive decided maybe gave easily allowed discouraged early coming year inten tion return writing songs performing im worried old advice would give behindthescenes betty following reply dear betty us know inside music business one key success words notori ously insular industry virtually impossible come outside make impact light two decades experience laudable given valuable access however one realities already established chapter true talesnetworking strategies new music business behindthescenes functionary become identity desire branch another area business may confusing around would think manager confessed actually wanted songwriter video stylist aspiring diva would credible yes another harsh reality business mature performers chilly climate one need turn mtv understand era surgically enhanced nymphets maturity necessarily advantage unless consider reincar nation given one life many teen stars today spent life business however many opportunities ful\ufb01 self artistically commercially songwriting example area counts power song songwriters required possess de\ufb01 nable type visual allure certain age fact vibrant pop singles recent memory penned writers well fourth even \ufb01 fth decades synergy power becoming involved careers emerging artists offering open windows music busi ness may viable way ful\ufb01 artistry need write perform satisfy creative soul certainly whether cof fee house church club dont throw arena kids half age dont con sumed envy eitheryour letter dictates creativity carve viable economic niche business would recommend continue apply creativity expanding reinventing enhancing career divining new outlets creative needs good luck dan kimpel critical crises drama queens honored study artist management ucla extension ken kragen time venerable wellrespected manager handling longtime client kenny rogers embarking co headlining tour canada dolly parton one night ken came class received call eve show informing elaborate stage set would shared two artists large \ufb01 \ufb01 rst venue production manager insisted ken \ufb02 north immediately assess rectify situation ken intention crises way resolving commented sure enough convened class following week ken shared somehow production manager made work kragen enunciated theory ignore crisis probably work years later could hear kens words echoing head even thunderous bluster manager mr big producer inches face snarling look either client goes stage chapter true talesnetworking strategies new music business leaving occasion award pre sentation hit songwriter historic hollywood theater invited mr big producer present award hed shown entourage included fashionably hirsute stereotypically overbearing manager songwriters publicist instructed mr big producer arrive earlier neces sary manager adamant mr big producer would wait around demanded change order show award presentation would happen middle show \ufb01 nale called publicist walkietalkie assessed situation disappeared lobby theater handle another situation sure enough poked head backstage half hour later hit songwriter mr big producer sitting jam ming acoustic guitars inventing impromptu song duet award presented everyone smiles story illustrates couple truths first manager paid commanding concern client often artists producers require one wield absolute power heavyhanded works managers whose agenda wellbeing clients second human element introduced socalled crisisthe musicthe interaction mr big producer hit songwriter smoothed situation music third publicist erred requesting early arrival mr big producer left recording ses sion speci\ufb01 cally event production time essence dont want important people hanging around waiting fourth ken kragen taught bluster drama removed situation everyone basically decent ten networking strategies dispelling crisis following list strategies dealing crises dont forced making immediate decisions take deep breath remain calm remove emotion equation think logically pragmatically whats right everyone dont think cover ing ass youre comfortable high voltage screaming dont forced take opposite tact speak softly aware people scream get way sometimes people need heard try saying exact words back let know youre listen ing someone screaming stage small might reply understand think stage small move monitors front stage reposition drums slide bass amp little left make work make allies adversaries chapter true talesnetworking strategies new music business avoid overstatements generalizations agitated conversation never always particularly offputting avoid confrontational poses dont challenge others physically excellent way bridging con\ufb02 ict another person query would like see happen remember none drama make single iota difference another hundred years treat everyone respect received breathless telephone pitch morning highpowered new york publicist requested interview client hit songwriter repute penned huge hits back day resur recting career via musical would interested pro\ufb01 ling article hesitated second wouldnt interested said let tell exactly rejected proposal \ufb01 rst came hollywood musician songwriter eager gain foothold music business much time money would volunteer nonpro\ufb01 music organizations work events could gain knowledge make contacts particularly glamorous workdriving across vast stretches thenunfamiliar los angeles delivering promotional materials music stores lugging sound equipment taking telephone calls every task asked enthusiasm energy later organizations budgets need additional staff hired back mornings telephone call publicist droned clients achievements could remember years ago invited speak event volunteer showed surly mood huge unexpected entourage tow nothing right mineral water wed provided wrong brand temperature hospitality room cold food salty treated us working event personal minions every pomp ous demand lorded us superiority one \ufb01 nal note historic meeting hall smoking signs posted everywhere member entourage lit cigarette subsequently asked extinguish grinding butt heel boot priceless mahogany \ufb02 oor chuckled amusement representative telephone pleading write distinct pleasure say thank agenda dont stay nights thinking wronged think energy wasted negative however play long game take story word caution dear readers never step toes connected ass may someday kisschapter true talesnetworking strategies new music business summary music business people dont disappear sim ply reinvent change positions trust relationships last much longer job acquire see folks way feel determine success ill conclude chapter quote one alltime favorite interview subjects says best ive learned people forget said people forget people never forget made feel dr maya angelouchapter making contact interaction intense dynamics two people together room huge corporations every conceivable piece technology video conferencing conference calls still prefer send executives halfway around world close deals reason nothing impact persontoperson interaction body language way stand sit makes immediate intui tive impression others look classroom full students instantly identify ones recep tive message resistant open body languagestanding arms side palms turned outwardre\ufb02 ects attitude receptiv ity crossed arms sitting crossed legs indicates resistancenetworking strategies new music business meeting others socially posture also projects feel youre club think people notice \ufb01 rst person standing tall straight one looks like wants crawl shell amazing something simple good posture make someone look tall slim important con\ufb01 dent con\ufb01 dent person one gets noticed right reasons children told walk book top heads practice good posture posture starts three activities every day sitting standing sleeping look mirror standing straight check areas prevent ing standing straight shoulders crouched head back bent straighten whatever slouching observe difference ears shoulders hips knees ankles make one straight line relax shoulders slightly bend kneesyou dont want look like robot major part maintaining proper posture reminding stand sit straight hardest part use little tips make sure dont cheat tell friends serve support system glad elbow youre caught slouching use postit notes put areas see daily medicine cabinet mirror rearview mirror computer monitor feel results keep looking difference good posture one see mir ror really visualize work done exercising often especially back abs staying disciplined reap great physical rewards good posture youll look thinner con\ufb01 dent youll reasons world stand tall proud good grooming telegraph way feel others physical presence good grooming espe cially critical anyone entertainment business poor hygiene bad breath dirty clothes transmit lowself esteem cares attitude men regular haircuts recommended subtle areas need ignored eyebrows bushy haircutter trim waxed local nail salon typically costs less make marked difference appear ance regular teeth cleaning must good dental health teeth stained dull might want consider bene\ufb01 ts whitening either overthecounter remedy like whitestrips better yet custommade tooth tray gel provided dentist beware overly white newscaster image though see plenty los angeles chapter making contactnetworking strategies new music business clothes horse comfortable social situation \ufb01 rst dress occasion wear clothes \ufb01 well appropriate event want feel good comfortable hard mingle con\ufb01 dence youre dressed inappropriately clothes ill\ufb01 tting given choice overdressed dressed event always preferable little slicker occasion calls rather perceived slob honored attend annual blacktie dinners presented ascap bmi honor top com posers songwriters \ufb01 lm community black tie means oldschool tuxes white shirts bow ties pop rb communities appropriate dress deemed creative black tie means ok augment traditional look number creative options ties hats jewelry ive also found formal black suit works well instead tux ever see guests dressed inappropriately highend beverly hills functions yes saw wellknown manager tshirt accepting award song year behalf client could wear whatever wanted regularly see another millionselling songwriter female wearing tuxedo tshirt recent dinner rock group metallica singersongwriter jackson browne honored noted dressed re\ufb02 ect pride felt milestone achievementsmusic business people tribal living hollywood ive learned let instincts tell im presence kindred spirits look unstud ied cool lot black leather retro vintage clothes jewelry tends toward severe metallic chains metal belts extreme hair colors come go facial hair styles mengoatees unshaven look soul patch spot hair lower lip extended sideburns serve purpose establishing cultural identity always recommend wearing conversation piece unusual jewelry lapel pin tie scarf distinctive objectto give others opportunity begin conversations people basically shy strange little tchotchke jacket may key unlocking dialogue unusual piece vintage might opening conversation beginning pro\ufb01 table relationship visual presentation trademark youre musician others able tell type music perform ever play note ups downs capitol tower iconic piece architecture known around world looming intersection hollywood vine capitol tower home nat king cole frank sinatra beatles beach boys enduring symbol hollywood recall interviewing roy lott presi dent label palatial conference room chapter making contactnetworking strategies new music business panoramic view engaging mr lott remember interview ride tower elevator elevator arrived successive \ufb02 oors instantly signaled depart ment way employees dressed fullon suits ties vests legal department business affairs edgy la hipster attire publicity edgier outr\u00e9 still ar unkempt casually disheveled overly caffeinated musicians course recording capitols fabled studios successive stop denizens revealed attire similarly dinner party recently distinguished whitehaired gentleman black wool turtleneck youre jazz guy stated way introduction tell reply yes instincts experience transmitted plus subconsciously read attitude energy creativ ity gentleman distinctive look emblematic jazz musicians wear music business professionals similarly transmits information us others example obvious attire tshirts names bands brands equipment events venues \ufb01 rst joined gym los angeles prerequisite liv ing assure would invariably work music biz tshirt others gym would begin conversations worked simple piece swag free merchandise invitation others interact know music publisher los angeles justin wilde whose company christmas holiday music dominates seasonal market always spot justin ascap membership meeting red white santa claus hat subtle gesture doubt type music deals alternative hiphop country individual looks tribal introduced another person make instant instinctive judgment us based factors relating looks therefore music busi ness environment us transmit correct information ten visual cues look consider following tips achieving right look identify appropriate tchotchke lapel pin something suitably subtle yet unique extreme looks work certain circles goal attract others terrify watch sex thing regularly attend music business conference mountainous western state nubile aspiring young female artists congregate attract attention ar reps la nashville youre music dont confuse issue wearing stage attire daytime would suitable lady night may well telegraph signal overstimulated males species casual mean dirty ask gay friends help chapter making contactnetworking strategies new music business watch source material including entertainment televi sion shows videos magazine layouts periodicals like gq details vibe let look mirror limit conservative drab business dont dull conservative make look entertaining learn colors work best youclothes like music need harmony conversation instigation researching subjects interview magazine arti cles videos in\ufb02 ight audio shows strive acquire picture whole person project record buying public audience full fans ive learned legendary trumpet player founder records herb alpert noted sculptor painter hit songwriterproducer glen ballard loves talk italy especially art cuisine leonard cohen zen buddhist heavyweight industry law yer donald passman trains dogs say love opposites attract draws us together people similarities come somewhere families spouses partners children pets homes human beings complete packages artistry music simply one part quite often direct result much larger picture meeting potential music industry contacts concentrate people perceive musicians business entities music people dont talk music time knack expressing interest others makes good conversationalist ability express thoughts feelings eloquently equally important including people present common sense proportion people speak equal division three people present one person dominates conversation conversationrather giving speech ten conversation leaders good conversationalist requires able ask questions well excellent listening skills leading questions ask without seeming pre sumptuous nosy originally like best living town many opportunities travel \ufb01 lm buff whats latest favorite movie listening know great restaurants part townchapter making contactnetworking strategies new music business gym go sports fan dog cat ask questions encourage person talk comment answers continue conversa tion four types comments make expanding tell sounds great time comparing sounds similar selfrevealing know mean similar situation last year clarifying exactly small talk sure effective icebreakers none less note didnt include questions music ill get soon enough spousespartners children reason anyone take offense feel like youre prying conversation like tennis ball volleyed back forth across net effective conver sationalists know keep conversation \ufb02 ying initiating considered positive trait asking advice sure\ufb01 way extend conver sation doesnt work try asking opinion remember proper followup response heartily agree argumentativesensitive areas music business conference northern california witnessed uneasy interaction one attendees asianamerican singersongwriter took understand able offense clueless music publisher quizzed nationality songwriter course answered terse im american americans come many shapes creeds colors many tired old phrase allamerican needs expunged modern vocabulary good sodenigrated political correctness rather correctness nationality ethnicity besides would publisher need know information simply songwriter publishers estimation asian features managing recording artist hawaii recall encountering rudeness one magazine editor said squinting press photos singer writes songs records answered know mean persisted editor listening session conference teamed major record executive one prominent record labels world evaluate live tal ent one artists dynamic woman considerable power room shaking conviction conclusion song exec asked married singer stood disbelief inappro priateness query entertainment business one smoke mirrors projected often image entire artist said cannot afford make chapter making contactnetworking strategies new music business assumptions others business based simply way appear us old saying goes assume makes ass u assumptions avoid anyone youre introduced coming contact variety personalities trademark business see however always get avoid making social gaffes based assumptions regarding l race l age l sexual preference l political af\ufb01 liation l musical likes dislikes l religion l marital status complimentary consideration often im conducting interviews common names come conversation interview writerproducer billy mann seen phenomenal success artists including jessica simpson josh groban many others referenced pinks guitar player friend rafael moreira raf amazing said soon conversation called rafael immediately let know billy spoken highly compliment removed doubly effective made rafael feel good also translated feelings billy meanwhile ill also bene\ufb01 passed positive message speak nice thought means share often tell person says others others say dont share negative stuff pass please never say anything negative person present one lesson almost learned hard way invited performing rights organiza tion major composer attended screening \ufb01 lm hed scored end credits rolled ghastly song almost obliterated mood picture song bad fact composer whispered performing rights organizations spokesperson sub sequently announced room composer wants know nothing choosing song later week lunch \ufb01 lm agent asked ever heard piece music \ufb01 lm bad couldnt imagine course began gleefully recounting story horri\ufb01 c song fortunately turned omitting crucial details wrote song demanded agent opened mouth respond suddenly saw songwriter malign rise next tablejust time avoid serious faux pas part similarly conversation shouldnt someone even group close friends someone talks bad another person public theyll probably bad mouth well matter tempted may pass along cutting comment join group talking badly another person dont doesnt re\ufb02 ect anyone make look bad chapter making contactnetworking strategies new music business rarely regrets said people speak easily often communicate much someone doesnt speak doesnt add party conversation best aim middle know listen carry many stories best told brie\ufb02 regrets expressed said ending conversation use exit lines need say hello need say goodbye exit line help say goodbye gracefully leave positive note dont strive cleverness sincere simply say nice talking good see hope see soon personal favorite im gonna go work room inclined shake hands goodbye place hand lightly persons shoulder convey sincerity remembering names ask room full participants seminar many problems remembering names im surprised majority raise hands one reason moment someone meet saying name generally shaking hand attention diverted away sound three strategies remembering names examine persons face discreetely intro duced locate unusual featureprominent ears precarious hairline projecting forehead caterpillarlike eyebrows etcand create association characteristic face name mind associate person someone know name perhaps associate rhyme image name persons face de\ufb01 ning feature infantile better dont share anyone else repeat individuals name immediately hear use often possible without obvious name unusual ask spelled comes appropriate exchange cards often hear see name likely sink also left persons com pany review name mind make notes surreptitiously notepad youre really working drop name remember reading review notes lecture music school accusing dropping names ok admit goes territory ive programmed music heard onboard powerful ruler free world interviewed virtually every major recording artist history american pop music lectured half decade college founded exbeatle still criticism hit home recall class lecturing welcoming probably using recognizable names prove credibil ity retrospect didnt need since id written textbook many name droppers believe asso ciated important people impressed theyre often gravely insecure achieve ments use others names add esteem chapter making contactnetworking strategies new music business scathing review ive become sensitive tendencies direction ill ask clive alanis avril aretha britney quincy business cards hightech digital world eco nomical ways networking passing business cards possible design order business cards online instances even cards made free whatever method business card communicate many things tips presenting proper picture l limit business hand card reads joe jones songwriter recording artist dog trainer fortune teller high colonic therapist lacks positive message commitment art impress recipient l simple good readability essential check business card design samples online local library tips examples l career requires move often con sider blank line hand write telephone number l keep fonts simple avoid really grotesque ones dont crowd information l include email web site info l refrain crossing numbers addresses get new cards information becomes obsolete dollars well spentthe best time pass card obviously someone asks otherwise offer easy message need reach rea son whatsoever nice lowkey statement similarly want someone elses card direct demanding whats best way reach excellent prod working room time youve invited music industry event youre sure meet movers shak ers youre descend pressurecooker environment imperative prepare mentally physically present best possible light working room variant art min gling blending given space containing groups socializing people becoming part action making transition background foreground intruder one us easy matter requires considerable \ufb01 nesse especially music circles timetested tips arrive early spend moments solitary time car relaxing preparing moment youre late danger giving negative frantic energy extra time locate parking elevators entrances restrooms escape routes advisable use extra time pump might begin af\ufb01 rmations belong im going upbeat charming huge part work ing room getting fear controlchapter making contactnetworking strategies new music business also review objectives evening whether seeing old friends likely making new contacts dont afraid talking prepa ration articulating intentions loud check pockets make sure necessary tools hand always interesting classy pen plenty fresh nondogeared business cards appropriate holder small notebook jot names details may need refer leave breath mints must also food served either toothpick \ufb02 oss stick used surrep titiously restroom course evening advisable nothing negate good impression like piece arugula sprouting teeth give time enter room \ufb01 ne wait striking conversation sometimes focused worst enemy often people afraid sticking like sore thumb easy learn alone comfortable assess dynamics room move around perimeter enjoy art buzz conversation take away pressure imagining one see another advantage early arrival opportunity meet host hostess enjoy food buffet gets mobbed need expend energies communicating rather scar\ufb01 ng free crab cakes aware reaction alcohol drink two helpful assuaging anxiety nothing detrimental creating good impression in\ufb02 uence demon liquor wine spritzerwine diluted soda water may good compromise pace prepare move finding someoneanyoneto talk goal crowdphobic people perceived needy cling \ufb01 rst person says hello great method working room seek people standing alone introduce \ufb01 nd attending event offer introduce someone might want meet remember walk room youre take people pick youre person gives easy others give return follow rule meeting greeting make eye contact someone within feet must acknowledge nod smile \ufb01 feet say somethinghello good evening dont pretend dont see learned next lesson hard way \ufb01 people conversation feel free join four people sure walk right three problem beware two people engrossed conversation unless know well never permissible intrude odds theyre discussing something private maybe even ever conversation one seems \ufb01 nd whatever shoulder interesting good listener chapter making contactnetworking strategies new music business important part great conversationalist dont let eyes wander person youre speak ing follow stare wry comment wanted see fascinating hidden opportunities one famous disadvantages living hills los angeles sometimes tumble case winter mountain mud surged street inevitable gravitydetermined path walked neighborhood survey ing damage came upon neighbor speaking couple recently relocated block introduced male member pair commented jean neighbor tells hear united airlines asserted yes frequently voice shows in\ufb02 ight entertain ment told im animation always need voices get cd ill see cool mountain mud shone window opportunity reminded singersongwriter friend mine beth thornley whose songs heard new dvd releases dawsons creek season roswell episodes chris isaak show new ride josh emily cbs \ufb01 lm must love book ruth tells serendipitous day ups delivered color printer door hadnt ordered called ups said isnt mine remembers could come back pick deliver person whose address around corner street said well charge shipping said ok ill take called rightful recipient came claim happened music supervisor roswell placement says thornley full year road thornley recalls would often encounter walking dog hed tell working also version eleanor rigby another show got canceled used burned cd asked could drop mailbox thus began tactic thornley stayed supervisors minds get done something nice ill burn cd drop mail keeps thoughts albums im working second album get one thing send taste music super visor gave idea close enough hand thought send everyone know granted thornley live entertainment capital point many things music world happen result simple chance human interactions ready receive recycle energy walking street angry muttering watery fate mired car beth thornley felt putupon chore opportunities would happened place become arena meeting others neutral environmentsairports waiting rooms onare perfect places practice pop people power nothing lose everything gain let instincts guide invent reason begin chapter making contactnetworking strategies new music business conversation see may lead could surprised often play game im waiting catch \ufb02 ights especially los angeles london new york nashville spot interesting person waiting area focus attention time right initiate conversation fascinating way pass time ive made innumerable contacts professional personal life airports practice makes perfect musicians study practice musical instru ments also rehearse networking chops practice open others may project ing accessibility become aware following communication came shortly conducted networking seminar part educa tional series local music store dear dan attended presentation west la music valley week half ago spoke brie\ufb02 afterwards ohio might enjoy feedback presentation one things said really stuck idea practicing networking chops exam ple used talking people elevators since night practice breaking icebut heres cool thing happening since started half time even initiate conversation person starts talk ing never happened life happened \ufb01 times last two weeks thing \ufb01 gure willingness speak person projects openness quality didnt used express im starting get sense process networking really snow balls thanks taking time schedule share experiences night im excited new unexplored skill im starting develop michael b true openness willingness com municate others felt never know ill sometimes re\ufb02 ect backwards hadnt gone party introduced person conver sation made followup call opportunity would never existed get nothing happens dont fine art studio hang place intriguing recording studio come megatracking rooms nashville new york somewhat disconcerting move los angeles \ufb01 nd recording chapter making contactnetworking strategies new music business sessions taking place renovated garages far reaches san fernando valley precursor come today studios anywherein home base ment unused bedroom even bus hanging studio however still timehonored tradition requires strict adherence protocol following tips proper studio etiquette never give opinion unless youre asked strict hierarchy studio producer charge service artist guest everyones best interests especially disturb chemistry producer knows exactly listening take often emotion versus technical perfection stay visually engaged recording come playback dont read check email act bored chemistry session situation supercharged depending artist volatile distractions negativity alter fragile emotional parameters pay attention everything trackingbe present look session learning experience take everything changes engineer mak ing mics placed producer going session dont set anything recording board equipmentever selfexplanatory drink spilled console could render price less piece gear inoperable liverpool institute performing arts lipa ive lectured maintain hard fast rule beverages kind permitted studio exception observed popping champagne bottle christen sir george martin studio fact sir george sipping bubbly made ok con\ufb02 icts arise make invisible making self invisible also comes handy dont distract recording personnel dont announce arrival departure rather slip room ascertain vibe \ufb01 rst slip unnoticed dont distract talent needless chatter vocalists notoriously temperamental loading opinions ideas suggestions could blow concentration nonverbal communication may strongest option positive supportive eye contact smile chapter making contactchapter telephone email cell phones computers blackberries portable digital devices send receive digital telephone communications whatever might developed time youve \ufb01 nished reading chapter mechanisms integrated networking strategy communication different methods communication work dif ferent individuals timing communication crucial access common scenario happens try communicate busy people dear dan recently met major music industry player kind enough give card ive calling of\ufb01 ce ever since havent able get hold receptionist keeps saying hes either meeting get keep calling puzzled pacomia ok easy dont keep calling change media calls dont work try email email doesnt work send fax fax doesnt work send card letter dif\ufb01 cult understand realities demands communicate speaking experience im writing deadline telephone call someone communicating matters hand usually unwanted intru sion times email preferable something respond terms time sometimes opposite trueim tired writing dont want read email would love stand computer could use distraction moments welcome calls something isnt working dont continue try bludgeon contacts simply try another avenue telephone next human contact telephone probably intimate method communication think youre right someones ear youre speaking sound project phone one element communication like networking strategies effective telephone communication chapter telephone emailnetworking strategies new music business determined ability read emotions thoughts person end line simply talking \ufb01 rst year los angeles struggled gain foothold music business needed \ufb01 nd ways pay rent telephone worksurveys sales solicitingwas time honored method mak ing money musicians struggling actors whereas coworkers resented jobs found fascinating learned much human nature way intimate communication many skills developed use day honed making thousands calls people initially desire speak wonderful training future ive never hesitated make outgoing call since sound actual sound make telephone well modulated pleasing ear take cues person youre speaking research indi cates talk little faster person youre conversing youll considered intelligent certainly challenge youre talking someone new york city try listening matching rhythms person end line eating drinking lip smacking close phone negative signalsre\ufb02 ections power true power brokers use telephone use timehonored trick mirrors within close proximity positioned see speaking remind smile tele phone try smile actually heard also project energy forcefulness telephone conver sation stand make call best times make calls music business tuesdays wednesdays thursdays preferably lunch effective make groups calls psyche frame mind youre making calls diluting energy breaking \ufb02 ow make business calls business hours receive call of\ufb01 ce weekends yes im often dont always answer telegraphs person making call parttimer cer tainly music business professional similarly im considering working prospective client call night weekends holidays makes want become involved tells wont respect privacy time begin telling callee purpose con tact let tell im calling always helpful heres situation another effective intro ill brief prepares contact knowledge going lengthy encounter need script callnot word word outline main points need include get right point four things discuss show chapter telephone emailnetworking strategies new music business recipient call youre organized ready business ya clich\u00e9 never precede conversation someone dont know well timehonored basic business rule make call responsibility end call person makes call always drivers seat many heavyduty executives make going calls telephone basics people enthralled sound names youll need address person youre speaking name approximately per minute hold atten tion dont talk people listen words emotions behind person youve contacted sounds harried harassed dead line sensitive ask future telephone appointment something like would good time us speak im calling touch base state ment never fails elicit response good one tells caller real information impart theyre probably trolling information theyre playing arcane game apparent reason desig nated base never call someone without something speci\ufb01 c say let know clearly purpose communication simply vague notion long time since spoke maybe theres reason youre calling touch base playing game make rulesand youre youre receiving incoming call importance move away computer wont tempted check email youre phone yes know multitasking world transmitting telltale clicking computer supposedly concentrating telephone conversation project insincerity also kill background music relegate rambunctious children another area dismiss yip ping dogs room making outgoing calls music biz execs key staff members de\ufb02 ect calls youll generally encounter gatekeeper opportunity outreach introduce ingrati ate key staff often access boss determined persuasive techniques subordinates dont try con bully wont work tell short version story explain brie\ufb02 exactly youre calling recep tionist working would often intervene behalf caller made repeated attempts get always heeded advice telephone tracking lists people call proven effective savvy networking folks list contacts spoken weekly b list biweekly contacts c list associates contacted monthly basis although invent reasons call people invariably works best basis chapter telephone emailnetworking strategies new music business fact saw article made think effective icebreaker helpful take notes conversations avoid repeating recall details speci\ufb01 c inter actions mega hollywood execs often assistant listening line cell phones antennas satan ever device invented conve nient yet utterly abused ubiquitous cell phone wont add chatter matter say ive cell phone many years possibly irritating \ufb01 rst got many folks currently witness course back novelty today everyone children drug dealers plugged chattering away usually clue lessly using cell phone longer impressive way unless incredibly new modern one used reason user immediately identi\ufb01 ed neophyte poseur new term absentpresent coined iden tify compulsive cell phone users phenomenon wherein individual physically far away conversation invariably throws sense com munication since isolated wired phones people work may call whenever however wish \ufb01 rst telephone contact someone calls via cell phone sets red \ufb02 ag instance receive call unknown party uses cell phone hours pm p assume theyre work ing straight job using lunch hour make personalor case allegedly professional calls thought process invariably distracts cant take seriously good \ufb01 rst impression give someone know passing calls cell phone surmise theyre circumstances need kill time using good afterthought tiny piece pro toplasm image face \ufb02 oat someones consciousness sometimes receive calls \ufb01 rst thing hear roaring traf\ufb01 c freeway called im getting call driver car immedi ate turnoff tells someone chosen jeopardize others lives sake con venience england japan talking phone driving punishable offense la cell phones even telephonestheyre radios sound crummy sonically oriented person irritating calls lost dropped nothing infuriates much someone calls nasty buzzy cell phone bellows drops call generally dont answer call back instead let voicemail pick also unless absolutely imperative wont make going calls numbers recognize cell phones unless absolutely necessary youre forced circumstances make outgo ing call option use chapter telephone emailnetworking strategies new music business cell phone please excuse immediately callee answers im sorry call cell asked contact noon way proceed call hopefully making brief brevity key elongated conversa tions cell strain tell someone calling cell arti\ufb01 cial way talkingthe dreaded cell yell signal weak speaking louder wont help unless course person actually within earshot however used effectively cell phone marvelous device representing band attempting quite unsuccessfully book local hot spot id sent press kit cd course unable contact booker person allimportant followup decided take immediate action one afternoon parked venues parking lot using cell phone made call club asked booker received hes available rebuff determined actually id dressed occasion music biz garb nice sport jacket industry tshirt wellbuffed shoes carried briefcase presented receptionist announced meeting booker sure enough quizzically ventured greet invited back of\ufb01 ce sat business ended booking band beginning lucrative longterm relationship happening club retrospect think booker might imag ined wed arranged meeting hed forgotten using types tactics get front individuals need get important motives mechanisms remain transparent id begun meeting guffawing hah fooled doubtful would able book band indeed may gotten booted door selling selling whether music cars getting buyer fundamental \ufb01 rst step case cell phone con\ufb01 rmed bookers presence cell phone etiquette avoid unfortunate confrontations others might want observe basic rules cell phone etiquette l think phone portable answering machine youre appropriate placea parked car outside restaurant etcyou return calls l simply must available caller put phone vibrate mode youre nonprivate place l practice speaking quiet conversational tone one looks way youre speaking cell phone youve got acceptable tone voice l forget vibrate phone rings nonprivate place turn instantly unobtrusively possible nobody suspect jerk responsible matter dont answerchapter telephone emailnetworking strategies new music business really want available time truly make productive spread productivity thinner time cell phone wonderful tool also leash cell phone conversations interfere persontoperson contact might otherwise enjoy random conversation might person wait ing line stranger might encounter interact instead supplanted impersonal access everyone email email \ufb01 nd world phone calls probably dropped volume half past couple years emails increased dramatically email never take place tele phone inperson contact terri\ufb01 c way keep touch business personal contacts checking email internet caf\u00e9 istanbul able secure valuable writing gig required make immediate response email cannot however transmit much emotion energy also humor may fall \ufb02 sarcasm almost impossible convey brief guidelines composing email messages l check youre sending email correct destination horror stories abound inadvertently sent email communica tions bosses enemies etc l watch funny jokes cute stories might send friends family place business ditto warn ings scams messages virus supposed devour everyones hard drives united states governments dismantling national public radio check wwwsnopescom urban folk tales \ufb01 rst l avoid attachments canbetter cut paste body email include thing recipient may able open l messages concise point think telephone conversation except typing instead speaking keep mind people receive hundreds email messages per day l something important re\ufb02 ected text punctuation dont use caps l quest save keystrokes users traded clarity confusion fyi btw ok dont overuse acronymswrite every thing else l use similar symbols aka emoticons sparingly l casual introductions probably bypass standard formalities use something like dear edward edward busi ness realm things much complicated situation need evaluated normally address person missmrs msmr address identically email l email address business address include title company name sig nature email world letterheads used always include telephone number somewhere email chapter telephone emailnetworking strategies new music business email conversation require immediate response hundred people send email one day wont talk think hellos goodbyes unnecessary chitchat youve avoided email deal essentials deal time thats blessing curse impersonal cold cannot transmit energy enthusiasm warmth like networking tool email simply one component much larger picture never supplant power oneonone commu nication support chapter coming ranks popular music often intent putting trying make known recognizable leave little air room breathing learned long ago powerful position come youre pitching someone requests thing much control might imagine managing artists ascertained would encounter immediate resistance tried push artists peoples faces heavyhanded agenda often opposite tacka soft sellworked far better describing artists handling non offputting terms showing press photo logo wearing merchandise tshirt artists image would questioned would explain short preengineered sound bite would invariably asked may get press kit cd id love hear youre tocreating effective tools tradenetworking strategies new music business press kits like music biz professionals get sixth sense artists presentation sometimes fact tell quality music even open envelope containing press kit first look envelope comes \ufb01 ngerprinted dirty dogeared odds music equally shambles addressed dear journalist good sign since magazines write change location often sender checked address mail ing arriving forwarding mail notice front signs look open package begin open note ease need machete tear lay ers tape holding envelope closed pull package inevitably recall enterprising recording artists packaged press kit handfuls glit ter subsequently embedded plush carpeting of\ufb01 ce discovered remnants presentation months always reminded love need tailormake press kit according youre sending ive heard managers record company ar personnel swear fancy press kit isnt necessary journalist appreci ate wellwritten bio succinct press clippings professional photoeither color black white suitable scanning inserting magazine nice touch downloadable highresolution photos web site wellkeep presentation envelope size standard interesting eyecatching color permissible music equally colorful also use standard \ufb01 rstclass mail nothing predisposes like band waiting interminable post of\ufb01 ce line pick mystery package requires signature keep mind post of\ufb01 ce box addresses accept ups fedex check mailing folder given moment identical stack black glossy folders sitting desk know whats well neither since nothing cover way identi\ufb01 cation without logo sticker something front folder recipient nary clue contains folder doesnt extravagant although color coordinating materials press kit display sense unity unity important concept grasp putting together press kit visual elements reinforce re\ufb02 ect music odds heard recipient reading enclosed materials cover letter cover letters short sweet point best advice professionallooking letterhead goodquality paper help achieve positive impression tell reader especially youre sending enclosed materials youre sending journalist let know youre hopeful review youre chapter creating effective tools tradenetworking strategies new music business sending club booker materials include information pursuant live show generic letter addressed dear sirmadam suf\ufb01 cient spell name person youre addressing sure render title correctly sure include contact information every piece material submit name address tele phone number email web site cd dvd fully produced cd doubt included presentation kit course depending youre submitting may want limit exposure ar record labels music pub lisher example three songs suf\ufb01 cient listener wants hear always request additional material good position \ufb02 edgling band artist video presentation great certain artists dicey proposition others tacky subpar performance video diminish viewers opinion band artist substantially however ive seen impressionistic arty videos mirror music effective like cd may necessary deluge contacts much infor mation video may want reserve support material linethe bio probably written artist bios career many times harried journalists cut corners appropriating exact words ive written bio article totally acceptable course create bios worksforhire fee dont maintain control leave computer maintain bio cement holds press kit together bio l create identity l de\ufb01 ne musical style l lead reader directly music recording artists songwriters performers pro ducers bene\ufb01 wellwritten bios send music bio picture usually \ufb01 rst request someone interested talents dont major credits bio spotlight personalities histo ries creative processes bio must honest truth also sound good possible never mistake hype substance key phrases eagerly anticipated critically acclaimed always set bs meter beware hackneyed clich\u00e9 imprecise metaphor goofy strained adjective unique means nothing joe jones brilliant artist doesnt show tells sue smith destined stardom lame offputting bio must lead reader conclusions telling reader feel think may lead exact opposite impression double check proper punctuation grammar spellingchapter creating effective tools tradenetworking strategies new music business stating style music artist creates bio necessity dont like pigeonholed complaint hear often young bands artists guess reason retail cd stores categories music otherwise buyers would never know look bio r\u00e9sum\u00e9 speci\ufb01 c information required certain format followed hard fast rules though things avoided bio stranger listening demo \ufb01 rst time holding hand make re\ufb02 ective artist creative wellwritten bio make listener want hear music even affect way someone lis tens causing listen little closely inclined give bene\ufb01 doubt one pet peeves reading artists bio includes something along lines susie stiletto combines sensitivity joni mitchell fused aggressive lyricism alanis morissette combined melodicism sheryl crow know feel artists dropping names compari son doesnt really tell anything susie stiletto shed certainly need mindblowing powerhouse artist rank comparison triumvirate include facts dont music instance may pertinent say ride horses songs horses written songs riding horses draw correlation horses music otherwise leave horses pasture information educational background work experience broken marriage prison term dysfunctional childhood referenced relates music youre artist probably know dif\ufb01 cult objective music career youd well advised ask local journalist write bio length usually one page youve got fasci nating history extremely well written one half twopage bio permissible standard rate los angeles involved writing processyou ask drafts rewrites journalist receive average major indie label press kits weekly singular bio style appropriate artists seeth ing pierced neopunk aggregation soothing cerebral newage artist cant possibly share metaphors bio must speak voice music following example bio luis villegas bio luis villegas label releases revealed unfolding artistry master guitarist composer casa villegas bajatsr marks debut producer dual life writing arranging songs \ufb01 guring instru ments use setting sessions booking studio says villegas bases covered night initial session id forgotten book musicians laughs chapter creating effective tools tradenetworking strategies new music business clear villegas tightknit com munity worldclass players ready challenge began twomonth recording pro cess villegas blistering nylonstring guitar forefront casa villegas marks breathtaking musical odyssey gritty streets city sunswept plazas spain across plains morocco ancient temples india middle eastern percussion indian tabla provide aural backdrop african bata drums mesh congas timbales wealth musical cultures rhythms east los angeles villegas birthplace fuel opening song bienvendos welcome latinjazz grooves whittier blvd two songs featuring vocals lyricistvocal ist jos\u00e9 garcia balance instrumental mixojos verdes inspired luiss daughter krista mujer enamorada dedicated wife gloria shes love life living luis says told jos\u00e9 write lyrics go hit nail head song album framed distinctive vignette didnt want limited live instru mentation explains luis used violin horn section keyboards additional guest vocalists sonic minimalism illustrated austere simplic ity recuerdos de jerz featuring \ufb02 amenco singer maria benjumeda jaleo song two guitars percussion recall golden period villegas spent spain feeling youre standing right front street musicians banks guadalquivir rivervillegas channels rhythmic physicality heart gentle samba groove informs brazilian magic inspired transcendent tex tu res ndi n usic ka utra co n j u res u p frenetic mystic whirlwind villegas guitar charlie bisharts violin new audiences introduced villegas via previous album spanish kiss bajatsr single la reyna landed smooth jazz play lists coast coast corresponding appearances high pro\ufb01 le f e v l n c l u n g h e c l n j z z r x f e v l playboy jazz festival sedona hot latin jazz festival sealed reputation blistering live performer tracks debut cd caf\u00e9 ol\u00e9 domo landed warner bros hbo sundance warren miller \ufb01 lms record heard guitar greats volumes ii bajatsr music spirit volumes ii iii domo tabu mondo flamenco narada lost found soundtrack capitol gypsy magic emivirgin h e v e r g r w n g b f w r k r e \ufb02 ects musical maturation guitarist composer producer themes mirror real life husband father although time creative geog raphy charted global compass music always comes home casa villegas photo photos newspapers magazines transmit ted electronically uses lowresolution shots \ufb01 ne magazines youll need highresolution chapter creating effective tools tradenetworking strategies new music business photo one shot ideal live pic ture band generate energy vibe also selection blackandwhite color shots speci\ufb01 c uses excellent calling card press kit however limit one de\ufb01 ning shot dont pose front branches trees appear grow head make sure shot conveys exact attitude music fullcourt press many types media one spe ci\ufb01 c regarding needs contacting member press need focused strategy currently performing press releases calendar notices print media sent well advance monthly publications need pertinent information two months advance publica tion date weekly publications need least two weeks dailies need least week advance many major publicists prefer work press concur rent tour youre compile press lists contacts city youre visiting con tact press well advance always follow story press always prefer angle cant something arti\ufb01 cial corny contrived national press extremely hard come wont good reader cant immediately go familiar web site retail outlet pick copy cd press cumulative get press interested youve got offer include cover letter state exactly youre sending information make sure person youre sending info still publication proper recipient info dont assume theyll pass materials line address cover letter dear journalist fea ture journalist columnist magazine predisposed assist anyone hasnt bothered homework sends materials use pro\ufb01 le review calendar listingall completely different functions magazine news paper learn address correctly email query editor good method journalists usually slammed deadlines subsequently quite disorganized major record labels often send duplicate materials email snail mail highresolution photos web site could make difference cov ered since journalistic decisions often made last possible second something else fallen creation magazine columns much less objective may appear decision use photo may made photo art director doesnt care sound like look like begin local press move accordingly necessaryin fact even considered unprofessionalto thank press unduly chapter creating effective tools tradenetworking strategies new music business job simple thanks nailed note always appreciated unless embarrassing glaring error piece requires retraction dont correct calling attention insigni\ufb01 cant detail might incorrect follow accordingly dont harass press yes rare cases wear keep desperation bay personal contacts recommendations still strongest suit world multiplicity images makes strongest impact ill read press item hear song national public radio friend tell new act often day credibility credits honed method streamline listening pro cess volume packages receive weekly first put aside obvious clunkers eg polka bands interpreting music police favorite patriotic songs etc next select releases artists love generally small pile assure look artists songwriters interest publications assorted elec tronic media outlets provide content ive sifted major label offerings im left independent releases prior knowledge listen music read onesheet slick sheet prepared especially retail bio scan liner notes inside cd cover looking names people recognize involved project though seeing names may make want listen sometimes names give information illustrate ive invented imaginary artist harry haze whose package ive opened heres tells album songs written harry haze produced harry haze published harry haze music songs performed harry haze guitar bass drums keyboards harry haze cover art harry haze liner notes harry haze harry thinks hes projecting world competent versatile creative im think ing harry haze must godawful prickan insufferable control freak cant \ufb01 nd anyone crazy enough work uhoh harry haze also included full insert tinyprinted text thank yous various celestial deities departed family members current wife exgirlfriend deceased pet gratitude lovely quality best saved commercial release demo opinion grandiose sentiments seem self serving offputting everything re\ufb02 ection music cheesy cover art often mirrors contained within words equally revealing vague selfaggrandizing terms prestigious longawaited eagerly anticipated acclaimed never fail rev bs also chapter creating effective tools tradenetworking strategies new music business please competent proofreader check printed materials cd covers glaring errors best packages often simple clean distinctive logo smart wellwritten bio readable eyecatching font hip revealing photo say much simply seeing artists name repeated ad in\ufb01 nitum dont wish sound negative jaded packages pile of\ufb01 ce eyes become ever critical im reminded project music world propelling artistry therewere essence cramming messages bottles ultimately wash journalistic shore shouldnt let incompetent presentation sink package man gorilla suit recall san era excess success unabashed consumerism prediy days record conglomer ates \ufb02 ourished perception order become successful recording artist one signed major label artists representatives would go unpar alleled lengths get attention record company ar reps showering gifts appearing unan nounced foyers singing capella devising extravagant presentation packages one favorite stories time concerns band desperate get attention one band members donned gorilla suit deliver package record company today dont recall name band music remem berand im sure poor ar guy didnt drive businessis gorilla suit yes important get peoples attention entertainment want people remember right reasons extreme strategies told story class students england amazed audacity managing artist af\ufb01 liated performing rights organization one exec particular believed would make tremendous ally since someone knew began making calls of\ufb01 ce set meeting client left repeated messages wasnt getting return call defense let interject employees pros tremendously challenged huge membership rostershundreds thousands af\ufb01 liates still needed hookup created relationship sympathetic assis tant called one morning didnt ask spoke whats day like asked replied hes meetings morning lunch appointment meetings afternoon casually asked restaurant hed dining lunch provided name wellknown sunset strip eatery needed hear afternoon paid bill restaurant cash reg ister guess happened run opportunity reintroduce client apologized calling back promised meet us next day case chance encounter appear chapter creating effective tools tradenetworking strategies new music business natural accidental otherwise may seemed stalkernot good thing another secret weapon utilize appropriate albeit small onemy fourpound chihuahua shelby lynne accompanied drop materials brief meetings one memo rable occasion backstage visit wellknown diva considering ghostwrite autobiogra phy didnt get gig dog wasnt \ufb02 ying blindthis singer wellknown pet advocate traveled worldwide pooch utilize extreme tactic sure goods otherwise youre danger burn ing bridge dont guy gorilla suit rejection rejection cold hard fact entertainment busi ness songwriters artists particular crushing demoralizing reality indeed often cited factor forces people entertain ment business good thing leaves room order successful level cant let rejection derail classic example beatles turned scores record labels one bestknown tales dif\ufb01 cult anyone turn anything however viability proven artist touring solid fan base sell thou sand cds doesnt worry rejectionits momentary theyre already viable commodity songwriters collaborating artists placing songs indie \ufb01 lms cable television shows likely signed major publishing com pany already going hit songwriter mich\u00e9le vicemaslin notes writers discouraged rejection letters probably cares think key survivingother pitchingis respecting peoples opinions ar people like deal dont freak long keep listening im happy learned dont give les son ive learning hard way years get rejected get fueled ten thoughts overcoming rejection keep following mind experience rejection someone rejects song negating condemning existence earth mean time artist market los angeles especially industry people dont like say wont call back develop career multiple contacts numerous outlets catalog songs one song youre shopping youre waiting hear back youre precarious positionchapter creating effective tools tradenetworking strategies new music business one ever really waiting hear back move forward regardless ironically projects often succeed least need expect holding grudges rejection counterproductive understandable songwriters particular emotionally connected creations remember publisher says many times label artist producer said thing much likely rejected youre blindly pitching strangers salesmen know every rejection one step toward someone saying yes ten reasons calls returned sometimes dif\ufb01 cult perspective wrong communication others often may nothing us per se could simply issue timing following email received made analyze calls returned others arent dear dan last year good fortune meet major record producer music business convention listening session evaluated demo liked enough keep hasnt returned calls wonder something wrong feel differently music would suggest worried winnetka following response dear worried number possible scenarios come mind first appear needy may scaring take seriously appear near way level accomplishment pressuring probably enough demands world artists record companies associates doesnt need calling right time professionals call business hours evenings weekends try tuesdaysthursdays preferably lunch communication skills par people dont time read lengthy communiqu\u00e9s often return telephone calls short emails faxes preferable check spelling sentence structure moment someone hears something necessarily moment something listened music may rec ognized potential appropriate outlet time change ive seen songs \ufb01 lms used years \ufb01 rst submittedchapter creating effective tools tradenetworking strategies new music business make sure update progress fact regularly con\ufb01 gure press releases inform contacts career wary overthe top bragging shameless selfpromotion keep scale keep human keep true make truth sound good possible experience music business people always looking progression producer may indeed liked \ufb01 rst demo needs hear next easier imagine future career trajectory become involved believes music \ufb01 nd audience matter business everyone prefers get train thats running one stalled tracks need give impression growth career evolution really something new say reactiveand jump bandwagon therewe ultimately wind chasing trends creating delivering ultimatums closedend phrases close doors want produce easily answered asking input always preferable hard sell finally treating person stepping stone aware projects hes nowhis successes career milestones anything life try communicating lowkey personal tone payback expected may surprised responsei hope information helpful please let know goes dan kimpel webwise advertising director los angeles songwriters showcase lass cofounder director john braheny author craft business songwriting one foremost mentors music business told new technology called internet planned put orga nizations magazine songwriters musepaper web recall thinking going ever see time course proven jb right tracks legally downloaded internet outsell physical singles record legal downloads \ufb01 nal week compared singles bought counter week internet thewatershed business music incredibly empowering medium independent art ist home recording longer need truck full money abbey road make cool recording create great sounding personal work bedroom similarly longer need middle man deliver product direct audience internet barriers access dont exist anymorechapter creating effective tools tradenetworking strategies new music business need web site doesnt everyone personal site wwwdankimpel com designed one outstanding students liverpool institute performing arts simon barber musician band leader song writer simon also savvy web master company juicing room wwwjuicingroomcom specializes entertainment clients every objection instigating site easily overcome simon meeting coffee england soon great way folks world wide \ufb01 nd section networking strategies decided tap simons expertise since lectures subject dk give us little overview sb arming knowledge operate web allow forge career without waiting benevolent benefactor approve talent youre webphobic know theres really escape web need embrace make mantra bandartist needs web site soon trying build fan base ideal lowcost way communicate fans advertise gigs sell cds generally promote many bands assume theyre good theyll get picked major label take care hard graft involved indie know get ting signed guarantee getting famous getting cd stores getting paid cds released year mainly people youve never heard ever sells units really grassroots kind operations \ufb01 nding devel oping talent effectively especially local level dk economic rami\ufb01 cations indie artists sb youre independent using internet means distribution anything share revenue product may access large distribution networks marketing muscle major corporations worldwide platform zero overhead keep costs maximize pro\ufb01 sell cds thats lot money far would get royalty rate unrecouped wont earn penny go double platinum ever happens plus indie budgets nobody going bankrupt work like microsoft rolled product country realized defective still time grow artist concept bottom line major labels longer afford dk get sb formed independent label called digital wings label founded philosophy using new technology means liberating new artists traditional shackles industry released album called motion picture band santa carla built quite following web year record came almost two million visitors web site combination good web promotion good search chapter creating effective tools tradenetworking strategies new music business engine work want effectively drive traf\ufb01 c site need three things use good meta tags make good submissions likes dmoz see reference list end chapter siphon traf\ufb01 c popular web sites mp cd baby personal site putting free tracks photo link update regularly able keep percentage fans mailing lists marketing new releases course visited site daily post messages got excellent press america international radio sessions well end sold couple thousand copies made available indie stores series free downloads digital music services across web available buy online itunes cdwow tower records credible retailers support independent artists using net able two uk tours album actually people show gigs like prebooked audience self suf\ufb01 ciency youre prepared sweat art effective way operate dk give us hard facts numbers regarding setting site sb costs setting prohibitive might looking domain maybe year hosting dk ok sounds easy inexpensive far perspective web designer tell us making site alluring visitors sb youre \ufb01 nd someone good sense graphics fonts layout someone understands functionality basic commandments web dont end styleoversubstance situ ation easy spot homemade web sites poor functionality use entrylevel gimmicks poor color schemes unreadable text validate different browsersplatforms web site l get users email address l offer easy ways listen artist l make product attractive l show look like important sound like l acknowledge interact visitors music clips presented crossplatform format mp avoid proprietary formats possible people dont really buy music audio buy whole package make exciting pic says thing include bio get angle tie photo tell visitor represent create mailing list viable way harvest data visitors find much possible fans age location especially town youre playing etc sort music like w eb sites visit lists subscribe stores chapter creating effective tools tradenetworking strategies new music business visit online see cd stocked indie need manage contact list get used idea staying contact large groups people one time youll also need create easy effective way mer chandise way fans buy cds remember people in\ufb01 nitely interested put site message boards use create street team dont forget people music business pure magicput fan base work dk key sites utilized sb cd baby wwwcdbabycom root many great indie optionsa selling point builtin traf\ufb01 c digital distribution services tower records etc become aware local network whats going local bands theyre theyre playing dk valuable promo tools aware sb electronic press kit least one fulllength mp \ufb01 le track cd encoded standard k bit rate entertaining bio written four times four different lengths quotes reviews plus graphics artist photos cover art logoadditional resources tlcoolhomepagescom cool home pages excellent design resource wwwcoolhomepagescomcdacommandments ten commandments design interesting article subject wwwgooglecom google search engine need show wwwdmozcom dmoz humanedited search engine wwwphpbbcom phpbb message board software wwwhostbaby com hostbaby web hosting musicians wwwjetplanelandingcom jetplane landing excellent independent band powerful site wwwsantacarlacouk santa carlas site wwwjuicingroomcom juicing room web company wwwdigitalwingscouk digital wings record label wwwapplecomitunesstore apple itunes wwwnapstercouk napster wwlistencom rhapsody wwwpeoplesoundcom peoplesound wwwgaragebandcom garagebandchapter creating effective tools tradenetworking strategies new music business wwwtowerrecordscom tower records wwwcdwowcom cdwow wwwcdbaby com cd baby fopp unsigned wwwcafepresscom caf\u00e9 press music merchandise wwwgigwisecom gigwise local music community wwwglasswerkcouk glasswerk local music community indexshtml bbc unsigned valuable promotion tool wwwmusicbiasorg musicbias local music business support wwwmarketingyourmusiccom marketing music genius behind cd baby wwwbobbakercom bob baker marketing tips wwwgetsignedcom get signedchapter live venues ventures heart popular music beats within live per formance even engaged career performer odds youre working chapter youll go backstage band gigology since live los angeles would possible go nights year hit clubs every night never see even tiny fraction whats happening town given exhaustive possibilities unnerv ing invited wellmeaning band come club pm monday night catch set im apt home \ufb02 annel pajamas watching news chihuahua dog lap hour resting day ahead say dont go measure importance shows attend im likely go friend performing band im passionate networking strategies new music business im writing something act net working possibilities promising worst time showcase major music city weekends may rank \ufb01 le go party experience music industry profes sionals prefer reserve personal weekend time families hearing bands hard work living one wants work time busy professionals weeknights preferable early show come directly of\ufb01 ce ideal us industry clubs pre fer see artistswhere sight lines favorable sound pristine staff professional accom modating course opposite true would rather chew glass go another show certain hollywood club formerly owned famous actor staff invariably rude of\ufb01 cious makes feel like criminal search creative outlets certain mystique historical otherwise attached places like troubadour los angeles bitter end new york bluebird nashville present theory audiences respond entertainment direct correlation environment see reason mediocre entertainment accompanied laser light shows wows masses las vegasthe audience set surroundings conversely seeing great est band world sleazy club may necessarily showcase brilliance seamy circum stances prepared audience something less one point career los angeles promoting vocal trio original sounda manhattan transfer meets carter family vibe intricate delicate blend far subtle club envi ronment met three members band dinner one night modest japanese restaurant decor including turquoise pink walls black white checked \ufb02 oors devoured california rolls trios leader began bemoaning lack perfect venue asked looked wasabi gone brain restaurant club venue didnt even music perfect deduced later week wrote proposal approached restaurants owners guaranteed way bring people make money one evening busy daytime location sparse dinner business would produce music night bringing production staff sound system charge cover door would go band restaurant could serve regular food drinks desserts pro\ufb01 sales evening performance arrived venue packedso full fact restaurants wait staff panicked friends help serve food group made door evening huge buzz carried successive shows next booked trio small theaters weekend matinee performances since bands setup minimal acoustic could work chapter live venues venturesnetworking strategies new music business around preexistent set disturb physical elements evenings performances los angeles equitywaver houses seats less could sell saturday afternoon also provided concessions merchandise upping take considerably alternative venues creative new venues work multiple artists well managing performer devised worldin\ufb02 uenced brand pop music decided time take music stage couldnt \ufb01 nd adequate venue decided invent complement global grooves invited two acts friendly latin band east los angeles roots reggae group located appropriate venue historic womens club los angeles convinced directors creating event cultural signi\ufb01 cance set sponsorships magazines music store sound company wasnt paying pocket anything venue tickets affordable made three acts included respon sible selling set number assured full house bands would make pro\ufb01 initial sale could also move merchandise plus highpro\ufb01 le showcase concert media attention always recall standing parking lot trio matronly women clubs board directors reggae group arrived sound check looks faces \ufb01 hugely dreadlocked musicians emerged clouds pungent smoke billowed van jah rastafari evening huge success inventing show consider following tips plan create show give show name global music show titled world tribe create logo artwork speci\ufb01 c venue think way outside box ive art galleries fashion shows pet rescue events hear bands write proposal business people always respond better something print consider residency ongoing show one desig nated night per week keep mind natural lifespan events know time move soft ticket one artist thought bigof perform audiences people reality hawaii hadnt yet made impact mainland reputation speak devise way present front many people possible soft ticket refers event people attending alreadya fair chapter live venues venturesnetworking strategies new music business festivalwhere see entertainment well perfect opportunity highvisibility show approached entertainment committee annual asianpaci\ufb01 c celebration los angeles draws thousands visitors proposed presenting artist added incentive offered provide publicity public relations services event free charge able piggyback artists appear ance top event make appear subtly course headlining press stories publicity media saturation able create signi\ufb01 cant splash make soft ticket show work consider following tips creating soft ticket show research demographics dont want present numetal band gathering senior citizens write proposal focusing artist event viceversa play expenses even free necessary make money merchandise sales writeoff expenses value publicity outdoor shows place balladsdevise high energy visually engaging show make attendance stop watch create banner name band hang outdoor events anywhere else play band question audience walk away asking sounded fabulous accepting compliments seems dif\ufb01 cult many performers attended wonderful showcase liverpool england one students set went backstage congratulate terri\ufb01 c enthused nah sound awful couldnt hear monitors forgot lyrics mumbled response maybe honest course thats commendable circumstances show business denigrating performance id complimented unconsciously criticizing taste therefore undercutting enjoyment show ten postperformance tips gracious accept compliments thank person gives remember nonmusic people often less critical enjoying overall gestalt show often noticing mistakes chapter live venues venturesnetworking strategies new music business dont call attention negative conditions club always graciously thank spent good money came see perform youre hanging club performance dont hop table table stay one location let audience members come sign everything often fans pay cd signed artist person would retail online ive worked artists mark cds shows sell hundreds audiences pay opportunity meet artist youre selling merchandise dont handle money enlist help plenty sharpies similar pens hand prudent handing promotional materials upcoming performances venues one youve appeared club owner may frown promotion competing venue cover show clothes jacket change another out\ufb01 immediately performance performance peeves im mysti\ufb01 ed see many musicians swilling bottled water onstage show water wonder understand singer taking swig combat dryness everyone else draining aqua\ufb01 naat otherwise splendid show musical tribute joni mitchell could predict performed lead guitarist would play intro lick check tone song surprise good performance dont telegraph whats coming dont use weedlee weedlee licks singer introducing song music rehearsed intros outros part overall per formance dull selfconscious stage patter detracts performance song intro chance connect another level ten commandments club land dont piss soundman thats asking end less feedback appalling apathy respect club booker eventually house blues honest draw guarantee close friends attendance dont proclaim \ufb01 seat venue gonna slow ya suitable song intro dont rail member press threaten music journalist speak well bands circuit youll bill sooner later unerringly professional punctualchapter live venues venturesnetworking strategies new music business sound check rehearsal conscientious guest list dont demand freebies club devise original ways \ufb01 lling venue club clues goal selling many drinks possible clubs businesses plain simple goal club act thats \ufb01 ne point youll determine whether youre music business bar business act accordingly musician made decent living playing clubs tough markets including new york los angeles order however forced make many concessions art even though wrote songs rare audience wanted party unheardof material covers way go certain vibe club musicians acquire dif\ufb01 cult describe audiences feel read bob malones comments experiences realm chapter success stories realm service course exceptions rule coming band ohio transformed club college town bowling greenhowards club hinto mecca freethinking individuals persuasions los angeles club called limeys hosted hippest ever musicians sunday night jam scenes far perform clubs youre danger becoming part furniture careers built change progression doesnt take audiences long begin take granted youre comfortable club probably time move soundman scenarios list cautioned angering soundman many intricacies dealing technical personnel gig often thankless job accompanied howl feedback singer com plaining cant hear mics dont work monitors fail deliver sound terrible soundmans fault course \ufb02 awless one notices consequently soundmen women tend prickly lot often either oversensitive immune criticism since deal new band virtually every night always new raft complaints excellent idea always hard copy depiction setup mic monitor placements input list emailing faxing information club ahead time possible infor mation web site save time energy take multiple copies sound check case stage manager addition soundman club provides backline drums amps etc better multiple acts show band playing last headlining typically sound checks \ufb01 rst group opens show sound checks last since equipment place doors open time sound check \ufb01 rst objective since sound checks invariably run late everyone favor band arrive together chapter live venues venturesnetworking strategies new music business heres scenario works extremely well present artists club concert stay sound booth soundman adjusts levels line check instrument heard individually band runs song point dont say word soundman simply strong obvi ous presence hovering next board invariably soundman solicit opinion secret stay mum await moment come assure gently correct miscalcula tions mix always thank soundmaneither onstage imme diately performance note email next day sure let booker club owner know much youve appreciated hard work expertise technical staff venue sound stage personnel glad see next time scams envision scenario see solicitation magazine company reviewing type music create send package surpriseyou receive call company executive praises efforts proclaims music top percentile ever received stunning would love opportunity represent wondrous music major players big markets radio record companies etc fact music magni\ufb01 cent even give healthy discount fees usually charges servicesat point red light begins \ufb02 ashing brain money pay money say elo quent one ups intensity fevered pitch spend money make money ive worked insert platinum artist insert another platinum artist im respected business hearing hits believe music make happen music business \ufb01 lled inventive cottage industries however charging naive acts exorbitant fees shop material gray area ive seen many aspiring artist turn bleeding bait circling sharks instance one hollywoodbased pro moter turns pretty pro\ufb01 luring artists gold recorddecorated den pressuring pay services pitch rarely wavers next three days traveling new york convenient miles away meetings already set play material heads major record labels takes money upfront fee staff national nonpro\ufb01 organization songwriters encountered numerous victims particular scamster many reticent complain like scam victims morti\ufb01 ed gullibility youre ever approached anyone business sketchy proposition would advise following first foremost trust instincts chapter live venues venturesnetworking strategies new music business ask names contact numbers clients request additional industry references check online theres site called velvet rope wwwthevelvetropecom mem ber post industryrelated queries prefer remain anonymous asking anyone ever worked dont assume operator legit advertises legitimate music business publication magazines would accept advertising satan paid front exert judgment music business small bottomfeeding sleazes depend upon victims information resources dont afraid ask references verify company persons legitimacy keep mind shortcuts music business nothing ever replace power creating personal contacts network educate business really works dont allow ego sense desperation make decisions compilation cds ok emerging bands youve performed postered pos tured proclaimed pinnacle powers youre starting kick notice youve invited song included compilation cd sure may cost hundred dollars delivered directly hands radio record com pany ar promoters bookers compilations wonderful moneymaking devices ones persuade bands give one song pay anywhere privilege turn producers master man ufacture couple hundred cds give copies bands mail contacts voila theyve pocketed grand process bands copies cd groups whose sole shared merit coming cash pay track course worthwhile legitimate compi lations performing rights societies ascap bmi sesac often showcase emerging bands writers via compilation los angelesbased orga nization la women music lawim diverse highly regarded release neither scenarios cost artists likewise worth cd compilations target speci\ufb01 c local scenes styles music often re\ufb02 ect emerging music community offer effective way groups share costs manufacturing artwork etc likewise certain record companies present emerging acts promotional sampler cds cost bands course latenight television one order everything heartwrenching patriotic songs nearly forgotten hair bands art ists even reduced royalty bene\ufb01 sale cdschapter live venues venturesnetworking strategies new music business lets get real record label exec lis ten disconnected bands one release would journalist really wade groups hope hearing something interesting connec tion producers believe radio programmers record label people realizing criterion inclusion compilations simply whether artist pay fee included generally disdain compilations one latest wrinkles wellworn scam event tiein works like going midemsxsweatemsundanceslamdance well distributing cds everyone sounds good know cds even distributed point wont anyway much baggage might conventiongoer accumulate couple days much actually want take home youre asked participate compilation cd project questions ask producers l type track record industry l acts signed previous releases l criteria inclusion l provide group contact info release l group maintain control songs copyrightask previous releases give good hard listen determine acts youd like share cd space music business way come way youre perceived often included dubious project almost worse heard especially youre sandwiched couple lousy groups compilation cds wonderfully lucrative endeavors producers bands limited economic resources included compilation project may land cd record company exec radio programmer journalist reaches needs coaster cocktail performing rights write songs band need choose performing rights organization youre luck three ascap bmi sesac immi nently accessible believe help songwriter af\ufb01 liate one society surface three performing rights organizations pros dissimilar collect money songwriters music publishers broadcast revenue sources including television radio internet licenses distribute funds members sounds good right keep mind never receive one penny sources af\ufb01 liate reason enough contact soon anticipate cd might receiving kind airplay chapter live venues venturesnetworking strategies new music business ascap oldest largest three organi zations boasts among membership many venerated songwriters history pop music ascap presents showcases unsigned bands various cities around us buckcherry lit gin blossoms save ferris alumni also among exten sive list workshops songwriters music business informational educational sessions guest speakers ascap swapmeet held various cities including la new works heard industry pros ascap governed board directors elected membership reached contacted online wwwascapcom bmi formed alternative ascap origi nally licensed rb country music today equally strong rock pop bmi cosponsors produces live performance opportunities members involved many grassroots events new music nights quarterly program west coast showcases wide variety genresrock alternative pop soul hiphop help expose new talent industrylawyers managers ar publicists journalists well general public large bands played andor signed showcase include counting crows roots stroke train creed contact bmi online wwwbmicom speaking alternatives sesac although widely known two organizations de\ufb01 nitely making lost time aggressive marketing campaign key signings oscar winning songwriter legendary bob dylan sesac writer sesac made strategic alliances host technology companies \ufb01 rst pro offer digital watermarking youre paid every time song aired also offer online licensing af\ufb01 liates online registration works sesac privately held company selective af\ufb01 liates reach los angeles online wwwsesaccom society right contact three examine materials offer concerning pay ment schedules contract length trust instincts remember someone believes performing rights organization one major step ladder businesschapter live venues venturessuccess stories mythology music business huge focus millionselling starsthe bands see mtv vhthose enjoy brief moment teetering charttopping pinnacle success ive reiterated book believe true success stories individuals \ufb01 gure work stay business love remain relevant time able sustain art love chapter pleasure introduce folks whose accomplishments varied wide enduring exemplify networking strategies steadfast commitment determination \ufb01 nd way keep game theres lot learned career journeyschapter jeffrey steele country craftsman songs recorded last three years nashvilles bankable stars including tim mcgraw faith hill montgomery gentry rascal flatts leanne rimes diamond rio jeffrey steele hot country songwriter could possibly songwrit ing success driven californian came two decades broken dreams bustedup bands deals gone sour experiences record executives thought knew country music jeffrey steele important thing song writer needs drive odds instinct keep writing rejection hardships states steele stories stuff turns songs think lot people run things need realize thats youre gonna writing next years independent releases sold web site live shows way procure steeles solo work outlaw lofton creek delivers power jeffrey steele artist backed power major distribution found one song mine played one radio station times week says steele song called good year outlaw outlaw country station theme song next thing know song showing billboard chart completely blue new record takes title track steele notes \ufb01 nally got record store eight years signed major record deals getting records feels good actual piece product walmarts targets chapter success storiesnetworking strategies new music business promote record steele opening shows brad paisley keith urban acoustic guitar youve really got work avows came people connecticut throngs screaming women wanting see brad keith said guys idea know songs whole place singing along stuff new record years ago earned standing ovation stage manager wouldnt let go back encore im getting success shooting foot time perfect born burbank youngest \ufb01 children steeles powers perception honed early observed older brothers sisters heard music recalls songwriter bottom end food chain eating stuff watching learning later things write little brother steele learned vie attention remember \ufb01 shaking hips elvis presley records front whole family brothers getting pissed beating later one familial theme steele referenced town montgomery gentry years ago ageold con\ufb02 ict father son brother father says id watch \ufb01 ght dinner table could never get along ten years went didnt talk dad deathbed morphineinduced state couldnt really make amends could look eye one last time tell writers dont turn way ok write thats big issue life therapy twenty years ago thought knew trying talk like taking wall thought man acting like want right kid dad gave ghost smiled said son let go years ago steele spent dual music career playing bands sunset strip country groups far center la country bars could make living decided concentrate writing songs still couldnt resist offer play bass one sunday afternoon put amp car drove orange country played gig larry parks brother cary hugh wright drums said guys unbelievable next thing know playing every bar town started bringing songs harmonies great onceinalifetime thing boy howdys huge radio hit shed give anything took band top country charts record company wanted band wasnt amenable squeezed polished nashville mold jeffrey steele tells harrowing days boy howdys demise subsequently signed solo deal got worst worst really worse anyone else signed curb records remember guys telling songs sucked wasnt really talented secretary of\ufb01 ce thought chapter success storiesnetworking strategies new music business cute going give record deal things say make feel like nothing meanwhile publishers equally underwhelmed told songs nowhere near market placeoff mile knew loved write gets point either slough think maybe theyre right look criticism see weight guys critics theyll say things discourage years become \ufb01 day nashville jeffrey behind board producing record rca keith anderson singersongwriter hes known six years penned beer run george jones garth brooks hed originally gotten production deal sony talked said youre going make terrible im never going get deal said dude sign production deal sony youre stuck wont option play anybody else well pay money \ufb01 rst couple tracks get everybody interested well get see showcased every label town champing bit six years ago left center promotional tours record production gigs steele tightly structures songwriting time unusual three writing appointments day like im doctors of\ufb01 ce people say anything artistic youre writing much first im freak answers question laughs steele \ufb01 rst appointment day productive inspires next two sessions keeps adrenaline running late hours know theres something wrong cant shut brain im getting writing three morning want keep practicing lyric craft get good want use less words say things instead two lines try get two words uninitiated may mystery jeffrey steele bmis songwriter year one nashvilles proli\ufb01 c talents chooses tour hin terlands instead luxuriating town writing songs checking mailbox must presumably formidable checks explains touring stirs creativity particularly small towns people come invariably tell lives cousins uncles talk something happened town theres something said playing three hours sitting autograph line two always give everybody time day let tell tell like say something positive make time theyre happy see im happy lot people get burned get stories titles gives example song cowrote marv green writer lonestars hit amazed autograph line guy comes introduces wife beautiful lady could tell theyre deeply love says could anyone school said get said alls love mental memory bank went wrote song couple days ago talked abouthe never riches promised life good herchapter success storiesnetworking strategies new music business steele reveals hes always prepared write thats anyone say even im hour late writing session im home working idea want seed something go putting minutes day playing trying think thing keeps mode time ready write something even crappy stuff youre letting thoughts hope new guy comes hes also armed dangerous focused bunch stuff wants write hit songs steele shares sometimes cowriters expect words lay golden egg explains thats hardest partwhen someones looking going going happen im like going happen intend lay golden egg im going privacy home im going front pal lindy robbins late bloomer productive times los angeles songwriter lindy robbins shes penned two songs shine carry clay aikens platinum debut measure man cut jesse mccartney disney soundtrack \ufb01 lm cinderella story shes renegotiated new publishing pact media powerhouse universal music publishing group shes preparing move home shes purchased san fernando valleys trendy noho arts district make mistake lindy robbins overnight success native angeleno relocated new york city robbins tale one fate faith trust timing two years ago money confesses late bloomer publishing deal rodgers hammerstein music new york writing theatrical cabaret art songs making living performing wasnt quit performing decided wanted write pop songs moved back la without deal without money without anything \ufb02 uke entered song unisong international song contest grand prize subsequently invited ireland celtic harmony weeklong songwriter retreat organized music bridges usa conjunction irish rights society imro cast intensive writing sessions hit makers around world moved back la fork laughs robbins onstage singing lamont dozier brenda russell happened fast ireland robbins met rowana gillespie polygram music publishing signed deal company since merged universal music publishing group addition music publisher robbins retains services manager still never stops hustling opportunities matter cuts never stop working songs emphasizes makes regular trips new york meet personally ar executives various labels ive found make connection theyll lis ten song later explains talk life second human thing robbins earned serious music city credentials faith hill cut back international recognition dreamed four half chapter success storiesnetworking strategies new music business millionseller cowritten recorded dance diva anastacia unless cowriting artist generally write songs speci\ufb01 c performer mind cautions writers becoming terms genre whores explains sometimes certain types songs radio try copy trend time youre shopping songs trend changed time youre pitching ar execs heard hundred songs want hear something different sometimes start trend shares many occasions necessary turn business mind order create like write great song today sometimes \ufb02 ow think businessjust write songs get cut theyre fun global perspective vital pop songwriters says robbins ive great things us like clay aiken faith hill ive gotten stuff england france australia important inves tigate avenues rather us go london write dance pop go nashville write country new york write urban thats keeps fresh robbins ability work quickly makes burgeoning catalog song day easily avows im writing trip ill songs percent get placed makes huge difference writes melodies lyrics generally prefers write producer dont work writers except im standards country af\ufb01 rms robbins notes production key getting cuts thats biggest lesson learn good songs tracks werent good enough songs wouldnt get placed demos sound good records robbins says common practice songwriters create words music share percent writing credit producer craft de\ufb01 nitive track worth without great demo song cant get placed mercantile world highstakes songwriting robbins testi\ufb01 es regular trips music city keep centered get burnt writing tracks go nashville get room great collaborator plays piano guitar training theater cabaret comes play anywhere else country songs funny clever pop cant poetic love nashville theyve opened arms universal of\ufb01 ceand faith hill cut didnt hurt one recent trend robbins observes coun try reverting rootsier style im valley girl laughs cant relate much whole southern experience try write know thats love collaboration write somebody really understands help express im writing something urban ill write someone understands world expands excel pop rock people bring expertise \ufb01 nding collaborators something different get lot versatility catalog one newest collaborators popmeister david frank writerproducer probably best known genie bottle song launched career chapter success storiesnetworking strategies new music business christina aguilera david clicked page creatively \ufb01 rst thing wrote together got cut new artist bree larson ive found helps write someone get imme diate response collaboration thats encouraging might someone youve written seven songs none gotten cut think maybe best situation ease com fort creative process another collaborative plus sometimes give one shot im type person likes go something think someone keeps saying thats interrupts \ufb02 ow want go home always fun robbins writing tools simple spiral notebook pen rhyming dictionary thesaurus small digital recorder pages ideas notebook every time something comes add digital recorder holds songs song demoed robbins erases work track make room notebooks dating back good thing using notebook go back look work pages explains also adept writing tracks especially pop dance music close eyes completely sing whatever comes mouth record ideas go back \ufb01 nd verse prechorus chorus like thinking process increasingly rare breed successful song writer producer whose strength uncanny ability write songs virtually cir cumstances wide scope styles still everyday lindy robbins line plenty days im driving writing session im thinking want go mall want go movies want go beach want mommy force work hard luis resto lost music luis resto resplendent detroit piston jer sey stepped accept award barbra streisand announced lose mile recorded eminem song year th annual academy awards resto detroit native forties worked artists anita baker patti smith collaboration marshall mathers eminem jeff bass hes improbable elated oscar winner started piano nine resto recalls brother mario biggest in\ufb02 uence since guitarist songwriter restos parents always supportive boys musical endeavors father even took see jimi hendrix cobo arena luis still elementary school remember leav ing parking lot guy came around checking everyones car horn tones honked intro purple haze laughs fusion music john mclaughlin jan hammer herbie hancock mesmerized young resto needed synthesizer said dad expensive theres something half years age began playing arp odyssey police auction fender rhodes bass amp electro voice mic came possession thats chapter success storiesnetworking strategies new music business began stay brother marios group resto relates remembers \ufb01 rst encounter resto friends piano student friend called said youve hear guy use record resto re\ufb02 ects think appreciate time pain ass boundaries mid resto spent seven months los angeles playing productions pondering move west coast received offer return home play patti smith patti \ufb01 gure resto offers brother brought home patti smiths horse id listen stare cover years later opportunity highlight restos longtime colleague joel martin connected resto marshall mathers worked eminem show mile collaborating songs score latter additionally worked cent shady records signees signi\ufb01 cantly resto acknowledged cowriter fact bears enormous economic implications mathers could certainly play way chooses takes high road know side well resto muses dont say bad way thats grew accustomed heres grand payoff would thought dont get kind record sales marshall give remarkable work mathers full thats hes concerned daughter halie thats main occupation getting next beat head getting next project artists label sessions begin around p ill walk hell drum machine tapping something boot keyboards melody strikes thats good sign evolve anything next half hour hes busy adding beat started might completely differ ent ends always dat going catching everything thats happening collaboration brought resto stage kodak theater accepting award streisand ive done every gig book weddings solo gigs knights columbus halls saw could think daddydaughter dances way evergreen thought oh god artist whose music used play weddings thats pretty classic bob malone road warrior everything bob malonefrom stride in\ufb02 uenced piano chops gravelly dixie growlseems like compass pointing toward crescent city sounds deceiving malone actually new jersey hes spent number years los angeles lived extended periods new york yes new orleans new york new orleans cities pianos every club malone intones new york one wants carry gear new orleans many piano playerschapter success storiesnetworking strategies new music business seasoned road warrior toured neville brothers opened rev al green manhattan transfer performed countless festivals including kerrville falcon ridge shows malone electrifying live performer learned drop proverbial hammer opening shows dont want hear opening act explains win often traverses crosscontinental road performing dates year headlining artist con cert venues seat anywhere patrons rooms biggest impetus tour states malones two delta moonchartmaker releases darkest part night bob malone combined relentless touring schedule earned tenacious troubadour national audience envi able sheaf kudos given impressive sales \ufb01 gures touring visibility would seem signing major label could take next level ive come close lot times confesses dont know change new record ive problem classi\ufb01 cation theyre sure thats reason ive independent choice independence lazy malone books shows handles promo sets interviews drives van even chronicles road adventures vivid prose web site wwwbobmalonecom hes contributing new book working musicians due fall harper collinsselling cds road accounts half malones income \ufb01 rst started touring lot gigs didnt pay opening acts cool rooms got seen id put good enough show every one would buy record id go freebie gig make sales lived last step turning strong live act desperation wonderful motivator prior road gigs malone admits spent time sitting around la awaiting magic record deal top gigs shit hated \ufb01 nally said im going cant taken seriously artist go play cover tunes six nights week smell audiences know guy artist changed decided anymorethen taken seriously summary four artists epitomize one crucial career key never got business instead discovered viable avenues project music also epitomize sterling networking strategy left standing succeed chapter success storiesgo wanna go leaving security home moving another location daunting reality may well necessary advancement career chapter evaluates scenes major us music capitals one sixyear span \ufb01 rst music business incarnation songwriter musician performer lived survived three music capitals today author journalist make home los angeles daily contact new york nashville travel interviews projects eventually aspire professional music career need correspond pitch visit write record live one three dynamic cities aspirations guide must search ideal locale talents willing pack tent move verdant pastures go make happen arechapter nashville nashvilles reverence song form cannot overstated days country music city either christian pop rock gospel alternativeand especially altcountry americanaare also viable forms nashville city surprises rumpled looking gentleman sitting next coffee shop could major songwriter executive record producer certain parts town near music row similar college campus many patrons restaurants music business nashville respects longevity credibility personal relationships key friendly songoriented town major music publishers of\ufb01 ces many smaller boutique companies exist plan visit need research publishers contact regarding submission policies possibility setting appointments visit songwriting business localized stretching along music row th th avenues refurbished homes newer of\ufb01 ce suites hotel rooms cost per night budget motels tend outlying parts town youre planning sightseeing youll probably need car nashville songwriters association international nsai valuable resource schedule trip spring nsai produces annual event tin pan south slate hit songwriter concerts showcases open mics classes panels workshops another new nsai program songwriters symposium twoday fall event offers pitch chapter go wanna gonetworking strategies new music business sessions evaluations music citys esteemed publishers record company executives songwriters guild america sga another strongly supportive organization slate song critiques askapro sessions connect edu cate writers member take advantage events reach online wwwsongwritersorg events town include nashville new music conference also held midfall four day event major industry participation highlights include trade show technology forum panel discussions mentor sessions keynote speakers studio tour nashville information wwwnmc com americana music association conference held fall features industry professionals array panels discussions performances speci\ufb01 c americana format information wwwamericanamusicorg songwriter musicians guide nashville authored sherry bond allworth press invalu able resource visiting songwriter showcases open mics variety places perform including famous bluebird cafe nashville scene published every wednesday free bookstores coffee shops comprehensive listings clubs writers nights going every night week including open mic events line sign play evening however planned hosts \ufb02 exible persuasive personality cancellation might get chance perform night youre going town days check chosen club early stay see scheduled perform later visit set may consist two four songs original cover tunes bmi music connection showcase series held various venues nashville features todays hit songwriters well upandcomers free open public bmi acoustic roundup held sec ond thursday every month sutler pairs top names songwriting soontobreak tal ent bmi roundtable created order arm songwriters powerful information help navigate todays highly competitive music indus try roundtable topics include performing rights bmis history nashville music industry operates tips help become songwriter want held second monday month bmi nashville of\ufb01 ces open songwriters information contact bmi writerpublisher relations department bmi songwriters workshop jason blume generally held second tuesday month invites songwriters serious committed successful com mercial songwriting attend workshop jason blume examines components hit songs covers variety topics including song structure lyric melody writing techniques musical hooks writing heart radio effective demo recording among others cost attend seating limited advance registration requiredchapter go wanna gonetworking strategies new music business decide move nashville temperate climate housing moderately priced countryside stunning keep mind although music industry free thinking southa locale historically progressive nashville arts entertainment communities would indicate nine steps nashville dont expect open doors overnight nashville town respects history longevity credibility take enough money least give illusion level success possible stay friends youre planning sightseeing youll probably need car business people incredibly savvy dont assume youre dealing yokels nashville doesnt care youve done elsewhere use performing rights organization help open doors contact well advance visit dont expect perform miracles behalf nashville songwriters association international nsai valuable resourceespecially youre member membership information contact check web site wwwnashvillesongwriterscom members receive booklet joining features variety informa tion including hotel listings information maximize visit nashville people nashville rip asking pay get deal even name production costs taken ride yes may wind cd wont major label may paid four times much record always wary name droppers people make promises price tags attached music row trade publication excellent source insiders look nashville music scene learn names positions movers shakers demos simpler better since nashville song town demo doesnt highly pol ished guitarvocal pianovocal often suf\ufb01 cient nashville takes music industry seriously caliber talent stratosphere theres lot pride quality dont ever sell short people wear cowboy hats boots nashville tourists new york tin pan alley brill building broadway greenwich village music soundtrack suc cessive eras history big apple since new york center theater world many outlets opportunities songwriters composers create stage cabaret pop world well represented hiphop rb cur rent climate heavily favoring songwriterproducers major music publishers midtown manhattan chapter go wanna gonetworking strategies new music business center songwriting world greenwich village caf\u00e9s coffeehouses clubs presenting wide spectrum acoustic songwriteroriented shows downtown new york songwriters circle showcase held twice monthly bitter end bleecker street village features many citys distinguished songsmiths alongside upandcoming singersongwriters artists selected via word mouth tapes heard listening sessions book eight months advance \ufb01 nd information wwwsongwriterscirclecom umo music presents sunday showcase baggot inn w rd street sullivan street thompson street sundays winter weather bad summer signup door information wwwumocom cornelia street caf\u00e9 cornelia street presents songwriters beat monthly showcase original songwriters booking information www corneliastreetcafecom wwwsongwritersbeatcom sesacs writers storm currently residence cutting room features four organizations writers showcase format due success club alumni norah jones living room also village home major scene ascap writers night intimate showcase series designed feature talents promising new songwriters providing opportunity forge new relationships laidback supportive atmosphere currently held every \ufb01 rst tuesday monthsongs footlights ascap manhattan association cabarets mac instigated showcase program cabaret theater songwriters present new material audience publishers songwriters ascap foundation also presents showcase series thru walls spotlights concerttrained composerperformers cross genres contact society wwwmacnyccom bmi late lehman engel joined forces cre ate setting new writers musical theatre could learn craft bmi lehman engel musical theatre workshop continues \ufb02 ourish consid ered foremost training ground new writing voices bringing forth musical milestones chorus line little shop horrors nine ragtime workshop presents series inhouse cabarets attract music theatrical industry attention workshop participates formally informally various new york regional theaters devel opmental programs contact bmi via email theatreworkshopbmicom songwriters hall fame songwriters hall fame national academy popular music sponsor meetings music indus try professionals enlighten educate attendees craft business aspects songwriting held eight times per year followed open mics cohosted bob leone april anderson information contact bob leone via email infosongwritershalloffameorg current members national academy popular music napm also eligible submit songs songwriters chapter go wanna gonetworking strategies new music business hall fame songwriter showcases held four times annually youll need submit materials least two months advance shows visit manhattan youll want cheap check web travel service like expediacom travelocitycom best deals hotels shouldnt priority since dynamic city never sleeps paraphrase kander ebb youll \ufb01 nd many things occupy time entertainment businesswise city breeze navigate via taxis welldesignated busses subways taking anywhere need go inspiring walk remember numbered streets descend head downtown cant get lost pick copy venerable village voice club listings decide move new york rents among astronomical country musicians opt live brooklyn queens cheaper across river new jersey trains whisk anywhere quickly acoustic artists distinct advantage living new york hub activity close prox imity northeast towns especially boston strong performing scenes multitude venues singersongwriters los angeles los angeles package town songwriters art ists succeed somehow connectedto artists producers \ufb01 lms media ever mutating city angels perhaps appropri ately city angles song essential component writerproducer teams two three specialistseg producer groove maestro lyricistare highly valued era single unconnected song ever existed supplanted corporate highstakes publishing environment film television explosion \ufb01 lm network cable television video games spawned innumerable outlets new music songs songs mirror whats happening charts writing edgy alternative rock singersongwriters requested easily placed check www\ufb01 lmmusicworldcom songwriters guild america sga pro duces variety educational events including askapro series sga membership available hollywood of\ufb01 ce unfailingly writer friendly environment always ongoing classes well contact sga online www songwritersorg another local songwriting group produces well regarded activities including ongoing songwriter showcases educational events web site says la songwriters network wwwsongnet org seeks establish develop promote sustain songwriting community los angeles global songwriting virtual cybercommunity free lowcost access tools required improve craft build successful careers host promote workshops events importantly give back world better music better lyrics greater positive chapter go wanna gonetworking strategies new music business wholesome uplifting sincere genuine musical artistic creation expression performing rights belong ascap try plan songwriting trip around general member meeting held la every year early february year round ascap hosts educational events including music business songwriters studio plus highly regarded acoustic showcase quiet set show spawned spinoff cover series celebrates writers whose works covered prominent artists past participants included vonda shepard jill sobule willie nile joseph arthur sixpence none richer jonatha brooke ben harper catie curtis allen shamblin deana carter rufus wainwright john mayer bmis contributions los angeles night life continued highoctane showsbmis circle songs songwriters club pick month among themare showcase tickets town information available bmis web site wwwbmi com wwwcircleofsongscom sesac west coast of\ufb01 ce located santa monica begun presenting highly regarded industry showcases edu cational events members get connected past years music connection magazine measured pulse las music business music connection publishes special editions throughout year including guide music publishers music supervisors open mics showcases song biz column domain information performing rights organizations publishing companies show cases read current issue online www musicconnectioncom call subscrip tion information distances los angeles vast music community spread beach towns santa monica venice inland west hollywood hollywood central silverlake san fernando valley especially universal city studio city north hollywood acoustic performers lil hals guide wwwhalsguidecom de\ufb01 nitive resource locat ing open mic showcase clubs taxi independent ar service holds annual convention road rally fall weekend classes panels pitch sessions etc member attend event free check wwwtaxicom events early stages development includ ing songsalive expo independent artists www songsaliveorg loyola marymount law school california lawyers arts present industry panel fall excellent networking resource lastly ucla extensions music business programs pres ent one free day songwriter events every september promote upcoming classes decide move los angeles may remind fable blind men elephant every part touch feels different live roaring city tran quil suburbs beach small town high hills neighborhood palatial mansions deep inside barrio still within city limitschapter go wanna gonetworking strategies new music business emerging cities population atlanta thirty ninth largest city united states supportive network musicians clubs radio publi cations city help set apart rb artists songwriters atlanta georgia become musical capital new south ludacris outkast p diddy homes home soul musicthe black crowes collective soul indigo girls shawn mullins elton john john mayer base operations well one things made easier bands emerge possible survive abundance local clubs feature live music east atlanta little five points midtown comes hiphop atlanta unrivaled rappers artists may started big apple city angels migrated atlanta another extension atlanta music scene ground dance clubs djs another supportive outlet helps atlantas music scene thrive local radio album wrasfm ga state universitys studentrun station x wnnxfm citys alternative station given local bands chance heard album georgia music show x gives bands airtime local heard via stations internet site xcom sponsors localsonly stage atlantas annual music midtown festivalall map visiting musician songwriter aspiring executive success determined inter action people meet imperative homework visiting locales make strong enduring impression youre follow keep touch contacts leave ascap bmi sesac members make visit performing rights organiza tion \ufb01 rst stop realistic dont expect perform miracles behalf music conferences maybe youre prepared make move yet major recording capital youll need contacts music conferences proliferate genres music dedicated web search display events coast coast invaluable opportunities make lasting contacts information contacts gained attending songwriting conference cannot overemphasized place meetits empowerment sense community joy belong ing many participants share come away sig ni\ufb01 cantly inspired experiences annual events two come mind quickly durango song expo wwwdurangosongcom name would indicate \ufb01 rst held durango colorado locale shifted telluride organization producing songwriting event wine country north santa barbara imagine chapter go wanna gonetworking strategies new music business combination hundreds songwriters endless bottles great wine durango folks pride limiting number registrants everyone opportunity songs heard industry reps nashville los angeles pros writ ers tend slanted toward countryrootsamericana create \ufb01 elds youre luck panels cover everything copyright basics promotion publicity hit songwriter concerts long nights guitar pulls many rooms second events west coast songwriters conference wwwwestcoastsongwriterorg seminars song screening sessions songs reviewed performance showcases oneonone sessions concerts conference wellspring opportu nities songwritermusicians attend event close enough los angeles draw strong crosssection hollywood publishers record label execs vibe conference endlessly supportive theres respect songwriter goes far beyond monetary commercialization many types music represented tips maximize conference experience bigger necessarily better smaller regional conferences valuable huge confusing cattle call plan plan plan generally save big bucks registering early minimize lodging costs sharing rooms staying friends dont assume youre staying hotel conference held youll pay less group rate check possibilities online sometimes youre better booking room stay hotel event held specify youll quiet area folk alliance conferences unusual musicians jam night consequently quiet wing hotel reserved require sleeping silence research anticipate classes panels work shops want attend often valuable events happening purpose open doors windows pressing press kits cds everyones hands offputting often leave conventions overwhelmed appreciate someone asking card contacting next week im deluged mixers social events key component conferences conventions save energy late night schmoozing return home dont procrastinate file names contacts made chapter go wanna gonetworking strategies new music business write thank letters panel participants whose presentations particularly enjoyed valuable contacts probably attendees dress comfortably distinctively project vibe possible set meetings advance event proffering invitation meal pay generous way interact booth areas also valuable places meet people natural setting especially slow times lunch hours see volunteer assist event conferences comp volunteers world beat teach students uk norway germany japan philippines us emphasize pop music global phenomenon sometimes successful one part world spreads across continents times payoff localized music industry professionals need apprised explosive potential world markets many examples us artists \ufb01 rst became successful uk struggling sideman little richard jimi hendrix came prominence uk returning conquer states monterey pop festivalin following decade aspiring rock singer ohio chrissy hynde moved akron london form pretenders similarly successful stateside breakthrough britain lowly ramones jokes hometown blew away english audiences inspired whole generation punks returning leatherjacketed triumph native new york market songs worldwide los angeles songwriter mich\u00e9le vicemaslin made living years writing songs global markets uk denmark spain scandinavia belgium holland whats secret pitch uk magazine songlink says ive gone midem six times went music bridges trip ireland dpop writers week denmark know ar people world solicit signed publishing deals would \ufb01 nd local pub lishers country id call send songs also id buy international music trades really research proactivity leads contacts vicemaslin says personal relationships music busi ness people worldwide sustained \ufb01 rst huge us hit songwriting career spanned plus years a\ufb01 eld londona pop dance techno music centeris cowriters mecca since much pop recording project oriented liverpool manchester also chapter go wanna gonetworking strategies new music business vibrant music scenes stockholm sweden emerged pop capital past decade dont rule tokyo japan seoul south korea china becoming major world power matter time theres blingbling beijing begin global music education reading trades billboard listing world charts check vicemaslins recommended publication songlink listing acts worldwide need material also search internet many variations theme business music different city state country however real toolscontacts people skills persistence dedicationare absolutely identical matter market youre inchapter de\ufb01 ning direction youve hopefully absorbed enough positive information help make real choices career youve banging head wall trying make things happen perhaps time inner dialogue easy ignore things dont exist writing goals ambitions hopes dreams \ufb01 rst step planning year spend last week december devising list want happen upcoming year whether new position show id like produce artists want interview book want write twelve months later im always amazed see although new benchmarks id set may reached many others efforts behalf primary goals secondary events occurred motion begets motionnetworking strategies new music business stir universe transmitting expending energy correctly know may sound like california newage malarkey try focus ing devoting energy achieving goals weekly daily monthly todo lists effective ways track progress remember small things accomplish eventually add following questions answer questions artists important career life successful music business practitioners go one comfortable situation another would ing move another city go road leave friends family behind pursuit dreams make happen discussed earlier book music business centers creativity creating scene hometown similar bands media artists help attract attention music takes willingness proactive work tirelessly certain personality convince others work good reference points music style viable new audiences remember buyers music progressively younger performing regionally imperative expand audiences live music may even cost travel another area perform long run well worth investment making much money working straight job point youll need de\ufb01 ne strictly music professionalsink swim time dif\ufb01 cult devote eight hours day working someone else attempt music full time may need cut job looseusually harrowing often necessary proposition improving chops classes workshops lessons essential pursuing art also making new contacts aspirations viable dreams marvelous live moment well great thing outreach personal contacts networking strategies practice every single day life others like working even talented musician wont get work one likes around los angeles example talent pool phenomenal goes far beyond technique comes time call players highpaying sessions vibethat best musicians also bring enthusiasm cando attitude make everyone feel like theyre winning team vibe intangible quality energy aura something makes others respond youthe chapter de\ufb01 ning directionnetworking strategies new music business elusive star quality detect cant explain still aspire career major recording artist others need feel coming fear success many ways sabotage intentions either consciously unconsciously using alcohol drugs overeating taking health risks obvious alienate others forget return tele phone calls general take care business may feel deserve successful psychologist psychiatrist least trained accredited one know much harder successful success lose many friends failure expected others resent intimidated may dif\ufb01 cult decide whether people like position talent reward perils instant fortune well known questions aspiring moguls read trades every week know names movers shakers music business track movements study pictures able recognize sight necessary relocated music center discussed many times book either create go recognize talent others try predicting movies well singers selected american idol shows ilk usually correct champion sell artists make mistake sales able convince others transmit enthusiasm emotion major attribute music industry professionals present correctly music people recognize others hip fastmoving world straitlaced suitwearing businessman may alienate musicians even youre side desk youre expected look handle economics planning strategizing tracking income expenses valuable abilities anyone hoping handle earn large sums money go \ufb02 ow virtually every situation music business happens last possible second overly rigid therefore detrimental environment plans always changing musicians typically follow clocks working requires understand ing creative chronology see big picture artist managers handlers talent must able deal details hand also must able visualize occur much road requires master plan capable longterm commitment others chapter de\ufb01 ning directionnetworking strategies new music business time devote career virtually impossible launch viable enterprises dont time energy cannot buy way business insular relation ships run long deep enterprising enough create niche market music business utilizes everything voice performance coaches dentists specialize trum pet players teeth possibly skill could tailored music business rememberthere rules creativity devising outlets applications talents teamwork \ufb01 lm business music business prob ably interactive enterprise entertainment industry artists visible tip iceberg sup ported immense cast players may less evident none less equally vital cases probably enjoy longer careers artist section examines principal players two sides one youre artist needing engage team members two necessary quali\ufb01 cations want work essential \ufb01 elds management need \ufb01 nd agent manager say need duties responsibilities quali\ufb01 cations totally different first managers back day managers often solo operatorssavvy visionaries would attach selves artists guide every aspect artists career longterm relationships norm brian epstein beatles colonel tom parker elvis albert grossman bob dylan interestingly enough grossman never used term manager preferred general works artist describe duties manager many things counselor sounding board partner svengalidepending course needs artist employee hired artist oversee elements need manager easy longer run busi ness affairs youve become successful artists tell think need manager \ufb01 rst question always much income currently generating answer none nil nada correct response need manager ive done everything within management sphere hand holding brow beating booking dates hauling gear bailing clients jail question manager answered phrase whatever necessary would always give keys house artists managed case needed safe peace quiet place laundry handling clients signed record deals taxing existence discovered spending time chapter de\ufb01 ning directionnetworking strategies new music business label artists learned events projects tours went well always artist things fell \ufb02 less successful always management manager take blows artist look manager manager interested act best sign biggest one necessarily ive known new artists signed highpro\ufb01 le managers fared poorly managers attention invari ably focused bigger higherearning clients ones still struggling \ufb01 nd audience technically anyone call manager quali\ufb01 cations whatsoever thats dicey proposition new artists better manager wrong one inevitably alienate need cul tivate record labels rarely sign artists without proper management place sometimes ar executive interested signing act without management recommend someone knows excel lent way come position power beware manager comes simply sign label however unknown unscrupulous ar execs cahoots managers skim split per centage signing bonus offered record label happeneda good manager long term sympathetic artist see big picture facilitate wide range scenarios negotiating record deals sync licenses publishing touring great manager doesnt need know everything know \ufb01 nd everything takes earnings exchange expertise want manager managers special breed business organized understand business works well connected aggressive irrepressible necessary attributes managers hard driving street hustlers smooth ivy league law school graduatesbut capable multitask ing recognizing talent knowing make good manager says yes virtually situation \ufb01 gures make lawyer lawyers music business different law yers civilian world paid hourly retainer basis reputable lawyers los angeles shop packages labels beware upfront fee donald passman author need know music business highpro\ufb01 le hollywood music business attorney whose reputation chapter de\ufb01 ning directionnetworking strategies new music business irreproachable jay cooper another highstakes player peter paterno talking major billings services probably excess hour unless youre negotiating multimillion dollar agreement doubtful need someone level end spectrum cadre eager young lawyers fresh law school eager earn reputation highstakes music world charge fraction fees often lawyers clubs discovering talent operative music business lawyer label familiar may advantage keep mind major labels hire lawyers work simply keep pocket comes time negotiation deals artistsa distinct disadvantage clear con\ufb02 ict interest good lawyer necessary time sign contracts ive seen sympathetic lawyers defer billing altogether relationship artist money problems agents agents work buyer period yes youll need agent successful major deal ready tour otherwise may better booking agents extremely selective generally sign artists know work speci\ufb01 c markets rarely take chance unknown elements relationships case agent buyer state california agent posts bond state order licensed quali\ufb01 ed holdover dark days movie business possible someone agent managerthis considered con\ufb02 ict interest agents generally earn artists gross earnings performances deduct expenses incurred well agent takes clues manager \ufb01 nds fees necessary far artist travel audience speci\ufb01 cs packaging plans recording touring special needs plus sound lighting effective agents highly specialized dealing speci\ufb01 c genre musiclatin jazz world rock example quali\ufb01 cations agent youre probably already booking bands shows parties publicist need publicist story tell product sell nothing could counterproduc tive engage pay publicist garner national publicity anywhere potential buyers go hear music buy cd good publicist map campaign gener ally two three months duration work shorter period concentrating local regional national press publicity campaign generally works around release cd andor tour publicist develop press materials advise photos bios chapter de\ufb01 ning directionnetworking strategies new music business press releases often generate relationships music press see press kits section chapter generating materials major publicists get major results journal ist interact daily variety publicists major companies hollywood small indie operators publicists also specialize youre speed metal example wont want publicist operates cabaret world per week threemonth campaign would ballpark artists responsibilities artist likely take many duties onset career valuable youll handle endeavors entails choose hire functionaries take chores youll know expect day uneducated artist long gone todays successful artistswhether independent signed labelsask questions theyre snowed smoothtalking con operators bullied doubletalk learn different aspects career stronger always music happening youre making headway meeting operatives come quickly naturally trust instincts work people share common philosophy ask truly person trust represent get job mentioned introduction book rarely see listings posted record company jobs theyre far especially age layoffs consolidations reason theyre generally \ufb01 lled within business whose motion upward lateral executives jump position position various companies career \ufb01 rst position ever held business performer songwriter selling advertising recording demo services studios equipment manufacturers los angeles songwriters showcase songwriters musepaper wages lowly minimal weekly draw plus com mission sold collected initially earning little position work parttime job night able afford work almost free day holding two jobs struggle knew build credibility industry id begin somewhere internships timetested method industry employ free labor cal poly pomona college often teach students hold internships labels music publishing publicity companies important realize often order get job business must \ufb01 rst job business work within paradoxical conundrum youll start somewhere keep mind companies leery hiring musicians songwriters may agendaschapter de\ufb01 ning directionnetworking strategies new music business youre located outside major music capital still meet regional promotional sales representa tives record labels turnover rate publicity departments tends high write talk great phone apply area clips articles youve written local school paper helpful indications interest ability write music record labels music publishing \ufb01 rms obvious places apply music becomes component businesseseg coffee companies like starbucks retail outlets fashion designers sporting eventsa forwardthinking aspirant opportunities advance little job security entertainment posi tions priority may need rethink strategy security need come everincreasing list contacts land job music business youll need devote fully company hires time realistic enough know jobs tenuous best belonging industry organizations widening list social business contacts observing patterns startup companiesall create atmosphere information job effectively noticed bosses superiors everyone else interact youll way uppersonal references always strongest calling card position put people together spe cial gift valuable attribute music business networking pro creative con\ufb02 uence would caution always aware balance relationships individuals use one reference let give example \ufb01 rst began managing artists musician somewhat questionable character told good friends promoter handled variety door festivals call use name urged called promoter dropped musicians name absolute silence took entire conversation recover gaffe found defend reputation stranger id dropped name someone respect wrapchapter networking strategies new music business five tips personal references people prefer music business friends peo ple enjoy working become whole person ladderclimbing opportunist musicians curious creatures often lend services people projects believe regardless immediate \ufb01 nancial incentives give take barterill play project play mine factors advantageous upand coming artists friendships camaraderie among musicians enduring force ask someone reference run risk putting uncomfortable position although suggestions may well lead conclusion better let make recommenda tions people like ideas best notice others use reference sometimes brush really referral someone submits music project clearly right rather rejecting often confounded listener might interject perfect \ufb01 lmtv placement means nothing aware personal relationships volatile shifting planning interview hit songwriter id never met whose cowriter top hit happened old acquaintance mine night prior interview happened run friend alerted potential lawsuit brewing two massive chasm friendship gone next morning trumpeted longterm friendship cowriter would uneasy session back home \ufb01 rst book networking published returned visit hometown lima ohio interviewed entertainment editor local paper youve done career isnt realis tic people insisted disagree world commitment resourcefulness imagination creativity shared trademarks contemporaries work safety net guarantees rules predestined career paths follow road golden years teenager cloistered room musical instruments magazines records little stand could forge career obsessions father used remark youre living dream world totally correct dreamed living new york hollywood life far beyond corn\ufb01 elds oil re\ufb01 neries surrounded staying hometown creating outlets art music locally wonderful thing everyone needs love music incorporating fabric life may ful\ufb01 teaching music performing local church choir singing senior citizen homesall worthwhile outlets talented people allow music ful\ufb01 elemental endeavor make others feel good sharing soundchapter wrapnetworking strategies new music business making happen decentralization recording industry may necessary move music capital scenes developed unlikely places recent years omaha nebraska akron ohio austin texas chapel hill north carolina sacramento california athens georgia among prominent make happen sizable audience support musica cdbuying concertattending audienceparticularly large college university nearby local media promote music scene visual artists identify audience hungry culture enlightenment prerequisites scene chris stamey produced artists including whiskeytown yo lo tengo alejandro escovedo forefront rootsdriven sound chapel hill north carolina stamey lived new york playing big stars alex chilton forming dbs north carolina refugees peter holsapple rigby gene holder years big apple stamey returned north carolina coming back south great stamey enthuses gain two three hours every day much easier get things done whether going get gar bage bags meeting someone lunch dont wear armor much love new york fertile stamey observes north carolina necessarily next musical mecca lot things seem like movements one person might one club owner making stand couple musi cians bring wurlitzers play certain way life songs music comprise compass guided chris stamey back north carolina playing alex chilton asked didnt live new york la stamey recalls said good things come provinces barsuk records began venture josh rosenfeld partner christopher possanza release album band busy monster taking name russian word badger label based seattle home death cab cutie jesse sykes sweet hereafter rilo kiley nada surf many others future soundtrack america fund raising compilation rem tom waits might giants others one newest projects rosenfeld explains label \ufb01 nds bands personal references signed artists used accept unsolicited demos got much stuff harder years ago easy someone make music home computer theres much became overwhelming started label band couldnt \ufb01 nd label wanted put music remember thinking time looked rosters labels admired seemed cliquish oh course signed know guys band ive come realize exactly functions time one huge place \ufb01 nd music like bands roster road play shows bring us cd back say band really good share taste music bands roster lot overlap clique thats hear music likechapter wrapnetworking strategies new music business given whatever attributes choose use either positive negative ways music business made individuals dont \ufb01 models said beginning book networking strategies becoming another person allow ing light within shine illuminate career path lives progress needs change successes failures shape personalities many things separate us music rejection changing trends \ufb01 nite abilities lure straight job partners spouses dont understand spend spare time basement tinkering instruments recording equipment recording artists signed progressively younger ages observe many bud ding stars hollywood managed family members mamagers newly coined term stage mothers navigate childrens careers jessica ashley simpsons father joe minister traded pulpit show business highpowered entrepreneur interestingly reverse also true oldschool crooner tony bennett become newly hip watch manager son danny tom jones offspring mark woodward provided service perennially swinging father maybe art love music expressed children dont children encourage nurture teach hope books write courses teach helped enlighten students aspiring artistsa responsibility take lightlyin conclusion plucky poultry childhood lore chicken little ran proclaiming sky falling hear echoed human counterparts lament music busi ness falling let clear music business \ufb01 ne thank video games independent \ufb01 lms cable television satellite radio digital transmissions ring tones remixing rise independent artists add ing burgeoning bottom line tendency use terms record busi ness music business interchangeably record businesssales music hard tangible form like cds dvdsis always state \ufb02 ux quite famously sales cds impacted \ufb01 lesharing music division entertainment dollar ever smaller increments back day consumers far fewer choices spend entertainment dollars music business much greater single commodity whenever wherever individu als make living connected musicperforming writing teaching consulting advisingthere solid music business djs remixers reinvent muse samples reconnect past future soundtrack becomes increasingly crossgenerational new palettes shine wellburnished hues new combinations spin togetherpunk rockers country queens classic rockers hiphop artists possibilities in\ufb01 nite always language reinvented rise hiphop fuels art spoken word world becomes smaller beat becomes bigger music potent passport across lines dimensions chapter wrapnetworking strategies new music business everyone feels skateboarding mis\ufb01 ts wearing tshirted kid street bigband loving grandmother music generated every single day satisfy everincreasing consumerism crossroads art technology even dead rock stars exhumed classic artists remixed todays hottest djs feel power music heartbeat even elvis new dance hit corporate radio squeezes playlist ever tighter new generation musicians hunches computers suburban bedrooms roams hinterlands packed vans gives back muse classrooms choir lofts video games computers advertising cable television independent artists digital transmission sat ellite transmission ipods pod casting years music business never seen many oppor tunities exist today music business two words may music always come \ufb01 rstappendix academy country music w alameda ave suite burbank ca el web site wwwacmcountrycom ascapnew york headquarters one lincoln plaza new ork ny el fax web site wwwascapcom ascaplos angeles w sunset boulevard third floor los angeles ca el fax ascaplondon cork street london wxpb el fax ascapnashville two music square west nashville tn el fax ascapmiami lincoln rd suite miami beach fl el fax ascapchicago n milwaukee suite chicago il el fax ascappuerto rico ave mu\u00f1oz rivera ibm plaza ste b hato rey pr el fax ascapatlanta pmb enth street nw atlanta ga el fax bminew york broadcast music inc headquarters west th street new ork ny el web site wwwbmicomresources organizationsnetworking strategies new music business bminashville music square east nashville tn el bmilos angeles sunset blvd rd floor west west hollywood ca el bmiatlanta peachtree road ne suite atlanta el bmilondon harley house marylebone rd london nw hn england el bmimiami blue lagoon drive suite miami fl el bmipuerto rico ponc\u00e9 de leon east wing suite banktrust plaza hato rey puerto rico el arizona songwriters association p box phoenix az el web site wwwpunkfolkercomassociation independent music publishers aimp los angeles chapter p box los angeles ca new york chapter co burton goldstein co llc w th st suite new ork ny web site wwwaimporg austin songwriters group p box austin tx el tune web site wwwaustinsongwriterorg baltimore songwriters association p box baltimore md el web site wwwbaltimoresongwriterscom black tock coalition p box cooper station new ork ny el web site wwwblackrockcoalitionorg boston songwriters workshop el web site wwwbostonsongwritersorg california copyright conference ccc po box sherman oaks ca el web site wwwthecccorgcalifornia lawyers arts fort mason center c san francisco ca el th st santa monica ca el j st suite sacramento ca el broadway st oakland ca el web site wwwcallawyersfortheartsorg colorado music association e first ave denver co el web site wwwcoloradomusicorg connecticut songwriters association p box mystic ct el web site wwwctsongscom dallas songwriters association sammons center arts harry hines box dallas tx el web site wwwdallassongwritersorg film music network co film music media group washington blvd suite los angeles ca el el web site www\ufb01 lmmusicworldcomthe folk alliance wayne ave suite silver springs md el web site wwwfolkorg georgia music industry association inc p box atlanta ga el web site wwwgmiaorg gospel music association division st nashville tn el web site www gospelmusicorg international bluegrass music association music circle south suite nashville tn el getibma web site wwwibmaorg international songwriters association ltd b new cavendish st london wi england el web site wwwsongwritercouk plain folks music organization n butler indianapolis el web site wwwjpfolkscom los angeles music network p box oluca lake ca el web site wwwlamncomappendix resourcesnetworking strategies new music business los angeles women music lawim national blvd ste los angeles ca el web site wwwlawimcom nashville songwriters association international w end ave rd fl nashville tn el web site wwwnashvillesongwriterscom outmusic p box old chelsea station new ork ny el web site wwwoutmusiccom paci\ufb01 c music industry association carrall st vancouver bc vb e canada el web site wwwpmiaorg san diego songwriters guild governor dr suite f san diego ca el web site wwwsdsongwritersorg sesac inc music square east nashville tn el web site wwwsesaccom west th st th floor new ork ny el santa monica blvd suite santa monica ca el sesac international upper berkeley street london wh qx england el web site wwwsesaccom society composers lyricists beverly dr suite beverly hills ca el web site wwwthesclcom songwriters guild america broadway suite new ork ny el sunset blvd suite hollywood ca el th ave suite nashville tn el web site wwwsongwritersguildcom west coast songwriters laurel st suite san carlos ca el el forsong california nashville web site wwwwestcoastsongwritersorgwomen music p box radio city station new ork ny el web site wwwwomeninmusicorg events breckenridge educational music seminars beams series music songwriting weekends held colorado oll free usa breck colorado outside usa fairfax st denver co web site wwwbeamsonlinecom durango songwriters expo currently producing two events fall expo elluride co spring expo santa barbara wine county el web site wwwdurangosongcom canadian music week p box st mississauga lm z canada web site wwwcmvnet cutting edge music business conference clairborne ave new orleans la el web site wwwjasscomcuttingedgefilm tv music conference wilshire blvd los angeles ca el web site wwwbillboardeventscom billboardevents\ufb01 lmtv folk alliance annual conference wayne ave suite silver spring md el web site wwwfolkorg independent music conference main ave pmb norwalk ct el web site wwwgomccom kerrville folk festival p box kerrville tx el web site wwwkerrvillefolkfestivalcom music business solutionscareer building workshops p box boston el web site wwwmbsolutionscom south southwest music conference sxsw p box austin tx el web site wwwsxswcomappendix resourcesnetworking strategies new music business west coast songwriters conference laurel st suite san carlos ca el el forsong web site wwwwestcoastsongwritersorg winter music conference ne errace ft lauderdale fl el web site wwwwintermusicconferencecom periodicals american songwrit er magazine web site wwwamericansongwritercom back stage west web site wwwbackstagwestcom billboard web site wwwbillboardcom canadian musician web site wwwcanadianmusiciancom cmj new music report web site wwwcmjmusiccom daily variety web site wwwvarietycom hits magazine web site wwwhitsmagazinecom jazztimes web site wwwjazztimescom music connection web site wwwmusicconnectioncom music row web site wwwmusicrowcomthe performing songwriter web site wwwperformingsongwritercom songlink international web site wwwsonglinkcomindex chorus line absentpresent phenomenon academy country music access proof accessibility practicing accomplishments discussing acronyms email advertisements advice asking af\ufb01 rmations working room age assumptions effects agents aguilera christina aiken clay air force air studios airplay monitor airports meeting people album atlanta alcohol use working room alcoholics anonymous night robertson need know music business passman ally mcbeal alpert herb alternative venues altman marshall records amazed green amazoncom american idol american songwriter magazine americana americana music association conference anastacia anderson april anderson chris anderson keith angelou maya arizona songwriters association arthur joseph artists responsibilities good gets ascap black tie dinners compilation cds general member meeting los angeles headquarters list los angeles swapmeet thru walls series web site writers night new ork askapro sga los angeles nashville association independent music publishers aimp assumptions avoiding asylum atlanta atlantic attachments email attorneys audio engineers austin songwriters group b back stage west back ou robbins baggot inn new ork baker anita baker bob web site ballard glen baltimore songwriters association bandwagons banners names barber simon barsuk records bass jeff bbc unsigned web site bds beach boys beatles rejection dealing networking strategies new music business beer run anderson beijing bellrays bennett danny bennett ony big personality billboard airplay monitor world chart listings bios example press kits web sites birth order bitter end new ork black crowes blackberries black rock coalition bluebird cafe nashville blume jason bmi acoustic roundup nashville black tie dinners compilation cds headquarters list lehman engel musical theatre workshop new ork los angeles music connection showcase nashville roundtable nashville songwriters workshop jason blume nashville web site writerpublisher relations department bob malone malone body language bond sherry book ruth boston boston songwriters workshop boy howdy brabec jeff brabec odd braheny john breath mints breckenridge educational music seminars beams broadway new ork brooke jonatha brooks garth browne jackson buckcherry buffy vampire slayer burning bridges bush george w business cards working room c cable television caf\u00e9 press web site cal poly pomona calendar notices california copyright conference ccc california lawyers arts canadian music week canadian musician capitol ower career changes carter deana cd baby web site cds compilation cds dmi networks press kits promotional sampler cds signing unsolicited cds cdwow celebrity strategies interacting cell phones conversations etiquette celtic harmony ireland chance opportunities changing careers character traits charles ray childrens music chilton alex chris thomas chris isaak show christian rock christmas holiday music index church songs soul inspiration cinderella story circle songs bmi clairvoyance clarifying comments clark ena clear channel cliches bios clothing information transmitted live performances tips visual cues clubs see venues cmj new music report cowritten songs cobain kurt cocacola cocker jarvis coffeehouses cohen leonard cole nat king collaborators collective soul colleges education colorado music association columbia records commitment personality comparing comments compilation cds compliments accepting conversations computers cond\u00e9 naste conferences see music conferences con\ufb01 dence posture con\ufb02 icts studio connecticut songwriters association consistency contacts multiple contacts developing conversations see also telephones compliments dynamics email conversations ending lines instigating leading questions negativity sharing sensitive areas \ufb01 rule meeting greeting working room cook au van coolhomepagescom cooper jay copyrights cornelia street caf\u00e9 new ork counting crows country music put downs steele jeffrey cover letters press releases cover ascap cover songs craft business songwriting braheny creative black tie credibility advice crisis resolution strategies crossed armslegs curb records curtis catie cutting edge music business conference daily variety dallas songwriters association dance music dankimpelcom darkest part night malone dave matthews band dawsons creek season death cab cutie demographics music demos nashville placing songs submission services suggestions submitting denny sandy denver joel networking strategies new music business desire details determination diamond rio digital transmission digital watermarking digital wings disc marketing disco music disney cinderella story distractions studio distribution internet radio promotion diy diy ourself convention djs dmi networks dmoz dozier lamont draw honesty drug use drummond bill durango songwriters expo dvds press kits dylan bob e email business cards including nonreturned emails setup copy edison media research education edwards kenneth babyface ego in\ufb02 ation mile einstein albert eisenhower dwight eleanor rigby electronica eminem eminem show emo emoticons emotions crisis resolution email logic telephones reading verbal communication employment industry engel lehman entertainment value enthusiasm entrepreneurs epstein brian equitywaver houses er escovedo alejandro ethnicity questions etiquette cell phones studio hang events list tieins evergreen streisand expanding comments expediacom extreme strategies eyebrows trimming f facial hair styles falcon ridge festival family management farrish bryan fate ony faxing copy setup fcc federal communications commission fees scams ferrari marc cent fight club \ufb01 lm independent \ufb01 lm los angeles film tv music conference film music network firehouse recording \ufb01 rstborn children folk alliance annual conference folk alliance conferences index fopp unsigned web site fox music frank david friends fugazi fusion music future soundtrack america g garageband web site gatekeepers general mills generalizations crisis resolution genie bottle frank genius loves company charles genres gentry montgomery georgia music industry association inc georgia state university get signed web site gigwise web site gillespie rowana gin blossoms girl interrupted glasswerk web site global perspective need goals de\ufb01 ning good ear outlaw steele google web site gospel music association gq gratitudes see thank yous green al green marv greenwich village new ork groban josh grooming tips grossman albert growth impression grudges holding grunge music h haircuts hammer jan hancock herbie harcourt nic hard copy setup harper ben harper collins hendrix jimi herd mentality hidden opportunities hien thomas hill faith hiphop atlanta bush george w put downs hits magazine holder gene hollywood dressing holsapple peter hometown musicians horses smith hostbaby web site hotel cafe howards club h bowling green hugo chad hung william hynde chrissy dreamed ou robbins carry ou robbins icebreakers conversation telephones imro ireland in\ufb02 ight audio entertainment independent artists independent \ufb01 lm independent labels independent music conference indie hour indigo girls insecurity namedropping instrumentals international bluegrass music association international markets international songwriters association ltd internet see also web sites distribution downloaded tracks networking strategies new music business radio worldwide market internships introductions intros performances ipods must love itunes j jackson jansch bert japan rappers okyo music jazz music jazztimes jesse sykes sweet hereafter jetplane landing web site jewelry jobs industry john elton jokes email jones brian jones george jones quincy jones om joplin janis juicing room plain folks music organization k kahn chaka kcrw chris thomas keel kekaula lisa kennedy john f kerrville folk festival kiley rilo king klf knowledgebased skills kodak theater korea rap seoul music kraft robert kragen ken kramer wayne l la songwriters network labelle patti laemelle movie theaters lapel pins larson bree las vegas shows lawyers lehman engel musical theatre workshop new ork leone bob lil hals guide limeys los angeles listening conversations skills little richard little shop horrors live performances see also venues compliments accepting inventing show peeves postperformance tips soft tickets liverpool liverpool institute performing arts lipa local press releases logic emotion logos shows london lonestar look visual cues los angeles moving los angeles music network los angeles songwriters showcase lass los angeles women music lawim lose ourself resto lott roy loyola marymount law school ludacris lullabies lyric partners index madonna magazines clothing tips education reading resource list mailing lists web sites major bowles amateur hour malone bob web site mamagers management dealing mamagers need quali\ufb01 cations manchester mancini henry manhattan visiting manhattan association cabarets mac manhattan transfer mann billy marital status assumptions marketing music web site martin joel martin sir george mashups mastersource mathers marshall mayer john mca mccartney jesse mcgraw tim mclaughlin john measure man aiken mechanicals merchandising radio promotion meta tags metallica middle children mingling moguls questions monterey pop festival moreira rafael morissette alanis morrison jim motion picture motown mouseketeers mp mrs fields cookies muffs mullins shawn multipliers murdoch alexi music money success brabec brabec music bridges usa music business ascap music business solutionscareer building workshops music conferences tips music connection magazine music publishing jobs \ufb01 rms music row music stores musicbias web site musicians goals questions international market malone bob personal references studios steele mystery air mystical beliefs myths success n nada surf names banners band names cover letters dropping names remembering names shows napster web site narcotics anonymous nashville moving showcases nashville new music conference nashville pussy nashville scene networking strategies new music business nashville songwriters association international nsai membership information national academy popular music napm nationality questions neediness appearance negativity eliminating personality sharing negative comments neptunes network television see television neville brothers new jersey new music nights bmi new ride josh emily new ork downtown area moving new ork songwriters circle niche markets nile willie doubt nonreturned calls north hollywood npr national public radio sounds eclectic older audiences oldest children ongoing shows children open body language openness communication opportunities creating hidden opportunities optimism outdoor shows outkast outlaw outlaw cultures outmusic outros performances overdressing overnight success mythology p p diddy paci\ufb01 c music industry association paisley brad parker colonel om parks cary parks larry parton dolly passman donald paterno peter payola radio paypal peoplesound web site performing songwriter performing rights organizations see also ascap bmi sesac los angeles nashville periodicals see magazines personal references personality assumptions avoiding big personality birth order negative traits success attributes pessimists phish photos press kits phpbb web site pick month bmi pink polar express politics assumptions polygram music publishing pop idols pop music creative black tie dinners put downs positive outlook possanza christopher posture power telephones practicing networking praisebased music prejudicial statements presley elvis presley lisa marie index press kits bios press kits cds dvds cover letters electronic press kits folders music conferences photos press releases pretenders pri programming princess cruises proctor gamble producers studios progression career promotional appearances promotional sampler cds proofreading materials proposals shows soft tickets prot ools public radio publicists publicity soft tickets publishing see music publishing pulp purple haze hendrix put downs putumayo records q quiet set ascap r race assumptions radio atlanta compilation cds internet radio kcrw promotion public radio satellite radio test shows ragtime ramones rap music atlanta bush george w put downs rascal flatts rb creative black tie dinners reagan ronald record deals record labels access proof jobs recording studios references regal cinemedia reinvention rejection overcoming rejection reliability religion assumptions praisebased music rem remembering names remixes renbourne john repeating names resources respect celebrities networking rejection treating people resto luis resto mario reversion clauses rhapsody web site rigby rimes leanne ringtones road rally robbins lindy robertson mae rock music christian rock rocket crypt rodgers hammerstein music rogers kenny networking strategies new music business rolling stones room working roots rosenfeld josh ross sean roswell rr russell brenda sacri\ufb01 ces samplers san diego songwriters guild san fernando valley santa carla web site santa monica santa monica city college kcrw satellite radio satellite technology save ferris scams avoiding compilation cds event tieins nashville scarves sears roebuck co selfdoubt selfful\ufb01 lling prophecy selfrevealing comments sesac compilation cds headquarters list los angeles web site writers storm setup hard copy sexual preference assumptions sexy clothing shady records shamblin allen shed give anything boy howdy shepard vonda shine robbins signing cds silverlake simpson ashley simpson jessica simpson joe sinatra frank sixpence none richer sixth sense developing press kits sixth sense slick sheets smiling telephone smith patti snopescom sobule jill society composers lyricists soft sell using soft tickets something believe mullins song biz column music connection magazine songlink international songsalive expo songwriter musicians guide nashville bond songwriters age international market music publishers resto luis robbins lindy steele jeffrey songwriters club bmi songwriters guild america sga los angeles nashville songwriters hall fame new ork songwriters musepaper songwriters beat new ork songwriters studio ascap songwriters symposium nsai sony sound checks soundman dealing sounds eclectic vista street sessions soundscan soundtracks south southwest music conference sxsw spears britney stage patter index stamey chris star search starbucks steele jeffrey stockholm stolen songs streisand barbra strengths assessing stroke strong personality studio city studio hang studiotechnical personnel summer donna support positions swag sxsw sync fees sync licenses synthesizers tshirts tag teams talent taxi teamwork technical musicians ed teeth cleaning telephones see also cell phones basics calling ending calls gatekeepers nonreturned calls power use purpose conversation stating sounds timing calls tracking calls television clothing tips los angeles songs en commandments design \ufb01 rule meeting greeting test shows thank yous demos music conference participants performance attendees soundman way streisand might giants busy monster thornley beth thru walls series ascap tickets ties timberlake justine timing artistry effective use time personality telephone calls tin pan alley new ork tin pan south nsai touching base phone calls touring see also venues radio promotion success ower records oyota tracking phone calls train training transferable skills travelocitycom trends troubadour los angeles ears ago steele u ucla extension classes ultimatums umo music underdressing unisong international song contest united airlines united kingdom london music working universal city universal music publishing group universities education university southern california usc networking strategies new music business unsigned artists unsolicited cds urban keith u v vanguard velvet rope web site venice california vennum bob venues alternative venues businesses equitywaver houses \ufb01 tting bands inventing show soft tickets sound checks soundman dealing tips dealing verbal communication see also conversations telephones crisis resolution viability rejection vibe vicemaslin mich\u00e9le victorias secret video games video presentations presskits village voice villegas luis virgin records vista street sessions visual mediums visualizing success vocals volunteering music conferences w wainwright rufus waiting rooms opportunities waits om warwick dionne water wide web designers web sites bios business cards including costs mailing lists merchandising requirements resources list sales updating weekend edition weekends performances telephone calls west coast songwriters conference west hollywood whiskeytown wifm concept wilde justin wine spritzers winter music conference witten patti wnnxfm atlanta women music woodward mark woolford keo working musicians malone working room workplay theater birmingham world cafe world markets wrasfm atlanta wright hugh writers night new ork writers storm sesac lo engo youngest children" +} diff --git a/tL-Manager-Music-Industry-Guide.json b/tL-Manager-Music-Industry-Guide.json new file mode 100644 index 0000000000000000000000000000000000000000..542c40e0d1b9724f751449edba74560decd7612c --- /dev/null +++ b/tL-Manager-Music-Industry-Guide.json @@ -0,0 +1,5 @@ +{ + "filename": "tL-Manager-Music-Industry-Guide", + "department": "Manager", + "cleaned_text": "ziaad khan music industry guide updated th feb directories billboard international buyers guide nd edition vnu business publications b dir bus reference source worldwide music industry listings giving contact details record labels music publishers wholesalers distributors raw terials manufacturers listings companies country creative review handbook centaur media plc b dir bus design new media illustration photography pi cture libraries photographic services print commercials sound live events media agencies c opywriters courier despatch talent casting agencies translation imit membership directory acme co b dir bus names addresses members institute musical instrument technology british international music yearbook th edition rhinegold publishing ltd b dir bus reference source worldwide music industry listings giving contact details music schools music book publishers instrument manufacturers marketing fundraising organisations international showcase music business guide nd edition hollis publishing ltd b dir bus international music producti guide lists concert venue equipment recording studios artists business broadcast serv ices artist index record companies worldwide festivals booking agents rtist management publishers songwriters market rd edition writers digest books b dir bus lists music publishers music print publishers reco rd companies record producers managers booking agents audiovisual commercial mu sic firms handle songs songwriters ziaad khan white book ocean media events ltd b dir bus production directory events indus try uk talent film tv video conference industry exhibitions concerts show theatrical agents market research statistics digital music market outlook business insights available onsite via electronic sources analyses factors affecting growth digital music market future market outlook also provides detailed profiles leading digital mu sic service providers including examination operations service offerings financials trategic outlook digital music report ifpi b mkt bus analysis global digital music market regards legitimate illegal downloading touches creative industries whole co vers companycountry trategies combat piracy britain shops music video verdict available onsite via electronic sources consumer research trends factors ffect sales market downloading digital rights management increased vat etc covers consumer demographics includes comparisons major retailers recording industry numbers ifpi b mkt bus facts figures worldwide music industry including best selling charts consumer trends performance rights income individual country data lists online music services association contacts tax revenue region top digital trends emarketer available site via electronic sources short report latest developments within va rious digital media emphasis new developing digital distribution cha nnels spotify clo udbased streaming services amazon apple uk annual forecasts music video verdict available onsite via electronic sources analysis key issues set impact music video market next five years covers impact piracy price comp etition digital sales etc market uk music video consumer satisfaction index verdict available onsite via electronic sources report measures ranks customer satisfaction major music video retailers includes various factors influence industry online buying legal illegal downloading etc bpi statistical handbook british recorded music industry british phonographic industry ltd bipc enquiry desk statistics main industry association pr ovides annual review uk industry downloading advertising albumsingles sales consumer profiles pira cy airplay etc world market overview included commercial case isp music services ovum enterprise knowledge centre available online business ip centre broadband markets saturate isps looking added value services report analyzes outlook digital music services addition isp portfolio music industry key note alphabeti cal sequence bipc broad view music markets within uk global references covers recorded music market distribution live performance music media amateur participation ziaad khan paidfor vs free consumer attitudes pr icing media music special report mintel alphabetical sequence bipc analyses market trends consum er attitudes regarding issues around paid vs free newspapers magazine tv music content investigates co market factors trengths weaknesses consumer dynamics illustrative cases future developments paid music content answer blowin cloud emarketer available onsite via electronic sources discusses cloudbased streaming music user store music collections remote servers access content various devices computer smartphones netbooks ereaders game consoles record industry key note business ratio repo rt alphabetical sequence bipc key ratios profiles performance indi cators league tables uk companies involved record industry includes brief indus try overview profile iphone generation mintel alphabeti cal sequence bipc looks consumer attitudes towards new te chnology covering gami ng photography ebooks shopping social networking etc contains chap ter music includes formats downloading digital radio please note many articles music ndustry business journa ls newspapers available onsite via electronic sources databases emarketer business source complete ebsco factiva abi inform global small business help business startup information cobra complete reference advisor fact sheets small businesses pdf format available online via electronic resources business opportunity profiles practical fact sheets detailing start run particular businesses includes information necessary skills qualific ations market trading issues legislation lists sources information advice audiovisual equipment hire bop djmobile disco bop entertainment agency bop independent record label bop music shop bop musician bop online music store bop private music tutor bop rehearsal recording studio bop uk market synopsis music retail syn performing arts syn business information fact sheets musical copyright guide bif guide using copyright others bif guide using copyright protect work bif ziaad khan small business help section bipc open access books busine ss intellectual property centre need know music business donald passman penguin london b sbh bus easy understand overview aspects music business recording contracts touring merchandise rights etc covers traditi onal industry matters ogether recent developments downloads str eaming digital royalties podcasts make music stuart james smith dennis publishing b sbh bus advice industry professionals venues prom oters festivals managers lawyers publishing home studio recording creating demo approaching record labels etc music distribution internet andrew peter sparrow gower aldershot b sbh bus explains legal requirements associated doi ng business internet provides practical advice approach key relationships internet buying consumer online media providers users guide copyright michael flint et al tottel publishing b sbh bus covers entire subject copyright books films television etc practical userfriendly manner section specifically music please note many publications copyright available within bipc books departments ordered via explore british library artist management music business paul allen elsevier yka features profiles artist managers templates rtistic career plans samples major contracts artist management record deals make music business sian pattenden virgin books ltd yka light hearted often humorous look many job profiles available music business ar person vocal coach jobs music industry chris brophy music industry learning yka practical guide various careers within music industry profiles many jobs available gives hints cvs interviews producing business plan etc klf manual number one easy way jimmy cauty bill drummond ellipsis yka written practical aspects principles still apply todays industry instruction manual diary story covers starting record label manufacturing promoting music copyright etc law business entertainment industries biederman et al praeger ycb us publication covering legal side enterta inment industry contracts rights performance obligations music publishing sound recordings internet digital world marketing lessons grateful dead wha every business learn iconic band history david meerman scott brian halligan wiley yka ziaad khan covers unconventional inventive innovative methods used band create distinctive brand loyal fan base successful business manufacturing distribution promotion music industry chris brophy music industry learning yka practical guide music formats pressing pl ants physical digital distribution building promoting websites press releases promotional packages media etc moser music copyright david j moser thomson c ourse technology covers copyright law applying music industry us perspective music business essential guide law deals ann harrison virgin books ltd yca includes practical legal issues within uk music industry covers management record publishing deals making recordings manufacture distribution marketing online sales distribution branding touring piracy useful addresses associations music business key concepts richard strasser routledge comprehensive guide terminology commo nly used music business az music business handbook career guide david tim baskerville sage ykb american volume covering digital technology busine ss models concert business alternatives airplay indepth chapters song writing publishing copyright licensing artist management recording contracts record concert production cord labels promotion distribution radio tv video films games advertising starting business etc music copyright ronald rosen oxford university press ltd yca indepth coverage legal cases issues relate copyright music music copyright simon frith lee marshall edinburgh university press b bf covers copyright relation music explains copyright system nonlega l specialists analyses social economic legal aspects music c opyright views composers performers producers consumers music industry handbook paul rutter routledge dsc provides clear introduction music ndustry works covering practical aspects key industry sectors includes business strategies startup tools wish set independent music ventures etc music publishing roadmap royalties sobel weissman routledge yka guide generating protecting collecting royalt ies emerging songwriters artists explains simply basic concepts music publishing ndustry highlighting sources income exploited covers publishing agre ements detail gives examples successes failures world music publishing performing music industry chris brophy music industry learning yka practical guide techniques involved pu tting live music performance covers rehearsals health safety djing performing etc promoting music tom may dick weissman routledge yka us music business covering song writing record ing performing album cd record business equipment required etc ziaad khan recording music industry chris brophy music indus try learning yka basic guide principles involved sound cordings covers analogue vs digital audio studio equipment recording techniques computer music remixing producing arranging mastering etc web marketing music business tom hutchison elsevier covers topics setting website sear ch engine optimisation finding market online creating managing online store marketi ng music using social media myspace facebook youtube etc aimed diy musicians managers nd record labels wanting maximise sales exposure trade magazines newsletters ordered via explore british library audience internationa l contemporary live music industry audience media ltd zkb covers international contemporary live music business provides news features tour information aimed promoters festival organisers venue ownersmanagers booking agents artiste managers record publishing company executives etc audio media imas publishing uk ltd p rv e hus open access nsa collection professional sound engineers studios includes e quipment audio video broadcast internet audio live sound systems conce rt event sound multimedia post production recording music radio website wwwaudiomediacom billboard billboard music group zcdhus open access nsa collection news international record industry include new artist signings detailed sales charts music genre profiles events bsite wwwbillboardcom computer music future publishing ltd p pp e guide making music using pc mac r eviews technology equipment software available making music tu torials reviews solutions te chnical problems plus free software samples computer music specials future publishing ltd cdsb spinoff computer music magazine issue solely focused one topic providing depth guide current musicmaking developm ent software package previous topics included cubase reason ableton li garageband djing beginners guide recording guitars online music issue includes advice tips de tailed stepbystep tutorials disc music making software electronic musician polyphony p rx e services facilities directory included future music future publishing ltd zkd making music using modern technology indepth revi ews industry professionals plus news latest hardware softwar e releases interviews musician equipment technology used lighting sound international offord zkb professional trade journal lighting sound entertainment presentation communications industries including music venues theatres concert halls conferences exhibitions etc includes new product information venue profiles technical articles shows product guide company profiles website httpwwwlisonlinecouk ziaad khan live uk audience media ltd zkb supplement audience covers uk contempo rary live music business concerts equipment supplies provides news feat ures tour information th e countrys promoters festival organisers venues artiste nagers booking agents etc mixmag dmc publishing zkb cup gives information clubs dance music includes mix cd current bigname djs mondo dr technology entertainment mondiale publishing zkd trade magazine sound lighting professionals cl nightclubs stadia theatre special effects entertainment venues includes detailed product reports market studies music copyright ft business enterprises p bg ehus open access nsa collection case studies included music week morgangrampian hus open access nsa collection weekly news charts uk record industry uk record industry gazine news features detailed sales charts genre reviews rtist signings retailers job adverts website wwwmusicweekcom music tech magazine anthem publishing cdsb practical magazine recording musicians sound e ngineers producers practical features tutorials new musical express nme ipc magazines ltd hus open access nsa collection mostly news artists including charts forthco ming concerts news record labels website wwwnmecom rhythm magazine future publishing ltd zkb cup uk magazine drummers percussionists incl udes play drums cd tutorials techniques practise tools features news reviews drummer interviews gives advice equipment sound sound sos publications zmb hus open access nsa collection covers music recording technology features articles recording systems mixing consoles samplers music software microphones director suppliers training providers website wwwsoundonsoundcom sound vision install svi partridge publications ltd zkb uk trade magazine professionals within udiovisual custom installation industries gives latest product reviews business news technol ogical developments commentary includes comprehensive business directory events training diary recruitment section total guitar future publishing ltd zkb information tutorials improve guitar playing featuring product equipment reviews artist profiles interviews well techniques tutorials eu ropes bestselling guitar magazine ziaad khan internet sources british phonographic industry bpi represents uk recorded music industry including record companies labels well music manufacturers distri butors provides industry information lobbies government issues rela ting promotion music uk music piracy website wwwbpicouk international federation phonographic industry ifpi represents worldwide recording industry works promote value recorded music website wwwifpiorg department cultur e media sport dcms government de partment responsible policy music industry website wwwculturegovuk uk music umbrella organisation repres ents collective interests uks commercial music industry artists musicians songwriters composer record labels music managers music publishers studio pr oducers music licensing organisations website wwwukmusicorg prs music amalgamation mechanicalcopyright protection society mcps performing right society prs mcpsprs alliance collection society royalties earned copying performing copyrighted mate rials administer performing rights musical works members comprise composers songwriters music publishers prs licences required concert halls dance halls public houses hot els restaurants ships aeroplanes anywhere else wh ere copyright music played public broadcaster using music anyone putting copyright music internet must also licensed website wwwprsformusiccom phonographic performance limited ppl video performance limited vpl oversee distribution royalties artists whose work played public website wwwpplukcom association professional recording services aprs association represents members audio recording sector offers news formation events well quarterly bulletin website wwwaprscouk association independent music aim trade body ukbased independent record companies artists labels distributors pr ovides basic guidance start independent record label well news nd developments industry website contains searchable directory distributors website wwwmusicindiecom httpwwwmusicindiecom resourcesstartingalabel british academy songwriters composers authors basca supports protects artistic professional commercial nd copyright interests songwriters lyricists composers genres music website httpwwwbascaorguk musicians union works promote interests types musicians website wwwmusiciansunionorguk music industries association mia sole uk trade associ ation servicing representing interests uk businesses selling mu sical instruments associated products ziaad khan website wwwmiaorguk music publishers association mpa nonprofit organisation presenting music publishers uk exists safeguard interest writers signed website wwwmpaonlineorguk entertainment retailers association era trade organisation represents retailers recorded music video dvd multimedia products website wwweraltdorg intellectual property office official government organisa tion provides information advice intellectual prope rty issues including copyright website wwwipogovuk british copyright council umbrella organisation bri nging together organisations represent create hold rights literar dramatic musical artistic works perform works website wwwbritishcopyrightorg independent music companies association impala trade association europes independent music companies website wwwimpalasiteorg school sound recording provides courses audio engineering live sound post production electronic music production remixing dj skills website wwwssrcom record productioncom website producers recordi ng studios studio recording equipment worldwide interviews blogs forums equipm ent reviews recording tips etc includes directory recording studios httpwwwrecordproductioncom audio engineering society professional society devoted exclusively audio technology engineers students scientists etc involved th e creation maintenance international standards areas digital anal og audio engineering communications technology acoustics media preservation creative practice etc website wwwaesorg music producers guild uk mpg everyone involved production music sound media student trainees working professionals hints tips recording process directory producers engineers mixers etc website wwwmpgorguk production services association psa trade body businesses involved live events association aims lobby behalf ndustry raise technical safety standards website wwwpsaorguk unsigned guide subscription based ndustry reference tool signedunsigned artists containing information contact details cord companies publishing companies artwork creative design companies recording studios promoters nues industry associations website wwwtheunsignedguidecom sound music organisation promoting new music digital platforms live events covers new technology experimen tal approaches recording opportunities artists ziaad khan composers practitioners upload work via online community well comprehensive listings events video multimedia nd details sound music activities website httpsoundandmusicorg sound video contractor svc provides indepth features industry developments website wwwsvconlinecom music week directory directory companies operati ng uk music media industry including record companies music publis managers recording studios website official charts company compiles lists uks top chart website wwwtheofficialchartscom music tank business development network music industry set university westminster website wwwmusictankcouk record day news service provides music industry news subscribers website wwwrecordofthedaycom music void source music business informati news including articles different types business model music events website wwwthemusicvoidcom recess dj hints tips website although targ eted towards club djs contains useful information including sections choose equipment hints playing live website wwwrecesscouk national association djs nadj provides support members including discounts advertising associations website chance interact djs website wwwnadjorguk mobile disco association membership organisation operators mobile discos provides useful guides public lia bility insurance pat testing plus directory members website wwwmobile discodirectorycouk dj academy organisation provides training venues across uk prospective djs website wwwdjacademyorguk academy contemporary music provides training musicians music professionals website wwwacmacuk incorporated society musicians ism professional body represents interests musicians tutors uk publishes formation sheets giving guidance professional careers music established code conduct ethics tutors website wwwismorg associated board royal schools music abrsm provides graded music examinations offers cpd opportunities sup port professional music teachers website wwwabrsmorg music teachers uk provides searchable directory music tutors uk well publishing number resources guides sist music tutors teachers website wwwmusicteacherscouk ziaad khan agents association great britain membership body entertainers agents offers guidance operating agency memb ers bound strict code conduct website wwwagentsukcom national entertainment agents council neac trade association entertainers agents code conduct rules provides news information industry events website wwwneacorguk international artist nagers association iama worldwide association classical music artist managers concert agents website wwwiamaworldcom website wwwclassicalmusicartistscom vocalist provides sample contracts informati setting entertainers agent website wwwvocalistorguk note every effort taken ensure accuracy information contained document however recently acquired items may since added collection please ask help enquiry desk check business inform ation catalogue details images blogefl jeremy ohare fensterbme creative commons license" +} diff --git a/tL-Manager-Music-the-Business-Ann-Harrison-pdf.json b/tL-Manager-Music-the-Business-Ann-Harrison-pdf.json new file mode 100644 index 0000000000000000000000000000000000000000..1adbdb1177849180fedf131f07e1c66223d7d7e8 --- /dev/null +++ b/tL-Manager-Music-the-Business-Ann-Harrison-pdf.json @@ -0,0 +1,5 @@ +{ + "filename": "tL-Manager-Music-the-Business-Ann-Harrison-pdf", + "department": "Manager", + "cleaned_text": "contentscoverabout bookabout authorpraisetitle pageprefaceintroductionchapter getting startedintroductioncreating buzzthe band nametrade mark searchshowcasing talentpresenting wellshort cutsthe demo recordinggetting help putting together teamconclusionschapter management dealsintroductionhow find managerthe principleswhat look managerwhat manager youwhat management contractthe managers roleconclusionschapter good record dealintroductionnew business modelsthe hype million pound record signingthe legal principlescreative control versus large advancestypes dealother aspects recording contractswhat happens production deal bigger company comes alongconclusionschapter good publishing dealintroductionhow find music publisherwhat publisher dowhat music publishing rightswhere money come fromrecord deal publishingtypes publishing dealrestraint tradewhat typical publishing contractnew business modelsconclusionschapter getting record madeintroductionproduction deals versus direct signingsfinding studiothe recording budgetthe producermixingmix contractsmasteringdelivery requirementsartworkconclusionschapter manufacture distribution marketingintroductionmanufacturingpd dealscatalogue single item distribution dealexclusive versus nonexclusivemarketingepqsvideogramslongform dvdsconclusionschapter online sales distributionintroductionoverviewreproduction distributionstreaming online broadcastingso music industry sought cope adapt changespiracyantipiracy measures digital rights managementgowers reviewnew business modelsterritorial issuesphysical cdsmobiles mobile music playersmove away albumssocial networking sitesmarketing onlinewebsite design rights copyrighthosting agreementdata protectionmarketingthe futureconclusionschapter brandingintroductionbranding artistsmerchandising dealshow apply trade markpassing offother remediesconclusions protecting nameunauthorised unofficial merchandisehow go getting merchandise dealthe merchandising dealwhat typical merchandising dealconclusionschapter sponsorshipintroductionhow find sponsorethical considerationsscope sponsorship dealwhats typical sponsorship dealconclusionschapter touringintroductionmadonna live nationmama groupgetting startedgetting booking agentpromotersgetting funding live workother issuesother personnelconclusionschapter band arrangementsintroductionwho owns band nameband structuresband incomeaccounting taxleaving member provisionswhat happens bands assets splitconclusionschapter moral rights privacy individualintroductionwhat rightsprivacy individualconfidentiality agreementsharassment actionsconclusionschapter sampling plagiarismintroductionhow much samplehow clear sampleplagiarismsoundalikessession musicians claimsconclusionschapter piracyintroductionwhat piracyhow spot counterfeit pirate bootleg recordhow stop piracyenforcementchapter collection societiesintroductionwhat collection societiesblanket licencesadministrationrights grantedother collective bodiesthe societieschapter appendixworking music businesshigher educationbecoming solicitorbecoming barristerbecoming legal executivenonlegal jobschapter useful addressesindexacknowledgementscopyrightabout bookfully revised updated including latest information impact ofdigital technology music business remains essential referenceguide business musicwhether youre recording artist songwriter music business managerindustry executive publisher journalist media student accountant lawyeror simply fascinated music industry music business tellyou need know uk music industry worksauthoritative indispensable ann harrisons essential work answers allthe questions decodes jargon gives facts behind headlines andreveals real figures underlying multimillion pound deals citingcase studies biggest recording artists songwriters ann uses herextensive expertise music lawyer describe precedents haveshaped law today outline expect find musicbusiness contracts age rapid technological change show theoptions futurefrom recording publishing deals making record manufacturedistribution marketing ways harness new media brandingmerchandising moral rights working music industry thisfascinating practical comprehensive guide could one mostimportant books ever buyabout authorann harrison runs successful legal consultancy wasformerly head music group leading media entertainmentlaw firmpraisefully revised updated including latest information impact ofdigital technology music business remains essential referenceguide business musicfully revised updated th editionann harrison prefacei qualified solicitor began working firm didgeneral work also good reputation entertainment lawyers atfirst general commercial litigation found naturallyattracted entertainment cases somehow seemed sexywhen moved another firm get experience theentertainment business made big mistake firm joined good atentertainment work fact wanted someone clear people largeholiday camp north england spent next two yearsrunning separate property cases connection entertainmentbusiness allluckily id kept touch former flatmate becomea successful music lawyer harbottle lewis spent timetrying persuade work thought futurelay sorting disputes court wasnt convinced law firmi working closed decided luckily job harbottle lewis still open joined music group march first convinced second big mistake hadmade career litigation training made almost impossible meto appear friendly towards lawyers side signing letters kindregards often could cheerfully strangled get overthat stayed fifteen years becoming partner head themusic groupin may left firm set legal consultancy businessharrisons entertainment law limited yes acronym mean amtruly lawyer hell wanted freedom continue torepresent artists songwriters managers small record labels andpublishers like working creative end business havethe freedom terms ive lucky last yearsto work leading players business clients comefrom every part music spectrum hip hop electronica musicvia classical rock indie charttopping pop actsin writing book hope able convey theexcitement music business used throughout isnot intended slur female artists many excellent womenworking levels music business indeed could whenthey kind give accolade award women theyear awards ceremony years ago something always cherishrecognition peers clients bestann harrison january introductionwhen started work music business little idea itworked record publishing companies mystery felt alittle like trying hard jigsaw puzzle without benefit apicture lid box looked books might help therewerent many around mostly date applied tothe usa uk music business learn mycolleagues went along lucky knowledgeableand generous timenow many sources information available ukmusic business several good full parttime media lawcourses available give head start still lacked easytoreadguide business works legal viewpoint one explainswhat publisher copyright many books thebusiness written us perspective wanted write one based onthe uk music industry could read road map theindustry ive used technical expressions tried give nontechnical explanation alongside legally minded among thedetail footnotes book however intended asubstitute legal textbooks copyright intellectual property rightsor contract many good examples sorts books aroundthe music business dynamic one new edition involves reworking chapters particular anything new mediais difficult keep uptodate chapter new media beencompletely rewritten new title online sales distribution ashave chapters touring getting record made branding andsponsorship video dying format references beenreplaced dvd revenue sourcewherever possible tried illustrate points practicalexamples add health warning examples produced theguidelines given mine alone others may agree may haddifferent experiencesweve fascinated newspaper reports artist incourt disputes exmanagers record companies even othermembers band reports accurate cases anylongterm effect matter facts importantcases highlighted decided effects thesedecisions music business ive included several new cases thisedition particularly chapters band agreements session musicianspiracy plagiarism publishingwhat ive tried let things learnedover last years music business however substitutefor legal advice particular facts case chapter deals withchoosing advisers please read good advisers help save youfrom expensive mistakes artists one chance asuccessful career business make sure dont lose pooradvice chapter getting started introductionhow get music business performing artist songwriterhow get foot door startgathering team advisers around youmaybe want manager set record label orpublishing company book understanding musicbusiness deals get startedcreating buzzhow get work noticed idea create buzz bywhatever means well see later lawyers accountants canhelp get noticed also need work plan andmake unique youyou play many gigs hope recognised ascout lookout record music publishing company canmake demo performances songs send ar personand hope however companies particularly bigger onesthe majors refusing accept unsolicited demos followingtheir us colleagues respect many accept demos atried tested wellknown source others streamlining theirsubmissions policy asking mps rather cds posttheres guarantee success one owed living thisbusiness earn often sheer hard slogmany try improve chances coming previouslyuntried marketing ploy remember famous online concerts givenby sandi thom basement tooting sure got noticed didnt itoccasionally still hear artists pitching record companies withtheir guitar impromptu audition discoveredbut chances slim days youd lucky get past thesecurity guardsyou also shamelessly exploit contacts withanyone even remotest connection music business youcan pester hapless souls get mate next gig listento demo visit myspace page improve chances ofat least getting work listened still isnt guarantee leadto record publishing dealthe live side industry important increasingly lastfew years traditional record sales declined record publishingcompanies send scouts find undiscovered talent playing outoftheway pubs happen based outside chances beingspotted slimmer london however otherareas country get attention scouts sheffield liverpoolmanchester birmingham bristol south wales glasgow among themsometimes get ambitious scout goes checks ishappening part country traditional circuit thishappens get rash signings area knows areacould nextar people live precarious existence good theirlast successful signing tend like hunches anartist confirmed someone else whose opinion respect could besomeone company somewhat surprisingly oftentalk ar people rival companies would think theyfound someone thought good would keep untilthe deal done many seem need convinced thatthey got right even though might push cost deal ifthe rival company also gets running sign artist theartist dream come true choose company works bestfor lawyer negotiate companies get betterdeal call using bargaining power bargainingpower better overall deal likely last coupleof years trend several successful artists make markelsewhere becoming big major record company keane weresigned bmg music publishing three years got arecord company interested brand music kaiser chiefs withbunique domino records franz ferdinand goodexamples independent labels punching weight moreit seems ar people major record companies want actualevidence artists ability complete recording album promote itbefore come board depressing thought band juststarting could also seen opportunity create developyour style smaller independent label first indeed one thebiggest growth areas business independent labels makingtheir story either feeding artists bigger labels releasingrecords acts picked bigger labels anexample artist made big independently picked upby major sounds radio unsigned artist thespiderman film soundtrack went sign multialbum deal withepic recordsthe band namethe name band chooses vital part identity brand verydifficult thing get right quite common bands go throughvarious name changes settle one theyre happy shouldbe memorable combine good name clever logo thenyou already halfway basis good advertising campaignhowever decide market distinctive name makes thatmuch easier name wordplay much thebetterfinding good name easier said done im sure youve sataround time pub beer three tried come upwith good band names despite advice branding suspect thatmost bands choose name much downtoearth reasons like itsounds cool one think naff noone else already nabbed raiding books old films song titles areother good sources example eve latest flame janusstark comic history also fertile source franz ferdinand beinga good exampleyou might decide name knowing anyone else alreadyclaimed may invest lot time maybe money instarting develop reputation name youre going veryhappy find someone else name doyou check someone else already using band namethere easy cheap means first go thenearest large record store ask borrow catalogue listing allavailable records look name want use appears listsare usually alphabetical artist name thats horrible task itmight seemif youve access internet widen search using goodsearch engine check see name youve chosen appears couldjust uk search plan sell records overseas dodont worldwide search could apply toregister domain name see anyone claimed main topline domain categories name available register quicklythere band registers online including one called bandnamecomwhich claims biggest online band names registry couldconsider registering searching first existing band nameit however free may want consider free onlinesearches first bear mind though band listed aband register database doesnt mean automatically succeed instopping using name also look whetherthey existing name reputation whether registered atrademark domain name whether reputation samearea business youif choose name another artist objects continuing useit one using maysue could breach trademark see chapter ifthey havent registered trademark would argue areputation area music country thatyou creating confusion mind public trading theirreputation called passing see chapter establishthese things always easy also show thatthey losing likely lose financially result canask court order stop using name also award themdamages would establish number thingsincluding existing reputation band done gig twounder name doesnt necessarily mean areputation satisfy tests passing mayhave greater reputation greater bargaining power othergroup may split youve already got record deal torelease single album name may able persuade themthat fact trading reputation stopusing name word warning though us label intendto license recordings sale us quite likely us companywill unhappy existence another artist verysimilar name may well put considerable pressure either tochange name deal whereby definitively get rightsto use name artist us labels tend risk adverse apotential threat stop sales running scaredif find another band name could dealwith buy right use name pay smallamount big amount really want name stop using itallowing carry youre going sorts deals youshould also make sure get domain name theyhave registered band name trademark anagreement assign registration youthe law somewhat confusing question band names asshown two band name cases first involves members libertythe band formed runnersup television programme popstarsand second scottish rock group pop boy band called bluethe decisions two cases could differentthe liberty x casev music record company exclusive recording contract withthe members liberty preparing release promote theirfirst album claimants funk band formed late swho also went name liberty band lot publicityand played number live concerts period nevergot record contract three independent releases made sold thousand copies public interest inthem become virtually nonexistent mids although theykept going business known respected andappeared session musicians peoples workthe question whether sufficient residual goodwill leftin entitled protected passing offthe pop group liberty argued even residualgoodwill activities could seen interfere oldliberty different areas musicthe court found amount residual goodwill morethan trivial question fact judge found thecase close borderline small residualgoodwill deserved protection granted injunction thenew liberty bands continued use name band renamed itselfliberty x went commercial successthe blue casein complete contrast june case brought original bandblue scottish rock group came courts last hit wasin single reached number eighteen chartsthey long career spanning sixteen singles seven albumsthey fan base nowadays sold records mostly mail order orover internet new blue boy band formed hadhad number singles old blue sued new blue recordcompany emivirgin substantial damages passing arguingthat confusion name leading damage theirreputation recording career case came judge laddiewho known forthright approach made clear thebeginning case found claims somewhat dubious heis quoted saying seriously saying fans one groupwould mistake one judge also commented thedifference appearance saying one aged like methe boy band comments could easilyhave made liberty case different times differentoutcomes case early indication judges view led thetwo sides discussions outside court led outofcourt settlement bands permitted continue use thesame name old blue ordered pay costs new blue whoagreed enforce long old blue didnt try apply toregister trademark otherwise try regularise ownership thenametrade mark searchyou run trade mark search see someone else thesame similar name classes goods services youwould interested example class records us therecord company often makes condition record deal run atrade mark search charge adding cost youraccount search reveals another band artist name therecord company usually insist changing name theywill sign contractshowcasing talentlets assume youve got name legitimately use getting someinterest business record companies fingers burnedby signing artists large sums money havent seen performand discovering cant play sing particularproblem height dance music boom behind scenesproducers making music using front people perform onstage often live mimed backing tapes record companieswill insist seeing play live already playing club circuitthey may turn gig arent may pay hire ofa venue ask arrange one called showcase venue willeither club rehearsal studio showcases may open thepublic often invitation might pay toget least matesfans invited friendly facesthere industry showcase daunting affairyou could hire venue send invitations recordcompanies however youve invited doesnt mean theyllcome dont surprised say theyre coming dontshow fickle business probably got better offer theday buzz likely theywill turn wont want miss could next bigthingi asked md major record company paying foran artist showcase would open public knewthat artist would seen ar people rival recordcompanies answer quite revealing said knew far hewas prepared go deal worried would hypedup felt artist really wanted record company hewouldnt influenced interest companies confidenceindeed fact artist sign company remained labelfor number albums days independent labels productioncompanies working artists likely set theshowcases either invite broad selection bigger labels along onlythose special relationship maybe ones whomthey already act talent outsourcepresenting wellhere tips may help showcase talents successfullyfirst homework read music press find currenthappening venues places regularly get written musicpress pester venue give spot even opening spot andget mates come along looks like youve already got aloyal following get stage may need start theclubs outside main circuit work way inyou also find nights venue features kind ofmusic play radiofriendly commercial pop dont want get agig heavy metal nightmake sure songs play set good crosssection whatyou goes well mates local may work fora urban audience youll want play one two firmfavourites give confidence boostbe professional rehearse rehearse rehearse think imageand style dont send mixed messages think relationship withthe audience say nothing music speak itselfstyle thats fine make sure youre sending message clearly youraudience like personality band got one make sure youuse best advantagealways tell audience beginning end yourset youd think obvious youd surprised many gigs ivebeen impossible tell artist unless youveseen lineup bands night change nogig ever starts time supposed cant even make anintelligent guess make life easier us tell us clearly isnot time shoegazing mumbletry get local press behind know one nottingham bandthat successfully made fan arts reporter thelocal newspaper kept date whenthey playing made sure got good reviews scout read oneof went next gig outerlondon circuitthe band took rentacrowd spotted ar mantipped scout record deal followed local reporter thefirst one told mum course innovative marketingspin kind advocating earlier used sms let fansknow next gig relying word mouth multiple texts ensurea good turnout secret gigs attention press theirinnovative technique wonder didnt go sign asponsorship deal telecoms company cut sms chargesshort cutsits long haul needs determination dedication plug away onthe gig circuit like short cuts yes thereare battle bandstype competitions get thefinal three even win give valuable exposure shouldensure number followup gigs local area usefulpublicity dont often lead directly deals although win youmay get free studio time make demo see one band year olds called flaming monkeys kerrang unsigned bandsaward vodafone awards used spring board aspot glastonbury hopefully record deal glastonbury anemerging performers competition bands play main stageindeed market booming one venues turning theirclubs promoters special gigs aimed younger audience andobviously without boozethen course online band competitions thosepromoted webbased slicethepiecom socialnetworking sites different use technology see chapter also open mike evenings clubs anyone turn upand ask play one two numbers tony moores unsigned acts nights atthe bedford pub balham south london regular stopping spotfor scouts barons court west london clubs soho suchas punk pubs like betsy trottwood tony moore also opened anadditional live acoustic venue regal room december based atthe distillers fulham palace road londonmusic industry organisations performing rights societylimited prs us equivalents american society composersand publishers ascap broadcast music inc bmi occasionallyarrange nights central london venue showcase two three acts whoare either unsigned signed record deal publishing deal orvice versa ascap sends cd containing track actsits promoting popular ar people someone hasalready filtered lot rubbish see useful addresses forcontact detailsthere also annual uk music industry convention called thecity attached series showcases unsigned acts venues inthe city conference held regular home manchesterbut move around death one founders tony wilson stop partner yvette livesey continuing tradition afew months later looks continue foreseeable future itsquite expensive register conference often possible getinto bar main conference hotel executives meet relaxyou could get lucky meet one two ar people get demo tothem remember however get given many cds often late nightand possibly several pints beer probably need bereminded followup call days later youre chosenfor one unsigned showcases guarantee least one arperson gig past years suede oasis darkness haveall played city unsigned recent successes include theautomatic musethe demo recordingfor people making progress music business means ademo recording work calling card way ofintroducing stranger work recorded beststandard affordstudio dealswhat havent money afford make recordingone way beg downtime local recording studio istime studio hired commercially may reallyunsociable hours needs sleep youvegot record deal getthe studio may give time cheaply even free morelikely let time return promises getwhen get first deal studio owner may want theincome royalty earn sale records issometimes called override royalty fair get deal usingrecordings made studio take care studio asking fortoo much override royalty usually enough mean thatif offered royalty give studioowner leaving studios try get royalties yoursecond third album argue wouldnt got yourchance record without generosity true comesa time success nothing original generosityone album plenty cases goes beyond royaltypercentage reduce say studio may also want guarantee use facilities whenyou make album studio owner may want produce firstcommercial album careful agreeing sorts ofconditions record companies dont like package deals studio andproducer like say things theproducer proven talent may less concerned tryand build flexibilitythe demo feature good crosssection work peoplethink contain three four different pieces withyour best one first secondbest one last contrasting style pieces inthe middle careful sending confusing message mixing toomany different styles one cd opening number haveimmediate impact case listener fastforwards youve got intoyour stride many ar people listen demo cds car mps ontheir mp player dont grab attention theyll move thenext track cd sending cd case cd itselfshould contain details names pieces whowrote importantly contact number otherwise wheninevitably case gets separated cd way tellingwho band get hold harder anmp important file name distinctive metatagson recording identify artist name track youcan include email webpage contact address much better makeyourself easy possible findfinders agreementthese go popularity moment seem beenovertaken production deal still used someone justwants find deal involved level studio ownerproducer established writer may working might likewhat hear may resources inclination sign youup record deal may also wish become involvedin career longerterm manager might spot opportunity usetheir contacts prospects people mightoffer find deal agree principle may wantyou sign finders agreementthis usually short document appoint period oftime get record publishing deal period varies sixmonths eighteen months may nonexclusive case theperiod less concern exclusive case might want keepthe period quite short exclusive deal pass interestyou get finder overall charge nonexclusive andothers go looking deal need mechanism forhow tell actually made successful introduction mostfinders favour exclusive arrangementif finder gets deal within agreed time span usuallyends ongoing relationship finder unless assometimes happens changes different type deal ofartistmanagerartistproducer cowriterthe fee finder gets varies may percentage youget signing deal percentage monies paid firstcontract period deal share monies future royaltiesthe percentage usually somewhere sometimes thefinder argues percentage monies beyond initial contract periodthis less usual would want see strong grounds justify andeven might well argue percentage reduced say demo dealif ar man gets hear music demo indeed alive gig undoubtedly want hear moreif situation existing production companywith access studio facilities may pay studio time torecord material try different versions youve alreadyrecorded demo case may offer demo dealthe deal usually guarantee certain amount time aprofessional inhouse recording studio many record publishingcompanies studio facilities may offer makeavailable perhaps shouldnt look gift horse mouth thestudio doesnt equipment need show bestadvantage say either ask equipment hired inor ask go commercial studio cheeky yes politely chance dont blow itthe record publishing company expect copyright inwhat record see chapter company want right tocontrol happens recording record company usuallyexpect rights song music publisher might try takeadvice agree give away rights song leastthey shouldnt song unless offer proper publishing dealsee chapter company offering deal also thephysical recording master fine long dont stop yourecording song someone else dont offer dealthey also agree wont anything master withoutfirst getting permission important finally sign yourrecord deal asked confirm one else right torelease recordings performances record company findit funny rival company releases track planned asyour first single company paid demo usually agree thatyou play companies decide offer dealwithin reasonable period timethe record publishing company normally want exclusivityin return studio time giving may want toagree make demos anyone else negotiate anothercompany period timethey may slightly flexible want right first negotiationor refusal means want either first chance totry negotiate deal want right say yesor first sign another company difficult call youwill doubt excited perhaps desperate risk losing dealbut agreeing exclusivity negotiating options need tobe sure exclusive time period long tie formonths may miss moment first negotiating orrejection rights tell soon possible youstand theyre interested need move quickly aspossiblebear mind though record company go anumber stages make decision listen therecording probably discuss ar meeting maybe alsowith immediate bosses even overseas colleagues takes timeand may want risk losing rival company need toget balance needs two sidesdont surprised depressed make demo thecompany decides offer deal know several artists gotdemo time two three record companies ended anexcellent set demos took another company signedthem dont want happen people feel youve beenaround sounding bit stale difficult balance tostrikeon positive note first company may love youverecorded demos may confirm ar mans faith abilities andhe may ready deal youve passed go youveread rest chapter getting good advisers youshould go straight chapter good record dealgetting help putting together yourteamall may seem bit daunting dont worry negotiating orsigning studio demo deal people turn helpyou looking put team advisers place soon youstart get bit buzz ready move quicklythe lawyera good lawyer experience business enormous help toyou find one youfinding lawyergeneralyou ask law society suggestions see useful addressessection details entertainment firms referral lists butmake judgement quality advicemany law firms websites tell bit aboutthe firm areas expertise usually contain email addressso could try sending message asking informationsome websites contain details last big deals firm andwhere clients allow list names clients isnot necessarily bad thing arent many clients mentionedprofessional rules mean keep client information confidential andnot even say someone client without clients permission orunless public knowledge client kind enough give crediton album artwork take hes happy people know im hislawyer doubt askother sources could musicians union music managersforum prs runs legal referral scheme firms music lawyersagree give preliminary advice free reduced rate see usefuladdressesdirectoriesnot law firms websites could also look two mainbooks listing uk legal firms chambers legal see usefuladdresses general guides found larger publiclibraries available online similar approachbreaking lists areas country particularspecialisations uk music lawyers based london areone two places like manchester liverpool glasgow chamberswrites short pieces thinks leading players particularfield also boasts usa guide legal operates leagueprinciple interviews lawyers notes names mentionedmost frequently others business grades firms accordinglyit also checking individual clientsin addition general legal guides music week directory alsolists uk law firms good first stop overview lawyers whoclaim expertise music business music week leadingtrade journal music industry uk need take asubscription get directory online access may find inbigger reference libraries contact business might lend copyas general guides entry directory anyguarantee goodmanagers accountantsif already manager accountant may able torecommend lawyer check manager samelawyer managers realise things examplenegotiating management contract separate lawyerfrom manager conflict interests two thatmeans must separately advised conflict interestthere usually nothing wrong manager samelawyer may however still feel comfortable ownlawyer boardother bandsother bands contacts business may able recommend someoneto may lawyer someone heard others sayis good lawyers love personal recommendations source newwork means must something righthow go choosing employing lawyeroccasionally lawyers public eye particularly highprofile piece work done everyone wants astheir lawyer must however try find whether lawyer isexperienced onehit wonder ideally youshould two three names list possibly gathered avariety sources call tell looking alawyer ask meet wary lawyers promise theearth dont answers meet lawyershave questions ready ask long theyve thisand main clients saw may bit coy thisbecause duty keep clients business confidential kthem firm structured work orwill handed junior person call lawyeryou meeting time discuss case expected workwith junior personyou also ask lawyers allimportant question theycharge expect send bill expect bepaid accept payment instalments chargeinterest balance like would credit card bill werepaying monthly pay credit card beware lawyer isreluctant discuss costs tells charges hour youmay need sit quoting hourly rates doesnt really help tocompare two firms one lawyer may work faster betterway ask give ballpark figure usuallycosts record publishing deal ask lawyer thesame question youll better basis comparison dont necessarilygo lowest price may deal gets done faster ashortterm view lawyer really comes whensomething goes wrong six months years time thethoroughness done job protecting interestsreally gets put test lawyers agree piece work fora fixed price since setting business often work way itgives client certainty job work turns farmore complicated appeared first reserve right come backand revisit fixed feethe lawyer finally choose send letter setting thebasis going work including details heexpects charge complain problemyour lawyer fundamental part team take time choosingone dont afraid say youre happy piece workincluding voting feet changing lawyers doesnt work outalthough may want give lawyer chance explain positionbefore leave last resort sue negative inthe majority cases isnt problem cant sorted aphone callconflicts interestthere firms lawyers work mostly record publishingcompanies others work call talent creativeend business important know record labelinterested uses firm legal advice bea conflict interest make difficult lawyer work foryou youre ever dispute record company say itspossible build chinese walls artificial barriers theory onelawyer within firm knows nothing another cant beinfluenced negotiation things going well workprovided everyone knows happening things arent going wellwill feel confident lawyer looking interestsbeauty paradeswhen go meet lawyers fair tell youreseeing lawyers firms lawyers call meetings beautyparades set impress theres nothing worse thanspending hour giving advice someone think already chosen youas lawyer told walk door thanks thatill get back seen firms listif youre asked firms youve seen dont say butif helps lawyer knows competition withand adjust sales pitch accordinglywhen youve decided want work tell theothers whove given hour valuable time areout luck never know may want change lawyers pointand theres harm keeping things civilwhat lawyer youa trite answer may say whatever instruct provided islegal work instructions thats really truepicture advise help youdecide best deal give benefit ourexperience similar situations know whos deals howmuch would good dealif want help target companies experiencetells us interested type music help bemore focused doesnt mean say act ar people althoughi come across one two lawyers think indeedthere law firms employ young lawyers quasi scouts lookingfor coming artists might future clients type musicyoure shouldnt influence lawyer able representyou whatever style music make provided far hisarea expertise doesnt necessary experience orcommercial knowledge whether deal good bad indifferenttheres also growing band lawyers following americantrend acting quasimanagers taking clients thinkthey get deal managers seem little uncomfortable asit blurs edges respective roles also means thelawyer making judgement call really need advice may belosing breed lawyer need clear areexpecting charge normal rate premium thisservice charging percentage deal get sodoes mean focus getting money hellwith small printour role wide narrow want arealready cluedup type deal want manager isthen wont need sort advice youre quite happy aboutnegotiating deal direct record publishing company youbring lawyer later commercial terms agreed youneed get legal contract place hand new tothe business arent confident enough negotiate commercial termsyoull want involve lawyer much earlier stagei work differently different types clients new artist whoeither doesnt manager manager isnt experienced irun things right beginning record company says itwants deal contact record company get deal proposal andafter talking client go back record company counterproposals continuing process deal final form thenget draft contract check make necessary changes negotiatethose company contract ready recommend tothe client signaturewith clients may experienced manager board whoknows exactly bargaining power sort deal wouldideally like end role beginning anadviser sounding board manager usually make sure get copyof proposal counterproposals wont want involve medirectly negotiations may telephone time time ask ithink company x better offering ill tell whati think based deals done company keep namesof clients confidential say whether know betteron particular point type client happy thecommercial terms im brought negotiation contractitselfyou establish lawyer kind relationship youwant may well change deal deal grow inexperiencei like take interest clients work im delighted sent acopy new album single helps cement relationship betweenus also like go see clients play live admit though thatwhen im middle long week work client rings andsays hi im stage tonight laughing cow pm whichmeans pm earliest wish support client tested tothe fullwhat dont want happen advisers embarrass youand yes happen still remember gig years ago whenfour members top entertainment accountancy firm standingproudly front row wearing bands tshirt work suitsnew breed lawyersthere new breed lawyers uk one arelawyers usually qualified solicitors barristers one businessreason another decided practise solicitors regulatedby law society instead practise legal business affairsconsultants practice probably notice difference intheory bound law societys rules bemore flexible get paid work example working apercentage advances royalties however including myselfstick rules operated much working lives assolicitors even whilst calling mean aremore restricted cannot contentious work involving representingyou court however legal consultants arrangements place torefer work lawyers contentious work specialistfield even using solicitor would probably also refer toa colleague became litigious course regulated bythe law society couldnt complain society us arestill open sued screw us carryprofessional indemnity insurance like solicitors humanwhen get lawyerthere number different views say theres needto get lawyer youve contract front think geta lawyer earlier think whole process getting deal isso much lottery anything reduce odds must beworth us happy give initial advice guidance forfree charge first deal place careful andcheck going aheadyour lawyer also help find good accountantaccountantsthis leads neatly discuss find good accountant whatthey find onethe institutesthe institutes chartered accountants england wales scotland ornorthern ireland association chartered certified accountantscan recommend firms see useful addresses important theaccountant qualified preferably chartered certified accountantanyone set business giving financial advice checkthat theyre properly regulated shouldnt allow keep yourmoney account access without knowledgeif signing rights cheques make sure sufficientcontrols placedirectoriesthere isnt general guide similar legal directories theaccountancy profession broken big international firms likeernst young deloitte mediumsized national firms internationalnetworks like bdo stoy hayward smaller local firmsthe music week directory section accountants directory isnot recommendation theyre good good starting pointamiayou could always try association music industry accountants seeuseful addresses happy recommend accountants fromwithin membership name suggests allassociated music businessmusic managers forumthe mmf give recommendations accountants well forlawyers firms accountants corporate members seeuseful addresses well individual accountants provide business orquasimanagement serviceslawyersyour lawyer dealings number accountants andshould able recommend two three know haveexperience music businessother sources informationyour ar record publishing company contacts friends themusic business may able suggest names always good get arecommendation someone rates particular accountant highlyhow choose accountantas suggested choosing lawyer see oneaccountant ask type work someare strong tour accounting auditing inspecting books andrecords companies may also general bookkeeping taxadvice may askif expect lot touring worth accountantwhos experienced putting together tour accounts familiar tourbudgets necessary arrangements deal vat overseastours taxes overseas income see chapter less important accountants offices city asthe record publishing companies dont london themain thing familiar music business itworks must know sources income paidthey need know read understand royalty statement thesethings often literally written code need know country ais code cd sales local family accountant ofcourse basic accounting work well next man thisprobably isnt enough start getting deals need lawyerwith specialised music business knowledge need expertisefrom accountant hes able look interests properlythe basic accountancy tax rules course apply artists andsongwriters number specialised rules regulationsaimed accountant must date rulessome accountants dont claim experts tax planning adviceand area need covered would bestadvised go accountant provide get specialistaccountant tour accounting auditingas accountant intimate knowledge finances andmay control bank account vitally important thatyou trust good reputation suitablechecks balances place protect moneybusiness managersthere another breed accountant could provide sort servicesyou looking business manager term hascome across us quite common us theygenerally act business financial adviser alongside personalmanager looks daytoday creative aspects artistscareer see chapter uk term means something slightlydifferent provide daytoday business advice bookkeepingservices theyll vat tax returns providebusiness plans advice also tour accounts dontprovide international tax planning audits argument thismakes cost effective paying full tax planningand audit service dont need means charge lessthan bigger firms accountants specialist tax internationaladvice required relationships one biggeraccountancy firms financial advisers refer rightcompany get advice need need ithow chargeaccountants usually charge fees rather commission may quoteyou rate per annum advising bigger accountancyfirms run special schemes first years work done aspecial discounted rate dont stay firstyear tempted schemes ask exactly iscovered discount rate likely wont get serviceas fullprice one also ask nondiscounted ratewould first year decide whether think youdbe able stay afterwards start search newaccountant could disruptiveyou ask experience thework often find person sees hard sell isthe partner even marketing person someone quite different andpossibly much less experienced may work sort thing ismore likely happen bigger firms particularly offeringa discount rate reasonably sure partner thatwill cutprice workwhat accountant doaccountants number things accounts booksfor advise help complete tax return register youfor vat necessary quarterly vat returns depending onyour accountant may also tour accounts help prepare tourbudget accountant advise whether soletrader partnership limited company limited liability partnershipsee chapter prepare partnership company accounts someaccountants also act auditor company books many canalso act company secretary arrange companysregistered office officesyour accountant act financial adviser telling thebest place invest money area closelyregulated accountants authorised provide financial servicesadvice ask accountant isnt need aseparate financial adviseryour accountant tax adviser help plan thingssuch whether could consider putting income offshore taxhaven indeed could become tax exile nondomiciled signs government tightening taxbenefits nondomiciled may attractive option formuch longer another reason important accountant tospeed areacan accountant help get record dealyes use accountants way lawyers use theircontacts pick brains information companies arpeople accountants also send selected demo tapes behalf ofartists songwritersif accountant find deal shouldnt charge acommission charge accountancy advicethat gives deal accountant offers get deal askhim basis give goaheadthe accountant able work part team yourmanager lawyer important keep accountant inthe loop deal advise structured taxeffectively possible sign anythingall accountants give letter engagement setting thebasis work charge shouldgive name someone firm complain ifyouve problem accountant complaint fees youcan ask breakdown bill professional body youraccountant belongs first port call complaints youraccountant dont deal complaint satisfaction cantake court looking negative side relationshipsproceed smoothlyan accountant conflicts interest lawyer ifyour accountants act one major record publishing companiesand want deal company conflict may maynot arise stage however later arent sure whether thecompany accounting properly want send someone tolook audit books accountant conflict ofinterest probably take work elsewhere arein fact specialist firms accountants audits sometimes itsbest use specialised knowledge even isnt conflict ofinterest accountantso youve got lawyer accountant lined havetwo members team getting manager could critical thirdstage ill deal next chapterconclusionsif hope get noticed live work homeworkfirst investigate venues rehearse thoroughly tailor yourmaterial audience tell audience areconsider short cuts like industryorganised showcases open mikeevenings music conventions well competitionsmake sure demo best quality afford ithas good crosssection work put name contactnumber cd well packaging make sure youremail mp submissionif deal studio studio time make sure nomore dont agree producer firstalbum unless excellent reasons soif demo deal keep exclusive period short possibleand make sure one anything recordings withoutyour agreementif finders deal keep percentages shorta period reasonably get away withwhen picking lawyer accountant arrange see two threedifferent firms ask estimates charges aparticular piece work find expertise possible whotheir clients arewhen appoint lawyer accountant get written confirmationfrom chargesyour accountant lawyer vital members team take yourtime choose right ones academic overview branding see copinger skonejames copyright th edition sweet maxwell keith floyd sutherland v v music others chancery division chapter management deals introductionin chapter im going look find good manager toexpect manager think entering intoa management contract im going look artists point ofview get part contracts im also going put themanagers side argument section expect amanager also useful managers itll give idea whatmight expected themit gives real buzz team right manager right artistits like watching welloiled machine going action also great towork good artistmanager team everyones pulling samedirection good example action recently relationshipbetween danny tim blackhurst managers writingproductionteam norwegian writers stargate song year andsongwriter year awards ascap ceremonycredited managers faith encourage take theirskills america leap faith skill thenexploited new market place direct cause subsequentsuccess slightly unusual writers acknowledged thisopenly much common artist successful beginsto resent monies paid manager forgets origins andthe crucial role played manager beginninghow find managerdirectoriesone main music business directories uk music weekdirectory lists managers acts manage music managersforum also issues directory managers manage whichcan excellent starting point finding manager looks afterartists similar share particular musical genrethe drawback directories dont give clues asto whether managers listed good information get fromthem needs backed sourcesmusic managers forumone source music managers forum mmf mmf doesntact dating agency setting managers artists howeverpublish directory members helpful putting contactwith individual managersmembership mmf recommendation manager anygood manager member shows interested talkingto managers keeping date going theoutside world affect music business livelihoodthe mmf also runs training courses wannabe managers mostly inlondon manchester occasionally regional courses conjunctionwith organisations welsh music foundation usually atquite reasonable ratesit lonely manager looking forlikeminded individuals mmf associate membership reducedrate new managers yet unsigned artists also categoryfor selfmanaged artistsrecommendationsyou may quite lot information various managers butyou still may know theyre good even theyre looking newartists manage need personal recommendations referencesif like people worked particular manager knowhim reputation get ask around among otherbands see good bad experiences particularmanagers bad reports useful good ones end theday youll make mind whether trust particularmanager people know keep saying bad things youcant say werent warnedlawyers accountantsif youve already found lawyer accountant beable tell sort reputation particular manager arealso good sources information put contact managersthat may discovered may know aparticular manager looking acts manage conversely toobusy devote necessary time new artistas major decisions shouldnt rush anything inparticular lawyer accountant recommended someone shouldtry find relationship thatmanager example get work managerhow independent conflict interest cantadvise independently rest time advising themanager lawyer recommends manager theyregularly work doesnt mean necessarily conflict ofinterest clear looking interestssurgeriesthe performing right society limited prs songwriters body theacademy hold occasional surgeries meetings musicbusiness professionals lawyers managers ar people discussparticular topics answer questions sociable events oftenheld pub club good place meet songwriters andmusic business people details meetings given prsnewsletter direct prs ascap one equivalent societiesin us also holds informal evening sessions writers get togetherar contactsrecord publishing company scouts ar people excellentsource information managers whether particular manager islooking new artists manage put contact withmanagers fact may insist getting manager areprepared discuss possible deal theyre happier dealingwith middleman preferably someone track recordmanagersthere always possibility manager approach direct theymay heard ar man lawyer accountant orthey may seen play live unheard manager comeup gig say wants manage word warning manager approaches doesnt mean theyre good nordoes mean youve leap chance managed anyoneregardless still homework make assure right manager youyou always ask trial period make sure therelationship working takes time build necessary trust betweenyou manager agree looking forcommitment spends significant amounts owntime money hell certainly looking confirm youwant manage approaches record publishingcompanies behalf hes prepared commit time spend moneyon reasonable expect commitment returnsometimes managers ask sign short agreement cover theirexpenses deals may get short trial period aswith legal agreement doubt get checked lawyerhaving discussed find managers look one ortwo principles behind artistmanager relationship many theseprinciples developed applied management contractsthrough series cases involving leading players timethe principlesthe first thing understand relationship based ontrust trust lost theres little hope relationship thecontract wont hold together trust isnt amanagement contract tell rights whathappens part companythis loss trust led many disputes managers artistsover years end court many settle get thatfar even doors court people dont want air dirtylinen public pretty sight youre sitting court thereporters lined benches behind ready take downevery sordid detail one time court found sitting next toa journalist one tabloid newspapers obviously boredwith lack juicy scandal kept popping court one ofthe gaps proceedings asked hed going acigarette nah love came reply im checking bookie whowon last two races sandown park asked fancied beton outcome trial could tell hed missed hewas outside phone british journalism finestanyway cases described get court judgements inthese cases helped establish lies behind relationship legalterms duties manager towards artist acceptablein management contractgilbert osullivan casegilbert osullivan signed management contract managementagency music limited mam young unknownat time business experience theme comes timeand time music disputes mam man behind gordonmills already international reputation mills managed thesuperstars tom jones engelbert humperdinck mam millsalso interests number music companiesosullivan trusted manager completely mills suggestionhe also signed recording publishing contracts relatedmusic companiesosullivan didnt independent legal advice thesecontracts wasnt told would good idea get suchadvice seems trusted gordon mills extent itdidnt cross mind get second opinion manager told todo something itthe agreements tied osullivan mills companiescompletely terms far worse osullivan donethe deals independent companies taken independentadviceosullivans debut single mam successful nothingrhymed early uk successes followed top hit uswith alone naturally two singles theuk clair get second album reached theuk number hitsby osullivans relationship mills broken hedlost trust might hits hedidnt seem making much money sued mills arguing thevarious contracts treated theyd never happened theywere void mills used position trust osullivanto wrongly influence sign also argued terms ofthe contracts unreasonable unfairly restricted hisability earn living concepts undue influence andunreasonable restraint trade come often music contract disputesthe court decided mills owe duty osullivan iscalled fiduciary duty duty act good faith mills duty toput osullivans interests first court also decided contractswere void could enforced osullivan chose ignore themmills couldnt anything court tried put osullivanback position would contracts beensigned ordered copyrights transferred assigned byosullivan returned well master recordings hisperformancesthis dramatic decision caused uproar musicbusiness record publishing companies afraid thisdecision allowed stand would rush artistsmaking claims trying get rights back knewthat many contracts around time better thosethat osullivan signed really worried dealsthey done records songs would void unenforceableits exaggeration say whole basis music businessand financial security many companies riskthe appealunsurprisingly mills associated companies wanted thisdangerous precedent overturned appealed decision thatthe companies owed duty osullivan argued recordand publishing companies used influence osullivanthey also argued contracts declared void able notvoid outset court appeal agreed thecontracts would valid could set aside later foundto signed undue influence unreasonablerestraint trade companies already acted thecontracts valid argued would impossible returneveryone position would contracts notexisted said copyrights master recordings shouldnt bereturned osullivan compensated payment ofdamagesin important decision music business court ofappeal decided associated companies owe fiduciary dutyto osullivan mills effectively control thosecompanies acting course employment thesecompanies used undue influence osullivan courtalso confirmed possible set contracts aside even ifthe parties couldnt put exactly position would havebeen contracts signed court thought thiscould done possible reach practically result forosullivanso far good osullivan might think lawyers musthave thought home dry sting tailthe court appeal decided practically solution would befor copyright songs master recordings already existenceto remain publishing record companies subject suitablecompensation osullivan also said contracts voidable rather void unreasonable restraint histrade osullivan freed futurewhat hed written recorded stayed record andpublishing companiesthe music business breathed collective sigh relief refusalof court appeal order return copyrights made itvery difficult impossible successfully argue return ofcopyrights cases undue influence unreasonable restraint tradejoan armatradingat time another important case reaching courtsit involved joan armatradingjoan armatrading singersongwriter still recording andperforming today case agreement armatradingsigned young relatively inexperienced shebecame famous theres theme againstone partner copeland sherry agency hadsigned management agreement armatrading march thiswas shortly released debut album whatevers uswhich produced gus dudgeon also worked elton johncopeland miles copeland managed police sting forsome time stone advised armatrading business matters tookcharge creative issues seems confidentenough select studios producers wanted work withwithout needing advice managers didnt clue whenit came business end thingsin armatrading released second album back nightit didnt reach charts began work album turnedout first bring properly publics attentionin february term original management contractwas run signed new contract stone wasto manage may worried would go offto another manager original contract ran hercareer starting take although denied evidencethe album released joan armatrading went thetop uk one singles released became mostfamous successful song called love affection itreached top things continued go well first releasedher successful album date also contained thehit single way america shortly seems tohave become disillusioned stone commenced proceedings forthe management contract declared void grounds stonehad used undue influence get sign contract theterms unreasonable restraint tradeit became clear evidence given case lawyerwho drew contract introduced armatrading stoneand done work coincidentally worked thatsame firm lawyers couple years contract done beforemy time court case going iknow caused lot strain everyone concerned preparingthe management contract seems lawyer acted instructionsof stone armatrading particular stone asked two specificthings added draft contract lawyer billed stone thework clear description bill thought hewas acting stones lawyerat meeting february lawyers officesarmatrading received copy draft contract take away hershe returned next day sign didnt ask changes bemade itstone claimed lawyer acted lawyer themwhen gave evidence lawyer said thought justacting lawyer stone confusing state affairs stone andarmatrading present meeting lawyer february contract discussed must veryawkward manager turns meeting im due anartist discuss management contract insist staying outsidewhile take meeting cant open artist ithink contract manager manager sameroom would apply way aroundthe contract strongly biased stones favour fiveyears time armatrading exclusively tied stone asher manager contract didnt say stone much atall could manage artists paid amanagement commission see quitecommon new recording publishing deals signedwhich got commission touring whether thetour made profit court thought particularly harsh wasthe fact stones right commission openended exampleif armatrading signed new record deal year three fiveyearmanagement term stone would entitled commission h emight stop manager two years later hed still go onearning armatrading got new manager henegotiated improvements recording contract return forsay twoyear extension record deal stone newmanager would get commission extended term muchof incentive new manager expensive armatrading ifshe pay two lots commission original newmanagerwhen gave evidence stone agreed knew dutyto act armatradings best interests trust andconfidence fiduciary duty already existed management contract discussed stone knew interestsunder contract armatradings yet stillseemed think lawyer could act themstone admitted likely armatrading didnt realiseshe separate legal advice even though accepted hisfiduciary duties existed didnt seem accept idea conflict ofinterest couldnt seem see something managementcontract interests would necessarily armatradingsbest interests doesnt mean manager cant look hisown interests make sure artist hasseparate advice able come informed decisionthe court found stones evidence contradictory decided thatarmatrading relied heavily stone business matters trustedhim hed told would look court thought itwas clear influence didnt look detail ofthe contract relied stone told standard andfair contract even though asked two specific changes bemade draftthe court decided contract set aside reason ofundue influence stone terms contract said beunreasonable unduly onerous unconscionable words thejudgement contract void able void outset onthis point came conclusion osullivan casethe fact armatrading didnt separate legal advice seenas important wouldnt enough setaside contract example contract perfectlyreasonable one lawyer advised would say allright sign absence advice wouldnt fatalthe absence separate legal advice coupled particularly harshterms contract enough convince court set asidethe court found although experience musicbusiness concentrated creative side importantthat given proper understanding business side thecontract hadnt understood implications openendedcommission clause hadnt able form independent viewafter full free informed thought signed contract relyingon managers claim fine failed fiduciaryduty freed contract went recordseveral successful albumsalthough case wasnt reported law reports verysignificant practical effect management contracts lawyersstill use yardstick measure reasonableness managementcontract terms also quoted authority saying artist andmanager separate lawyers discussing managementcontract whenever interests sameafter case became usual add clause managementcontracts saying artist advised take independentlegal advice dont think goes far enough advising someonethey get advice making sure goodenough think manager insist artist havingseparate legal advice lawyer understands music businessand make sure understands hes asked signthe armatrading case also cast doubt whether fiveyear contractterm reasonable case managers decided go ashorter term otherwise tried make contracts reasonableno manager wants risk artist walk away amanagement contract height success however weshall see trend days back longer minimummanagement termsthe judge also quite critical commission rate newrecord publishing deals rates rare stilloccasionally occur even concerned fact thatstone took commission touring money even tour made lossmusic business lawyers reacted criticisms introducing newprotections artists areaelton johnanother case management contracts reported tabloidsas well law reports involved elton johnelton john signed series publishing management recordingcontracts starting still age unknownalthough themes come quite often cases caseplayed part developing business operates howcontracts adapted deal criticisms made judgeselton john lyricist bernie taupin originally taken asinhouse writers jamess new publishing company djm saidthey wages per week took quite becommercially successful first successful album produced bygus dudgeon called elton john album contained thenowclassic work song seven consecutive albumsfollowed next seven yearsalthough elton making lot successful records hedidnt seem seeing much proceeds example thepublishing setup consisted number interrelated companies eachtaking slice income small amount leftfor elton get pay management commission onhe sued try recover copyrights damages backroyalties relied tried true arguments signedthe contracts undue influence unreasonablerestraint tradehe hadnt taken separate legal advice signing thecontracts hed placed trust confidence james contractswerent beneficial could withindependent companies publishers could take rights songsand anything could shut away adrawer never seen elton couldnt anything hewas also signed exclusively couldnt take songs anothermusic publisherthe court decided circumstances assumedthat undue influence work managerto show didnt use influence wrong way courtfound james failed fiduciary duties elton felt thatjames couldnt acting best interest elton jamesspublishing recording companies also entering contractswith could james advising elton manager healso interest making much money possible recordand publishing companies contractsonce decision case knockon effect themusic business fully reported law reports hadauthority confirmed existence fiduciary duty owed notonly manager also companies control alsobrought home importance separate legal advicethe important thing changed happens yourmanager also record publishing contract wants tosign manager also interest record publishingcompany management contract usually ask artists toconfirm wont consider failure managers fiduciaryduty signs record publishing company themanagers advice dont think would enough get manageroff hook fact break duty artist especially theartist hadnt separate legal advice theres also usually clause thatsays manager cant take double hit income recordor publishing deals example artist releases record themanagers record label manager get money therecord labels profits record sales shouldnt also take amanagement commission artists record royalties shall seebelow blurring edges roles managers isbecoming key issue potential future problem areawhat look managerthis depends expect manager mayonly need manager advise business matters may want thatbut also looking creative advice comment guidance artistsalready clear idea creatively goodbusiness sense grasp contracts dont want allround managerand may looking good organiser saw armatradingcase stone looked armatradings business interestsshe looked creative side tends apply moreestablished artists new business tend look thehelp get manageryou may looking svengali someone come thecastiron plan world domination three years managers existfor example people like tom watkins successfully managed actslike pet shop boys bros considerable success nigel martinsmith masterminded early days take jonathan shalit anearly manager charlotte church behind several successful rnbacts managers like simon fuller whose marketingbackground meant could see worldwide possibilities act likethe spice girls club recently first album amywinehouse career youngwhen expect manager devise allencompassing game planand implement cant expect get away effort yourpart manager put enormous amounts time andenergy making plan work must completely buy intothe whole idea behind course also type artist whosbeen formed particular purpose tvbased acts like club orthose reality tv competitions x factor providedthe artist fits game plan well artistor one members group starts rebel baulk situationthat problems occur bands come together purpose tvshow struggle comes cut thrust music industry andit rare career beyond album comes quicklywhen win competition interestingly successful artistsfrom shows solo stars like lemar kelly clarkson morerecently leona lewisis essential experienced managersomeone hasnt managed anyone make good manager ifthey flair may musician tourmanager producer may worked inhouse record publishingcompany marketing background useful indeveloping strategy get noticed people seen howthe music business works bring valuable experience job ofmanager however skills necessarily make goodmanager careful hand manager may experiencedand still right experience different arena forinstance tour manager rather skilled managing artistscareer take time making mindqualities look managerthe manager diplomat motivator salesman strategic planner patience saintrecord publishing companies like managers around act asmiddlemen dont unpleasant conversations youtheyd like choose someone whos already successfully steered anartist getting deal getting record made whos already donethe whole touring promotion side things doesnt mean saythat wont work inexperienced manager wouldprefer one would also like managed bysomeone already know someone know work thisdoesnt necessarily mean manager pocket couldmean healthy respect tough fairsomeone gets job done pushed recordcompany towards particular manager take time stop ask whyand research meekly accepting choicethere growing trend amongst major labels seek reduce risksby working artists manager board like orwith existing relationship work well youneed sure manager necessary degree independencewhat manager youpersonal managersa personal manager looks daytoday needs usually includessome advice creative side things personal manager also actsas gobetween record publishing companies outsideworld might involve working creative issues thechoice songs personal manager also usually someone organisesyour life tries make everything run smoothly put actionplans others come dont necessarily get involved daytoday business decisions strategic plansbusiness managersa business manager doesnt usually involve daytodaybusiness running life job business manager workout terms business planning help putthe plan action liaise record publishing companybut usually level negotiating deals changes contractssetting video recording budgets getting tour support itsneededits much common us separate business andpersonal manager business manager often accountant orfinancial adviser idea roles filled different peoplehasnt yet become popular uk tends happen oneperson jobs sometimes assistance personalassistant see comanagers complementary skillsif separate business personal managers need besure youre paying much two people board insteadof onedont assume business manager doaway need accountant need one oversee taxand possibly vat returns someone prepare company partnershipaccounts bear mind agree pay businessmanager youre paying business manager income yourpersonal manager another paying accountant thats agreat bargainthe manager advise guide career inthe music business successful career performer composer leadinto areas films television writing modelling one themany things consider choosing manager whether themanager also look areas lifethe manager spend reasonable amount time affairsand career help get record andor publishing deallive appearances sponsorship merchandising dealsthe manager advise whether take aparticular offer may fit game plan themanager worked putting together game plan veryimportant job manager need samewavelength itpersonal assistantsas become successful manager may employ someone actas personal assistant pa pa working fulltime themanager expect pay wages work timefor rest general work manager acts hemanages cost likely shared pa worksmost time manager occasionally runs errands youthen would expect manager bear costfiduciary duties problems bandsas saw section cases manager always actin best interests fiduciary duty means hehas always act utmost good faith towards youthis duty cause problems dealing band something thatmay good band whole may good one bandmembers theres narrow line manager treadsometimes may feel manager stepped wrong side thatlinethis issue one several behind dispute nigel martinsmith robbie williamsthe robbie williams management casei declare interest case inherited ibecame robbies lawyer years ago martinsmith managerof take early days height success takethat made five members including robbie became fed upat direction life taking thinking leaving theband version events prepared see hiscommitments major tour end leaving bandhe says advice martinsmith band sacked theother members martinsmith say walked outwhen martinsmith later sued robbie unpaid commissionrobbie refused pay one arguments robbie usedwas martinsmith failed fiduciary duty robbie wasnot acting best interests advising band sack himmartinsmith acknowledged difficult suchcircumstances advise band also duty themas individuals admitted discussions otherband members robbie disillusioned saidhe also tried advise robbie best said hehad acted best interests band whole trying tobalance interests individual members deniedthat hed advised band sack robbiethe judge accepted evidence acted good faith andwas breach fiduciary duty robbie judgeacknowledged difficulties manager faces suchcircumstances decided case martinsmith stayed theright side lineif youre doubts good faith manager seekindependent advice aware legal positionnew business modelsthere growing trend managers also take financial interest andpossibly ownership rights capacity example managermay say also wishes act record label publisherthese big issues driven fact manager doesnthave ownership rights take financial cut cataloguesales records songs long management contract allowssome managers feel enough say taking longer toget artist deal album taking longer make thepromotion associated even longer basic three even fiveyear management term manager may best get paid songs andrecordings couple albums managers want alsoaware personal nature management contracts artistmay leave seek gain future security ownership ofrecordings rights songs whilst commercial reasoningbehind actions easy see doesnt necessarily mean goodthing skills manager brings bear may ones thatare needed successfully release sell records promote uses songsif manager bring others fill skills gaps fillthese roles overseas artistsongwriter may lose financiallyandor wait longer paidthere also big problem potential conflicts interest amanager put interests ahead would happen ifhe felt publisher would best put one yoursongs advert particular brand lager would earn lot ofmoney feel would jeopardise image artistpopular year age group would fight cornerfinally also issue manager one sourceof income ie management commission earnings alsohis profits record label publisher important themanagement contract doesnt allow manager take commission anysource income interest eg record sales incomefrom songsseal v wardlowa recent case point seal v wardlow john wardlowbegan working seal unknown artist mrwardlow provided studio time instruments musicians free ofcharge next two years helped seal record demosand time role grew manager littleexperience management bar goodmanager industry efforts mr wardlow timeresult deal record label publisher mrwardlow went business music publisher part ownerof company beethoven street music company entered apublishing agreement seal publish songs seal legaladvice signing deal following year seal collaboratedwith adamski number one hit single killer seal signed record deal ztt records couple monthslater finally signed written management agreement mr wardlowthat deal allowed mr wardlow receive commission onseals income including publishing monies see mrwardlow also benefited publisher usually unacceptable toalso take commission publishing money paid writer inthis case socalled doubledipping went time seal felt outgrown wardlows capabilities manager andended management agreement seal continued moreexperienced us management settlement agreement enteredinto wardlow continued pay mrwardlow accordance settlement hestopped mr wardlow sued said properly due himseal trying get agreement pay basis amongstother things mr wardlow used undue influence hehad gone behind seals lawyers back direct seal persuade toenter publishing agreement accept doubledipping thejudge said wardlow convinced usedundue influence relation agreement judge thought itwas academic settlement entered put inplace new arrangements variation original agreementand superseded settlement entered using undueinfluence seal independent advice help moreexperienced new manager settlement mr wardlowgave rights income future albums settlement wasmeant draw line issuesseal accept decision appealed court appealin february court appeal upheld earlier decision mr jgray went slightly say matter thesettlement variation original agreement new set ofarrangements intended replace earlier agreement wasnot entered undue influence court appeal judgesfelt mr wardlow could position trustand confidence seal exercise undue influence time hewas longer managersome commentators suggested case takes overfrom armstrong v stone case definitive view onundue influence management cases fact two continue existside side judge later case found cleardistinction two cases facts thetwo management contracts direct comparison could madesome managers better others walking delicate tightrope herefor example entertainment group formerly owned simon fullerand sold march us investor condition fuller remains onboard apparently process buying back hasmanagement contracts artists often also acts record label andmusic publisher sometimes merchandisingsponsorship companybut management contract remaining activities eglive work therefore conflict interest doubledip themoney theory artist bring managers look afterrecording songwriting merchandising activities etc practice artistsdo sothere managers fastidious keeping linesclearly drawn seal case showsit fact current business arrangements exist youmay well offered deal may alternative accept itif want work particular manager many arrangementswork well go take legal advice awareof potential pitfallswhat management contractonce youve found manager think trust willdo good job need think putting contract togetherbetween youwhat want contract different depending onwhether artist manager follows im going look atthings artists viewpoint time music lawyer iveacted artists managers ill try present sides theargumentindependent legal adviceas weve already seen negotiating management contract artistmust separate legal advice manager may decide take legaladvice rare may experienced enough feelcomfortable deal hes prepared doesnt need advice ifhes experienced management contracts isnt really problem ifthe artist decides doesnt want legal advice problem forthe manager manager insist getting separate advice fromsomeone familiar music business managementcontractswhat havent got money pay lawyer musiciansunion mu limited free legal advice service members youcant expect detailed paying proper rates andit may take time get advice contact details usefuladdresses music managers forum forms management contractsthey recommend members drafted themanagers perspective may need adjusting looking itfrom artists viewpointsome managers lend money take independent legaladvice managers interests make sure youre properlyadvised manager lend money get lawyer usuallyput limit much hell contribute youll either get thelawyer agree work much youll put aswell manager get contribution back first earningsyour lawyer may agree accept payment instalments ask ifhe thinks hell get work futureterritorythe first thing decide countries contract coverwe call territory dealthe manager probably want manage world isntjust get much commission possible although afactor may want keep overall control game plan hewont able easily manages part worldyou may fine youre confident lookafter interests around world must bear mind theway music business operates us particular differentfrom uk manager office states havean associate spending half time planes crossingthe atlantic whos going end paying sometimes itllbe record company sometimes itll part tour budget butsometimes itll youif dont think manager successfully look yourinterests worldwide could insist manage part theworld example world outside north americaeven arent sure hes worldwide manager couldinitially give benefit doubt could make worldwidedeal start hes could insist appoint acomanager probably us possibly parts worldlike japan look interests personal thingand manager agree identity personthe comanager usually paid commission pay themanager apart comanagers expenses shouldnt end uppaying total commission theres comanager onboardthere several ways manager comanager split thecommission could take total worldwidecommission split middle could takecommission income earned particular areas theworld example comanager could take commission incomeyou earn north america original manager rest theworld income manager could decide share commission toput comanager retainer pay fee complex subject andthe manager take legal advice itactivities coveredthe next thing think whether contract cover everythingyou entertainment business activities musicbusiness might start songwriter performer later moveinto acting writing books manager may perfectly capable ofmanaging activities may expert musicbusiness know nothing business writing books acting ifyoure convinced look interests across whole theentertainment industry limit music business themanager may unhappy may think hismanagement skills help turn success musicbusiness turn open doors acting writing books mayfeel share income activities theother hand may concerned hes representing yourinterests may want specialised acting literary agent involvedmany managers agree compromise say noobjection bringing specialised acting literary agents areacting roles writing books nothing asuccessful musician songwriter first acting role book directlyconnected fact artist want share thatincome manage projects example asked write abehindthescenes look time road band themanager expect take commission income book ifhowever asked write book climbing himalayas thatclearly nothing fame successful musician orsongwriter manager may agree take commission incomeby time get manager may already establishedyourself another part entertainment business example mayalready successful tv actor model manager may agree tomanage areas activity may also agree manage takecommission work comes particular contact source worksuch recording studio place came along ifhowever ask manage projects come sourceperhaps chasing payment reasonable thatthe manager allowed take commission workexclusivityonce youve decided activities hes going manage partsof world manager expect manager thoseactivities areas want exclusive manager youwill able manage ask someone else manage aparticular project unless agrees reasonable practicalyou cant go around accepting work without referring manager asit might clash something putting together youkeyman provisionswhat happens manager manages acts part amanagement company manages number people makesure hell need advice make sureyou arent fobbed someone else manager busy withthe others manages well first make sure yourmanagement contract says spend reasonable amount timeon regular basis managing youyou could possibly go insist call keymanclause put contract believe term comes insurancepolicies taken life key individuals organisationwhich pay keyman dies unable work name themanager keyman say hes available whenyou need bring contract endyour manager may flattered named keyman heor bosses may feel bit harsh allow end contract soabruptly may want say terminate contract hehas regularly available unavailable forover say six weeks time sensible youreburied residential studio depths country writing orrehearsing material next album may reasonable expectyour manager time youre middle majorrenegotiation record contract however reasonably expecthim aroundthese keyman clauses also sometimes put record publishingcontracts companies hate give artist thekeyman huge amount power sack keyman end thecontract unconfirmed rumour band oasis keymanclause record contract creation records sony firstlooked buy remaining shares creation didnt already ownthey said rethink things oasis could walkedout contracts height success keyman creationrecords alan mcgee longer control label seems theyhad deal either oasis creation alan mcgee itis becoming increasingly difficult get provisions industrybecomes uncertain future profitability instances like thisdont helphow long contract runthe contract could openended carry one side otherdecides confident position manager take asin theory artist could dump things starting come goodand braveit could fixed period say one two years ifeverything going well could continue one party wanted end therelationshipmore usually fixed period three five years endof time contract renegotiated endsuntil early terms five years longer common butthe armatrading case cast doubt case uswhere terms five years longer still common given artistsseem take longer record promote album terms five yearsare becoming common uk tooi usually persuaded agree threeyear term managerhaving option extend one two years right exercise thatoption linked manager achieving something artist call hurdleshurdlesa hurdle could artist record publishing deal orhave earned minimum amount money within first three yearsalthough difficult say right minimum level income isits also possible put hurdles earlier stage contract youcould getout manager hasnt got decent record orpublishing deal first twelve eighteen months got dealin time come end hasnt got another onewithin say six nine monthsalbum cyclesthis us concept gained ground among number uk lawyerswhere length contract linked album cycle album cyclestarts writing songs recorded album runsthrough recording album promotion goes onafter release cycle ends last piece promotional work forthat albummy problem difficult say long lastyou dont know beginning long take write record andpromote album im uncomfortable agreeing two threealbumcycle deals could easily run five years longer youre offeredthis type deal advise put time backstop example twoalbum cycles three years whichever comes firstending term earlysometimes artist manager wish part company whilst term ofthe contract still time run amicable thats onething agreement managers share future incomeearned artist reached put writing would say anamicable divorceif however one party wants go usually artist otherusually manager doesnt agree think grounds anearly termination matter complicated cases asettlement cant reached negotiation matter ends court arecent case involved australian singer holly valanceholly valance casein november case brought holly valances formermanager scott michaelson came court michaelson arguing thatvalance wrongly terminated management contract injanuary career taking valance argued shewas right terminating contract michaelson illequipped manage burgeoning music career like michaelsonwas former actor neighbours television soap court sidedwith michaelson found contract unfairly terminatedmichaelson claiming lost income plus cut ofincome sales second album exemplary damagessometimes get settlement one party becomes discontentedwith seal case old adage theres hit theresa writ certainly seems hold truethe managers roleive already explained little expect manager foryou cant though list every single thing expect amanager murphys law says thing isntlisted causes problem still contracts around tryto list things manager expected example manager willadvise clothes image voice training etc think oldfashioned feel end imagining reaction would ifthe scissor sisters magic numbers manager tried advise ontheir stage image management contracts say manager willdo reasonably artists career thingsexpected manager entertainment music businesswhat manager paidsome would say much ever saw manager working round theclock seven days week make artist successful even thankyou youd say wasnt enough measure fact thatmany managers branching publishing setting productioncompanies unable make good living averagelysuccessful artist theyve paid staff overheads taxesthe average rate commission manager youre verysuccessful could negotiated recordproducer managers charge arguably lessmanagement projects career performing artistsvery managers try rate though circumstancesin could justified manager may invested lot hisown money making artist successful may want get back incommission soon possible may agree reduce commissiondown artist becomes successful hes got investmentbackpercentage whata percentage gross income net expenses simpleanswer example paid personal advance onsigning record deal manager commission would takewhat use money record album paya producer happens advanced money recordcompany get back recoup royalties make avideo underwrite losses tour fair manager takes top answer number exceptions itsnot usual manager take commission monies advanced asrecording costs video costs payments record producers mixerssums used underwrite tour losses sometimes monies advanced youto buy equipmentexample record company sets budget makean album make video live thenext year manager usually wont take commission orthe take commission ie depending manager contract may say youdecide use buy equipment thatsyour choice hes still going take commission full orhe might treat spent equipment exception take hiscommission balance commission earnings live work problem managerusually work hard putting together running successful tourhe may feel take top income thatcomes tour expenses putting tour sohigh tour makes little profit example take inticket sales expenses manager took offthe ie thered profit left would bewiped expenses artist performing every night touryou may start resent manager making gettingnothing saw armatrading case judge critical thatstone took gross income touring regardless whether tourmade profitwhat tends happen manager takes commission netincome live work expenses taken thereare various formulas arrive fair compromise lawyer advisetrent reznor management disputein june us court awarded trent reznor nine inch nailsapprox million claim former manager john malmhe brought case back alleging malm mismanagedhis finances effect defrauded band money trickingthem signing contract gave malm rights thebands gross income opposed net income manager claimedto taken advantage actually collectedthe additional money also pointed presumably evidence ofhis bona fides worked money many years thecourt nevertheless found taken funds entitledto awarded damages mr reznorthis case shows difficulties managers get step outside theestablished normspostterm commissionthis means long end management contract managercontinues get paid commission two sides firstly themanager take commission albums made songs written end ofthe management term secondly long earn commissionon albums made songs written managerwhat commissionableuntil early quite usual see management contracts thatallowed manager go earning things artist long hedstopped manager negotiated fivealbum record deal whilehe manager stopped manager two albumshed still take commission remaining three albums thatcontract done manager contracts also allowedhim continue take commission stopped manager ifsomeone else negotiated extension substitution originalcontract done original work led somevery unfair situations new manager incentive improve upondeals former manager got commission artistsfound difficult get new managers forced stay theoriginal manager artist ended paying two lots commissionthis situation strongly criticised armatrading case leddirectly change way uk managers operated aspectthat judge distinguished seal case saying facts thetwo cases managers accept getcommission work done recordings made songs written arethe managerhow long manager continue receive commissionafter established managers take commission whatwas recorded written manager question thencame long go earning commission thoserecordings songssome managers notably sanctuary oldschool managers stilltake view go earning commission long artistgoes earning income particular song recording remains beseen whether sanctuary continue take stance ownedby universal music group see logic canlead unfairness manager might around onealbums worth recordings may second manager makes theartist successful fans successful artists want artists backcatalogue records buy first album track firstalbum may go greatest hits album first manager done nothingto help ongoing sales first album get full commission onit managers accept period time influence cannotbe affecting continuing sales early records agree reduction intheir commission rate also agree stop altogether agiven period example first manager could agree hiscommission first album drops five years end ofthe management term stops altogether ten years means theartist give second manager incentive giving theincome first album five years ten years theartist could keep saving give nothing second managerthese periods time negotiable music lawyers insist thecommission stop two three years view far short fora manager properly compensated work done mayhowever acceptable artist established successful hasgreater bargaining power managerwhat happens theres written contracta managers prefer work without written contract saytheyd rather work goodfaith basis trusting right thing bythem comparatively rare situation also possible amanager work trial period carry sometimes themanager cant get artist commit contract carries onreluctantly without one even written deal still todeal manager gets paid work courseperfectly possible verbal contract place difficultywith verbal contracts hard prove exactly agreedif possible show sort agreement themanager rely would fair price work donea quantum merit claim manager cant agree isa court case judge take expert evidence whats usual musicbusiness make order thinks manager bepaid court order payment work already done rarefor order payments going forward example manager got arecord deal court might order hes paid percentage ofthe money payable signing deal rarely order themanager paid share ongoing royalties manager wouldntusually get postterm commission reasons usually moreimportant manager written contract protect hiscommission future royalty income artist however bothsides may want certainty knowing stand want reachsome form agreementwho collects moneyits important know whos looking money managermay unhappy thought looking money becauseyoure artist artists notoriously bad hanging money theysay cant even keep money back pay vat taxmanhow trust keep enough back pay meon hand may responsible money youmay want manager controlling money also may wantto bother looking yourselfa compromise would appoint accountant see chapter money paid bank account name accountantlooks manager sends invoice commission andexpenses accountant checks sums right writes chequefor sign accountant may also deal vat hell almostcertainly advise keeping money back tax happens therest money depends youve told could pay itinto another account leave bank account meetexpensesexpenseson top commission manager entitled repaid expensesthat doesnt mean everything spends costs running businesshis office staff computers etc paid calledoffice overheads pays taxi pick recordingstudio courier deliver demo recording interested arman probably reclaim money youhe keep receipts bills available oryour accountant check also agree wont run upexpensive items expenses without checking first wouldntexpect buy plane ticket new york without checking youreall right spending money way hand itsnot practical come running every small item ofexpenses case might agree float account specialaccount fixed sum money say manager isauthorised draw money account expenses account isthen topped back regular basis like float till pubor shoptaxyou responsible tax national insurance payingyour vat dont expect manager saw chapter accountant important part team accountantmay keep books vat returns prepare tax return youthis doesnt mean sit back nothing tell youraccountant come give receipts anything might beable reclaim recharge accountant also advise canexpect pay tax ways legitimately pay aslittle tax possible remember say two certaintiesin world death taxessigning agreementsits practical allow manager sign oneoff shortterm contracts theartists name example appearance later joolsholland jonathan ross show television company needs artistto sign short release consent form appear get paid ifyou busy rehearsing right manager sign form foryouwhat isnt acceptable manager sign longterm contract orindeed anything oneoff dangerous artist whowont know whats whats agreed also dangerous themanager may object time find something inthe contract thats liking sure youll blame themanager telling youconclusionsdifferent lawyers must advise artist manager themanagement contracttreat caution management contract capable running forlonger five years average management commission artist managerscommission gross income net certain exceptions whichshould set contractcommission live work deduction ofthe expensesthe management deal doesnt need whole worldmake sure clear handling moneyonly artist able sign potentially longterm contracts mmf formed mids group likemindedmanagers felt could achieve artists andfor grouped together act lobbying group onbehalf members relation national international issuesfacing music industry mmf also established links withmanagers parts world contact details see usefuladdresses osullivan v management agency music limited qbd armatrading v stone another unreported john v james fsr martinsmith v williams unreported john wardlow v henry olusegun adeola samuel ewhc qb june chapter good record deal introductioneverybodys idea whats good deal different questionof much money offer others much commitment thereis record company artists interested muchcontrol sort record make call creativecontrolim going look different ideas whats good deal imgoing artists point view thats know bestbut ive negotiated many record deals years ive heardall arguments record companies ill try put sidetootheres one type record deal im going look fourbasic types deal licence development deal exclusiverecording contract production deal see last typewhich gaining ground fast music industry momentto understand record deals properly also need know law soim going look basic performers rights copyright whatrights record company needs order exploit recordingsincidentally music business use word exploit lot somepeople dont like word associate exploitation thebad sense misuse weak sort thing use thecontext music business contracts generally mean use sell orto make money recordings songs positive use wordnot negative oneyou wont surprised learn celebratedcases years recording contracts im going look fourin chapter see problem court decided whatthe music business learned concentrating differentmodels recording deals involving company releasing therecords sharing artists income streams trend begun bythe robbie williamsemi deal taken bymadonnas new deal live nationnew business modelsconsolidation change amongst major record labels continues sonyand bmg merged record operations beginning thatmerger later challenged european independent label pressure groupimpala resulted decision allow merger beingreinvestigated european commission impala argued thecommissions original decision allow merger look sufficientlyclosely effect monopoly position market place thecatalogues power two major labels merged decision reopen review led considerable uncertainly two companiesconcerned commentators believe also led unwillingness toconsummate long mooted merger warners emi basisthat merger would also closely scrutinised europe autumn european commission completed reinvestigation gavethe merger goahead thereby reducing number major record labelsto four sonybmg emi group warner group universal knockon effect mergers bmg divest publishingdivision bought universal also caused complaints amonopoly position arising universal commission given goahead takeover universal music group bit buyingspree recently buying rump sanctuary group supposedly toconcentrate special projects catalogue managementactivities sanctuary group also acquired independent v themeantime emi bought consortium venture capitalistslargely outside industry headed guy hands mr handstook reins mid old level seniormanagement gone including chairman eric nicoli mr hands nowlearning company bought rumours abound oneway intends increase value investors securitise kindof mortgage income earned music publishing business even tosell part business majors beendoing deals beggars banquet bought independent label roughtrade home white stripesall labels focusing fewer acts even estimatedthat signings successful pretty poor strikerate trying improve odds taking fewer risks andfocusing tried tested teams people upshot safersigning policy focus surefire bigger sellers makes itmore difficult innovative acts get signed big deals thefullblown international support major label indeed even doget signed majors rarely get castiron guarantee getreleases outside home market job insecurity rapidly shiftingmarket place also led safe signings one wants stick herneck associated duff artist comes annualjob appraisalas direct consequence growth number ofindependent labels beggars banquet bunique dominoalthough many financial support bigger companies eitherthrough distribution deals international licensing deals actual assistancewith overhead funding provision signing fund also aproliferation small studiobased production companies whose aim todevelop artist stage becomes interest biggerlabels inject investment take artist next level whetherthat moving recording ep full album marketing orreleasing album overseas good example artist came throughfrom ground level mercury prize nominee fionn reganfionn financed recording mercury nominated album end ofhistory licensing deal independent label bellaunion damien rices label ireland album released tocritical acclaim huge initial sales led interest albumfrom us label lost highway sublabel universal ultimately aworld deal labelthe idea behind smaller labels act nursery feeder forbigger labels independents find new talent early sign onmodest deals make recordings either master demo qualitydepending game plan hope attract attention thebigger labels whether uk overseas markets often theseindependent labels arrangements less formal nature withbigger labels act scouts majors risk hasbeen taken away smaller label get retain ownershipof copyright build companies back support formarketing distribution bigger company also often casenow record producers acting talent scouts role ofdeveloping artist building songwriting skills rehearsing artistand making master recordings aim use theirconnections sell artist label hope use toproduce first album artist development role used oneundertaken record label cutbacks conservatism ispervading industry led producers studio owners totake initiative subject later chapterthe hype million pound record signingwe read press new unknown acts signedsupposedly millionpound deals believe read well iguess one two cases could true pretty unlikely acompletely unknown artist also noticed always millionpound deal million one half millionwhat much likely deal hyped pressto make seem bigger add money recordcompany could spend making album could get millionpounds would include recording costs cost making one ortwo videos marketing touring costs artist might see fractionof money himselfwhen record company making mind offer youit look number things first importantly much itwants sign company desperately want theyll payover odds get deal done youve got one companyfighting youve much greater bargaining power managerand lawyer play one company get betterdeal less going moment previously withthe overall uncertainty business drop profits sales andthe reduction number major labels five four youdo still get major companies trying outbid otherif record company scientifically theyll use variousformulas work whats reasonable deal offer arecomputer models use look type act athow much think going cost record album makevideos also look commitments possibly touring putthese estimates model tells many records youdhave sell break even think thats unrealistic numberthey may scale offer theory anyway suspect thatwhile number crunching go hunches anywayas well think youre going also factors atplay whether good deal sign order get good slice ofthe market socalled market share forthcoming quarter lookgood shareholders sometimes deal done strategic reasons inorder particular label label head set stall animportant player wanting attract particular type artist aresome believe live nation deal madonna order tosend message artists similar stature potentialnew home madonna deal see chapter ontouring belowwe saw chapter ways get buzzgoing hotter record company likely topay better overall deal youll offered better lawyer theless likely record company get away paying theodds good reason get good lawyer sideyour manager sit discuss whats important toyou interested bigmoney advances would prefer togo smaller advance return creative control commitmentfrom record company knows want manager canmake pitch record company along linesit balanced contract record company canreasonably protect investment also one get somecommitment company chance earn decent living fromthe dealthe legal principlesbefore look detail questions money commitment andcreative control need run one guiding legalprinciples deciding whats good record dealrestraint tradewe already seen cases osullivan v mam armatrading v stone john v james courts highly critical clauses incontracts unfair artistin deciding whether contract fair court looks number ofthings looks bargaining power artist company willalso look whether artist independent specialist advice hesigned contract experienced artist musicbusiness time contract signed thebackground norm contracts timeanother guiding principle behind courts decisions restraintof trade basic principle behind doctrine someone hasto provide services exclusively employed contract containsrestrictions someone cannot contract isautomatically restriction ability earn living trade becauseits exclusive arrangement person concerned cant earn money anyother way contractin uk decided long ago contracts contrary topublic policy person free earn living wherever canthat said courts recognised would circumstances itwas commercially necessary restrictions contracts decidedthat restrictions would allowed reasonably necessary toprotect legitimate business interests person imposing therestrictions restrictions unreasonable couldnt enforced contract would unenforceablebecause important music business case macaulayv schroeder went way house lords finallyclear doctrine apply recording publishing agreementsmacaulay v schroedermacaulay young unknown songwriter entered amusic publishing agreement schroeder music publishing ltd itwas exclusive agreement services five years contractwas standard form used music publisher macaulayscopyrights songs wrote assigned life copyrightthroughout world contract specifically prevented fromworking songwriter music publishers fiveyear period theres nothing wrong signing someone anexclusive deal restricts persons ability go andwork anyone else look whether whole acontract fair whether restrictions still allow earn areasonable living house lords looked specific terms theagreement see taken whole reasonable found infact unduly restrictive unreasonable restraint oftrade macaulay didnt reasonable chance earn decent livingfrom trade song writingin contrast george michael case described exampleof exclusive contract found contain reasonablerestrictionscreative control versus large advancesearlier chapter spoke getting right balance contractterms behind statement lies principle restrictions anexclusive services contract fair go far protect therecord companys interest unreasonably restrict artists ability toearn living lets look termsdo go money try protect theintegrity artof course important able eat somewhere liveand transport get gigs rehearsals recordingstudio may question money many artists creativecontrol work least important able make recordwith minimal interference record company crucial someartistsif creative control important thing getting thatcontrol would mean good deal even less money onthe table result record companies flexible others onquestions creative control important issue needto look point various record companies still courtingyou ask attitude issue istheir track record talk artists signed therecord company find experiences also ask therecord company prepared guarantee creative control recordcontract sometimes theyll say wont put contract youcant rely ityour wish creative control must balanced putting somany restrictions record company cant sellyour records properly may circumstances choose useanother artists recordings one isnt particular creativecontrol example proposal comes advertising company toput one two tracks major new jeans campaign artist fullcreative control contract known completely theidea work used ads artist b hand eye tothe integrity work realises campaign like doneproperly really help break bigtime artist b says yes andthe record company puts track forward artist asyou may interested getting much commitment possiblefrom record company youll concentrate getting acommitment specific figure marketing spend tounderwrite tour losses fixed amount record company may bereluctant go far theyd difficulties contract forexample werent enough suitable tour dates unable tofind money pay full marketing spend used case thatartists concerned thered commitment make least onepromotional video per single release get commitment releaseof minimum number singles increase popularity ofsingle track downloads release singles rarely issue problem ishow make sure make money source whether thatsactual record sales taster drive fans buy album ticketto live show tshirt show continuingimportance radio play promoting new release extent ingetting artist perform single tv radio shows like thosehosted jonathan ross paul ogrady russell brand ar people arevery interested hearing tracks know get radio play topromote artist strong belief amongst labels order getcommercial success terms number sales need get radioexposure preferably b list radio extenttherefore marketing driving creativity artists necessarilyradio friendly look ways attract attention thepublicthe attitude videos also changing decline musicprogrammes television likely show promotional video hasled downsizing number spend promotional videos nowits much likely behind scenes long form dvd themaking album road artist expensive tomake videos record companies may want commit making onethat gets played twice said growinginterest availability visual images recent years feed thedemand dvd online content may find isnt necessary toinsist commitment make videos happen practicewhatever issue may matter big statements andpromises make want specifically thecontract wont chance making keep promises ifthey go back said person said longer withthe companywhatever particular needs may mixture thesethings get reasonable number record contractyoull good deal youthis whole issue creative control versus money caused lot ofproblems years one reasons prince becamesymbol became artist formerly known prince artistbefore finally reverting prince sellout date concert series thenew live venue former millennium dome docklands mayhave believed changing name could use loophole get outof record contract probably also hoping would show hisrecord company warner bros strength feeling type ofrecords wanted make news wasannounced done groundbreaking deal newspaperpublishers mail sunday offer whole album free thenewspaper ahead traditional retail distribution said received deal plans traditional physical cd release werecancelled unsurprisingly many copies newspaper boughtthan normal sunday prince got exceptional publicity thismarketing coup people bought tickets see live mightotherwise done presumably got good financial return firstlyfrom price got mail sunday secondly increasedshare ticket sales extra merchandising sales growth theuse cover mounts market artists practice decried recordcompanies artists seemed way getting large oneoff payment record company licence deal newspaperwithout share necessarily artist depending thedeal also felt devaluing artists work seeingthis practice evolve one perhaps ahead artists new albumrelease may bring artist back public eye cover mountdvd album old material previously unavailable filmfootage tour sometimes works times doesnt recordcompany behind ray davies latest release thought releasing acover mount album versions old material didnt thehoped boost first week sales new albumdisputes issues like artist presentedcreatively well course whether artist getting paid fairprice take place daily basis record company artist ormanager part daily cut thrust regularly haveto arbitrate advise issues like final say choice single orthe look artwork new album artist label havedifferent views another area common dispute happens alabel decides hearing finished album dont want releaseit part daily working life disputes dont getto court one acrimonious case george michael andhis record company sony recordsthe george michael caseto understand case decision need know bit aboutthe backgroundas know george michael part successful popduo wham along andrew ridgeley first exclusive record dealthat george andrew signed record companyinnervision owned mark dean often case theywere young unknown inexperienced record deal toten albums lot even days exclusivelytied company theyd delivered albums thatinnervision wanted applying doctrine restraint oftrade restrictions contract immediately contrary topublic policy unenforceable unless reasonableinnervision small record company deal sonywhereby sony provided funding facilities manufacture saleand marketing innervisions records innervision contract withgeorge andrew therefore also included sonys standard businessterms innervision contract criticised unenforceableand unreasonable restraint trade could also anindirect criticism sonys terms businessat first things went well second release young gunswas uk top hit followed bad boys clubtropicana charttopping album fantastic howeverthe relationship wham innervision broken theysued company get contract arguing anunreasonable restraint trade case settled got tocourt part settlement george andrew signed anexclusive recording contract direct sony label epic records againthat contract contained sonys business terms experienced musicbusiness lawyer negotiated george andrews behalfonce things went well first first single epic wake go go went uk wasfollowed four quick successionin george andrew parted company george embarked asolo career sony successful one although notuntil release want sex deliberatemove break playboy wham image first solo albumfaith huge success selling million copies back ofthat success george renegotiated contract sony thehelp experienced music business lawyerin return substantial sum money george agreed recordthree solo albums first contract period gave sony options forup five albums faith counted first three albumsand went record release second hugely successful albumlisten without prejudice vol also sold millions star wasalso rising us praying time offthat albumnot surprisingly sony wanted george continue stylewith third solo album time george wanted move awayfrom outandout commercial pop style records wanted beregarded serious artistbecause contract ran delivered six morealbums maximum period fifteen years george couldntrecord anyone else sony also final say whether albumby met necessary artistic commercial criteria could goon rejecting serious material deadlock existedgeorge sued arguing record contract unreasonablerestriction ability earn living anunenforceable contracthe refused record sony instead number projectswith artists within terms contract forexample guest spots peoples albums alsoconcentrated live workthe case finally came court decision throw outgeorges case made somewhat surprising grounds judgeruled order decide renegotiation contractwas unreasonable restraint trade would also considerthe earlier contract decided could reopen reviewof contract entered result asettlement dispute contrary public policy reopensomething agreed parties final settlement adisputeit wasnt difficult imagine george would appeal perhaps thejudge realised even though decided could notlook contract went say conclusions wouldhave done sothe contract exclusive worldwide deal potentiallya long time sony absolute right reject recordings anda limited obligation contract much recordings thatit accept obviously sony argued contract represented onlythe contractual obligations fact would havedone far help sell many records possible decidingwhether contract unfair unenforceable anunreasonable restraint trade judge looked relativebargaining power two sides george michael verysuccessful powerful artist well able stand sony hadhad benefit advice longstanding lawyer veryexperienced music business contracts finally judge looked atwhat george would get contract financially stood get agreat dealbalancing factors judge decided benefitsgeorge got contract meant restrictions werereasonable protect sonys investment legitimate businessinterestssony course delighted nevertheless seen mostof talent business blow creative freedomwhile case going much easier get improvementsin record contracts particularly parts contracts georgewas specifically attacking example cd sales sony onlypaying royalty time case going onsony much inclined agree royalty rate soon assony case business usual george expectedappealed thought prolonged expensive litigation artistwho clearly wasnt going record sony could see ownrecording career stalling delays led settlement beforethe appeal heard george released contract signedto virgindreamworks return payment back sony part ofthe settlement later recorded new tracks new versions oldtracks greatest hits album released sonyaston barrett v universal island records othersin dispute monies due bass player bob marley thewailers aston barrett sued island records marley family onbehalf brother carlton drummer withthe band murdered aston argued notreceived money due marleys death astonand carlton played number marley albums hadtheir successful act upsetters joined marley petertosh bunny livingstone left claim royalties arose acontract made ashton also suing separately propershare songwriting royalties songs cowrote marleyoriginally marley two barrett brothers shared royaltiesequally alleged new agreement made marleytook barrett brothers shared remaining betweenthem aston took part settlement said heagreed forego right future royalties return share settlement paid island records trial marleys widowand founder island records played role played bythe barrett brothers said settlement represented fairshare done judge accepted andrefused astons claim also accept claim cowritten several songs aston something serial litigatorhaving sued three four times judge ruled would notbe allowed start litigation unless allowed acourttypes dealwhat types deal may offer basic rights performingartist copyright rights record company needin order release recordsalthough many variations looked atbelow two basic types record deal licence theexclusive longterm recording contract variations include productiondeal contains elements latter two types partnership jointventure record label artist socalled degree modelwhich embraces recordings also areas publishinglive endorsements one umbrella deal latter currentlyflavour month madonna deal highlypublicised lets look first basic typeslicence dealslegal principleslicensor technical term person company owns rightswhich licensing someone else licensee person company towhom rights licenseda licence agreement allow licensee certain things withthe rights licensor particular product recording songand licence long life copyright see belowbut usually shorter period licensor continues rightsbut gives someone else permission use rightsin contrast assignment outright transfer ownership rightsby owner someone else usually life copyright althoughsometimes rights returned reassigned owner sooner thatthe assignment rights conditionsattached assignor owner rights assigned theassignor longer owns rights assigned theassignee person company rights assignedyou often see agreements reference rights granted forthe life copyright period throughout eu forliterary musical works eg songs seventy years end theyear author dies sound recordings performers rightsits fifty years end year recording releasedor performance made situation different us inmany cases sound recording copyright run yearsthere considerable political lobbying going ukgovernment extent europe whereby interested parties triedto extend life copyright detailed report prepared mrgowers published declined recommend anyextension offered small amount comfort musicindustry eg increase budget trading standards assist themin antipiracy efforts political battle moved europepart reason fuss many recordings including byartists elvis presley cliff richard coming copyrightand future uses recordings subject thepayment record royalties artists record labelrepresentative bodies lesser performers also seeking paritywith songwriting colleagues getting extension seventy yearsfor moment plan failed reissue labels already cashingin early recordings already copyright therecord company owned original recordings find marketis longer protected argue good thing fifty years islong enough achieved reasonable return investment inmaking promoting records right madefreely available however also others believe loss ofrevenue recordings result yet another nail coffin ofthe record industry mean less investment new artists somepractical difficulties way companies seeking take advantage ofthis example getting hold original recordings good qualitycopies artwork sleeve notes songs may still incopyright use artwork changes original songs bepossible without consent reissue label willing invest insome new artwork pay mechanical royalties owners ofany songs still copyright see publishing chapter reissuelabel still making good profit pay recording northe artist performances record label right licensethose recordings record companies running scared hence rushof rereleases beatles box sets wholesale rereleases elvissingles order cash may last chance theirmarket undermined copyright ends also newversions remixes mashups elvis songs canclaim new copyright new version hang rights foranother fifty yearsthe author first owner copyright cdpa saysthat case sound recordings producer could beconfusing time record producers claiming thecopyright owners position fact actthe copyright owner sound recording person made thearrangements recording made generally taken meanthe person paid recording made changing role ofmanagers producers making independent recordings beissues whether artist manager producer even studioowns copyright already dealing situations multipleownership copyright attendant problems trying decidemechanisms happen copyrights comes tocommercial exploitation artist may need rely ever theirperformance rights ensure measure control also songwriting writers songs recordedcopyright right author prevent anyone else doingcertain things work without permission underlines creativeaspects music industry important try get grips itthe basic rights copyright right copy work right issuecopies work public right rent lend copies thework public right perform show play work public theright broadcast work include cable programme right tomake adaptation work right acts inrelation adaptation anyone things acopyright work get permission owner thecopyright may author first owner may assigned hisrights someone else given someone else exclusive licence dealwith copyright instead doubt towhether copyright laws eu extended digital online internetbased uses copyright european directive confirmed thatcopyright indeed extend new media directive wasimplemented uk law late uk government took viewthat existing uk law already covered many key aspects thedirective changes uk law clarify extend thelaw definition constituted communicating making availablea copyright work public clarified including internet cable andsatellite broadcasts including ondemand services law confirmedas applying authors record labels film producers broadcasters andperformers much debate exemptions basic rulerequiring copyright owners permission reproduce whole part ofa copyright work socalled fair dealing exemptions forexample excerpt recording part video could reproducedfor purposes critical review commentary felt wasgreater scope abuse exemption widespread fast movingonline world end exemptions extended quoting areasonable amount still permitted see chapter naspect debate connection social networking sites likeyoutube myspace allowed rely fairdealingexemptions put copyright works sites without consent theowneras mentioned growing complexity record deals andmultiple potential copyright owners issue performing rights willbecome important performing rights rights performers haveto prevent someone else certain things performancesor recordings performances without permission thebasic performing rights respects similar rights ofcopyright right prevent someone making recording alive performance right prevent making broadcast itsinclusion live cable service programme also performers right toprevent someone making recording performance directly froma broadcast cable programme performers permission beobtained recordings performances personaluse allowed performer also right refuse let someonemake copy recording issue copy recording public torent lend copies recording public play recordedperformance public include broadcast cable programmeservice weve seen performers rights also extend onlinemethods making work available public performer shouldmake sure grants performing rights reasonably surethat agreement gives either control sufficient financial reward forlosing controllicence versus assignmentwhen deciding whether license assign rights important makea distinction licence assignment owner grants alicence keeps underlying copyright gives licenseepermission certain things copyright period time thelicence term contrast rights assigned ownership andcontrol copyright passed owner assigneeit clear gilbert osullivan case even courtfinds contract unenforceable wont usually order return ofcopyrights rights assigned licence theunderlying copyright assigned nothing needs bereturned original owner never left osullivan hadlicensed rights rather assigned wouldnt aproblem licence would come end mam inbreach terms would still copyright songs andmasters point view artist licence always bepreferable assignment things equalthere two problems first record companywill many cases one made arrangements recordingto made ie paid first owner copyright theartist may performing rights probably thecopyright sound recording second record companies dontwant licence deals take assignment rights insteadthey investments protect take million pounds morefor major record company launch new act want thecopyright outright dont want lose rights licence endsbecause rights represent assets company money valueto company longer secure theownership value havethe successful artist chance theowner copyright sound recording position license itto record company production partnership deals joint ventures itis likely artist label jointly copyright maywell position keep copyright license rather thanassigning rights away argument would bigger label hadnot taken commercial risk investing making recordings soshould take ownership either unless money paid issignificantexclusive nonexclusive dealsyou might licence rights recording record companyfor inclusion particular compilation probably nonexclusive basis might want put recording licenseit another company different compilation couldnt ifyoud given first record company exclusive licence sameprinciple applies grant right put recording film oradverton hand may artist small label recordeda track album copyright may havethe financial resources anything recording perhaps cantafford press copies sell cant promote properly youmight go another record company resources agree thelicence likely exclusive one protect investmentthe licence termhow long licence last nonexclusive doesnt matter asmuch exclusive licence could long life copyright asshort year three fiveyear licence terms common licenseewants long enough get reasonable return investment butif short licence term licensor get rights back sooner andmay able relicense someone else perhaps new mix orrelease licence deals im moment forfive years longer european us companies often wanting seven toten years usual knowing using bargaining powerterritoryit could worldwide licence could limited particular countriesif example youve already licensed rights exclusively companyin us grant licences recordings forthe rest world outside usa distinction used made uk europeancounties one consequences closer european integration hasmeant europewide deals including uk commonthan ukonly dealsthere people specialise trying get licence deals forparticular countries usually take commission called finders feeof advances royalties sometimes also take findersfee licensee bringing recording rewardedby sides nice work get itthe main problem individualcountry deals keeping top anumber different licensees record releases marketing campaignshave coordinated isnt one company chase forpayment royalties main advantage chance tolicense recording company wants country youmay also fortunate position ending totaladvances individualcountry deals youd get one multiterritory deal may also receive need contributions tomake videos remixesoptionswhen youre nonexclusive licence single track acompilation dont usually give licensee options furtherrecordings may make usually oneoffif exclusive licence something acompilation licensee may keen get followup products thelicensee may encouraged invest promoting first track oralbum knows hes going get followupwhen exclusive licence deal agree upfront basison going give followup product leaveit agreed time exercise option theowners advantage first track successful bargainingpower higher certain state affairs though oftenleads problems dont generally recommend itanother possibility would give licensee option giveshim opportunity first try deal thefollowup example might deliver demo followup givethe licensee exclusive right month try negotiate deal withyou deal done time take market place thisis called first negotiating rightyou could give licensee matching right right matchany offer followup get someone else tellthe licensee details offer licensee matches betters itwithin given period time must deal hasto handled diplomatically seriously upset firstrecord company making offer matchedsometimes combination two known first lastmatching right ie get first option negotiate fails cango market place seek deal get one must first give thefirst company chance match get deal againdiplomacy order dayexclusive recording contractthis type deal may give greatest potential investment andcommitment record company return course recordcompany expect able protect investment likely seekgreater financial creative controlsdevelopment deala variation exclusive recording deal development deal therecord label signs artist exclusively period time whichthey may record demos enough tracks ep artist givena recording budget means pay producer usually muchby way money live yet time give day job thingsgo well development stage record label usually theoption decide go make rest album probably thenhave options albums normal record deal get offeredone deals may disappointed isnt commitment thewhole deal foot door make canuse stepping stone end goal dont proceed thedeal ask demos back least got wellrecorded material continue search fame fortuneit advisers make sure whatever contract areoffered fair one also record companys interest thecontract unfair unreasonable restraint trade beunenforceable walk away major record companieshave moderated contracts deal issue whileindividual cases still arise unenforceable contracts neverenter contract thinking tear longer suits youquite apart negative approach likely willnot allowed walk away may get embroiled lengthy disputeor court case whilst going difficult carry onwith career could stall permanentlyits likely exclusive recording contract soundrecordingcopyright owned record company contract willusually confirm contract also make sure recordcompany able exploit performances getting necessaryperformers consents important contract also balanced bysuitable controls record company recordingsand performancesone thing might want put recording anadvert product dont approve involved casewhere sting furious recording track dont stand closeto used advert deodorant tom waits also took exceptionto use one songs levi ad everyone wants perhapsneeds make money cost fact tom waits something serialdefender image creative output would thought nowthat advertising companies thinking using work soundalike would learned take kindly yet againthis year take company court protect positionterm contractthe contract usually run initial period one year recordcompany usually number options extend contract termin contract period theyll expect artist record minimum numberof tracks could single tracks enough tracks make albumthe commitment generally album unless development dealwhen might call five six tracks start decidewhether go balance album despite fact hasbeen growth downloads single tracks billion dollars ofrevenue generated record companies according ifpi theemphasis still much delivery enough tracks make analbum indeed artistslabels refusing allow music beavailable apple websites apple commit sellingtracks bundled together album opposed unbundling tracks forsingle track downloads forty years ago singles norm andalbums consisted mostly collections previously successful singleswhilst sign present record labels returning thesedays traditional seventy minute plus cd album consisting ofsinglesalbum tracks tracks quite frankly fillers may evolveinto something new maybe hybrid singles album deal eachcontract period usually extended six months artistdelivers last recordings record company wants moreslowly recorded delivered longer takes releasethem longer contract period however generallyaccepted maximum backstop long periodcan extended otherwise fear contracts beunenforceable openended potentially restraint tradethree four year backstop dates commonwhy record company optionsthe record company invested lot money making therecords probably also made videos may supported theartist hes touring costs recoupable ie recordcompany gets back royalty sales recordsbut dont sell enough records artist walk thecontract record company chance recoup theirinvestment unrecouped costs would recordcompanythen promotional marketing costs majorrelease run hundreds thousands pounds well themanufacturing distribution costs deals costs nonrecoupable artists royalties artist could walkaway contract whenever felt like record company wouldntbe able protect investment business interests theoptions favour artistswhy cant get copyright backit easy understand record company justifies ownership ofcopyright recording fact invested lot moneywhats less easy understand company wont transfer thatcopyright artist theyve recouped investment georgemichael argued point case sony way case wentmeant definitive decision point given reluctanceof courts cases like gilbert osullivans upset economic orderit seems courts would unlikely order return ofcopyrightsrecord companies claim vast majority artists dont recouptheir investment recent statistics suggest many artistsfail achieve profitability depressing thought one thereasons record industry massive rethink howit makes money artists successful falling cd sales ofthe problems free downloads means unless either improvethe number successful artists get money number aresuccessful preferably doom mongers declare end therecord industry nigh speculate little chapter ifanyone magic answer would presumably already beapplying making fortune meantime rest usstruggle earning case facilitating contractsthat provide financial support artists sell records contractsare foreseeable future going insist record companies hangon copyrights small minority artists successful aswithout assets companies become almost worthless recordcompanies also say spend lot money researching anddeveloping new talent return copyrights successfulartists say wouldnt able invest much new artists thefuture culture nation would suffer result well canthink bands made barely dent cultural richness mylife cant seriously though also true asmore record companies developing artists waitinguntil presented almost fully formed body songsmany recorded produced high standard andwith artist professional managers production companies placeso argument getting look quite spurious reality youjust arent going get copyrights back unless david bowieor rolling stone even would less likely achieve theytried current climatehow many options record company future albumsmost major record companies uk want options four five furtheralbums independent record companies may accept less said everynow one two unusual deals occur record companies havebeen keen sign particular artists done nonexclusiveonealbum deals options cases deals seen purelyshortterm deals improve record companys share record salesin particular quarter companys financial year end good orimproved slice market share significantly improve companysshare price ar label heads endofyear bonus othercases artist may perceived five albumcareer ahead turns wrong wish torenegotiate boot footthe number options therefore overall length contractis key issue considering contract unreasonable restraint oftradethis issue heart major court case holly johnsonof frankie goes hollywood record company ztt also asimilar dispute sister publishing company perfect songs iwill deal chapter publishing dealsztt v holly johnsonholly johnson members frankie goes hollywoodwere unknown attracted interest directors zttjill sinclair husband highly successful record producertrevor horn band broke keen work mr hornthey told ztt would record deal alsosigned exclusive publishing deal perfect songs mightdetect whiff undue influence fact point notseriously argued case band signed deals althoughthey inexperienced little bargaining power wererepresented lawyer experienced music businesscontractsfrankie goes hollywood two successful singles withrelax two tribes attracted great deal ofcontroversy subject matter case first thevideo second one stage tracks nos uksingles charts bands first album welcome pleasure domesold well produced two hit singles failed make asuccess us pressure secondalbum successthe band lot trouble recording album becalled liverpool trevor horn controlled recording costs therecord producer recordings made studios thecosts escalating alarmingly band horrified howmuch would recoup lot problems band splitup ztt perfect songs wanted hang holly johnsonjohnson didnt want continue sued grounds thatboth recording publishing contracts unreasonablerestraint tradethe term record contract initial period sixmonths extendable two option periods five contractperiods favour record company contract period tobe minimum one year extendable days theyfulfilled minimum obligations record company known asthe minimum commitment also maximum extension ofthe contract period openended depended entirely whenthe band fulfilled minimum commitmentthe minimum commitment one single initialperiod first second option periods one album thethird seventh option contract periods odd wayof structuring contract basically meant recordcompany exercised every option band record three singles andfive albumsthe record company free bring contract end anytime record company also right reject recordingsdelivered band term continued delivery ofrecordings satisfactory record company meant thatthe record company controlled long contract lasted areechoes george michael casethe court decided contract onesided unfair wasan unreasonable restraint trade unenforceable thought thepotential term contract far long could easily lasteight nine years time court felt band wouldnthave opportunity earn decent living work therecord company wasnt obliged much recordingsthere commitment release court freed mr johnsonfrom contracts awarded substantial compensationas result case uk record contracts almost invariably contain aclause committing record company releasing records least thehome country records released contract usually gives artistthe right end contract sometimes get recordings backpossibly return override royalty always case outsidethe uk recently fight release commitment us deal iwas doingtwoalbum firm dealsif youve enough bargaining power possible get record company tocommit advance second album types deal called twoalbum firm deals currently common record companiesare likely agree theyre competition anotherrecord company perhaps licensing finished album soknow getting inclined take riskon committing second one record companies dont want togive commitment want see first album beforecommitting second artists managers favour becausethey believe provide commitment certainty allows todo forward planning others feel work things goingwell things arent going well record company probably try andget first album alternative sue thecompany failing honour side bargain youll probablyagree accept offer make end contract commitmentmay mean much end sometimes record label give thecommitment insert sometimes called disaster clausewhere first album sell given number units recordcompany make second album mind type ofclause negates whole point seeking certainty twoalbumfirm dealterritory splitterritory dealslongterm exclusive record deals usually offered worldwidebasis may perfectly acceptable particularly record companyhas strong presence major markets world however becausethe us different marketplace uk artistsometimes asks known splitterritory dealthis means one deal record company worldexcluding us another deal different record company theus make types deal work artist manager tojuggle demands two record companies record companies dont likedoing sort deals say need worldwide market inwhich recover investment also say companiesare strong worldwide given chancesplitterritory deals therefore usually offered artists withconsiderable bargaining power sometimes deals done therecord company strong reputation one part world inanother us branch uk record company may track recordin breaking nonus artists us however doubtful withoutsome strong bargaining power behind succeed getting splitterritory deal even situationsmaller record companies may offices parts ofthe world may network licensees different countriesthose licensees might take records produce calledcatalogue licence deals alternatively uk company may look fordifferent licensees artist example uk record companycould deal atlantic records us acts could doa deal atlantic mainstream acts smaller label itsindie acts whatever situation need know licensees aregoing need wellestablished trustworthy companies thatwill reasonable job selling records country concerned alicence deal isnt place particular country recorddeal right approve part licence deal thataffects time licence deal done recently successfullyargued right approval label client signing wasin process renegotiating international licensing setup socouldnt tell us would releasing album overseassmaller companies use overseas licence deals help fund theiroperation uk example company germany could pay anadvance royalty expects pay sales records germanyit may also pay contribution cost remix return theright use remix germany artist promotional concerttour germany german licensee may provide financial backupif small lowkey deal uk label cant afford topay much upfront could ask advances paidby overseas licensees recordings paid forexample german licensee paid advance royalties might get ie help make thelow advances uk something negotiated thetime original uk record deal donenew forms record deal dealsat time writing flavour month deals arenot new variations around years robbiewilliams deal done particularly striking example one ofthese deals six years later starting filterdown mainstream artists able attract dealswith big numbers involved robbie deal deals areat much lower level one causing considerable discussion themoment deal madonna struck promoters live nation isdealt detail chapter dealing touringso deals acquired name theyinvolve important aspects artists career record label may say toan artist effect cannot make enough money selling yourrecords justify level advances royalties recording costs youwant us pay cannot invest kind marketing budget recordneeds cant make enough money record sales alone ifwe going signextend record deal basisthat also get share money make activities theseactivities might songwriting commonly means want ashare money artist makes selling tickets live concertsand selling merchandise concerts sometimes also extends anysponsorship deals artist may concert tour reason therecord labels latched moment liveindustry well relative terms prices tickets live eventscontinue rise fans spending another head onmerchandise get concert currently proving verylucrative business artists record companies convincedthemselves rightness stance fact feel istheir work promoting album artist least partresponsible artist able sell many concert tickets andtherefore share moneythese deals take number forms record company mightjust tack already long recording contract clauses give thema share income things like artists website merchandisingsponsorship ticket sales artist agrees pay percentage ofthis income together supporting statements label checkthe percentages variable figures around common unheard types deals record label doesntinterfere selects share money cases recordlabel may insist controls things like merchandising andsponsorship deals artist many artist advisersstart get nervous gives record company great deal ofcontrol artists wider career madonna deal outlined chapter goes still signed deal traditionalrecord label live promoter future releasing herrecordsone deal last year innovative variation model involved artist label setting partnershipwhich would hold assets like recording trademarks videos artwork butwhich artist ultimately owned assets licensed thepartnership period time going back artist thepartnership embraced records activities artistundertook entertainment industry excluding song writing dealhad already done however reason song writingcould form part arrangement agreed partnershipwas initially funded record label partners net profits dealso far reasonably similar production deals added incomeproducing areas got innovative contract term endedthe artist would free go sign another company hewished period time artist would continue pay apercentage profits live work nonsong writingactivities back record label partners deal everyonebut picked influential us label may seemore futuremany managers arms model see asthe record label taking slices income traditionally notentitled arguably therefore reducing monies artist receivesand commissionable managers however saidabove relation production deals deals common themoment rare days new startup labels least beadvised consider whether spread risk taking shareof income must however confused deals theartist signed exclusively recording song writing merchandise andsponsorship one companies controlled people whomay also manage artist variations production dealsdescribed carefully handled unless conflicts ofinterest adequately addressed deals waiting artistwith bit money challenge courtsproduction dealsas ive already mentioned type recording deal grownsignificantly importance last five years production dealthis usually form exclusive recording agreement world butwhere record label offshoot business record producer orrecording studio owner manager access cheap recordingfacilities fan song writer decided set labelto record artist found thinks talented productioncompanies may partially funded bigger company act talentoutsource eg studio rent office overheads may wholly orpartially met record label heavenly one labels issupported emi may selffinanced sometimes fundingcomes venture capitalists set schemes invest artists andlabels exploit legitimate tax arrangements maximise theinvestors tax breaks companies ingenious heavily involved inthis amongst ingeniouss recent investments label ventureby ie managers robbie williams label appropriately namedindependiente many selffinanced use call friends andfamily funding name suggests means funding provided byofficial financial institutions people known label owner theseproduction companies aim exclusively sign artists early stage intheir careers much interest industry leading abidding frenzy advances recording budgets likely lowthe production company expect copyright life ofcopyright least couple options extend contractbeyond initial period aim production companies either torecord say five tracks good demo master quality use totempt bigger company come board production companyrecords releases tracks order hopefully create abuzz bigger company come along either buy contractoff license rights exclusively return aninvestment marketing promotion reimbursement recordingcosts production company obviously also hope make profit onthe dealthere debate amongst managers legal representativesas whether production deals good thing tend take thepragmatic view structures stay onlytype deal offer think carefully turning one downthere may seem distinct advantage signing direct bigger labelnot small production label hand least veryimportant small production company likely give moreattention perhaps creative control might expect abigger label artists also deal big potential downsideis many deals basis share net profits withthe production company usually equal splitsometimes little artists favour early stagesmany ordinary royalties deal recording video costs personaladvances possibly percentage independent promotion toursupport recoupable royalty earnings net profits netreceipts deal costs recoupablewith ordinary royalties deal record company recoups therecoupable sums sums earned royalties net profits netreceipts deal costs recouped income attributable therecording ie including advancesfees paid licensees recordcompanys share earnings etcso income generated recordings goes recoup theexpenses profits receipts left end divided betweenrecord company artist agreed proportions division usuallya minimum go considerably higher artists favourwith splits unheard ofat outset net profit net receipts deals work quite well therecord company costs high record company l lbears risk costs initially doesnt pay anything artistuntil deal goes profit also record company gets recoup costsit wouldnt normally entitled offset manufacturingcosts still receive advance live deals start tobecome less attractive record company much attractive theartist initial costs recouped ongoing costs aregoing record continues sell well youre moreof profits youre considerably better would ona straight royalty basissuch deals almost inevitably benefit label early days becausethey pay artist anything deal goes profitthis means costs recording manufacturing anddistributing records repaid first well things like press andpromotion costs costs recovered theproject goes profit profits start get shared artist anadvance share profits also repay hesees anything costs recouped start tail offthen records continue sell label theory makinglarger profits profits shared artist stands domuch better would royalty biggerlabel costs kept control record sells sides standto wellwhere scales tend tip away artist productioncompany sells contract bigger label production companymay recover costs paid recording sois quite well may yet profit perhaps artist may nothave seen money point bigger label likely anet profits deal much likely pay royalty theproduction company lets say dealer price records thatthen net income comes production company sales ofthese records production company shares withthe artist splits artist like equivalent royalty deal doesnt sound good often thecase lawyer artist ask increase sharepayable artist say deal like put place give theartist better royalty equivalent deal even though may seem theartist done well would bigger label thatbigger label showing interest time artist signed theproduction company invested future artist maybe helpednurture creativity wrong say shouldnt get fairreward investment decideother aspects recording contractsnow ive looked main types deal things thatdistinguish want look aspects contracts arecommon typesdelivery requirements minimum commitmenteach type record contract minimum required artistlicence deals single tracks albums development deals maystart four five tracks develop commitmentto record albums exclusive album deals either single track oran album initially usually options acquire productproduction deals either four five tracks options furtherrecordings album commitment options one artistsobligations deliver required minimum number recordingsthis obligation may simply deliver masters recordingsto record company often however commitment notfulfilled record company agreed recordings meet therequired standards saw george michael holly johnsoncases standards met company reject recordingsand make artist rerecord satisfied important thatthese standards realistic theyre set contract theycould technical requirements commercial ones combination ofboth try avoid subjective standard issomeone elses view whether recordings meet required standard orwhether recording commercially satisfactory record companyexecutive thinks commercially acceptable may anything like yourown views subject best try set objectivestandard standard quality recording bemeasured example measuring recording artists thatthe record company previously accepted satisfactoryits also usual try put time limit record companyhas give answer whether recording satisfactory must arealistic time period company may go various stagesand processes give answer ar man listento probably play colleagues weekly ar meeting hemay talk record producers get view recording hellprobably talk artists manager views may hunch thatthe record could improved one tracks remixed someoneother record producer original mixer depending contracthe may get artists permission contractwith record producer may mean give first chanceto remix track question obviously unlikely arman hearing recordings first time likely tohave involved process greater lesser extent earlierstage nevertheless approvals process takes timeonce record company happy standard recordings itmay say recordings accepted minimumcommitment fulfilled companies want informationfrom thatacceptance fulfilment minimum commitment usually means thatthe record company start planning release maybe pay afurther instalment artist advance record contract may set lastdate record must released record company wont wantthat time start running theyre position start processes fora release means usually require hand number ofother things delivery said taken place theyaccept recordings could artwork packaging therecords details performed masters confirmation thatthose performers given performers consents samplesof anyone elses recordings songs masters record company willwant know permission copyright owners thoserecordings songs use samples see chapter permission usethe samples hasnt agreed record company cant put therecordings without breach copyright production dealit likely delivery five tracks start timerunning production company get bigger company onboard release records release contract sothey going pretty sure need officiallyaccept recordingsbecause important know recording accepted ioften ask record company agree recordings said deemedto accepted record company said arent within fourto six weeks delivery masters artwork etc depending onhow long think take go acceptanceprocess may agree may production deal youare likely closely involved whole process labeland choosing songs producer remixer etc together less likelyto formal procedure notification delivery acceptance insuch cases still want know parts theyrequire get release artist still want know doneall required momentadvancesfor many artists one important issues remember thatthese monies recouped royalties earned salesor uses recordings unlike loan however advances arentusually repayable record company doesnt sell enough recordsthats record companys risk however artist takes moneyand doesnt deliver recordings record company may try andcome get advance back gone may botherto sue would cost legal fees would getback wouldnt like rely suing thoughwhats good advance exclusive recording agreementa good advance one meets needs may care aboutgetting much money possible arent concerned never sellenough records recoup lot cynical managers viewin business take money run case youll lookingfor money get upfront shortterm view thegreater record companys investment advances pressurethere going perform likely therecord company want dictate go reasonableadvance payable reasonable instalments record company may put youunder less pressure deliver also recoup advances soonerout royalties artists recoup advances costs thiswill put strong bargaining position record company havehowever recently heard successful influential music managertake completely opposite position view artist hasproved sell records record company job properlycan get commitment record company unrecouped asthis encourage company work harder could well casewith certain labels individuals im convinced applies toeveryone particularly current climate artists gettingbeyond first album one reasons contract go furtheris overall expensive prudent manager wouldconsider renegotiating label otherwise good bet stay ifhowever ar md signed act longer maybe better cutting losses walking away debt trying tostart againwhatever position recoupment good advance going onethat allows artist live roof head least yearpreferably eighteen months recordings made thenpromoted good idea artist manager outlinebudget may needif manager interested getting much advance aspossible early possible artist would suspicious onlyconcerned commission short term doesnthe expect around record finished time theoption exercised whose interests looking artists orhis may perfectly legitimate approach dont accept itwithout question hes pushing short deal themoney upfront agreed approach take money run ordoesnt faith cut beyond one album may accepta lower advance return things greater creative controlits possible get usually lot bargainingpower go lower advance also able argue ahigher royalty argument also holds good production deals donot expect production company necessarily move beyond dealin early stagesminmax formulathe level advances payable could calculated according formulacalled minmax formula formula minimum advance ispayable artist limit also set maximum companywill pay actual amount calculated percentage royalties theartist earns formula usually applies second contract period oralbum onwards method calculating option period advances oftenfavoured production companies allows reward sales successat beginning second contract period record company looksat much artist earned sales recordings made inthe first contract period takes percentage amountthen arrived minimum less maximum thenthat advance payable period example twelvemonths following release first album artist may earned royalties formula calculating advance thesecond contract period linked earnings minimum advance payable next contract period issay maximum advance payable say got point advance payable formula work many record companies favour becausethey give degree certainty budgeting purposes paymentlinked success artist needs make sure minimums areenough meet minimum living requirements example gaveabove could live year longer second contractperiodthe maximums usually double minimum may inlater contract periods maximum reasonable advance artist isdoing well honest dont worry maximums muchas minimums youre hitting maximums artist isdoing well record company likely want keep happyby renegotiating figures upwardspayment termsadvances normally paid instalments usually one signing dealanother artist starts recording minimum commitment thatcontract period final instalment either delivery completedrecordings record company commercial release therecordings production deal later instalments may linked theproduction company getting bigger company board releasecould months delivery artist want final instalmentto paid delivery record company may want protect byonly paying last instalment record released areasonable prospect record sales reducing financial exposurehowever lot happen delivery finished masters theirrelease client mine delivered finished masters recordcompany accepted months later lastdate record company release recordings thecompany closed copyright clients recordings wastransferred another record company record company hesitatedfor months whether going release thealbum end artists manager asked send record companya formal notice terms record contract requiring recordcompany release album pay final instalment due thedeal record company got notice rang said ithad decided didnt want release album offered give myclient copyright album back return override royalty untilsuch time recovered recording costs spent thealbum client manager decided take offer thanseven months passed since recordings delivered artistdidnt get advance due release album artistsperspective therefore would better payment linked todelivery recordings releasecostsinclusive advancesthe advances describing far called personal advancesthey go towards artists personal needs costs making therecording separate recoupable amounts see chapter recordcompany may offer advance includes costs making therecordings costsinclusive deals often called recordingfunddeals artist record company quite careful theamounts advanced recordingfund deal right level theartist sure make album wants make theavailable funds still something live often costsinclusive deals work less money one personal advance plusrecording costs unless artist record cheaply recordcompany know generous also artistwont run money recording finished therecord company inevitably ends paying money wants getthe recording finished recordingfund deals work establishedartists recording facilities mature artistswho relied make recording without spending moneyon recently successfully negotiated deal acompany emi group artist track record making recordsand manager experienced respected record companyits worked well artist much recording done ahome studiorecord budgetsif record company offering recordingfund deal youll need havesome idea much going cost make recordings needto know record company committed spending amount ofmoney youre licence deal youll usually already finishedmaking recordings issue whether compensate forthe costs youve incurred need know youve spentthe budget must take account much cost rehearse thematerial necessary preproduction preparation recording andprogramming record material studio producedmixed edited record companies include cost cutting ordigitally mastering recording budget add thousands tothe deal budget tight try get pay separatelyyou also bear mind cost hiring specialist equipment andengaging services additional musicians vocalists budget alsousually includes called per diems expression meaning dailyexpenses payment cover food drink sometimes also transport toand studiothe record company may commit guaranteed minimum spend onrecording costs contract reluctant iseither theyre afraid may get wrong setting aminimum figure means tend spend amount money whether itsnecessary hand youll want know record companyis committed particular level spend know canmake kind record want sides realistic nogood record company thinking make album five pence butneither good thinking record company let ablank cheque decent recording budget invaluablerecording costs usually fully recoupable however someelements recording cost budget may wholly partially nonrecoupable classic example costs remixing mixing costs arevery expensive youre tight budget costs take lot ofthe total record company may want commission remix youdont think necessary pay costs berecoupable record companies agree first mix comes outof recording budget remix want therecord company wants additional remixes pay top therecording budget know make sure recordcompany asks remix youroyaltiesthis could subject whole book two companiescalculate royalties exactly way area isreally escaping need experience legal advicerecord company executives usually guidelines isnot allowed certain top artists may given favoured nationsterms means best deal record company canoffer particular point artist offered better terms bythat record company artist favoured nations provision mustalso given better terms potentially huge financialimplications record company executive crosses boundariesat peril may impossible definitely requireagreement someone high corporate ladderretail versus dealer priceyou need know price basis record company using account toyou royalty retail price cd would good onthe dealer price cd would averageuntil ten years ago majority uk record companiescalculated royalties percentage retail price record inquestion however retail price within record companyscontrol varies considerably uk companies therefore movedover using dealer price record basis calculationoutside uk particular countries like japan unitedstates different methods arriving dealer orwholesale price basis order make proper comparison shouldask record company give actual figures talking aboutso sometimes known pennies calculation thismeans calculate roughly youll get record soldthis calculation essential youre trying compare offers morethan one record company also important record companyexecutive trying make deal know much pay inrecord royalties per record sold finance officer need tocalculate many records need sold advance theyoffer recouped make kind commercial sense evenif ar man determined deal wants pay theodds least hell know aim terms record saleswhat percentage salesis royalty calculated records sold lesser percentage manyrecord companies build free goods allowance totalsales pay royaltypackaging deductionsthe common deductions packaging deductions sometimes alsoreferred container charges charge supposedly cover thecost making cases packaging record sold inreality actual cost usually far less average packagingdeduction way record company artificially reduces theroyalty paid deductions must taken account order tocompare offers different companies average packaging deductionfor cds although many companies charge morecompanies including emi bmg merged sony dispensed packaging deductions altogether part drive simplercontracts greater transparency whilst problem isthat labels adopted approach many stillmaking packaging deduction therefore comparing like like verydifficult royalty rate offered company deduct apackaging allowance may seem low uncompetitive take thisinto accountother traps unwary reductions recordcompanies apply certain types records instance sales mailorder record clubs budget prices lower royalty ratethe principle behind deductions record companygets less full price sale reduce amount payable tothe artist sale record sold budget record usually attract reduction royalty rate reduction also applies recordsadvertised television sold mail order record clubs thereduction royalty mailorder sales important think thatmany companies offer mailorder sales internet thisbecomes established method selling records ought lookagain whether reduction appropriatea detailed exploration royalty reductions beyond scopeof book lawyer accountant familiar mostuk record companies usually apply principles behind reductions asimilar way details differ great dealwhats good royaltyas general guideline basic royalty dealerprice calculated records sold reduction cds apackaging deduction would acceptable unusualto see royalty rates dealer price new signings toexclusive record deals however royalties licence deals could wellexceed basis record company getting afinished recording assess commercial potential upfront therecord company also hasnt taken risk recording costs nonexclusive licence deals record companies example acompilation royalty may well dealer price withno packaging deductions recognise deduction isrelease commitmentsobviously album delivered accepted would goodto kind assurance going see light day notjust sit shelf need commitment record company torelease record least home market preferably also mainoverseas markets release usually take place within four sixmonths delivery masters doesnt usual remedy servea notice telling record company doesnt release recordwithin another two three months artist right end thecontract deliver masters even better would acommitment return unreleased masters artistperhaps return override royalty recording costs beenrecoupedsome record companies dont want would rathernegotiate things time may also want hold themasters case another company better luck making successfulthey back catalogue material try release cash thissuccess think pretty daft although tried true fanswill buy records theres artist promote record unlikely togo far sometimes hold unreleased masters order tryand sell artists new record company later date strategyis often successfuloverseas record isnt released within four six months ukrelease depending contract might longer small labelyou serve another notice thirty sixty days hasnt arelease artist may chance find licensee make recordlabel license company release theyre unlikely toautomatically give masters back know difficult make theiroverseas companies licensees release recordings mad though youthink bother worldwide deal cant evenguarantee sister companies overseas even release recordsin territory part argument becausefor international artists would look stupid get fired ifwe didnt world rightsaccountingthe artist get paid least twice year possibly four times withsmaller companies distribution accounts statementswill sent sixty ninety days accounting date advancesare recouped oh happy day statement cheque yippee arent certain statement says check youraccountant doesnt think right challenge dontleave long probably cant object period time say oneto three years right audit inspect books least ayear send accountants audit youve successful period theend deal gone wellwhat happens production deal abigger company comes alongwell first production company either sells licenses rights ithas deal artist rights recordings hasalready made bigger label either outright sale theproduction company steps picture active level passivelycontinues earn income future sales remains activemiddleman decision usually made bigger company andthe production company see artist may anindirect say production company stays picture biggercompany contract production company direct withthe artist pays production company advance maybe reimbursementof specific costs recording costs already incurred percentage offuture royalties monies production company pays isdue artist separate contract artistif production company drops picture bigger label doesthe deal direct artist separate deal productioncompany share future earnings latter case artist free tonegotiate new terms former case production company staysin middle artist generally stuck original production dealhe important contract anticipates going tohappen ensures artist gets fair share going forward mayinvolve bigger percentage profits going forward andor slice theadvances paid bigger companythere also small window opportunity artist attempt arenegotiation deal bigger company usually want artist toconfirm wont lose artist production company fallout later stage production company goes bust doesnt wantto continue artist whilst bigger company documentcalled inducement letter allows artist little bargaining power isimportant bigger company signed therefore artist anopportunity try improve terms little bitconclusionsthere four main types record deal licences development dealsproduction deals exclusive recording agreementswith type contract need work much exclusivityyoure going give territory contract coveradvances royalties include recording costs bedealt separately recording personal advance budgets areuseful setting level dealroyalties calculated retail dealer price therecord important establish makes great deal ofdifference dealsome record labels longer deduct cost packaging isimportant know explain may otherwise seem apoor royaltyrecord contracts often contain reductions royalties certain typesof sale method distributionnet profits deals work record company beginning thescales tip favour artist initial costs beenrecoupednew types recording deals based artist sharing income fromhis activities models emerging may work youeither successful artist alternatives macaulay v schroeder music publishing co limited wlr hl panayiotou v sony music entertainment uk limited emlr section cdpa sections cdpa directive ec us options six seven albums commonplace zang tumb tum records limited perfect songs limited v hollyjohnson emlr chapter good publishing deal introductionin chapter im going look rights songwriter whathe expect various types publishing deals im going askwhether need publishing deal whether ideally itshould youve done record deal seenwith recording deals also changes publishing isviewed smaller operators move amongstmanagers smaller record labels also take interest publishingrights explore whether think agood ideabefore go detail contract need look youfind music publisher music publisher actually rightsa songwriter surprised learn doctrineof restraint trade comes since last edition bookthere number significant cases publishing rightspossibly reflecting greater interest songwriting source incomeas well looking restraint trade cases new cases bedealt full belowhow find music publishermusic publishers employ ar people scouts way recordcompanies theyre lookout talented songwriters eitherperform band solo artist mostly write songs otherpeople hopeful songwriters send demos publishing companies thesame way record companiesyou find lists uk music publishers music week directorysee useful addresses major record companies also wellestablished music publishing companies within group companiesfor example emi records emi music publishing hasbeen spate mergers major music publishers last yearsand threats significant changes others universal music publishinghas acquired bmg music publishing move initiallyscrutinised european commission subsequentlycleared condition rondor uk zomba uk songs bbcmusic sold guy hands private equity group terra firmabought emi billion rampant speculation thedeal would funded least part sale securitisationmortgaging emi publishing catalogue far happenedand focus seems moved away source revenuebut must remain significant possibility also talk warnersand emi ever conclude long onoff lovehate courtship thatthis might result sale certain assets warner chappellpublishing catalogue either raise funds reduce likelihood themerger rejected monopoly grounds fourmajor music publishers warner chappell universal sony emi thereare also independent music publishers arent associated recordcompanies example peermusic bucks music group w e l l sadministrators kobalt bug music amongst others lawyeraccountant manager refer publishers think besuitable style songwritingwhat publisher dohave ever wondered call publishers far workout comes early days music business music waspublished form sheet music way book publishednowadays course sheet music forms small part income thata songwriter publisher make days largest share ofincome comes use songs sound recordings mechanicals orwith tv film moving images synchronisation digitaldistribution music develops rights song may well far morevaluable physical sound recording like cd see chapter digital mediapublishers traditionally three main roles firstly issuelicences people want use music secondly actively look forways use music example putting advert filmsoundtrack thirdly collect income licences usesthe first roles often done conjunction collectionsocieties see chapter including area online uses afterinitially feeling way societies begun establish linkswith international societies mandates members togrant commercial licences online uses position beenstrengthened legally bringing uk law late eudirective confirmed extension rights copyright owners andperformers online digital uses removed previousuncertaintysome publishers better others finding uses music andcollecting money earned obviously songwriter satisfied thatthey reasonable job collecting money whether alsoneeds good finding uses songs depend typeof songwriter although songwriters probably wouldnt turn downadditional ways making moneyso people know approach want ask use asong order track money collect properly publisherhas register songs main collection societies around theworld sometimes requires songwriter fills form andfiles society sometimes also send recording anda written copy words music called lead sheetif music publisher one bigger publishers owncompanies major countries world one two theindependent publishers notably peermusic also owncompanies worldwide independent smaller publishersdont resources set overseas companies appoint localpublishers country concerned look interests iscalled subpublishingthe traditional roles publisher however changing toolook different ways making money difficult market place oneof traditional main sources income mechanical royalties onrecord sales case cd sales declining income isalso dropping supplement ways well asbecoming better collecting efficient running theircompanies publishers also things wereoriginally done record companies provide studio time foran artist songwriter record demos order get interest recordcompanies sign singersongwriters publishers act almost likerecord companies putting records limited editions way attractrecord company interest even provide financialsupport youre road promoting records orextra funds promotion press coverage costs payments areusually recoupable publishing income comesthrough main reason things order give bit ofa boost head start top funding may may providedby record company emi one first publishers look atlicensing song lyrics inclusion merchandise like mugs tshirtsemi also developed arm uk company involved themanagement songwriters many producers notnecessarily performers artists signed emi forpublishing decline mechanical income licensing songs use inads films become important many publishers arestrengthening synchronisation departmentswhat music publishing rightsbefore rights literary musical work ie lyricsor music establish words music original andthat recorded way could sheet music withthe words music written demo someone singing wordsand musichow prove copyright aworkthere number recognised ways thisyou could put sheet music demo recording safe deposit boxmarked name date wrote get receiptyou could send lawyer ask write back confirmwhen received lawyers arent happy thisthey dont want trouble later lose cd among one hundredand one others office also cant really confirm something thatthey direct knowledge dont know wrote whenthey say sent tape particular daythe popular way put lyric sheet recording anenvelope addressed post recordedmail receipt arrives keep unopened safeplace postmark fact still sealed means haveproof recordinglyricsheet must existed time thepostmark date someone later copies song illegally isevidence version written theirswho owns rightsthe first owner copyright musical literary work personwho author creator original work records tangibleformthere one writer composer called cowriters one person might write words music cowriters might work elementsfamous examples successful cowriting partnerships elton johnand bernie taupin andrew lloyd webber tim rice recentlyrobbie williams guy chambers perfectly possible two separatepublishers control parts songwhere cowriters song jointly owned veryimportant record owns part music lyrics youfinish new song give publisher fill form yourbehalf called joint registration form form needed recordthe details song sent collecting societiesmcps prs mechanical copyright protection society limitedtheperforming rights society limited form contains title songwho wrote shares wrote restrictions onwhat done dont publisher youre memberof prs mcps complete file form yourselfmost publishing agreements say songs assumed bewritten equal shares cowriters unless publisher toldsomething different work completed details given themfor registration whole question wrote cause ofmajor arguments cowriters often members sameband producer album case even allmembers band contribute writing members writeresent dont issues ought sorted early stagebefore becomes real issue see chapter wont surprised learn disputes ownership arecommonplace wellpublicised case songwriting sharesinvolved members spandau balletspandau ballet casespandau ballet formed made two k e pbrothers martin gary together tony hadley john keeble andsteve norman part new romantic movement andafter turning record deal island records set theirown label eventually licensed chrysalis records firstsingle cut long story short went top uk theyreleased couple singles top hit chantnumber released six albums plus greatest hits compilationthe last album heart like sky released ten years laterthey court arguing song royalties martin kemp notinvolved caseeveryone agreed gary kemp written lyrics thesongs dispute composed music gary kempscompany received publishing income songs hevolunteered give half money band members butstopped arrangement band members sued sayingthat legally binding agreement continue pay thismoney also argued binding agreement theywere entitled money anyway cowriters thesongs therefore coowners copyright said theydcontributed enough music make cowriters judgedecided binding legal agreement gary kemp solewriter music save song called glow judge alsoconfirmed coowner contributed thesongs creation interpretation drummer adds ashort drum loop doesnt make material difference songthat wont qualify claim cowritten song bassistwho takes melody line converts part suitablefor instrument also probably claim cowritermore recently threats court case james blunt recordproducer lukas barton claims cowritten number songs byblunt feature album back bedlam far sold million copies worldwide blunt denies barton cowriter saysthat wrote songs dispute either whilst serving inkosovo parents home certain casewill come court possible settle beforehandmark taylor v rive droit music limitedone case make court claim mark taylor cowriterof chers hit record believe music publishers rive droit musiclimited rdm many problems surround case turn onbad drafting publishing agreement dispute ownedtwo songs mark taylor cowrote recorded theartist enrique iglesiasin mark taylor entered two agreements rdm thesecond written publishing agreement renewedtwice second time end november mr taylorstopped working rdm joined rival setup brian rawlingproductions limited brp brian rawling originally recruitedby rdm bring together stable songwriters songs written thesesongwriters would pitched record labels artists ideawas rdm would produce subsequent recordings songsand receive production fee royalties sales recordsand share songwriting royaltiesmr taylor collaborated paul barry another songwriter signedto rdm together wrote number songs including believewhich made name mr taylor entered third publishingagreement rdm december two years later early december mr taylor mr barrywent america worked songs recorded byenrique iglesias december mr taylor decided end theproduction arrangements rdm effect december sent owner company fax effect courseof december producers administrativestaff left rdm brpin april mr taylor sought declaration court publishing agreement expired november thathe due royalties rdm disputed interpretation contractand said term three years two presumably thebasis may found wrong tried toargue rights two iglesias songs mr taylorwas arguing written end publishing agreementbecause fact created new works adapted parts songswritten mr barry presumably still contract rdmalleged amounted infringement copyrights askedthe court award damagesat first hearing judge found two yearcontract mr taylor obligation deliver rdmany song written whole part december howevermr taylor way judge also foundthat two iglesias songs fact existence december copyright parts belonged rdmtaylor felt rdm didnt acquire copyright delivereda completed song parties appealed court appeal whichfinally gave judgment case november well knowthat saying theres hit theres writ might beencoined case thisthere considerable difficulties deciding publishingcontract actually meant term appeared two yearsbut another clause contradicted reference threetwelvemonth periods two eventually judges agreed wastwo years three earlier clause defined termwas stronger later contradictory one court also decidedthat relevant point determining ownership copyrightwas copyright subsisted intended thatcopyright could transfer another judges accepted notalways easy determine case decided copyright vestedin rdm moment complete work could haveimplications drafting publishing agreements future manypublishers take view even song work progress theystill rights also echoes old friend thedoctrine restraint trade decide thismeaning composition included writers output thatcould seen restraint tradeas post script case late rive droit music limited went intoadministration whilst arguments surrounding cases may suggestthey turn facts clearly lessons learned clearin drafting make sure rights session musicians bandmembers clearly set point emerge later chapterwhen look rights session musicians leave arealets look recent case currently appeal seems throwsome doubt rights original composer song part ofthat song replayed member bandmatthew fisher v gary brooker whiter shade pale casethis case decided forty years song originallywritten recorded turned massive hit band proculharum mr fisher bands exorganist argued wasentitled share musical copyright lyrics bandspianist gary brooker argued mr fishers organ solo essentiallythe original piano composition judge preferred mrfishers version events ordered mr fisher entitled toclaim share music sometimes difficult follow ajudges logic case decided mr fisher made asignificant contribution original musical work make acoauthor mr brooker decided contribution assubstantial mr brookers contribution awarded share judge also ordered mr fisher entitled anyroyalties time brought case song wasoriginally released single may huge hit goingon sell million copies worldwide around time therelease two authors mr brooker mr reid assigned theircopyright words music essex music limited rightsare owned successor essex music limited onward musiclimited song written two forming bandwhich mr fisher joined hammond organist rehearsals mr brookerand mr fisher improvised respective piano organ parts theoriginal chord sequence mr brooker composed thisimprovised organ accompaniment formed basis mr fishersclaim declaration owned copyright musicin twist law furthest back mr fisher could go hisclaim back royalties would six years date claimhowever judge decided ignorance rights claim nodefence fact mr fisher sat back forty years andallowed collection societies publishers collect money anddistribute basis split mr brooker mrreid judge therefore allowed mr fisher damages unpaidroyalties date claim saying allowed thecollection societies collect pay despite view wasentitled share must effect granted free licence forall time use share song licence wasentitled end deemed done bringing claimthe music publishers stand lose publishers share interest music attributed mr fisher appealing thedecisionthe lesson learned case make quite clear timewhat claims interested parties may work time wasfirst written mr fisher signed acknowledgement rightsin composition claim would never arisenduration copyrightthe copyright musical literary work lasts seventy years theend calendar year author dies song cowritten rights last seventy years end calendar yearin last surviving cowriter dies always thisextension seventy years relatively recent one dealing witholder compositions essential also look laws pertained atthe time effect subsequent laws positionsolomon lindas casethe family south african composer solomon linda brought casealleging infringement copyright basis copyright songhad reverted mr linda british commonwealth laws ofcopyright years death author song question isbest known us lion sleeps tonight originallywritten linda title mbube meaning lion zulu hit linda wife sold rights thesong local company never properly benefited songssuccess mr linda died poverty song mbube wasadapted covered american folk legend pete seeger whotranslated lyrics renamed song wimoweh sold million records different versions covered times inthe another writer george davis weiss added new lyrics andcalled new version lion sleeps tonight versionthat subsequently licensed disney inclusion box officesmash film lion king lindas widow received ths theincome lawyers family argued rights originalsong later versions based reverted mrsolomon linda thence family able bring thecompany licensed song disney abilene music thenegotiating table agreed settlement remains secret atleast part allowed mrs linda receive thecomposers share performance income settlement alsothought include back payment royalties future royalties anequitable share version lion sleeps tonightas works come copyright public domain andtherefore freely used without payment royalties questions willinevitably arise whether work copyright long beenthought classical recording world editor work beperformed musicians copyright didnt acquire newcopyright editedhyperion records v dr lionel sawkinsthis view challenged dr sawkins spent time effortediting three performing editions works court composer tolouis xiv louis xv richard de lalande clearly de lalandesoriginal works copyright effort skill timewhich dr sawkins spent making three modern performing editions ofhis work give new rights original musical works drsawkins thought classical label hyperion records disagreedand made sound recordings dr sawkins editions withoutacknowledging rights authorship withoutpaying royalties dr sawkins sued successful thefirst instance judge agreed hyperions recordings infringedhis rights performing editions originated dr sawkins alsofound moral rights infringed notidentified author editions court ordered inquiryinto amount damages paid dr sawkinshyperion appealed basis editions neither originalnor musical meaning copyright act case theappeal court judges also considered dr sawkinssought get close original possible intention ofadding new music could still claim created neworiginal copyright edition edit transcribe modernnotation make playable correct errors omissions include afigured base hyperion also tried argue creating edition beplayed amount creation new musical workthey also said allow dr sawkins claim new copyright wouldhave effect greatly extending copyright contraryto public policy making ancient music available modern listenersit latter point seems basis theopprobrium heaped dr sawkins many quarters theclassical music world clearly thought action thereis however also fact hyperion vested commercial interestin arguing dr sawkins claim may open flood gates toother editors thing resulting hyperion paycomposer royalties budgeted classical worldfeared consequence action might fewer classicalrecordings might get made appeal court judges rejectedhyperions argument dr sawkins done could newmusical work added new music corrected errors andomissions judges thought wrong approach musicalwork notes overall structure musicalcompositions including notes played theydismissed hyperions appeal overall case turns whatis mere copying application sufficient original skilland labour create new copyright qualitative aquantitative testwhat rights come ownership copyrightthe copyright owner literary musical work ie song rightsvery similar recording copyright rights looked lastchapter main ones right authorise reproduction amusical literary work without visual images mechanical andsynchronisation rights right authorise distribution workthe right rent lend work members public right toauthorise public performance work making available thepublic right make adaptation work theabove relation adaptation copyright owner allowor prevent someone things either throughoutthe world particular country publishing deal aregiving someone else right deal matters onyour behalf publisher might throughout world maysubcontract rights subpublisherwhere money come frommechanical licences royaltiesoriginally recording reproduced literally donemechanically using mechanical pianorolls licence reproduce thesong sound recording called mechanical licence remains thebiggest source income songwriters example recordcompany wants record performance song ask permissionfrom author publisher person administers songthis may seem bit strange youve written song bandwants record seems odd ask permission someone elseto record band performing remember different people aregoing control rights sound recording rights songthey separate copyrights people probably controlboth record company pay licence fee owner rightsin song fee mechanical royalty either fixed bynegotiation representatives record publishing companiesin country concerned set law legal tribunalthe present licensing system uk result referral thecopyright tribunal record publishing companies couldntagree proper licence fee copyright designs andpatents act states solution situations refer dispute tothe copyright tribunal scheme approved copyright tribunal isoperated mcps behalf music publishers ukthe current licence fee dealer price record mcpscan licence mechanical reproduction song straightcover ie faithful reproduction original someone theoriginal performers faithful reproduction mcps doesnot authority issue licence permission asked fromthe writers publishersuntil recently mechanical reproduction took form physicalproduct vinyl record cassette tape cd new formatssuch dat dcc minidisc added time time comingof digital era music delivered means physicalreproduction law adapt deal new means ofdistribution download computer file containing music anmp similar player computer hard disc treated reproductionakin physical reproduction cd accepted theeu confirmed uk legislation amendment actsince mcpsprs issued blanket licences use music onlineand download music internet reciprocalarrangements offered worldwide whole range oflicences available uses cdroms music toys incomputer games recently dvds digital radio stationshowever failed reach negotiated settlement recordcompanies significantly internet service providers like yahooand matter referred copyright tribunal long andvery expensive hearing outcome discussed detail thechapter collection societies suffice say farremoved rate applicable physical reproduction makessome us least wonder fuss tribunalsdecision least end uncertainty whether could get ablanket licence downloads musiccontrolled compositionsalthough book im mostly dealing uk copyright licensingschemes situation north america important hugeimpact publishing income coming united states lesserextent canada much smaller marketplacein uk licensing scheme fixed rate paidfor licence us law also sets fixed rate currently cents atrack right reproduce song record us recordindustry bargaining power music publishers lobbied thelegislators got clause included law allows different rate tobe set agreement well surprise surprise record companies haveinsisted different rate higher think almostuniversal position us record companies pay fixed rate referred controlled compositions orreduced mechanical royalty clause called controlledcompositions compositions happens underthe control writer publishers obviously agree areduced rate youre owner controller song us recorddeals start standpoint agree rate thismeans youre losing quarter us publishing income thereproduction songs records pressure accept thisand really want us deal may little youradvisers however already publishing deal youprobably wont allowed accept reduction without publishersagreement use get publisher fight itsbehalf get improvements rate youve lot bargaining poweryou get rate youve medium bargaining power getthem agree increase rate based onsales given number records sometimes budge andin cases give dealmost us record companies try reduce liability pay fullmechanical royalties limiting number tracks record theywill pay royalties usually ten eleven havetwelve tracks album wont get mechanical royalty uson least one two tracks limitation place perhapsyet another reason aiming keep number tracks recordwithin ten eleven track limitthese controlled compositions clauses cause problems every recorddeal negotiation improvements lawyer try toget usually one keenly fought clauses thewhole recording contract lot money potentially stake bothsidessynchronisation licences royaltiesif youre songwriter writes mostly music films adverts orcomputer games main source income may mechanicalroyalties fees issue licences use music visualimages licence called synchronisation licence gives theright synchronise music visual images publisher also licensesand collects income licences fee use called thesynchronisation fee growth dvd sales tailing l osaw big growth source income mcps authorised dvdrate sliding scale ppd depending amount music inthe dvd evidence synchronisation income becomingmore important source revenue decline mechanicalroyalties declining album single sales moment mechanicalroyalties remains main source income songwriterswe think artists broken big time via anadvert indeed flagging career boosted track used ina particularly good ad campaign film fine young cannibalstrack drives crazy regularly appears car adverts devo rerecorded biggest hit whip good swiff good tvad floor cleaner swiffer seminal punk band violent femmestrack blister sun used ad campaign wendyshamburgers might argue uses originalartists favours credibility stakes right music anadvertising company pay lot money asynchronisation fee right work isnt unheard saythough rush get music adverts films thatmany advertising companies pay lot less many also commissionwriters write songs sound like arent famous songs arein current music style songwriters make career writingjingles adverts composing soundalike songs theirmain source income others way fund writing theirmasterwork film soundtrack concerto otherwise wouldnt havethe money doin countries theres fixed rate synchronisation licences inmost cases though fixed casebycase basis againis area publisher lawyer get good deal youif want put one songs promotional video one ofyour singles publisher probably give free synchronisationlicence chance earn income commercially thenthey want separate fee commercial use definitelywant separate licence fee dvdif synchronisation fee payable usual writers shareof income goes towards recouping advances already beenpaid writer publishers keep publishers share theincome example writer split royalties hisfavour publisher would keep fee use theremaining help recoup advances different scenarios arealso possible individual circumstances publishersshare also goes recoupment advances writers share ispaid writer current fairly difficult economicclimate happen oftena situation may arise writer commissioned write somemusic song specific project like film soundtrack publishingcontracts often say even though may exclusivearrangement writer deals keep commissionfee provided synchronisation fee also required paid throughto doesnt take much intelligence work asongwriter may want increase commission fee decrease thesynchronisation fee publishers obviously wise may try anddirect money recoupmentperforming rightswe looked far two main sources publishing income themechanical licence synchronisation licence third significantsource income right publicly perform song public performancedoesnt mean live concerts includes playing music shopsrestaurants clubs fact anywhere music played publicmost songwriters success become members theprs one overseas affiliates prs uk performingright society administration right perform work publicand responsible collection income generated publicperformance music income comes largely licences takenout broadcasters shops pubs become member ofthe prs rules say assign performing rights yoursongs prs send membership performing rights arereturned direct performing rights controlled theprs right publicly perform work right broadcast tomake available public right authorise others orall prs monitors use music tv radioprogrammes means cue sheets lists music played eachprogramme station producers complete show prshas random sampling policy live shows couldnt possibly coverall live gigs monitor main venues selection smallerones keep type venues monitored reviewso doesnt separate licence every time song isplayed public prs entered licences thebroadcasters done major places entertainmentlike clubs restaurant chains called blanket licences becausethey cover songs controlled prs youve blanket licence youdont worry whether play particular song providedyouve paid annual licence fee negotiated prs every timeyour song played television radio cable satellite youll receiveeventually income use song gradually blanketlicences also becoming available variety uses music onwebsites prs licences use extracts internet radiopodcasts variety online uses website useful ingiving right licence want many cases theapplication form downloaded however still early say howeffective going collecting new source revenuewhich explains many cases licences require upfront advancepayment plan use music way covered one ofthe current licences apply commercial committee withdetails proposal ask propose appropriate rate whichin many cases open negotiation particularly whilst areestablishing commercial violability schemethrough cue sheets samplings data collect fromonline uses prs gets good idea music performed andcalculates amount due various blanket licences share dueto songwriter members prs paid regular intervals four timesa year prs deducted fee administration theprs rules require least sixtwelfths ie performingincome paid songwriter direct money therefore gothrough publishers hands used recoup advances comesdirect writer valuable source income animpoverished songwriter unrecouped cant expect royaltiesor advances publisher time bepaid publisher nominated writer right publish hissongs publishers share divided songwriter andthe publisher share songwriter shareusually goes first towards recouping outstanding advances isnta publisher songwriter collect income mayhave difficulties collecting administering may need get anadministrator board help prss role proactive one doesnot actively seek ways exploit performing rights yoursongs make sure public places playing records sounder proper licence scheme chance earning somemoney use music prs acts sort clearing housecollecting money paying members songwritersand publishers publishers happy allow prs job forthem provided dont charge much areperiodical renegotiations collection feeprintalthough relevant days publisher also right issuelicences song reproduced printed form sheet music inrelatively cases usually third partyspecialist print companies licence exceptions tend beclassical music publishers whilst print income sales sheet musicisnt large source income popularmusic songwriter classicalcomposers lucrative source income included printcategory hireout charge publisher makes orchestras wishing tohave access parts work ie sections written thedifferent instruments orchestra fees hire ofparts large orchestral operatic piece arent unheard coursehelps shed little light hyperion case thepublisher pay royalties editors scores generate thisincome would significantly eat profitas publishers look new ways make money songs theycontrol may find print music royalty miscellaneousroyalties payable songwriters increase importance thinking hereof plans license lyrics merchandise publisher would presumablycharge merchandiser either flat fee royalty per unit sold thesongwriter ought entitled share incomerecord deal publishingit used invariably case record deal first got apublishing deal later nowadays publisher fills many roles asa record company finding right cowriters producers evenrecording releasing limited edition single records decisiontherefore becomes much personal one importantthat got deal deal publishers come courting firstthey publishing deal first others stick tried truemethod getting record deal first hoping deal thesuccess first release push bidding publishingrights dangerous game first release doesnt prove tobe success publishing offers may dry may songwriterwho wants hang publishing rights long inwhich case youre going concerned get record deal giveyou enough way personal advances live reasonable periodof time without go looking money publisherif songwriter doesnt need publishing deal order get somemoney form legup become selfpublished way hefully controls copyright songs used youdo usually becoming member various collecting societieslike mcps prs collection societies fulfil lot theadministrative functions publisher selfpublished songwriter stillhas lot work collection societies dont always notifyall foreign societies interest particular song chase upindividual payments songwriter track themusic used check song registered locally theright amount money paidmost creative people arent known organised enough orinclined necessarily resources oneof reasons new songwriters look form supportfrom publishing company youre established songwriter youmay comfortable kind arrangement appointsomeone administer youtypes publishing dealif selfpublished isnt option three basic types ofmusic publishing agreement provide outside support theadministration deal subpublishing deal fully exclusivesongwriting deal within category exclusive songwriting deals isa subcategory rights assigned single song calledthe single song assignmentthe administration dealadministration deals popular songwriters small butpotentially lucrative catalogue collection songs may beworthwhile join collection societies selfpublishedthey may necessary time energy organisational abilities togo tracking income may prefer employ someone itfor themthese types deal also appeal established songwriters may notneed publisher try exploit songs may disillusioned withexclusive publishing deals want copyrights may notneed upfront advances income may relish increased controlthat would publisher breathing neckthe comments made chapter still apply assignments asthey sound recordingsthe administrator doesnt usually take assignment interest inthe copyright granted licence period time anadministrator asks take assignment rights outright would need tobe convinced good business reason youassign rights arent position control isnt verymuch difference exclusive publishing deals exceptyoure likely see small upfront advances whats theadvantage least licence term retain control theunderlying copyright licence term vary greatly one yearupwards three fiveyear licence term common many formuch longer concluded ones life copyright evenwith long term client still comfortable thedeal overall worked least licence things wentwrong wouldnt worry getting copyrights back hedheld ownership themas name suggests administrator administers songs theowner copyright administrator registers songs thevarious collection societies licences others use songs alsodeal collection income licences prepareaccounts showing much earned terms contractdictate whether administrator complete freedom issue whateverlicences thinks right songs whether must first consult withthe songwriter may say commonplace licences right forthe writer record songs issued without asking firstbut someone wants use song advert film songwriter hasto first give permission dont put many restrictions licences theadministrator grant want maximise earned fromthe songs means put stop something real issue forexample songwriter vegan may quite rightly want workused adverts beefburgers think carefully block usesof songs adverts cutting potentially veryvaluable source incomethe administrator could individual perhaps exmusician orsongwriter could company specialises inadministration music publishers sign songwriters toexclusive deals also administration deals right circumstancesthe administrator usually charge gross income hisfee wouldnt usually expect administrator pay advancespayment made administrator collected somemoney therefore important know often administratorwill account pay least every three months alsoimportant check reputation efficient collection moneyparticularly outside uk administrator may good ukbut overseas may necessary resources contacts whichcase likely collect comes collectionsocieties overseas affiliated mcps prs casethen ask whether worth get thisincome direct membership mcps prs oughtto getting kind added value administrator boardit may little taking load wouldnt unreasonableto ask administrator try track unpaid licence fees orroyalties behalf worldwide deal heshouldnt limit activities uka songwriter often administration deal isnt tooconcerned getting uses songs know people willeither want put songs film advert youre sowell known dont sell come thenyou wont worry someone going actively looking theseextra uses administrators look administration side wontnormally pitching songs advertising agencies filmcompanies however even old catalogues songs aremore less dormant still tempted promises bit extrapush songs bit extra cashthe subpublishing dealthe subpublishing deal mixture administration deal anexclusive publishing agreement owner copyrights sublicensessome rights publisher original owner usually keepsthe copyright normally licence rather assignment rightsthese types deal come two different circumstancesestablished songwriters songwriters want control theircopyrights may want something pure administration deal soa subpublishing deal may suit may need advance may beprepared without advance return keeping control thecopyrights isnt say subpublisher wont pay advance atall may pay modest sums advances may big asyoud get exclusive publishing deal subpublisher doesnt get much ownership control subpublishingdeal would exclusive songwriting dealif songwriter needs someone go search deals hewont get administrator subpublishing deal may work forhim subpublishing deal songwriter gets someone activelylooking ways earning money songsin cases publisher want assignment copyrightas know advice avoid dont havemuch choice try get agree limitedperiod time period called rights period retentionperiod shorter make better terms control thecopyrights bear mind though shorter period time thesubpublisher controls copyrights fewer opportunities tomake money songs may reflected type deal heoffers get publisher agree licence term could asshort year likely least three years somecases much longerthe subpublishing deal also appeals smaller publishers ones thatdont established systems overseas instead cost ofsetting companies main overseas countries suchpublishers subpublishing deals countries keep rightsthey grant overseas publisher right use ofthose rights country period timewhichever type deal talking subpublisher needs tohave right register songs license mainpublishing rights mechanical synchronisation rights tocollect incomethe subpublishing contract set extent thesongwriter small publisher right grant licences exploit thepublishing rights dont surprised subpublisher presses overallcontrol wants get approval certain specificmatters may approval alterations songs thegrant licences include adverts products maydisapprove tie subpublishers hands much canteasily get uses songs youre employing subpublisher andpaying large fee proactive behalf need tobalance need creative control commercial realitieshow much pay subpublisher depend number offactors bargaining power much subpublisher wants tocontrol catalogue songs whether market share income tohave kudos books much areexpecting recently bidding war going oldcatalogue songs iconic period ithappened period popular moment films andads publishers involved bidding war could easily see howthere lot money earned licensing songs fee islikely would pay administration deal butprobably little less fully exclusive songwriting agreement asubpublishing fee gross income received common youexpect big advance may increase compensate theadditional risk subpublisher taking subpublisher paid outsome money strength knows yourpotential dont live thats subpublishers risk thecontract rarely allows subpublisher demand money backwhat subpublisher doa subpublisher provide basic services anadministration deal including registering songs granting licencescollecting income accounting regular basissome larger publishers account pay youre due thesame accounting period receive monies overseas forexample subpublisher grants mechanical licence reproduce yoursong record us record sales take place period betweenmarch june us record company probably pay themechanical royalty next three months subpublishers account end september deal subpublisher says accounts september income received theperiod end june scenario given income wonthave come end june deal got paid inthe accounting period would get september thenyoull get next accounting date would normally march sixmonth delay youre first expecting yourmoney overseas seem long time wait prompt paymentand cash flow important lets face usthen need check carefully needless say subpublisheris usually one earning interest money sitting bank accountfor six months youin addition basic administration services subpublisher shouldgive extra money getting could paymentof advance subpublisher also proactive goingout looking uses songs suggesting cowriters findingfilm projects adverts ona smaller publishing company appointing subpublisher overseaswould expect act branch company overseasif songwriter publishing company may notnotice difference subpublisher youdexpect exclusive publishing agreement subpublisher willusually expect exclusive rights subpublish songs charge asimilar fee exclusive publisher crucial difference youretain copyright songs controlthe single song assignmentthe single song assignment bit halfway house exclusivepublishing agreement songwriter free publish individual songshimself variety different publishers unlike subpublishing agreement assigns rights song publisher hedoesnt license assignment could life copyright itcould shorter rights retention period may advancebut likely small publisher likely get fee gross income receiveddeals would attractive songwriter writes asmall number songs irregular basis wants keep hisoptions open publisher still gets rights needs particularsong market share song publisher controls thecopyright song interests get many uses thework possible publisher also carry usualadministrative functions account regularly commentsthat made accounting delays apply song assignmentwill decide much control songwriter song usedbecause oneoff may much control exclusivedeal songs enough bargaining power shouldcertainly able prevent major changes words music somecontrol use song films advertsexclusive publishing agreementif none options appeal offer exclusivepublishing agreement songwriters important stagein careers getting established publisher behind means thattheyve arrived someone else faith work prepared toput money commitment behind conviction many cases apublisher instrumental getting record company interest arestories music publishers songwriters household nameswho spent months knocking record company doors trying convincethem strength songs sometimes case waiting untilyour time come whilst honing craft meantime goodto music publisher supporting time wildernessrestraint tradeas saw chapter whenever exclusive arrangementcontaining restrictions cant assumptionthat restraint trade also saw leading case areaschroeder v macaulay decided doctrine also applied oexclusive record publishing contracts know contract wasfound unreasonable restraint trade unenforceablebut far gone details contract wasfound unreasonable publishing contract better dealtwith heremaucalay v schroederthe particular parts contract led court decide wasunenforceable exclusive arrangement requiredabsolute commitment macaulay correspondingcommitment part publishers anything songsthey could accept tuck copies away drawer putthem shelf forget term five years butschroeder could extend five years worth royalties earned first five years alot money even macaulay assign copyright thelife copyright even though days fifty years theend year died seventy years still longperiod time publisher controlling copyright songsexclusively without obligation anything theadvance received low paymentsof earlier advance recouped almost likeputting wage guarantee would receivehis next pay cheque court felt taken whole contractwas unreasonable restraint tradeas result later cases change uk music publishingcontracts length term limited maximumbackstop usually three years per contract period isalso usually requirement publisher something thesongs example contract often say publisher notgranted mechanical synchronisation licence song sheetmusic printed performed public withinsay year two song delivered end contract termthen songwriter right ask publisher something itif nothing happens within another three six months songwritercan usually get copyright song back recently completed adeal songwriter got rights back wait two years hisfirst publisher used basis catalogue material offer tohis new publisherwhat typical publishing contractexclusivityif sign exclusive publishing deal usually agreeing thepublisher control output songwriter theterm contract return exclusivity expect acommitment publishing company something songsyou also usually expect publisher reasonably proactiveon behalfeven though exclusive deal sometimes exceptionsto explained exclusivity may apply yourecommissioned write song music specifically film thefilm company usually want copyright piece musicor song exclusive publisher may agree commissioned worksare excluded publishing deal could agreed time thecontract done blanket exception publisher could agree toconsider specific requests casebycase basisif regularly commissioned write music films yourpublisher isnt going want automatically exclude youragreement automatically agreeing film company ownthe copyright publisher may gain bargaining power filmcompany get better deal terms contract say thatyou benefit one way another income deals inyour interests publisher argue behalfoccasionally publisher agree songs write aparticular project excluded deal example might writesome songs largely uncommercial project publisher isntinterested recent deal songwriter bit bread andbutter work writing library music company agreed thatthese songs earned little money could excluded youve alot bargaining power could insist songs write particularcommercial project excluded deal pretty rare justbear mind songs keep back publisher themore likely reduce size deal offerrights grantedthe publisher expect assigned copyright yoursongs already existence one else right publish theassignment usually rights works subject performingrights may already assigned prsif done publishing deal another company maystill right act publisher songs rights orretention period earlier deal runs new publishing dealis still running new publisher expect get right publish thosesongs dont think need argue atthe time new publishing deal doneits possible grant publisher rights acopyright owner tried past hold back rights exploit musiconline publishers true say felt veryuncomfortable theres licence scheme downloadsin place emerging online marketplace legitimate source ofincome publishers unlikely agree exclude online rights inother deals ive done ive given publisher right issue mechanicallicences synchronisation licences obviously ifyouve necessary bargaining power theres point itunless something rights youve kept back rememberalso rights hold back likely youll get aless attractive deal publishing companyterritorythe rights assign could particular country worldwidewe saw chapter reasonably common one deal theus another deal rest world splitterritory deals arent atall common exclusive publishing contracts depending thepublisher overseas setup like may subpublishingdeals countries songwriter find thesituation overseas need know subpublishers goodefficient companies wont accounting delaysrights periodyou could assign rights life copyright shorter rights orretention period runs end term publishingcontract period vary considerably anything short two tothree years twenty years last three four years theaverage deal offer major publishers twelve fifteenyearsthe rights period often gets shorter positiveeconomic climate lot competition sign goodsongwriters ten years ago could get retention periods themajor music publishers short five years lotsof good songwriters lot money around publishers going forshortterm market share werent concerned hanging tocopyrights length time many copyrights dancemusic songs guess gambled would shortlifespan theres less money around songwriters expected provetheir worth longer period time difficult get rightsperiods less ten years unless youve got lot bargaining powerthere however always oneoff crazy deals one album song atludicrously high levels usually shortterm market share toboost publishers standing particular quarter possibly impress theirshareholders investorstermthe term uk musicpublishing contract usually shorter arecord contract quite common find musicpublishing contract withan initial period one year options music publishers favourfor two three option periods contract period usually fora minimum twelve months longer depending long ittakes fulfil minimum requirements publisher eachcontract period similar reasons given record contracts theoptions publishers favour songwriter publisher hastoo much invested allow songwriter walk door hewants torolling contractssome publishers use different basis term publishing contractinstead term made number optional contract periods thepublisher fixes term upfront says run say three fiveyears options fixed period may extended havefulfilled minimum requirement sometimes often nominimum requirement publisher publishes anything thefixed term big risk publisher take could take theadvance payable signing deal write another thing tooffer kind deal publisher know well convincedthat going continue write good songs songwriter thisisnt great show faith publisher also relief youdont worry fulfilling minimum requirement deliveringsongs orderwith rolling term get advance sign deal isrecouped earnings initial advance wholly orpartly recouped paid advance called rollingadvance publisher wont usually pay advance last twelveto eighteen months fixed term wont enough time torecoup deal runs working recouped areto see get advance try get publisherto take account income thats earned songs hasntyet come account uk called pipelineincomeminimum commitmentthere number different types minimum commitment thesimplest youre required write minimum number songsif cowrite share cowritten works must add anequivalent number whole songs example minimumcommitment write five new songs always write lyricsso control best song youll write ten halfsongs add five whole ones type commitment works bestfor pure songwriter writes others doesnt perform recordhis materialthere may additional requirement order count towardsthe minimum commitment song must exploited way forinstance commercially released aside single album trackthis puts greater burden youre pure songwriter canteasily control whether anyone else want record songs thepublisher usually insists wants certain besome form exploitation hopefully income commitsto advances decides whether exercise option extend thetermthere may requirement write minimum numberof songs album percentage varies depending thesongwriter style music band requirement usually thatyou write least songs album alsousually requirement album commercially released thissort arrangement works better songwriter also performs andrecords materiala much less common commitment one get asongwriter records material writes commissionsfrom others writes number different styles music examplefilm tv classical popular minimum commitment could anumber points different value given type usagegenre format example two points ballet commissionfive track popularmusic album say thirty points totalrequired per contract period publisher likely agree sortof commitment youre already established number areasand commonadvancesits usual exclusive publishing agreement publisher payadvances saw record contracts prepayment yourshare gross income use songs loan andisnt repayable publishing company never earn enough thesongs controls cover amount advance usually donthave pay back take money run never delivering asingle song publisher may get bit upset may sue return oftheir money basis youve failed fulfil side bargainwhat size advance expect change withcircumstances bargaining power number cowriters arehow much material much sampled others willall help determine figure also depend much thepublisher thinks likely earn songs average recorddeal already done publisher may take lead itknows level deal particularly hot deal thepublisher know probably increase overall terms itsoffer also financial models help publisher decide howmuch realistically risk publishers rely modelswhile others work gut instinct combination two youalso factor market forces publisher really wants sign youup whether increase profile company market share justbecause ar man wants publisher pay whatever ittakesthe higher advance publisher expect inreturn larger percentage income publisher keep astheir fee publisher reluctant give higher thanaverage royalty theyve pay high advance awriter songs album isnt unreasonable amajor publisher much higher figures expected hype ifyou proven track record publisher knows alreadysome income catalogue waiting collected thatyou song next album released charttopping acttheyre likely risk paying higher advances recent deal doubled invalue course negotiation confirmed one thesongs covered top artist included next albumwhich expected sell millions smaller publishing companycannot usually hope compete money considering adeal smaller publisher weigh things like greaterdegree control versus advancesthe publishing deal likely recoup lot faster record dealbecause publishing deal recoup personaladvances maybe money demo costs arent additionalrecoupable expenses like recording costs video costs tour support alsothe publisher pays much larger percentage incomeearned use songs record companies theincome sales recordsroyaltiesthe publishing advance recouped royalty earnings firstdeducting publishers fee exclusive publishing deal willusually gross incomeroyalties calculated one two ways either source onreceipts source means deductions made byanyone collection societies vat man payments anyarranger translator gross income earned songs thisis source means calculation receipts deal addition tothese deductions publishers subpublishers overseas paidand fees deducted gross income paid throughto youlet give example ten thousand euros earned france inmechanical income use songs record paying thecollection society tax source deal far asyoure concerned nothing else gets deducted subpublisher france paid publisher uk theuk publisher would deduct fee say euros euros pay euros sterling equivalent youare receipts deal subpublisher france would first taketheir cut say euros leaving euros sent throughto publisher uk take eurosleaving eurosas songwriter try get source deal yourpublisher may choice deals done subpublishersmay mean deals receipts basis order make anymoney use songs overseas youre offered receipts dealthe least try limit amount subpublisherscan take gross income example might want say thecontract subpublishers cant deduct wesaw elton john v dick james case subpublishers spreadall world many associated dick james ukcompanies limit subpublishers could take offthe top cut elton receipts deal could didin cases find situation subpublisher took leaving small amounts come uk furtherpercentage fee deducted dick james leaving little forelton putting cap deductions would gone way toreduce problemssynchronisation cover royaltiessometimes publisher justifies taking larger piece pie sayingthat order certain work needs incentive gettingmore fee part says getting income beenough purposes reality business accepted thatpublishers get larger fee types work hard buckagainst trend unless great deal bargaining power whatareas talking two usual areas publisher takes alarger fee synchronisation licences coversthey usually look get another obtainingsynchronisation licences songs paying yourpublisher fee mechanical royalties would see increaseto synchronisation royaltiesif find publisher wont move point best thing isto make sure dont get increased percentage projects thatyou someone publisher introduces example one ofyour mates drama school brings film project wouldntexpect publisher take bigger fee didnt go findthat workthe sort rules apply cover cover recording ofa song done someone songwriter example atrack first recorded u later recorded sinead oconnorsineads version would cover publisher probablywant increased fee finding artists keen cover works theanswer make sure something doesnt count cover unless thepublisher actually done something positive get example youbumped artist awards show raving hethought could song goes cover song ithasnt happened anything publisher done publishershould get increased fee coveryou particularly careful youre songwriter whodoesnt perform songs otherwise youll find youre paying thehigher fee youre recording alwaysbe someone person wrote ie everythingwill cover cases always push recordings treatedin way covers publishers sometimes reluctant todo saying getting anyone record song requires effort thatits harder songwriter isnt performing artist standyour ground youre songwriter youll paying publisher tofind ways use songs shouldnt expect increase feejust arent going record songsperforming incomethe prs rules require least sixtwelfths performingincome go writercomposer called writers sharethe sixtwelfths called publishers share depending thedeal publisher either say intend keep thewhole publishers share agree share withyou get keep writers share dont put towardsrecoupment advances share publishers share gotowards recoupment unrecouped advancewhen youre dealing contracts use music film tvprogramme still common publisher insist keeping theentire publishers share putting towards recoupment tvand film publishing deals lagged behind popularmusic deals whereits usual publisher share publishers share withthe songwriteraccountingthe publishing company usually account every six monthsyoull sent statement use made songs theprevious six months much income received shouldshow percentage publisher kept fee amountthat credited account share income go first torecoup advances publisher send cheque thestatement royalties due even account isnt recoupedyou representatives check accounting statements seeif seem right correct fee deducted exampleyou know music used advert last six months butthere mention income statement askyour publisher explain also pays audit books thepublishing company time time dont want thisevery five minutes may want run check youve aparticularly successful time youll probably also want think doingan audit deal comes end going lastpractical chance check publisher veryexpensive carry audit plus isnt unusual wantto think reasonable chance getting somethingback audit shows serious errors favour shouldexpect reimburse main costs audit well aspaying whatever sums audit shown due youyou shouldnt delay raising concerns might anaccounting statement publishing contract probably put timelimit usually statement hasnt challenged forthree years sometimes less said accepted noobjection raised timewhat expect publisher anexclusive publishing agreementweve already seen presumption exclusive songwritingagreement restraint trade publisher show thecontract taken whole reasonable protect interests fair thesongwriter saw macaulay v schroeder case publishingcontract require publisher something songs itcontrols publisher doesnt manage within reasonableperiod time able get songs back publisher hasto ensure get songs used maximise theincome uses make sure songs properly registered andincome properly collected accounted writeryour publisher also take steps protect songs fromunauthorised uses sampling songs rife publishereither prevent uses court action publisher areprepared allow sample use ensure proper amount paid incompensation see chapter openended contracts likely seen unfairly restrictive wesee case holly johnson perfect songsfrankie goes hollywoodthis case came court time related case involvingjohnsons record contract record publishing companieswere trying get injunction bind holly johnson contractseven though band member frankie goes hollywoodhad disbanded holly johnson argued agreements wereunenforceable unreasonable restraint tradewhen court looked publishing contract found waspotentially long contract exclusive hadnot equal bargaining power entered found thatthe restrictions contract reasonable declared thepublishing agreement unenforceable judge concerned thatholly johnson fellow band members choice inwhether publishing deal offered package withthe record deal also obligation publisher doanything songs reassignment rights thesongs publisher failed exploit way judge alsothought unfair perfect songs full control whathappened songs delivered songwriters hadlittle creative control judge considered financial benefitsthe songwriters got deal found fee retainedby publisher muchstone roses publishing disputeanother case effect form publishing contracts isthe stone roses publishing disputethe stone roses manchester band hit analbum called stone roses released signed thesilvertone label part zomba group members stoneroses also offered package deal couldnt record dealwithout also signing publishing deal saw case ofarmatrading v stone important songwriter getsindependent advice lawyer someone familiar withthe music business contracts case songwriters hadtheir lawyer experienced music contracts andmade hardly changes terms contract initialdraft publishing companys lawyer gave noequality bargaining power agreement exclusive one andthe rights assigned life copyright limitedobligation publisher something songs itscontrol five years stone roses could ask rights back inany songs hadnt exploited first contract periodwas linked record deal court found firstcontract period record deal capable extendedindefinitely two linked meant publishingagreement similarly openended unreasonable thecourt also found advances reasonable objected tothe lack artistic creative control songwriters becausezomba obtained injunction preventing band recordingfor anyone else couldnt bring records casehad decided signed big deal us labelgeffen band went release another album called appropriatelyenough second coming split shortly afterwardsas result similar cases common clauses ukpublishing agreements making clear publisher somethingwith rights also songwriter say whathappens songs theyre delivered usual say majorchanges music change lyrics made without thesongwriters approval criticism split led averagepublishing royalty rising least songwriters favour inmany cases publisher keeping thisis means universal deals still done deals tv film industry still commonmoral rights creative controla songwriter may strong views wants doesnt want ohappen songs example songwriter may believe passionatelythat one allowed alter words music without hisapproval doesnt usually extend straight translations aretaken logical part exploitation process thetranslation translator wanted give lyrics different meaning andthe songwriter objected entitled prevent thishappening obviously im talking minor changes major onesthat change meaning significantly contractual control overlaps witha songwriters moral rights moral rights described detail inchapter youre able retain moral rights shoulddo reality copyright laws acknowledge theserights allow waive publishers put clauses theircontracts requiring waive rights lawyers putcontract clauses give similar rights wouldhave got using moral rights might ask bother withthis farce dont acknowledge songwriter certain rightsto object morally done songs well essentialdifference moral rights usually go bit wider getunder contract moral right capable enforced youeven publishing company doesnt want take actionother creative controls may involve songwriter reserving song forhimself band record stopping another artist applying andgetting mechanical licence record song first publisher willusually agree issue first mechanical licence another artist wherethe songwriter wants reserve usually require atime limit say six months hasnt recorded timethen restriction liftedfinally course songwriter want ensure properlycreditedwhat type deal dohow decide deal best extent may beout control may offered anything exclusivepublishing agreement may able afford keep control yourcopyrights may able afford havent got theorganisational talents necessary make sure works properlyprotected income collected cases exclusive songwriteragreement arent bothered getting advanceand want control copyrights may want go either asubpublishing administration deal depending much activityyou require publishernew business modelsas saw relation management deals chapter managersnow insist taking interest publishing well alsomany package deals involving production company acquiring rightsin recordings well songs also consider issueof potential conflict interest role manager asyour publisher try make sure setup proper arms lengthone managerpublisherproduction company thought howhe going administer rights getting make sure themanager take management commission publishingroyalties long also acting publisher songsand course deals publishing recordrights involved also live merchandising rights look back thelast chapter reservations expressed dealsconclusionsdecide type deal would ideally suit youdecide need advance big advance willhelp decide whether go subpublishing administrationdealyou try deals share income iscalculated source receipts deal thenmake sure put limit overseas subpublishers candeduct feesif youre receiving gross fees youre welllook minimum commitment realistic achieve itwithin reasonable period timeif youre songwriter doesnt also record works try toagree contractual commitment means songs beexploited way outside controlif youre songwriter doesnt record songs hold forno reduction amount royalty receive coversmake sure theres delay receiving money overseas section cdpa section cdpa section cdpa section cdpa hadley others v kemp another chancery division mark taylor v rive droite music limited november unreported matthew fisher v gary brooker ewhc ch december section cdpa section cdpa hyperion records limited v dr l sawkins may unreported section section cdpa section b section cdpa amended section c sections cdpa amended section e section cdpa amended section cdpa amended copyright related rights regulation often order get market share measure howmany copyrights publisher controls either terms numbers moreoften terms much income generate market share iswatched money markets analysts also keenlycontested publishers measure well aredoing macaulay v limited wlr perfect songs limited v johnson others emlr zomba v mountfield others emlr chapter getting record made introductionjust make things little clearer chapter im going assume thatyouve signed record deal money making record willcome record company either separate recording budget fund oras allinclusive advance end chapter im going look atother ways making record example youre funding themaking record yourselfproduction deals versus direct signingsbefore go process getting record made need look twodifferent ways structuring record deal impact therecording process organised covered types signings inchapter direct signing signing bigger company aproduction company going take closer look theproduction deal compare pros cons versus straightsigningproduction dealsdont confuse production process producing record recordproducer ill deal weve seen production deal onewhere someone whether individual partnership company actsas middleman record company artist middlemanis production companysometimes smaller label someone doesnt want fulltime roleas manager finds talented artist may necessary fundsto make record even afford make may thenecessary clout get decent manufacturing distribution marketing orpromotion label individual could sign artist look fora company resources fund recording aspects ofputting record effect selling rights tothe artists services either licence rights assignment themthe contract production company artist called aproduction dealwhat production dealthe contract may look similar record deal details whichare chapter production company could sign artist recordan album options make albums number options maybe less straight record deal perhaps two three options instead offour five money available often less exclusiverecord deal established larger record company waysmay resemble development deal deal may net receipts deal asopposed one artist paid royalty record sales alsoprobably say somewhere contract intention try getanother company involved greater resourcesits little difficult agree upfront sort deal done withthe bigger company im acting artist usually try ensure getsthe chance involved negotiations third party wheneverthat arises bigger company needs know artist sideso want cooperate bigger record company going payadvances production company artist want know hellget decent share also artist net receipts deal hewill need know royalty paid high enough splitbetween production company example artist net receipts deal royalty hell royaltyas production company maybe artists percentage behigher instead youre production companyyou work whats good deal looking atgetting clear profit equal royalty obviously negotiation isdifferent percentages guidelines onlywhats record companythe bigger company advantage someone else find anddevelop new artist time project brought hearwhat going sound like risk taken away iftheyre licensing finished record production company knowexactly getting theres also middleman deal theartist becomes someone elses problem one downside biggercompany lack control need confident productioncompany deliver goods likely trust someonewho already track recordwhats production companythe production company much closer involvement artist ithas thrill discovering artist early developing getsanother company take risk manufacture distribution marketingcosts stage loses control bigger company fails inwhat production companys work wastedfor production company essential choose bigger companywith good marketing department try get clause thecontract bigger company allows insist outsidepress marketing people brought necessary works theproduction company get costs expenses repaid financial risk onthe manufacture distribution marketing taken hands adecent royalty bargainwhats artistif production company interested artist step theladder know theyre second chance laterof getting bigger company involved also greater artisticand creative freedom unless production team control freaks thedownside artist doesnt get deal right could endup sharing larger necessary piece pie productioncompany also stage removed record company thatspromoting record much harder get views heard andtherefore important plenty creative controls thecontract flow bigger dealfinding studiowhether youre signed direct via production company one thing youllhave find suitable recording studio could simple thestudio back bedroom complex fullblown commercialstudio decide studio look several theambience well whether necessary equipment equipmenthas hired add recording costs listen tomaterial produced studios talk artists whohave used also talk inhouse engineer producerhow enthusiastic place run arecord producer mind favourite engineer ask think ofthe various studios shortlistyou also need think easy get equipment orout secure youll seen stories press recordings beingleaked studio appearing internet record companiesare tighten security check studio keepsrecordings safe secure responsible leaks betraced also provided keep safe consider making abackup copy final versions recordings keeping itsomewhere safe away studio might prove invaluable thereare problems security studio proves difficult releasing finalrecordings known studios hold artists ransom asking biggerfee return release master recordings descend tothis level disputes arise properly due studio maylegitimately lien hold recordings resolveda studio either one go day day residential onewhere stay accommodation near studio personalarrangements might decide better bands respond bestwhen theyre immersed project residential studio others theidea spending hours day days week band membersis idea hellstudio package dealsthe recording studio may block period time studio yoursfor whole time arrangements sometimes calledlockout deals deals fixed eight tenhour day youoverrun may either find studio hired someoneelse heavy financial penalties studios give youdiscounts usual rate record times studio wouldntnormally use example early hours morning iscalled time fine youre tight budget justwant record demo tracks youre planning use time torecord whole album youre putting great limitations yourselfits mentally physically tough recording album without adding thisby record two morningsome studios offer package deal includes mixing andmastering finished recordings two things bear mindhere first studio must technical capabilities good joband secondly price offered represent good valueyour ar man production company representative going animportant source information choose record thesepeople also vital role play giving feedback therecording going far easy lock away studio andbecome isolated reality youll need feedback constructivecriticism ar man wont sitting shoulder waythrough recordings want visit studio regularly duringthe recording process dont surround yes men youll needpeople objective whose opinion judgement respectonce youve chosen studio need haggle price yourmanager production company ar man youbook time make sure people want help therecording like producer engineer session musicians available ifyou really want work particular person may adjustyour recording schedule work around availability liveoutside uk may need permit work country taketime factored recording timetable want torecord overseas may need visas work permits allow time thoseto put place tooanother key factor choice studio whether affordit studio costs fees producer usually make recordingcosts youll recoup important keep eye onthemit becoming quite common record producer offer allin ratefor services includes studio costs course assumes theproducer either studio open access one deals inparticular need sure studio job handthe recording budgetwhen manager pitching record deal may wellhave done back envelope calculation much would costyou record youre going much detailed budgetyou manager going work long thinkyoure going take record album many days studio time andwhat cost studio choice need know muchyour producer choice charge long mixer take mix andwhat hes likely charge session vocalists musicians whowill need part time need know muchthey charge per day session minimum rates set bodieslike musicians union equity see chapter good people willwant minimum rate special equipment required youneed work much cost hire whether costeffective buy may piece equipment youll need havelater youre road promoting album may anequipment budget part deal cost may built therecording budget another possibility youll buy theequipment personal advancedont forget rehearsal time dont want spend expensive studiotime rehearsing songs youre ready record beforeyou set foot studio whether professional rehearsalroom room local chip shop depend budgetonce youve thought everything add least itthis called contingency cover extra costs spendanother day studio mixing hire inequipment studios isnt jobif recording fund deal total budget exceedabout total advance give enough live adeal advance plus recording budget youll keepwithin maximum set record company youll take yourfinished outline budget approval bear mind recordcontracts say overrun agreed budget without first gettingclearance record company youll liable extra expense itwill deducted royalties possibly also furtheradvances due dealmastering digitisation coststhese grey area mastering costs costs involved ingetting final mixed recordings state ready made recordswhere records made available digital downloads themasters digitised ill deal process little detailbelow record contract say whether costs included inthe recording budget mastering cost several thousand pounds soits important know setting financial budget situationwith recharge digitisation costs state flux companies treatthese part costs online distribution akin transport coststhey incur physical distribution others pass costs recoupableamountthe producerthe role producer described getting dynamics andemotion music tape producer makes material come aliveits possible produce many successful artists bythe token artists particularly starting mightfind difficult get necessary distance order hear musicwill sound outsider producer external critic youregoing working closely together helpful similarmusical tastes influences like working respectthem common vision music soundyour ar man helpful pointing direction ofpossible producers lot filtering process may playyour demo series different producers see whos interested theymay invite producers come gigs get feel soundsome vocalists need little help studio keeping tune goodproducer realise hears play live increasingly theproducer necessity taking role finder developer oftalent sometimes formal production company sometimes bydefault part role record producerwhat producer get paidfee advancea producer usually expect paid fee per track producethis could pure fee isnt recouped could advanceagainst producers royalty could part nonrecoupable fees andpart advances good producers charge plus per track many ofthose expect nonrecoupable fee whether getthat depend negotiation recorded producersstudio may include recording costs fee total may nearer royaltythe producers may work fee often expect receive aroyalty calculated way artists record royalty iscalculated good producer may insist royalty dealer priceor retail price may ask increases royalty salesexceed given amount producers work commercial acts seethemselves much key parts team charge royaltiesaccordingly producers charge dealer price therates definitely higher advance lowrecoupment costsanother big bone contention whether producer receives royaltyas soon recouped advance received alsowait royalty together artists royalty also recouped therecording costs tracks produced agrees latter theproducer may say thats achieved royalty calculated hehad paid record one recouping advance let give youan examplea producer paid royalty received advance recording costs tracks worked came artists royalty together producers say recordsold makes artist hed sell copies record order recoup advances say producers royalty earns p recoup advance hed sell copies hes deal hes paidretrospectively would get paid number copies sold copies ie another theartist sells copies producer recoups advance receives theextra artist doesnt sell copies hedoesnt recoup recording costs producer gets royaltiesso producer taking risk pays gets windfallthe producer almost invariably expected wait allrecording costs recouped often great reluctancethat record companies accept retroactive theproducer doesnt wait recording costs recoupedand paid royalty soon recouped advance aproblem artist really record company agreesto advance money pay producer artist unlikely berecouped recording costs video costs torecoup first pushes artist debt often agreeto way hes going able deal get thatparticular producerwho contractin uk usually record production company dealwith producer issue contract negotiate terms therecord contract say whether record company getthe artists approval commercial terms least artistshould approval royalty usually come hisroyalty advance usually recoupable recordingcostin us artist issues contract negotiates deal theproducer lawyer contract isnt record companybut artist producer artist doesnt pay producer canonly sue artist may money uk contract isbetween record company producer anything goes wrong therecord producer sue record company artist puts theproducer secure position us record company usually dothe royalty calculation asked pay royalties direct produceras favour legal obligationremix royalty reductionthe royalty producer almost invariably comes artistsroyalty artists interests keep royalty reasonablelevel record mixed remixed good record mixer willalso want paid royalty could try get record producer toagree mixer paid royalty producers royalty reduced bythe amount producers agree others adamant thatif theyve done good job production shouldnt reduction intheir royalty record company artist decides bring inanother person mix records becomes real sticking point itssometimes possible get record company contribute royaltyfor mixer perhaps paying another producers agree areduction usually limit half total producer royaltyor creditsthe producer usually want receive credit packaging therecord marketing materialsometimes name producer insist right removehis name packaging work remixed doesnt like orwish associated end resultthere isnt one way come across credit producer inonline uses course possible embed information data therecording digitised see download music toyour mp player totally legally course software use dothis reads metadata identify artist track however still hasntbecome commonplace demand form credit fordownloadsstandard workwhether artist record company thats contracttheyll want know producers work high standardthere probably instalment payments producer isntpaid full recordings required standard delivered sowhat standard well saw record contracts usuallya question whether producer deliver technically satisfactoryrecordings whether commercially acceptable latteris course subjective test producer may well argue hehas say artist chooses record fault thefinished recording isnt commercial common compromise say itmust firstclass technical production least highstandards producers previous productionsrightsthe producer usually assigns copyright soundrecordings produces artist us deals record productioncompany uk deals recordings may made studio ownedby producer case possibility producer made thearrangements recording made producer could claim tobe first owner copyright record company therefore want tomake sure takes assignment copyright producer mayhavein us deal slightly differently contracts willsay purposes copyright producer employed theartist us copyright laws artist owns copyright anything aproducer creates employed artist called workfor hire us record companies often adopt approach youhave watch fact licence assignment ofcopyright want get rid hire clauses licencedealthe producer may perform recordings may play instrumentor programme keyboard may therefore rights anyother performer record company therefore want know hehas given necessary consents performances used feeor advances producer paid usually include fees hisperformancesif producer made original creative contribution writingor composing music words may rights coauthor song artist producer agree hascontributed isnt usually problem artist want know amechanical licence available standard industry terms theproducers share song included recording artisthas agreed reduced mechanical royalties us canada socalled controlled compositions clauses explained chapter theartist make sure producer accepts reductions mayhowever refuse requirement theproducer cowrites number songs album could affect theartists ability fulfil minimum commitment requirements mayhave publishing deal must also taken account whenagreeing share allocated producer producer cowrites thesongs moral rights work may also moral rightsas performer contract usually require waive moralrights moral rights see chapter hasnt cowritten anyof songs isnt claiming publishing rights contract usuallyrequire confirm warrantyproducers dutiesin addition making sure production required standardits also job producer try keep recording costs within thebudget let artistrecord company know likely run overbudget contract may make producer responsible overrun onthe budget faultthe producer responsible getting session musicians completethe necessary forms buying rights getting necessaryperformers consents deliver signed forms recordcompany details recording also keepall recordings safe deliver record company asked todo usual make one backups delivery includes allouttakes ie recordings didnt end final mix recordone case outtakes found way onto acommercially released record involved bruce springsteenthe springsteen casebruce springsteen agreements early career recordcompany called flute agreements declared voidfrom outset previous court case saw cases suchas elton john v reed unusual courts wont declareagreements void ie theyd never entered butvoidable ie could set aside future rights therecording publishing agreements said void springsteenargued owner copyright previous recordingsincluding outtakes unreleased material couldnt produceany evidence court back claim copyrights beenreassigned court accepted owner thesound recording copyright therefore could control happenedwith court decided within rights claim cdscontaining outtakes recordings released flute aninfringement rightswhile record company unlikely risk upsetting artist releasingrecords containing outtakes still contract theymay qualms end contract producerwill handed outtakes record company artistsagreement record company cover cant donewith outtakesmixingthis stage production ie recording capturing theessence song mastering recording made ready forduplicationthe mixer selects various recordings song thosethat mixed together make final version also chooseswhich aspects emphasise example guitar part vocal might bebrought prominencethe producer might mix hes close recordingprocess throughout youd think would best placed job maybe particular talents required mixing sometimes freshear hear things producer artist cantthere also mixers take finished fully mixed recording andplay around maybe changing rhythm bringing elementseither sampled recordings elsewhere arecalled remixers resulting recordings called remixes whensamples introduced artist us record companyin uk make sure necessary rights cleared andthat mixer permission include see chapter remixes areoften done create different sound radio play clubsmix contractsthe contracts mixers remixers similar follow thesame format producer contractsfees advancesa mixer remixer may receive nonrecoupable oneoff fee hiswork much plus one track remixed abig nameincreasingly mixers demand advance producer deals issometimes partly nonrecoupable partly account royalties thesame comments apply producer deals aboveroyaltiesif mixer enough bargaining power ask get royalty usually calculated way artistsroyalty saw producer deals artist work isenough left producers mixers received royaltieswhether producer take reduced royalty whether royalty hasto paid mixer take fee insteadthe issues apply mixer deals contract whether themixer gets royalty mix costs recouped whatstandard work expected himrightsas producer deals record company usually require mixer toassign sound recording copyright record company danceremixes peak remixers argued right retain separatesound recording copyright mix possible addedenough original elements rerecorded track part remixprocess create separate sound recording copyright think theartist would nervous mixers owning version trackand id want restrictions could theywanted put one record compilations might beall right record company paid remixes idwant perhaps license rights back mixers thatcompilationmixers dont usually contribute creative writing song someremixers may claim added enough original elements createa new work may true depending done morelikely said made new arrangement canreceive performance income version eats writersperforming income publishers expect come thewriters share remix contract could ask mixer confirm nointerest underlying song saw producer contracts ifhe coauthor licences use remixers part song begranted without difficulties usual industry termsmasteringthis part postproduction process recordings beenproduced mixed everyones satisfactionthe next stage recording goes manufactured recordsis mastering straddles recording manufacturing amechanical process ensuring right digital notes rightplaces means give final tweaking record isreleased person skilled mastering make sound punchierwarmer deeper louder bring details already obviousmastering separate process mix needs different set ofears bands swear particular person mastering records nmuch way film directors favourite editorsthe mastering process helps recording sound great matter whatmedium manufactured whatever hardware played im sureyou think albums sound fantastic played headphones yourcd walkman awful car cd player could problem themix likely someone didnt get mastering processrightwhen mastering recording equalising compression soundsgives consistency track track ever found yourselfconstantly adjust volume tracks compilation itseither earthshatteringly loud quiet youre straining hear wordsthats example bad mastering radio really brings differenceas radio process compresses material recording hasntbeen properly mastered sound thin weakpurists also believe compression involved creating mploses great deal original particular top andor bottomregisters average listener know missing mostpeoples home hifi equipment studio quality one thewiserwhen youve spent small fortune making recording shouldntspoil thousand pounds mastering coststhe person mastering engaged job record orproduction company either provides mastering suite equipmentor company hires pays one paid fee work therecord company usually pays depending contract eithertreat recoupable recording cost nonrecoupable manufacturingcost artists credit person masteringalthough actual studios used often referred packagingdelivery requirementsthere number things delivered record companybefore artist said completed side recordingprocessas well finished fully mixed edited recordings alsohave deliver outtakes copies recordings may alsohave deliver finished recordings additional tracks act bsides orsecond tracks singles definitely deliver signedsession forms clearances samples used therecordingthe artist deliver list tracks record theorder appear called tracklisting hell probably also haveto provide label copy information appear thelabel packaging record includes things like performedon track wrote track publishes writers thereis agreement give credits producers mixers name check tothe studio details given record companythis also artist gets say thanks particular people havebeen helpful supportivethe contract specific delivered towhom also quite technical form recordingsare delivered important artist deliver isrequired doesnt hell find sorts things donthappen wont get instalment advances due delivery themanufacturing process wont start time start running therecord company release recordthe artist try get written confirmation recordcompany confirming everything delivered personidentified contract person delivery made forinstance senior vicepresident arartworkone key item usually delivered artwork cover ofthe album without artwork record cant released physicalform rather naff generic covers used digital downloadsso may reasonable assume depending contract individualcircumstances delivery taken place record companyhas finished artwork record company usually wants artworkdelivered specific format days usually online probablywith hard copy follow upsome talented bands artwork leave therecord companys art department hire someone else design totheir brief specificationif record company artist try make sure hehas final approval someone else brought make sure havea good professional reputation work artist look atcovers admires designed wise interview fewdesigners ask see examples work remember apotential customer doesnt know may attracted pickup cd others striking artwork cover youcould use art students friends cheap could endup spending lot time supervising work would betteroff using professional first placethe artists logo artwork well label orproduction company logo name part making packagelook inviting identifiably part image striking artwork logosrepeated website marketing promotional materialnot make association easier also help brand artist tomake work stand crowd sometimes artwork used amarketing tool either design accident take artwork forthe last beck album released variety different stickers thatthe buyer could use customise copy company charge ofthe charts decided many versions count albumcharts debarred release potential disaster turned aclassic example marketing spin raise awareness album thepress amongst public brilliantonce artist decided designer thinks goodjob required time terms need agreed need contract settingout going much may want tomake payment two instalments one start work otherwhen deliver finished work satisfactoryif photographs used artist needs agree going beresponsible supplying whose expense record companywill usually organise pay photoshoot may necessarily bewith topname photographer artist would like usewhether photographs needs anagreement designer photographer confirms thecommissioner owner copyright photographs thecopyright design rights artwork graphics bean assignment copyright design rights might acquiredideally restrictions commissioner dowith designs photographs however designers photographersare wise fact earn money goback permission reuse work example may nowagree license artwork photo album cover artistwants use poster tshirt merchandise backdrop onlive stage shows hell come back photographer ordesigner permission give dont probably want another fee itthe cost commissioning someone create original artwork dependson use record companies dont usually want pay thanabout basic design go higher topdesigner name record company doesnt usually rights touse artwork form merchandise sales album sothey interested getting album cover rights artist thinkshell want purposes hell probably pay himselfthe cost originating artwork usually nonrecoupable recordcompany usually give artist right use artwork otherpurposes example merchandising pays theorigination coststhe value attaches distinctive artwork design highlightedby application injunction made creation records oasisrecord label time publishers various newspapersincluding sunthe oasis caseoasis going release another album autumn anddecided photograph taken country hotel noelgallagher lead guitarist deviser bands artwork aparticular idea mind kind homage beatles coverof sergeant pepper album hotel swimming pool drainedand number different objects delivered hotel including awhite rollsroyce lowered pool angle noelgallagher supervised objects placed aprofessional photographer took number photos various anglesso band choice different images different lightsoasis thought essential plans photography werekept secret people allowed itinevitably perhaps word leaked couple newspaperphotographers turned including one freelancer attached sunone photos took published days later sun itwas similar one chosen album cover beenshot different angle sun offered copies photo saleto readers poster form although newspapers also publishedphotos seems none clear none offering posters ofthem salecreation got immediate injunction restraining sun frompublishing photos offering copies sale judgethen decide injunction continuecreation records arguing freelance photographer hadinfringed copyright breached confidencethe judge rejected argument way scene puttogether attracted copyright dramatic work also rejected theargument scene work artistic craftsmanship sculptureor collage lawyers trying hard werent film setcan sometimes said work artistic craftsmanship thejudge decided assembly disparate objects withoutthe necessary element craftsmanshipcreation records oasis might thought onstronger ground arguing copyright artisticwork collage collection unrelated items barristerargued put category infamous carlandr\u00e9 bricks displayed tate gallery gilbert georgesliving sculptures judge declined follow line argument asthe assembly objects didnt degree permanence itwas going dismantled hours restrictedview would entitled copyright protectionthe judge find copyright photograph thesun didnt copy original freelancer took photograph ofthe scene creation records trying establishsome kind copyright sceneso failed ingenious copyright arguments thelawyers argued freelance photographer breachedconfidentiality luck judge decided anyreasonable person would assumed viewing scene theywere getting confidential information freelance photographerwas obliged photograph scene sun admitted theirphotographer get around security cordon get film sothey must known intended confidentialon balance judge decided oasiscreation records tolose sun continue allowed sell posters andcontinued injunction basis breach confidence hadnot potentially huge sales posters merchandise theband record label would lostonce artwork delivered artist position pressfor release date album depend huge number offactors ill deal next chapter aprovisional date set manufacturing process begin andthe whole marketing department start swing actionif artist production company intends release recordthemselves also attend formalities assample session work clearances obtaining barcodes getting amechanical licence paying licence fees dealt moredetail chapter conclusionschoose studios well decide theyll residential notset reasonable recording budget stick itget best producer mixer afforddont skimp mastering costs keep eye remix costs asthese get highcheck youve complied delivery requirements contracttry get copyright ownership artwork section aa cdpa chapter see section ff cdpa performers rights chapter moredetails rights see section cdpa authorship words music section coauthorship springsteen v flute international limited others chancerydivision creation records limited v news group limited emlr chapter manufacture distribution marketing introductionuntil ten years ago serious viable alternative triedand tested method distribution finished record masteredand cut literally cut vinyl digitally mastered ie put indigital form computer program digital records cdsand dats could made discussion change digitalversus analogue manufacturing methods physical cdtape vinyl record whatever packaged distributed outto record stores back vanover last five years dramatic increase numberof tracks sold online digital downloads although illegaldownloads remain major problem challenge see chapters industry began turn corner commercially arrival ofservices itunes ipod new carriers mobile phonesalso helped drive legitimate side use music online singlesare offered downloads many aggregator sites like itunesor individual artists pages social networking websites like myspaceindeed involved several releases digital onlyclients didnt want go expense pressing physical copies thesingle waited first see well release went publicity termsmajor record companies either pulling distribution emi arecombining manufacturing operations either one place europe orthrough deals companies pulling two traditionalmeans earning profits record companies may saving millions ofpounds also focusing moneymaking activities morerisky aspects business marketing promotion artists andtheir records stakes higher future get expensiveaspects right often moment course feedsinto cautious outlook referred chapter record contractsand greater use middleman production companies filter outsome artists less likely succeed commerciallymanufacturingthe compact disc however still significant carrier even though year onyear sales declining much cassette tape prettymuch disappeared format vhs tape ceased videoformat new releases retailers like currys announced willno longer sell vhs tape players prediction death vinyl washowever premature survives albeit niche market beloved djsand specialist collectors sterling efforts made establish theminidisc format first launched early singularlyfailed impress potentially much serious threat musicbusiness thought phenomenal increase sales recordablecds cdr originally intended alternative floppy disc thecdr became format choice burning copies whole albums orfavourite compilations also boon small producer newartist production company little effort able toreproduce cd albums sale gigs sending torecord companies publishers managers gettingused came mp player mobile phones could store andplay music became easy copy send copies internetthat idea ordinary member public becoming pirate becamea reality ability manipulated full peertopeer websitessuch napster mpcom grokster kazaa etc issues discussedin detail chapters mainstream releases made available physical format wellas downloads lets look sort legal agreements youwill come across youve paid recording via aproduction company wont record company organise themanufacturing youre going go specialist cdmanufacturers shop around deal lists manufacturers befound music week directory decide manufactureryoud well advised gather together much information isavailable also need make arrangements withmanufacturers least four months intend release physicalcopies record even longer popular times christmasthis try ensure manufacturingpressing plant capacityand wont squeeze record release big star slottedin bear mind setting timetable usual release records toradio stations via pluggers necessary see least month beforethey available shopsyou also need ask service company provides fullservice company produce production master toreproduce cds find company make productionmaster deliver together film discs artwork tothe manufacturer would cheaper easier quicker youlooked fullservice company youll need check small print verycarefully hidden costs charge deliver thefinished records youwhat services provide offer distributionservice marketing services like sales teams better touse services look separate companies themlook quality work ask see samples doeverything inhouse farmed else work foronce youve narrowed choice look howquickly turn things around may minimum productionrun say copies right looking amore modest copies honest youre going shortproduction run possibly promotional purposes might better offburning cds putting finished product together yourselfonce youve decided manufacturer youll need agree pricethe number units produced time delivery ought tryto keep fee back see things running according toplan youre small unknown company theyre likely want cash upfront even keep eye things check quality sound ofthe artwork running order correct without gaps songs haveall names spelled correctly correct credits given anything iswrong pull immediately always check sample thefinished productyou also sure continue manufacture repeatorders first batch hopefully sells need keep closecontact distributor manufacturer putyour repeat order soon distributor sees stocks dwindlingthis need close cooperation one reasons peopleprefer keep production distribution companypd dealsas probably guess p stands production ie manufacture andd distribution pd deal one combines servicesin one contract one company companies offer pd deals canoften also offer marketing services like telephone sales team telesales astrike force specialised team targeting record stores take recordsor pluggers try persuade radio stations play record whetheryou want additional services depend overall marketingplan price reliability serviceyou ask questions pd companies would amanufacturer youll also ask another series questions abouttheir distribution operation supply records thesmall specialist stores get major retail chain stores andvice versamajors versus indiesuntil recently major record companies distributionfacilities mergers recent years resulted facilitiesbeing combined save costs pooling operations independent sectoris dominated pinnacle pias formerly vital clearly risksare outweighing possible profits activity without efficientdistribution system talents efforts making record themarketing peoples work getting noticed mean nothing thedistribution company doesnt records stores public tobuy last couple years growth activities ofaggregators like nova pebble beach remote control amongst othersthese companies arrangements larger distributor put throughthat distributor aggregators output labels looksafter aggregator individual deals independent labels orartists distribute product combines one dealwith larger distributor trick type deal ensure thatthe labels accounts kept separate profits one label arentused subsidise another labels losses whatever company areusing try check financial viability suspicious notrisk stock income sales even bigger distributors arenot immune things contractsto protect see retention titleall distributors also balance efficiency speedy response ifthey cant meet demand quickly records wont available thecustomers wont able buy wont get chart positionthe major record companies tend manufacture records locallyand shop centralised depot usually somewhere europe andfrom local distribution centres different countries doesnt takemuch thought see savings could made pooling localdistribution centresas well dealing artists records majors actas separate distribution companies companies recordsif arent signed major cant get deal majordistribution company may alternative go anindependent distributor bpi useful guide setting ownrecord label distribution website wwwbpicoukyou also need aware smaller distributors bit likeproduction companies pass job actual distribution anothercompany ask thats chosen distributor itdoes try find reliable financially stable othercompany well see things protectyourself retaining ownership records youve paidcatalogue single item distribution dealmost follows section geared towards physical distributionbut last six months new deals pinnacle requiredthat also give exclusive online distribution rights alongside thephysical distribution existing clients sent variation agreements toextend physical deals online distribution well likely alldistribution deals offer physical online distribution futurethis problem existing arrangement onlineaggregator like orchard online retail sales outlets like digital oritunes arrangement already place excludethe online rights deal nonexclusive may room forboth even havent already done deal slavishlysign without first thinking distributor enough specialistknowledge good job get decent online etailersthere signs companies presence physicaldistribution teething problems online releases may needcloser supervision would imagine also examplerecently client wanted distributor release online andwanted reserve physical releases want tojeopardise possible future record deal record allpossibilities considerso deal records youre likely produce thenext year called catalogue deals would suitable fora small record label production company would also work acompany going license rights records artists andalso artist decided doesnt want need facilitiesof record company wants distribute recordings recentmonths successful artists seriously considered bypassingrecord labels altogether inhouse simply red announcedthey recently radiohead looked like goingdown road announced online sales new album atprices set customer however also decided usea traditional record label first international physical distributionof new albumif arent catalogue deal could give distributionrights single track distribution company might choose thisroute seeing release stepping stone getting arecord company interested bear mind though thedistributor dealing one track youll muchbargaining power push hard ensure get kindof priorityexclusive versus nonexclusivecatalogue distribution deals likely exclusive may oneor two exceptions exclusivity example could rightto put tracks compilations distributed another distributor amajor record company could right distribute smallquantities records one two specialist outlets onlinealthough mainly distributors physical records concerned ensure thatthe record made available online physical copies theshopstermthis really relevant exclusive catalogue dealsthe distributor deals entire product period time thiscould openended continuing one gives noticeusually three months least possibilities fixed period oneyear distributor option extend term anotheryear term could one year oneyear extensionsunless give notice end time dont want tocarry careful one unless youre good atremembering give notice efficient reminder system youmight miss relevant window find locked anothertwelve months distributors insisting two years initially butthat negotiableif think might want move label catalogue somepoint bigger distributor major flexible term theeasier get important could also veryimportant arent sure good distributor handthe distributor might greater commitment inclinedto give priority know youre going predetermined minimum period timeterritorythe distribution deal could worldwide one likely alimited number countries example uk uk andeurope youre uk artist label looking distribute recordsbeyond europe example us youre much likely doit licensing rights another record company owndistribution setup see chapter possible deals youship finished records distribute lesscommon sometimes referred consignment sale andreturn deals japanese labels quite keen somecanadian us labels isnt worth manufacturing copieslocally cheaper sale return basisthere problem though distribution deals one countryfor example uk imports particularly often referredto parallel imports lets take example therights distribute particular track uk another record company hasthe rights distribute record france record released infrance first french record company could export records theuk might take market maythink wouldnt allowed french distribution rightsah yes thats right principle common marketplacethroughout european union eu meant encourage freemovement goods within eu illegal outlaw theseimports tell uk distributor isnt actively try getorders outside uk difficult police youknow approached whoits easier theory prevent parallel imports coming outsidethe eu example giving one uk distributor europeandistribution rights licensed rights record company us fornorth america contract us record company could specify thatthey arent allowed ship records outside north america problem isthat specialised exporting companies also act genuinedomestic distributors us record label could legitimately sell records tosuch company deny knowledge responsibility thatcompany exports records ukthis lot pressure ensure record releasedsimultaneously many countries possible ensure issomething special release example japan sufferedbadly cheap imports often insists releases japan extrabonus tracks make records attractive domestic marketthan importsthere also pressure price levels within eu idea ifthe dealer prices throughout eu less demand forimports brought cheaper domestic productthere course new issues addressed distributors aresult possibility buying records online internet globalmarketplace one challenge try find new ways dealing thefact one big territory suppose distribution deal onecompany uk another company us licence dealwith would say either open house export sales andboth could offer records sale websites purchase anywhere inthe world could limit territory ukus put eachlicence arent solicit offers fulfil orders otherscountry example email address uk registered go onlineto try buy cd album know released us butisnt yet sale uk went us website try buy cdthey refuse accept orders distribution outside us thissolution potentially offputting consumer last thinganyone wants obviously youd done worldwide distribution deal withone company wouldnt necessary may solution tothis territorial issue addressed onestop deals reciprocalagreements distributors different countries could forexample agree pay percentage commission salesgenerated companys territory far seeing someattempts reciprocal agreements licensing via mcps prs butinternational cooperation record companies distributors istaking longer solutions adopted seem practical caseof physical sales provide delivery address countryconcerned although course spirit true enterprise nowcompanies fee give po box address country andforward goods solutions technical tohave email address country concerned purchase goods online inthat countryrecord companies music publishers investing large amountsinto systems called rights management systems police fileis downloaded ensure payment made wouldalso enable track whether distributor breaking terms hisdistribution licence well see chapter systems takingtime deliver fully workable solutionrights grantedif youre pd deal youll required give distributor theright reproduce sound recording right distribute sellthose copies whether physical copies form onlinedownloadspricethe distributor take fee top price get paid forexample distributor gets paid record sold take apercentage feethe percentage vary great deal depending many additionalservices provide example telesales service strike forcededicated pushing records high dealerprice youre unknown one track distribute deals less available successful independent companies highturnover successful product major record companies usually paydistribution fees single figures sometimes percentage distributorgets fee goes turnover increases average amount adistributor charge would independent record labels artistproduction companies online distribution opening price around things usually negotiable right level bargainingpowerthe distributor also usually discount policy slidingscale discounts dealer price given variousretail outlets example major national chains like woolworths virginmegastores would able command discount price theyorder bulk important outlets music supermarketchains tesco asda also category indeedoften undercut highstreet chains youll little say thesediscount rates chance change however shouldknow order check youre paid properly discountshavent really established online world volumeincreases may well follow appear online thededuction whatever charges laid distributor examplea distributor may first offer tracks aggregator acts kind ofclearing house variety deals different etailers theseaggregators deduct percentage gross revenue deductionof etailers markup starting mirror physical world evendown packaging deductions see belowpayment termsthe distributor often pay half due within days ofreceiving payment retailers balance within daysso get paid record sold february label might get halfof money end march rest middle aprilmake sure online sales necessary technical requirements ofthe online distributor place ensure track number ofsales check whether getting paid correctly onlinesales also payment mechanical royalties reproduction yoursongs online copy downloaded see chapter oncollection societies licensing systems rates set mostuses challenge ensure rates paid check whois responsible ensuring mechanicals paid distributor orthe etailerthe distributor probably keep back money reserveagainst records returned course applies physicalsales theory least customer pay download whichfails distributors usually fixed policy sometimesnegotiate level reserves reserve singles generally higherthan albums unless album advertised television retailstores may take copies record saleorreturn basis althoughthe distributors sent say copies dont know manyhave actually sold wont include copies sales theyvebeen paid keep back reserve returns otherreturns appear sales ie theyve shipped may bereturned distributor legitimate reason damagedor faulty distributor hold back money aneventualitythe distributor wont usually take responsibility bad debts l owont usually pay gets paid lead bigproblems example pd deal local distributor whoagrees pay number records actually sends less areserve returns ships copies record retailstores pays copies keeping back reserve hasreceived payment sales months later stores return copies distributor pocket copies willlook pay back even worse case adeal local distributor pays get paid adeal bigger distribution company ship records biggercompany bigger company sells records whatever reasonfails pay smaller distributor cant pay even thoughrecords sold havent paid againthough problem arise online sales thecustomer paid received download limitedopportunity returnsretention titlea way protecting youre chain deals like onedescribed retain title ownership records untilyouve paid sections contract carefullydrafted order chance working assuming biggerdistribution company gone bust liquidator company wantto hold whatever stocks ie records hell want sellthem raise money creditors company hell want getaround retention title legitimately specialised legaladvice needed necessary onlinesales issue making sure deal endedthey take copies internet continue sell themadvancesbefore leave section want touch question advanceswill distributor give advance well might youve got agood track record finding hit records catalogue aregular turnover advances small independent labels individualartists arent likely high possibly thousand pounds aswith advances sums arent usually returnable dont sellenough records recoupable monies would otherwisereceive salesmarketingonce youve got record mastered copies manufactured youve found acompany distribute another crucial step process let thepublic know record marketing process manyelements ongoing process soon youve got somethingto sell record live performance merchandise need let peopleknow itartworkgetting right artwork record crucial form part thewhole campaign could used backdrop stage show aposter campaign could appear tshirts merchandise makesure copyright artwork restrictionson done still applies even though artwork ismuch smaller cd booklet opposed vinyl recordthese days however challenge artists graphic designers adesign works well online uses interactive technology thedigital era global possibilities internet fullest extentthere also ways make simple versions artwork available asa download buy record online essential get theright designer artwork use ways focus onstandard packaging contains correct copyright notices allimportant barcode ppl leaflet explaining copyright notices andbpi produces leaflet explaining get barcode online salesmake sure correct metadata embedded digital copy andthat necessary technical requirements online distributor inplace ensure sales correctly tracked fed back youphotographs biographiesyoure going need decent photographs theyll neededfor information packs press letting overseas licensees orassociated companies abroad know look like youll also need topost photos graphics website page myspace facebooketc costs record company pays usually recoupable orrepayable unless want use photographs merchandisingfor example tshirt poster may expect repay halfthe costsif theres exclusive record contract place usually notalways give artist approval photographs used alsousually give artist approval official biography bit like alife history also ensures consistent message image presentedof artist forms part brand well see chapter onbranding record contracts also require artist contribute toonline diaries blogsif give record company photographs biographical details theywill assume approved make sure youre happy theminhouse external marketingmost big record companies inhouse marketing pressdepartments staffed dedicated marketing press people oneor allocated marketing product need tobe sure people understand game plan preferably theylove music least like otherwise theywont sound convincing try sell press radio tv andso onif marketing done inhouse normally paid therecord company nonrecoupable basisthe position changes smaller company without inhousemarketing departments outside specialists brought forparticular aspects costs usually partly wholly recoupablefrom record incomewhether done inhouse number outside specialiststhe whole campaign coordinatedthe sales force special strike force primed withartwork photographs biographies campaign details promotion packshave sent exporters clubs djs retail outletsfor bigger releases record company may arrange private playthrough new album selected key retailersthe fact record released notified musicpress chart compilers mcpsprs get relevantmechanical licence details registered record performedpublicly release catalogue number acted fora label called produce records catalogue identity milk etc usual prepare summary information known aspresenters sales sheets page long consisting name ofthe artist title record picture catalogue numberbarcode dealer price release date add details toorder contact details plus brief points marketingcampaign isthe adverts coordinated advertising campaign bedesigned approved well advance theyre ready distributionat time promotional packs posters promotional items soonthe strike sales force goes action several weeks releasedate trying get orders retail shops called presales everyone interested getting figures theyre goodindicator well particular record received helpdetermine chart position tells marketing people much morework presales give information passon manufacturer distributor help assess manycopies record needed figures may also tell whatareas country record selling best distributor know tomake copies available areas also reason tocollect presales online sales help determine chart positionin digital charts greater exposure artist theme returnto next chapter come marketing plan whichraises music noise competing releases thatweek potential customer listen possibly buy yourrecord anyone elses even know recordreleased need come marketing plan idea makesyour release stand takes talent may need bring inspecialist marketing people experts engage make sureit clear writing want paid andwhat constitutes successful outcometv advertisingif major record label perhaps independent one owned bya millionaire part marketing campaign might advertise therecords television expensive business basic televisioncampaign four itv regions easily cost record companyis going want spend money think earn backin extra record sales keep risk minimum record companywill try recoup costs either advance orby reducing royalty payable artist works therecord company reduces royalty would otherwise hadto pay sales records recouped reducedroyalty costs tv ad campaignwe lawyers try get artists right approval whether anadvert made fight record companies know youget right approval youll give approval get betterdeal recoupment dont recoup much cost otherwisewe try limit ways income affected either byrestricting reduction sales country campaign run orlimiting time recoup costs reducedroyalties currently trend treat cost campaignas recoupable advance makes restrictionsredundant arguments tend centre much recoupabledont rule idea television campaign without carefullylooking proposals good targeted campaign could takes tolift record top albums chart could make thedifference however aware cynical attempt reduce royalties toyou record particularly successful rushing acheap tv campaign accounting period album wasreleased achieved sales record companycan add advance bottom line halve royalties sales inthat accounting period even ad campaign dont thinkthis fanciful one colleagues found major record companywas trying artist successful debutalbum tv campaign wasnt needed lawyer manager tofight hard get deal whereby royalties artificially reduced itis also true record company executives might panic tvcampaign fear sales level expect isthe job good manager try decide whether fear real andwould helped campaign know one experienced managerwho persuade artists record label rush tv advert foran album christmas afraid oversupplied thestores would get masses returns new year managers hadto fight long hard stop happening ace uptheir sleeve knew next single winner stood theirground found right artist went successfulalbum guy hands venture capitalist terra firma recentlyannounced wants ship fewer records fewer returns andlower overheads fine principle problem anexact science determine advance precisely many peoplewill decide go local record store one weekend buy aparticular record demand higher anticipated storeswill run prospective purchaser maybe impulse buyer willmove next purchasetv radio pluggerseven days internet still important success arecord gets exposure radio unless record gets decent numberof radio plays unlikely enter charts although becoming alittle easier downloads count towards chart positionsthe people decide played radio xfm heart andother pivotal regional radio stations powerful feel thatthe records chosen playlists towards commercial pop end ofthe market big problem couple years ago yearoldartists thought old however radio steppedinto gap picked many exradio djs influentialopinionformers given shows grown thesepeople gravitated radio become much station ofmainstream commercial releases older artists well middleoftheroad tracks younger artists ironically many releases failure toget radio playlist kiss deaththe tv radio pluggers tough job trying getrecords playlisted either employed inhouse record company orare outside agencies specialise work costs dealtwith similar ways press agents see belowwhat pay external marketing presspeoplethere many different ways paying external marketing pressworkretainerspress people pluggers could retainers regular monthlypayments made keep board press agent constantlyhaving eye press opportunities arent actively anypromotion instance youre studio recording next albumthe level retainer could quite small would increase whenpresspromotion activities rise around time release recordhowever economy slows competition among thesecompanies hots number people retainers declined nowmany paid workbonusesif someone retainer fixed fee may paid bonus forachieving certain targets example press officer could get paid bonusfor every front pagecover gets features youa plugger might get bonus record goes top whateverfixed feesmarketing press people could fixed fee possibly bonuseslinked successroyaltiespress pluggers could retainer fixed fee bonuses goodpluggers great demand usually ones insist onpoints ie royalty usually record sold want thebest may pay either come artist royalty orbe paid record company combination twowhere find themthe usual ways word mouth companies already retainerarrangement record company companies known yourmanager good job area music music weekdirectory carries list press promotions companies would agood idea get recommendation someone business youchoose onedo want contractif theyre fixed fee probably invoice fee whenthe work done youve agreed theyll undertake something theordinary youre putting retainer youll probably want simplecontract theyre paid royalty youll definitely need contractsetting royalty calculated paid thesimplest thing basis get royalties underyour record dealepqsthis name given electronic press packages prerecordedinterviews photos biographies together promotional clips yourlatest single release put together inhouse external pressofficer usually take form dvd theyre sent toreviewers press reporters djs radio station controllers anadditional means promotion companies sending outas file attachments emails new record contracts contain clausethat says record company put one together theartist cooperate seems reason youwouldnt want agree compiling epq might wantsome creative control youll need agree whether thecosts recoupedvideogramspromotional videos key part marketing process artistswho aiming commercial chart position still importantfor pop market useful putting something interesting onyour myspace page youtube however limited outlets forpromotional videos music stations like mtv well thecable satellite channelshowever expensive make theres point inmaking one record doesnt get radio plays tv airtime awaste money youll end paying one way another hasto fit overall marketing plan dont overspend make videounnecessarily pull favours get mates whovestudied filmmaking make cheap video good enough foryoutube maybe video mobile phone clip may worthdoing part well thought campaignthe creative elements story going thestoryboard whos going produce direct isto shot probably agreed artist record companydepending contract artist may final say thesethings record company otherslongform dvdsunlike promo videos generally accompany singlerelease dvd may well fulllength minute production robbiewilliamss live knebworth early example use themedium marketing tool artist also commercial productin right yet first issued record label didnt get andhad persuaded would sell enough recoup went sellover half million copies recoupment issue kylie minoguehas released dvd comeback diamond tour alongside latestalbum x releases also help keep artist public eyein album releases example new album expected ayear might worth putting dvd last tour keep fansinterested separate dvd chart like albums singlescharts vhs video format killed makevideos format dvd format choice according themajor record companies trade body bpi commercial videos retailvalue million outstripping retail value digitaldownloads stood million like cd market provedto difficult market dvds prices dvds fallingsignificantly without hoped increase sales third quarterof sector showed drop sales corresponding periodin according official chart company statistics part theproblem seems lie customers prepared watch poorer qualityvideo films online good quality dvds living rooms asbandwidth increases download times films reduces alsogoing increasing pressures piracy illegal downloads anattempt capture illegal market record companies nowoffering video clips downloads alongside possible slightly ahead anartists album release idea see clip video orcan download video go single customer may go outand buy fulllength dvd streaming longform dvds online tvstations also explored new outlet revenue stream alsosee synergy fact new owners emi terra firmaalso stake chain odeon cinemas speculate dvds incinemas another possible outletrightsthe record company usually expect rights audiovisualrecordings artists performances paid forif lot bargaining power limit rights givethem audiovisual rights recordings make therecord deal major record companies wont agree wantto know someone else makes recording live set cantthen put competing record dvd might agree thatyou wont recordings performances without theirapprovalsome artists djs people film going theirprofessional business public appearances backstage gigs etc anduse footage dvd trick ensure theright use footage people may get film likebackstage crew audience members lawyers advise thatthe record company may exclusive right make longformdvds may first option bid right make one orthe right match offer someone else may made make onethe cost making longform dvd usually mutually agreedbetween artist record company separate account set upyou usually get dictate least approve creative aspects thelongform dvdroyaltythe royalty rate slightly lower recordsthere may advance payable longform record companymay match offer made third party advance thecosts recoupable royalties longform dvdincome records commercial use promotional videos shouldnot used recoup costsconclusionsdecide whether need separate manufacturing distributiondealscheck returns discounts policy distributor anyhidden coststry retain ownership records youve paidget marketing campaign organised well advanceagree whether press plugging done inhouse byoutside agencies outsiders press promotion try get recordcompany agree cost recoupableget approval photos biographiesgets approval television advertising campaigns forthe records particularly royalty reduced chapter online sales distribution introductiondigital technology changing face music industry every levelthis course first time done development ofthe cd years ago used digital technology create whole new mediumof music distribution free constraints analogue media asvinyl severe limitations amount music recordcould store cd sound quality also cleaner although agree thatthat necessarily good thing current developments could seenas latest long line changes wrought technological advanceshowever time changes fundamental improvements indigital reproduction mean music available via almost bewilderingarray carriers mobile phones pdas memory sticks mp players ofcourse streaming downloading via internet availability ofbroadband homes certainly places education hasmade distribution music via internet fast almostuncontrollable review chapter later one piracysome issues createdoverviewthe vastly expanded digital market highlighted flaws majorrecord companies whose monolithic structures built around thedistribution physical copies music record companieshad measure control could demand high price thecd render model redundant meant whole newset hardware could develop sell marketing men afield day persuading us buy cd form records already ownedon vinyl even introduction players made music portable likethe sony walkman alter model fundamentally still requiredthe distribution sale physical productsit different story digital distribution takes form ofstreamed digital radio podcasts downloads physicalproduct hardware development hands thetraditional developers like sony phillips outsiders like appleand distribution hands internet service providers isps otherproviders online services like google yahoo mobile phonecompanies marketed third parties like myspace youtubethe major record companies may also lost battle try controlillegal copying digital rights management drm systems pricingtoo longer control record companies several monopolyenquires supposed high price cds may shown wasan abuse dominant market position major record labels thewhole issue redundant battle moved different ground theissue get people pay music get itso easily free battle one record companies losinghand fist rapidly coming conclusion mustchange business model die let us hope left latethe winners new digital world traditional playersoutsiders telecoms companies technology whizz kids spotted anopportunity new industry hampered oldways record labels approach matters fresh perspectivei thinking social networking gambling websites themultiplicity services use music added value drive customersand advertisersinvestors services music another commodityit reason existence services first place theinroads new players making music industry bring withthem new challenges make music pay find musicyou want listen particularly new artists breadth ofavailable music never greaterpiracy free availability music major problem see inmore detail later chapter piracy organisations representingmajor record labels riaa bpi continue tackle internetpiracy head opposed embracing technology opening amassive potential market always taken view criminalisingordinary people download music free counterproductive tacklethe largescale pirates means otherwise think far better toeducate people law copyright fair lately bpi hasbeen also use new technology positive way reachmore fans example older users internet socalled silversurfers proved lucrative source online purchasers musicvia websites like amazon recently buying physicalcopies mail order amazon expanding download marketwho say wont also purchase downloads process madestraightforward enough buyers may gone high streetrecord store quite intimidating places uninitiated andso could seen potential whole new marketthe changes receive music via internet mobilephones also given lawyers legislators number knotty legalproblems resolve see law finally caught withthe online world recognised copyright capable protection andshould given protection online uses issue piracy illegalfile sharing remains problematic whole question licensingof rights across countries given global nature internet muchremains done ensure cross border cooperation collectionsocieties least taking steps right direction across europe wewill see later chapter collection societiesa key indicator reality growing importance digitalmusic business launch official uk download chart inseptember first time download formats wereacknowledged viable commercial format followed theincorporation downloaded tracks official singles chart april mobile phone plays also count chart positions soon asthe technical difficulties resolved october sales digitalmemory devices dmds count towards singles albums chartsthey eligible singles chart since september dmdformats include sd memory cards mobile phones usb flash devices aswell memory sticks greater marketing experimentation may followusb releases included single keane limited releases bykanye west amy winehouse usbs take many forms designsso possibility creative artwork design marketing toseize emi announced plans release entire radiohead backcatalogue limited edition usb stick shape bands fangedbear logo artists like arctic monkeys leona lewis koopa allused internet chart positions boost profilemany new artists release singles online initially moving aphysical release online sales warrant distributors like pinnaclehave added online distribution standard distribution dealsthere considerable progress penetration newtechnology greater uptake broadband portable players ipodsare available affordable prices mobile phones including newiphone download sound video clips within pricerange many people growth new types players anduses particular mobile ringtones led major record companies toalter contracts give rights distribute music newplatforms establishing business models paid thesenew uses well royalties system paying artists songwritersdominic pride writing impact magazine claimed therewas potential market billion mobile phone owners compared billion internet users advocating growing importance songand claimed song longer restricted formats used therecord industry opened way new partnerships songwritersand publishers working together monetise use music mentionedone use particular mobile caller ringback tones potential tailorthese market place personalise individual customerhe emphasised delivery service customer mobile phonesinternet tv broadband music key constituent service ifhe right future artists songwriters might get paid musicnot element part fee charged access aservice makes sense new business model basis ofnew partnerships service providers accepting view meansacceptance fact record company longer full controlthis come hard make money business orperhaps importantly answerable shareholders ofthose companiesif future paying access service rather access toindividual artist downloads need consider giving away musicfor free way tempting consumers new world many artistsbelieve strongly music given away cover mountcds detested many artists would consumer pay classicsong wait able get nothing theirsunday newspaper yet every artist takes stance willfind others embrace idea music free artists like beeshave making acoustic podcasts material available ocean colourscene gave away downloads last single free beenattempts like spiral frog website get consumers accept theycan access music free first listen bunch ads aservice may strugglingat opposite end spectrum music free idea arethose deals make idea added value offering fanspremium products like cd extra tracks free ticket show nearthe fans home lyrics additional background songs butall premium price marketing section belowof course even accept view growing importance thesong partnerships publishers service providers asmobile phone companies still fact many cases songhas recorded reasonable quality polyphonic ringtones realtones improving standard properly produced andmixed studio recording possible mobile phone companies willcommission recordings music expect publishers stepup mark pay good quality recordings thetraditional role publisher unlikely owners thepublishing companies sanction large expenditure acquiring soundrecording facilities obvious route would use systemsalready place record companies perhaps newer leanerproduction companiesif business model change shares revenue access toservices publishers suffer drop mechanical royalties butthey hope balanced increase flat fee usagesperformance synchronisation royalties shares income newpartners like telecoms companies also important industry isable move fast onestop shop across territories betweenrecordings songs needed accurate payment tracking systemswill need put placethe ifpi estimates twenty illegal downloads everylegitimate one john kennedy chair ifpi called united approachacross industry tackling issue greater cooperation theisps piracy illegal downloading described isps thegatekeepers cooperation could make single biggestdifference music industry industry wants isps toaccept responsibility content websitesthat host isps agree share data websitesbelieved involved illegal downloading stopping pirateswould become infinitely easier kennedy says precedent already beenset isps responded call government put filteringsoftware block access child pornography websites see ofthis section social network sites belowthere pundits claim growth number newpotential partners means power shifted towards artist andaway traditional record company example quoted sirpaul mccartney leaving emi forty years releasing new albumthrough starbucks label hear music examples might madonnasdeal promoters live nation radiohead going ahead owndigital release latest album however things never quite simplewhat artists common well established andhave large fan base would anything like easy newunknown artist thing also true whilst many thesewellknown artists using new unusual partners haventcompletely abandoned traditional routes either mccartneys album wasmade available traditional outlets distribution deal withuniversal radiohead signed xl physical release album andthe eagles quoted one success stories may beunsigned also used major label universal act theirdistributor place newer artists thing theyneed means attract attention music means greaterthan ever emphasis marketingthis brings neatly last significant development want tohighlight overview phenomenal growth socialnetworking sites particular myspace youtube facebook beboalongside pure networking sites use music thehook attract consumer aspect website asthe website slicethepie uses discovery finding unsignedartists purchase contracts future success artists acommodity traded online examples musicis one aspect bigger service challenge music industrywith sites see artists songwriters rights owners canbenefit financially free use musicreproduction distributionthere positive developments area reproduction anddistribution record companies entered licensing agreements withonline music services trying establish systems shouldfacilitate tracking uses collection accounting artists manyrecord labels putting entire catalogue online warnermusic latest announce us via amazoncomwebsite record companies make enough money newsources theory least able continue invest innew musicof course online distribution threatens bricks mortar retailers asillustrated number artists issuing tracks downloads gorillazrelease feel good inc internet download one firstto get high street retailers claiming foul recently releaseof princes new album cover mount sunday mail newspaper forwhich said paid particular marketingfirst attracted great deal interest undoubtedly led increased salesof newspaper week also helped market fact princewas embark record breaking day residency new ovenue east london housed millennium dome might say thatwas main aim record royalties chart positionsthe retail music stores suffered difficultiescaused illegal downloads also enhanced competition thehigh street slowdown economy retailers hmvhave experimented instore kiosks burning customcds othershave sought improve retail experience well providing musicsubscription legal downloads branded websiteshowever flexibility enough chains like fopp went intoadministration virgin retail also sold music stores rebranded name zavvi sale together w hvirgin effectively selling stake record label v labelwithin universal group means richard branson ended longlove affair music business least interestingly theretailers association era amongst clamouring drm free musicdownloads retailers realise compete illegalmusic download sites adapt business practices survivein attempt winning back lost business traditionaldistributors physical product expanding operations toencompass online download distribution pinnacle latest doso new pinnacle contracts include online rights pinnacle like mostdistributors tries get exclusively already havedeals companies like orchard itunes possibleto exclusive deal distributor negotiatechanges may also want maintain flexibility exampleyou online distribution deal exclusively one distributor andthe tracks included album exclusive licencedeal forms basis commitment exclusiverecording contract band going trouble youwill granted away important digital rights tonegotiate exclusions compromisesthese new distribution deals seem taking form fortraditional physical distribution distributor putting record outthrough aggregators direct retailers online collecting incomegenerated paying rights owner deducting cut thepercentage distributor keeps open negotiation often start ataround remember traditional physical product distributorsare relatively new world online distribution may teethingproblems may need hands might expectmake sure tracks correctly digitised correct metadata isincluded online file enable downloads tracked andpayment made possible trial run soft release youlet track days official release date throughone two key outlets test well one client releasinghis latest track online early november promotionlined live date radio press ads articles directingthe fans buy release certain websites services releasedate came host complaints fans could notget record download failed company stilltaken money release disaster artist make agreat deal lost goodwill fans response distributor wasa nonchalant oh yes sometimes get teething problems theysort time complaints fans help us find whatswrong well needless say impressed line theclient think twice using distributor againstreaming online broadcastingabout ten years ago webcasting seen future payperviewtelevision enable fans access artists live concerts thismeans distribution seems run steam due largely toproblems poor reception instability technology manypeople tried watch often crashed system howeverstreaming music given new boost idea podcastingmusic ie making available ipod similar portable musicdevice time suitable radio led way alsodefinitely move towards able view favourite televisionprogrammes listen radio show youve missed want listen toagain time choice television programmes startedto make highlights programmes available listen serviceevidence fact becoming established form broadcast isthe establishment podcasting association granting blanketlicences use music podcasts see chapter collectionsocieties moment podcasts free essentiallyused marketing tools sure soon develop servicethat try generate revenue broadcaster concernedbut doom gloom internet opened way formore specialist obscure genres music find worldwide marketthere initial bounce back effect music sales consumersdiscovered new artists went searching tracks artistor others genre course original intention thepp services know back soap box musicindustry tried understand new services embrace thinkingbehind rather attacking threat possibly saleslosses could minimised changes record industry structureintroduced sooner might also saved millions ofpounds legal fees instead drove problem underground mademartyrs schoolgirls average joe consumer created us andthem feeling music industry enemy bands like arcticmonkeys might success perhaps later ifthey hadnt fully embraced positive aspects internet theoutsetso music industry sought tocope adapt changesconsolidationthere consolidation retail distribution sectors many ofthe major record companies pulled distribution universalmusic latest majors struck deals eitherwith majors distribution specialists like pias formerly vitaland centralised operations one european countrythere also consolidation amongst majors withsony acquiring bmgs record division universal snapping v andsanctuary group publishing side universal merged bmgthe onoff merger talks warner music emi group seem tohave gone back burner since venture capitalists terra firma underguy hands took control emi group one betting itcoming back agenda pointcostcuttingthe record publishing companies also become leaner havetried offload nonessential personnel mixture voluntary andcompulsory redundancies accounting legalbusiness affairs functionshave cut right back sometimes back supposed greatertransparency contracts argue easier followaccounts simplified legal contracts costs reduce thecontributions often make fees lawyers advising artists theywish sign far go still functionguy hands made newspapers flurry stories abouthow intended cut back saw waste record companyhe overseeing announced intention sell mayfairproperty worth million used infrequently companychairman challenged amount money paid major recordlabels organisations riaa bpi ifpi asking wasnt anoverlap functions particularly piracy issues issue therehas movement reduction subscriptions paid themajors say result hands intervention alsoquestioned flowers candles budget expensive christmasgifts sent artists made good headlines feels liketinkering round edges main problem remains monetisemusic digital age serious plans announced january cut staff reorganise company separate ar andbusiness functionsthe major record labels remain monolithic structures physicaloffices major capitals big corner offices highly mightsay obscenely paid executives many bonuses linked shareprice sales remuneration system might militate againstpushing niche artist low levels sales reality majorshave really commercial artist time nicheartists still occasionally place rare artist lessthan sales gets make second album major record companythe executives fighting existence probably alot pain come gets better leanoperations telecoms business financially superior canchoose work record companies decline work themand threatens leave isolated redundant new players canoperate low level overhead almost anywhere worldthey remunerate motivate employees differently nothave carry enormous overheads associated physical distributionand therefore theory move faster react swiftly changetheir challenge remains monetise activities level whichmakes sense investors think fairly certain advertisingwill play ever important roleof course major labels still role play cd formatstill constitutes significant percentage global legitimate sales musicbut partnerships joint ventures needed technology bethe driver record companies seem extent abdicatedtheir ar function production companies trusted producers andmanagers role changing finders ofradiofriendly commercial hits mavericks alan mcgeeswho gave welshspeaking super furry animals start supported kevinrowland wish wear dress album cover without risk thereis danger stagnation yes try expand income bysigning artists models read thechapter record deals work long live sectorremains buoyant downturn economy back thecredit crunch began usa britain started experienceat end people money pay expensiveconcert tickets pay tickets still buy themerchandise get come unless record companies aredeveloping acts chance longterm career business andarent one album wonders stadiumfilling live acts thefuture coming sustain modelslower value dealsso far addition cost savings referred focus themoment holy grail model major record companieshave tried minimise exposure signing fewer acts paying lessfor sign despite good intentions still allowthemselves carried away hype bidding wars lawyers andmanagers must take responsibility trained talk updeals seek best deals clients often means thebiggest financial commitment therefore playing one party againstanother often mega signings done wish recordcompanies shortterm boost sales keep shareholders thecity investors happy sometimes order convince labelsthat label money power better watch themetaphorical gauntlet thrown rival labels wonder thoughhow many deals done dispassionately clear notion ofexactly many records would sold recoup realisticthat isnew forms marketingthe record labels also looking innovative marketing ideas drivecustomers product opposed rival include anumber firsts like universals first digital record signing followedwithin year signing physical rights got theinitial publicity events like artist sandi thom beingsigned sonybmg back webcasts basement flat intooting south london first downloadonly number one etcif gambling woman money would going intorecord companies would technology looking ways filtering thevast array information available online companies focusing onmarketing consumers using new technology one example attemptswhich already made filter stuff internet servicelaunched myspace december called earwig internetvideo channel idea feature short video clips selectedartists talk musical influences andmusic videos meant selfproduced interviews artistsit aimed unsigned newly signed artists myspace says selectan artist week feature front page website iknow im cynic whats betting space available tolabelsadvertisers fee due coursepiracybut enough predictions nasty habit comingback biting lets look detail issues thebiggest area concern remains piracy consistently saidthe music industry probably fighting lost cause illegal downloadingwhich invidious form piracy individuals pirates aswell largescale commercial operations genie already ofthe bottle isnt going go back whilst remains hardcore oflawabiding members public pay music joinedby younger generation used free availability exchange ofmusic even pay unwilling pay levels theywere days physical carriers may interested inpaying single tracks rather bundled albums making legaldownloads easy get superior quality illegal versions maygo way help care overmuch aboutquality want latest stuff free educating peoplemay help bit probably great deal one way get may beto get pay something else value mobilephone service favourite website include price pay anelement music content phone websitepiracy fact always problem music business cdtape video copying huge business far east former easternbloc countries see chapter problem also manifests theleaking albums via internet ahead commercial release albums artists oasis eminem u beck pj harvey havesuffered extremely difficult track leakoccurs someone smuggling large tape reel thestudio said one artist music beingavailable online prerelease copies works made availablein cassette tape versions basis difficult tocopy put internet suppose demise cassette tapesthis replaced lower grade digital copies wonder ifthis isnt fact damaging artist reviewers listen inferiorcopy new album write unflattering reviews consequencethere also examples almost mission impossible style scenes wherereviewers searched entering dedicated rooms listen ona special machine one numbered copy album intention beingthat reviewer makes illegal copy tracked back buteven measures dont stop determined pirate longawaitedcoldplay album available full internet days officiallaunch despite strenuous efforts record company emi toprevent emi made best bad job bringing forward releaseplans record companies also try get websites offering albumsshut always get cooperation isps wherethey may already latesabam v scarletthere however signs european courts may prepared makeisps responsible carry first landmark case take thisline brought belgian collection society sabam scarletformerly branch italian isp tiscali court firstinstance belgium confirmed isp must take responsibility forstopping illegal filesharing network using file filteringsystems ruling first kind europe mightimagine welcomed international record industry hasbeen pressing action isps curb piracy networks thecase seems turned determination two pieces ofeuropean legislation precedence first beimplemented ecommerce directive declared isps asintermediaries liable content websites theyhost however later copyright directive amending copyrightlaws cover online uses said circumstances copyrightowners could get court orders isps websites using theirservices used piracy infringed rights copyrightowners practice isp notified particularwebsite contains illegal material orders owner website toremove offending material first case decide ofthe two conflicting laws precedence isps reluctantto accept unrestricted responsibility feel shiftingresponsibility control piracy however undoubtedlythe case much easier isp take action users ofits websites rights owners try track takeaction individual illegal file sharersthe case decided lowest level belgian court system istherefore likely appealed higher court also known thisstage apply isps within belgium might abroader european dimension must possibility twoconflicting directives implemented laws europeanunion countries belgium follow strict caselaw precedent systemlike uk set binding precedent similaractions isps belgium naturally therefore telecomscompanies isps belgium playing significance howeverthe existence judgement must influential judges tryingsimilar cases certainly cannot ignored likely thatsabam try press home advantage try get mainbelgian isps come line without need bring separatelegal actionsthe case also considered various methods filtering came infavour one particular piece software called audible magic ispsare doubtful effectiveness software courts expert saidthat could identify material pp systems infringed copyrightthe isp given six months implement order apenalty every day delay beyond date isps havereservations ability audible magic operate necessaryscale also say forced pay bill protectingthe assets private companies feel passon cost way users also indirectly penalisesthose entirely law abiding users websites however againthat argument could used many areas life pay higher insurancepremiums dangerous drivers homes happento areas high crime ratethis feels like isps throwing arguments isundoubtedly worrying decision themantipiracy measures digital rightsmanagementas wellpublicised actions mpcom napster showedriaa music industry generally took view attack thebetter form defence others including believe theyalienated consumers headlines highlighting legal actions againstschoolgirls downloading sharing music school friends thecause favours alongside legal actions various steps taken totry control making multiple copies track sothere threepronged approach digital rights management ietechnological protection measures eg encryption backed enduseragreements spelling restrictions use education legislationsuch eu copyright directive prohibiting circumvention suchprotection measures devicesmaking illegal devices including softwarewhose primary purpose enable facilitate circumvention ishowever growing sense digital rights management systems gobeyond necessary protect copyright owners indeed holdingback development legitimate download market example someof protection measures unforeseen side effect preventinglegitimate owners cds playing cd pcs making acopy use carstechnological methodsconsiderable resources put antipiracy devices aswatermarking ways track copying music control ensureproper payment secure digital media initiative sdmiwas hailed industrybacked secure system control illegal copying infact creators sdmi system offered reward anyone couldcrack predictably power internet harness resourcesand minds computer programmers within hours ideasincluded system permanent temporary passwords computerfiles allow one copy file made played alegitimate player making one copy destroys one passwords youthen try copy copy wont play player onlyfind one required two passwordsconsiderable resources also put developing systems totrack usage music ensure legitimate rights owners get paidfor use work content management systems included oneswhere kind pyramid selling work legitimate user whointroduces friend piece music friend pays todownload receives points first person use purchase moremusic downloadsothers interested tracking piece music wasdownloaded feeding information back rights owner effortswere made make systems transparent possible therights owner artist advisers could get comfortable thewhole idea grant rights get paid werealso privacy concerns result personal information embedded inthese drm systems issues devices monitor userdoes computer sonybmg socalled rootkit fiasco outlined inthe chapter piracy may done much damage efforts toget public accept tracking systemseducationas second string bow bpi launched series leaflets aimed ateducating people particularly young illegal nature much thecopying music internet evidence helpingpeople understand illegal less evidencethat stopping anyway one recommendations thegowers review considered detail themaking copy use illegal yet momentit music industrys initial reaction one protectionismthe feeling allowed would thin end thewedge government paper topic expected early legislationnew laws confirm beyond doubt rights copyright ownerextend duplication broadcast online europe confirmed bythe european copyright directive implemented uk law innovember fuss preceded governmentfinally elected bare minimum required incorporate thedirective uk law government argued cases ukcopyright act already encompassed online uses make achange include somewhat clumsy making available right extendthe right copyright owner control broadcasts work includeonline usage government take option extend thenumber exceptions known fairdealing ie legitimate usesof copyright works permission copyright owner isrequired us equivalent legislation digital millenniumcopyright act pieces legislation subject intenselobbying isps sought largely got protection liability illegalmaterial within control cases isp obliged dosomething brought attention court orders bebrought isp hosting sites used illegal file sharing orother pirate activitiesconcern also voiced treat transient copying ietechnical copies reproductions made side effect say sending anemail computer computer around world eu directive andthe regulations incorporating uk copyright act made clear thattransient copying commercial value reproductionand therefore infringement copyrightin order support efforts antipiracy brigade legislationmade offence circumvent make available means tocircumvent devices intended protect copyright yet beenno reported cases legal actions provisionfinally attempts bring legislation granting rightsholders greater control illegal use copyrights particular theyare keen ensure isps share data enable themto target internet pirates effectively isps come avoluntary code end paper expected thegovernment address cultural issues february digital rights managementthe debate whether place digital rights managementprotections music formats rumbled steve jobs ofapple kicked debate april calling music bemade available licensing services apple itunes free drmthe major label bosses lined idea eric nicoli thenchairman emi group announced april emi music would belicensing drmfree superior quality downloads across entire digitalrepertoire apples online music store itunes would first makeavailable new downloads emi hoped providing superiorquality drm free tracks would tempt consumers towards legitimatedownloads opposed often inferior quality illegal downloads therewas slight catch audio compression format use aac notthe widely available mp format compatible mostportable players software fixes available decode aac formatfor whose players dont support may put lesstechnically minded music fansin contrast warner music initially came favour continued useof drm april demanded anywhere cd service fordownloading albums stopped offering drm free albums warnermusic catalogue july warners tried get one apple byputting much back catalogue online lalacom website freestreamed previews download lala paying royalty fee towarners time user listened trackthe deal emi drmfree tracks unravelled little thetracks went sale may itunes plus banner apremium rate p discovered tracks downloaded byconsumers contained name account information email address ofthe person bought download new apparentlysuch information found tracks purchased itunes youknow didnt although imagine contained terms andconditions website objection genuinelyintended drmfree download information bepresent enabled apple track subsequent use musicdownload privacy lobby also concerned else may beembedded files easily uncovered mightunscrupulous users make use informationuniversal music seems playing waiting game hasexperimented drmfree trials deals companies likeamazon yet committed full scale itunesin november retailers association era announced would belobbying record industry press abolition drm downloadreleases use mp compression format universalstandard thereby simplifying whole process consumer buyinglegal downloadsfinally december warners announced dropped itsopposition making available music without drm systems place itconfirmed entire catalogue going made available drmfree united states download website amazoncom seemsthat warners bowed pressure order keep pace itscompetitors contrast less common aac format used emi anditunes warners catalogue available amazon morepopular mp format although moment arrangements apply onlyto united states expected extend internationally soonthe times reported december warners also talks withapple release drmfree tracks via itunes sonybmg remains theonly major decidedly favour drmit early tell move drmfree music downloads helpto stem drop album sales record company revenues seemas though battleground moved drm persuading isps totake responsibility although particular debate fear longway run isps give nonliable state anintermediary without fightgowers reviewthe andrew gowers review intellectual property published december contained little comfort music industrywhich lobbied hard particular extension duration thesound recording copyright performers rights beyond fifty yearsperformers looking parity songwriters copyrightprotection period lives plus seventy years recording industrywas looking parity period copyright protection othercountries particular united states years gowers recommendedthat period stay asserting represented fair balancebetween right protection intellectual property benefitsof work come public domain period time heremained unmoved fact recordings wellknown artists assir cliff richard coming copyright january reissueslabel delta leisure follow rereleases hits compilation hits including paul ankas diana andandy williams butterflydespite brief glimmer hope house commons selectcommittee culture media sport urged government lobby foran extension across european union government acceptedgowers recommendation status quo maintainedother slightly less controversial recommendations included one thatthere limited formatshifting private copying right without levysuch oft touted blank tape levy hardware used contrary towhat many people think illegal copy cd ipod even whenyou cd question government accepted recommendationthat confusing rectified music industry view thisas thin end wedge arguing making one copy differentformat legal suggest copying ones mates also allrightthe issue already mentioned arises ofthis review extent government use law toenforce greater cooperation isps await interest proposalsfor expected new business modelsbut dont want suggest music industry nothing thisarea new means delivery music begun establish themselvesso record companies moving new business models payment toartists new usesit difficult find business models work financially forboth consumer copyright owner models trialled butwhich survive include microbilling download costs addedto phone bill perdownload payperlisten charges subscriptionsystems regular payment secures delivery music thesubscriber online seem ones emerging workable modelshow consumer chargedtrack downloadsfirst sale single track downloads system adoptedby itunes sometimes refinement customer buy rightto listen piece music limited period time buyit order keep permanently systems customer ownsthe tracks downloaded pays p per track p premiumversion tracks paid transferable portable devices canbe burned disk digital online store offers provide shopfronts smaller labels well facility label artist createits online store using digital back room services deals withonline retailers also offers tracks p download neither itunes nordigital offers subscription servicenapster offers p downloads also subscription service seebelowmpcom limited selection music offers free downloadand streaming mobile offers pertrack download rate tmobile one per download neither offers subscription servicesubscription servicesthen subscription model subscription services eg napsterallow subscribers access music want monthly feesometimes option purchase selected tracks p per tracknapsters service calls tethered downloads track istransferable portable players long consumer remains asubscriber subscription ends music longer available willsuch service appeal longterm collector napster subscriptionrate per month listen music computer per monthfor napster go membership allows download unlimitedmusic mp playeremusic offers basic package per month downloads ie p per song plus package month allows downloads ie p per song premium package permonth allows downloads ie p per song difficult seehow low levels viable percentage paid back rightsowners participants taken cut however takeup high enough would help compensate low per trackaveragevodafone says million tracks available charges perweek musicstation servicebut jury still viability subscription services bothhmv virgin retail known withdrew subscription dealsin napster scaled back offering yahoo real decidedagainst launching uk may part withdifficulties blanket licensing music copyright tribunal case wasstill ongoing first part settled may seemore services venturing subscription market fact remainsthough long way go educating music fans take thesesubscription services price level right weekthat vodafone looking may prove rich average music fanin us subscription models around longer model isstronger still early days perhaps significant thefar market leader apple itunes service embraced thesubscription model none subscription model services currently inthe market work apple technologyif pundits correct consumer pay access aservice includes music amongst content subscriptionmodel may way forward challenge getting thepercentage share music companies publishers rightpaying artiston side coin debate continues copyrightowner usually record company account artist newtypes usagenet receiptswhen online revenue first became reality royalties generallytreated similar flat fee per use charge might get fromlicensing piece music oneoff use eg compilation shareof receipts online also generally flat fee uses ataround way calculating shares income still tends applywith income linked subscriptions yet see anyonereceive full complete royalty accounting uses wouldlove see someone carry audit fear fraction thisincome may picked uproyalty basisthis model used early days downloads recordlabels began realise think accountto artist werent going end paying theywanted artists words greed kicked modelshifted royalty basis royalty rate applied aphysical cd sale price record label received fromthe online etailers aggregators mobile phone companies thismethod calculating shares income works downloads per usepayments effective subscription revenuedeductionsthen record labels went little decided weregoing apply royalty method calculate royalties withsome sorts reductions apply physical sales apackaging deduction dont ridiculous say therepossibly packaging deduction packaging onlinedownload right try telling record companies ofcourse called something different like back end fulfilment charges iethe cost setting online payment system credit card anadministration charge curiously percentage charged almostalways used deduct packaging aphysical cd saleterritorial issuesi feeling another battleground territorial restrictions atthe moment deals place apple individual recordcompanies restricting consumers buying music itunesonline store country residence way prices differ fromone country next first chink armour came april european commission issued statement objections sucharrangements violated section eu treaty free movement ofgoods looks like pressure follow heels launch ofthe iphone november apple struck exclusive deals onemobile phone operator country restricting access phone byusers networks german courts initially granted vodafone atemporary injunction forcing tmobile sell iphones tied asingle network despite apples exclusive deal tmobile however thetemporary injunction subsequently overturned exclusivearrangements reinstatedvodafone objected exclusivity agreement said customersshould able choose networks apple similar licensingagreements uk att us two weeks sincethe temporary injunction granted bbc reported tmobile hadcomplied injunction sold handsets without networkcontract euros although strictly complying price ahefty premium euro cost phone two year tmobilecontract response complaints customers tmobile nowpromised end two year contracts unlock phonesat charge however always internet technology wherethere way despite best efforts apple thephone companies tie consumers one provider programmes beencirculating online allow users unlock iphone beused network attempt dissuade people using theseprogrammes apple warned use could render phonespermanently inoperable releases software updatesthis issue unlikely go away us alone apple still faces twolawsuits people alleging preventing users unlocking iphonesis unreasonable restriction consumer choice would also seem topotentially fall foul european legislation encouraging free movement ofgoods would balanced rights individuals tomake contracts commercial terms acceptable themphysical cdswith proliferation online download services parallel debateon prolong appeal physical cds enhanced cd format wasseen answer well special edition releases valueadded content extra bonus tracks added fancier packagingor artwork major artists tend film additional material whetherthat live concert backstage interviews synchronised audiomaterial make new package may broadcast television soldas package dvd sold bundled together audio cd butthe hoped boost dvd sales sustained initial burstdvd sales falling away consumers view material onlineon pcs portable dvd players new format mobile phones theend december apple seemed close deal news corpto offer fox films itunes moment films availableon service disney company fox comes board thatmight help open doors film companiesthere remains feeling industry good product itwill sell sell physical cd format million cd sales ofthe eagles new album often cited example howeverwhilst would agree good music always find market isi think case physical cds appealing still certain sectors themarket know cd singles pop artists buck trend sell alarger percentage cd form usual download sales may well alsobe case fans likely buy eagles product somethirty years last released album likely older agegroup comfortable cd format online versionsmobiles mobile music playersalongside online download major new carrier format beenthe mobile phone consumption music mobile phones evolvedfrom ringtones full audio recordings ringtones ringback tunes fulltrack downloads media applications still big issue overhow ensure everyone gets fair slice cake basic issue withthe ringtone model many people sharing cakeout download tax man taken share largeproportion goes mobile phone service provider gets charge forthe time call takes download material plus bit extra thecrucial element provide story without whole thingdoesnt work middleman aggregator usually companythat deals individual rights owners employs technologythat allows conversion form downloaded andadministers collection payment proceeds people takethe lions share rights owners publishers orcontrol song case real audio ringtones soundrecording also copied owners sound recording theamounts companies receive songwriter artistperformerget share share usually based net receipts thepublisher record company receives depending contract theartists cases split case songwritersthe share could even higher still remains every download songwriter may receive less p issuesof ensuring proper payment whole question ecommerce betaxed also fraught difficulties thankfully outside thescope book intend venture online distribution youshould take specialist tax advicethe challenge lawyers see ensure fair balancebetween record company website company gets keep andhow much paid artistnew developments include much promoted iphone alsoservices vodafones musicstation subscription service whereby themobile phone owner gets unlimited music per week majorrecord labels many independents signed service theoutset nokia also music download store profile raising thesemobile services likely come promise include music playedvia napster musicstation services towards chart placings theofficial chart company resolved tracking issues vodafone claims itis aiming million subscribers end move away albumsare seeing potential switch away traditional albums cd wasliberating permitted sixty minutes worth material far morethan traditional vinyl tape formats hard artists hadto maintain consistent quality across twelve tracks fillingthe cd felt like consumer shortchangedradio tv highlights myspacetype pages emphasiseindividual tracks traditionally precursor persuading tobuy album consumer likely single trackdownload bundled album sign moment thetraditional albumbased model abandoned certainly allexclusive artist contracts still function round album model lateralthinking may see rise commitments based numbers individualtrackssingle sales risen highest yearly level since records begangrowing nearly according bpi ninety per cent allsingle sales downloads source music week article ben larder however pop artists like leona lewis mcfly take thatcontinue score significantly higher physical cd sales around contrast sales physical album cds october month may particularly badmonth december music week reporting sales ofalbums bounced back reach new high still amillion sales period trend still downwe also bear mind although single sales may increasedin volume mean income generated hasincreased percentage average download price aroundp plus consumer may paid physical cdsinglesocial networking sitesone interesting effects growing influence music industryof internet extent consumer starting drive thesort music wishes listen purchase recommendations fromonline friends influential hearing track radio one theside effects majority single tracks downloaded theinternet according music week survey current releases backcatalogue recent decades old interest old tracks boostedby appearance hollywood film influential television showlike gray anatomy ugly betty latest series back thefuture television series life mars see similar rise interest ins music original series generated music sthe phenomenon social networking site key part spreadof knowledge obscure old releases well music unsigned newartistsmarket analysts jupiter research reports users myspaceand facebook go buy music artists discover sitesthis sitting target marketing terms come nosurprise big boys investing sites potentially hugesource advertising revenueit measure popularity sites part thecampaign surrounding release album x kylie minogues recordlabel parlophone part emi group announced setting herown social networking siteslightly controversially facebooks owners announced launchof advertising model would enable advertisers precisely target aparticular audience new course loyalty card schemes suchas tesco clubcard many years analysed customerspurchases card order target special offers isslightly different would appear use information supplied usersof sites register sites like facebook verypersonal data indeed questions asked whether facebookhas right use information way privacy dataprotection legislationon positive side sites act new launch pad artists andas ar resource record label execs invariably case thatar people want direct myspace page opposed tosending cd new artist problem come back thesheer popularity sites means increasingly difficult findnew music sort good bad might argue havinga method target music like may bad thing evenif bring annoying banner adsof course next logical step site like myspace would tofacilitate purchase music direct website areviewing artists profile online moment possible youlink another site like itunes seems missing trick andwill sure rectified soon much smaller site bebo million users compared myspaces million users rising hasstruck deal itunes also introduced prospect anartist label customising page advertising choicesomewhat surprisingly seem taking share theadvertising revenue last though else going tomake moneyadvertising revenue holy grail sites october microsoft invested million facebook sum said torepresent stake company therefore values billion yet company broken even predictedrevenues put million microsoft otherpotential purchasers like yahoo clearly betting upswing inadvertising revenue microsoft wishes become major player webadvertising challenge dominance google facebook millionplus active users worldwide according elizabeth judge writing thetimes october part deal microsoft becomes theexclusive third party advertiser site suspicions beenvoiced microsoft get access personal data facebookusers another part deal facebooks owners need take care asthere many might turned closer association withmicrosofta slightly different variation theme networking siteslicethepie launched first half aimed unsigned actswhether new acts established ones without current deal ideais artists enter genre specific competitions online generate sufficientvotes music win guaranteed use makeand promote album dont win still generateenough offers support raise magic fans users thesite speculate success bands buying selling contractsin chosen artists described stock exchange forunsigned acts dan sabbagh times october fanswho invested bands get special access bands right afree download copy album finishedits meant source funding albums without traditional label andas talent source labels artists exclusive tiein thewebsite copyright create pay distribution fee per album back slicethepie artist goes signed biggerlabel label option buy distribution contract extrashares contracts awarded engage reviewing artists thesitecopyright infringementsbut sweetness light world social networking onseveral occasions music video rights owners cried foul withallegations unlawful use copyrights sites youtube andmyspace faced several lawsuits aggrieved copyright ownersyoutube owned google paid million october probably know youtubes usp allowing users upload anddownload content produced user usually funny videos still photosand occasionally disturbing images happy slapping kind frommobile phones also examples online bullying bothpupils teachers course suggest youtube condones butit part debate much control isps shouldexercise content sitesat time talks google youtube faced massivelawsuit universal music alleged site engaged copyrightinfringement large scale making universal music videos musicavailable site without consent copyright ownersthe lawsuit materialise time majorrecord labels decided spend money legal cases inthe early days pp services napster instead cut licence dealswith site allowing videos shownthere course potentially huge marketing advantages labelsand artists particularly engineer viral marketing hype anartists video acquisition google meant also potentiallyworthwhile taking legal action infringements continueduniversal began legal action myspace claiming largescale piracy music videos site seeking damages millionmyspace perhaps predictably argued merely conduit forthe users site induce encourage condone copyrightviolation universals response music video formed keybuilding blocks online pages communities users thereforeadded considerably value myspace business overall myspacesays remove illegal downloads seems theinfringement brought attention act proactively tomonitor content consistent line isps liable forcontent also point users agreements protect users fromposting offensive obscene abusive defamatory otherwise illegalmaterials response reactive proactive criticsremain unconvinced effective agreements many userswho click relevant box accept terms little knowledgeof agreeing may worth suing even aretracked downmyspace appear willing use filtering software checkuploaded music database copyright materials block thatdo necessary content avoid setting kind precedentyoutube also seems favour take notice approach whichplaces onus rights holders monitor site notify ofany infringements copyright owners argue search privacyfacilities site make difficult impossible track allillegal uses simple matter user repost offendingmaterial different tag youtube taken steps legitimisethe use copyright materials site witnessed blanket licensingagreement reached mcpsprs alliance collectionsocieties deal relates use material represented thesesocieties uk details licence deal revealedother includes onestop synchronisation mechanical licenceand requires youtube report every time video music used orplayed sum money paid youtube alliance theyhave revealed much alliance played sumslikely generated individual rights owners must however bemerit information gathered precedent onestop shop agood oneindividuals big corporations viacom continued snipeaway youtube throughout alleging varying degrees copyrightinfringements cases brought football premier league alleginginfringement copyright viacom alleges illegal videos onthe site claims billion plus damages opponents youtube allegethat business plan outset build business back ofmassive copyright infringement youtube business model depends onadvertising revenue popularity pages generating users aredrawn pages attractive content youtube features banner ads onvideo clips featured video day argument goes thesesites cannot interested clearing unlawful videos thepresence material makes site attractive users andadvertisers attempt address argument law says uspis liable acting purely host content premierleague litigation alleges youtube made shared unauthorised copieson servers dissemination therefore passivehost pure transient copying permitted bythe copyright directive clear need high level courtdecision alleged conflicts ecommerce directive thecopyright directive possible one cases even morerecent one sabam v scarlet referred prove testcasegoogle announced june would test new fingerprintingtechnology help trace illegal content indentifying unique attributeswhich missing would tend suggest copy illegal somecommentators see google taking responsibility content butrather using event technology make easier take downcontent infringement notified identifying otherexamples illegal content kind debate continuesmarketing onlineofficial websitesthe internet proved excellent means marketing brandbrands internetsavvy link online marketing efforts withthose record company efforts terms live workweve seen artists successfully sell concert minutes tickets areoffered sale website saying stopusing ticket agents make tickets available way therebycutting fees middleman selling tickets online artist orhis advisers also opportunity right permissions create adatabase committed fans keen learn artist hasplanned gives artist readymade mailing list casesnew customers inner sanctum website selectedinformation exclusive tracks visuals made available smallfee many artists use websites communicate directly fansin form online diaries blogs course always theissue ensuring website regularly updated many exclusive artistcontracts insist artist commits writing blog givingcopy regularly staff writer record company write one forthem others require artists record snippets sale mobile phoneringtones take part online chats fansa couple years ago concerned ensure artistsretained ownership domain names official websites recordcompanies dont insist ownership variations artistsdomain name even provide links artists orfanclub sites agree ownership control onlylasts term record deal make arrangements fortransfer names end deal cases requireownership one domain name artists name example anet org domain name happy artist retain othernames usually requirement artist provide linksfrom website domain name used official recordcompany website page artist however still recordlabels would like control aspects artists online presencesometimes artists clients really arent bothered andwho unlikely ever good website cases iusually resist record company rights exclusivelyduring term contract end contract rightsshould transfer artistrecord companies cases shown havethe resources skills create interesting even dynamic websites mostof major record labels focus heavily artist website meansof crossselling product cds dvds whatever activitiesthat artist may gigs personal appearances recordcompanies insisting models keen ensure controlthe websites revenues generated online eg ticket sales orsales tshirts also come things make anartists brand artist creative control look feel ofany website dedicated maybe also designersartworkproviders creative elementsa welllinked campaign effective promotionalmaterial contains website address website vibrant andinformative create receptive audience marketing material youwant get potential consumerswebsite design rights copyrightif artist create website may decide employ someone todesign website likely made many different elements allof could subject copyright legal protectionthe website words original could literary workwith literary copyright website doubt visualimages graphics could still photographs moving images orfilm could copyright made anumber computer programs also protected copyright thedesigner copyright original design drawings may alsohave design rightwhen commissioning someone else design website artist tomake sure rights cleared use website design sothat rights needs wants website youalso need find whether rights boughtout oneoff payment ongoing obligation pay use itspossible order use music sound recording youll topay royalty feeif person commissioned design website employee thenyoull copyright original work rights may stillhave clearedif ask someone isnt employed design websiteyou must make sure take assignment rights inthe work done could make condition thecommission fee could subject separate fee occasionally aroyalty designer may grant right use work websiteand example print design elements website sellthem separately posters otherwise part merchandising campaignsee chapter branding additional uses could subject aseparate feeassignments copyright confirmed writing writtenagreement also establishes rights terms shouldcontain confirmation designer necessary rightsfrom third parties use elements designhosting agreementonce website need find way make available toothers via internet could become isp set withthe necessary internet capacity launch site provide thatservice others isnt however way artists get theirwebsite internet usually arrange website sitehosted another isp possibly record company anyone goingdown route agreement host isp setting thekind service provided cost agreements arecalled hosting agreementsif youre trying establish website yourfans potential customers return need knowthat host supply reliable service reliability improving weall know websites hardware server goes aregular basis sites get reputation unreliable people areless likely go back fans potential fans wont bother go awebsite thats never available difficult use first thefault server second designer problemthe hosting agreement insist server functioningproperly least time provide compensation ifthe server agreed percentage time formore maximum agreed number hours dayif website used sell merchandise online youll need toknow credit card payment facility secure isp shouldguarantee hosting agreementthe isp also able supply reasonable amount backoffice support support staff process orderskeep databases date provide technical support alsosometimes referred fulfilment centresthe isp agree hosting agreement provide regulardetailed information number hits ie visits madeto website information need establish fansare whos likely want buy records merchandise concert tickets andso onthe website becomes onestop shop window world itsdesign reliability say lot good website enableyou target likely market greater precisionif considering selling records website needto secure payments systems place form online store orpage dedicated sales companies like digital eithercustom design online store provide skin seamlesslink website page digital website theywill sell records use services like dont forget yourcontract supply hosting agreement specifying thereliability service absolutely good online shop itis never opendata protectionif youre putting together data people electronically registerwith information commissioner details useful addresses youcant want data collect get permissionto use purpose collected youll haveseen magazine adverts websites particular product yousend product details youll invariably asked toregister fill form details product owner may wantto try sell products range sell list ofcustomers product preferences another company cant dothis without permission often box form haveto tick dont want information used way thisnegative consent technique lawful adapted online usealthough information commissioner favour tick abox want information rather way aroundyoull often find box checked unchecked block yourinformation used ways youre compiling database andyou dont comply rules passing information befinedif however data protection hurdles overcome database ofconsumer profiles information valuable asset yourdomain name subject anything contrary hostingagreement youll data collected relation websitemarketingone big challenges marketing online make sure fans cometo particular website found come back andover phrases bandied get eyeballsvisitors whether website sticky design website ofcourse crucial eyecatching userfriendly text used init designed features prominently first twentywebsites come key phrases used search informationusing one search engines like google yahoo msn artform specialist web designers usedthe website regularly updated isp host able toprovide regular access webmaster help put latest newsonlinethe website easy view key information beavailable without go several click layers itshould home page first page visitor website seesthe website different something willraise general noise online well youre davidbowie prince making records available online saying youredoing name brand well known enough guarantee pressinterest youre joe bloggs trying get noticed moreinnovativerising noiseone biggest challenges online world make potentialfans purchasers music know exist course someextent extension traditional marketing shouldalso ignore getting b even c listing radio stillessential artist looking commercial hit single salesdriving album sales adverts press interviews personal appearances allstill relevant also necessary consider online fans andtarget part campaign looked website andthat essential element online presence must also nowthink pages social networking sites like myspacefacebook bebo like concern ownsyour domain names also consider owns name areregistered networking websites web pages beregularly updated someone monitor sites accept friends whereappropriate update music available decide going maketracks available download streaming keep blog giglist date artist someone else someoneat record company make sure necessary copy theirjob otherwise tempted make things might present youin inappropriate waywhen myspace first started secret known itwas exciting customise website share friends nowanyone anyone myspace page remains site choice forthose looking music almost everyone unsigned artist orhas released latest single album think abouthow raise noisethere course spate firsts first artist make numberone without record deal first download number one single oralbum new stories artist sold limitededition album go didnt sell many gotpublicity might otherwise get band crimea gave awaydownload copies second album secrets witching hour theytold guardian done hope would help buildtheir fan base therefore increase income live workmerchandising sales music publishing royaltiesthere also good lateral thinking classical crossoverartist katherine jenkins new studio album rejoice promoted shortvideos shown uk doctors surgeries three times per houraimed older consumer captive audience whilst waiting theirturn flu jab whatever cover bases album alsoadvertised online backed online single release highprofile tv performancesbelieve wherever new service soon afterwardsyou find people setting business help make thatnew service specialist marketing people employ whatare called viral marketing techniques bit like oldfashionedwhispering campaign individuals employed hit certainwebsites tell mates tracks theyve heard videos theyvewatched youtube spread word secret gigs smstext messages people employed contract like anyother marketing person either flat fee without retainer byresultsthere also growing number services dedicated filteringmaterial get said want around forsome time online newspapers specify areas news areof interest extended music services similarlythe social networking sites realise danger ofcollapsing help users find looking whatthey might like hence launch myspaces owners online videointerview service called earwigwhat might seen kind master class done inmarketing digital era campaign around release ofradioheads new albumit first digital release purchasers set price theywould pay excellent move raising profile band andthe forthcoming release story reached far beyond music press toleading articles media financial sections broadsheets thiswas limited period time ending december musicweek reported november average price paid thirtyeight per cent paid minimum handling fee p butthis still much better strike rate estimated illegaldownloads music week reported website attracted millionvisitors first days following release interview thomyorke radiohead radio january suggested thesefigures correct declined give figures merely sayingthat band pleasantly surprised results campaignthe online release followed physical release xl december packaging release contains stickers allowthe purchaser create artwork idea already used togood effect beck designed graphic designers bigactive band ecologically aware therefore packaging isall recyclable release supported innovative televisioncampaign nevertheless still use traditional marketingmediumalongside main physical release special limitededition box setwas made available containing cd vinyl versions album aswell extras sold bands merchandisingoperation another classic piece brand marketingthey supported physical release traditional methods liveradio plays single releases plan twomonth tour support thealbum beginning may finally international digital release publisherswarner chappell combined first time recorded music masterand publishing rights placethe futureit always difficult predict music industry going willjust suggest possibilities major record companies survive buttheir role change become worldwide distribution marketingresource less emphasis finding developing talentthe government uk legislators eu pay lipservice need protect ip counteract piracy measureswill resourced superficial view truth thisis problem united music industry solve part commercialsurvival mechanism government believe industry needssubsidy tax breaks offered film industry notsupported request industry extend sound recording andperforming copyrightmusic become another product traded internet orincluded part service ever crowded world overabundance choice important ever heard abovethe noise result initiatives appear novel whenfirst encountered viral marketing peer sites myspace guerrillagigs notified sms etc new forms age old conceptof marketing find new angle work players necessarilybe traditional music companies might venture capitalists orcommunications companiesmajor record company ar people continue role partof role identification music commercialisedthis mean involved necessarily developingtalent instead utilise network connections producersmanagers studios lawyers bring projects alreadydeveloped hard work done putting together somethingwhich works creatively ar person acknowledge projectand assess made sell kinds numbers make itworth punt signing artistthe need quick return advances means first album tohave written recorded often almost final mix stage idea ofan artist successful third album survive majorcompany world longer term careers come artist licencesrecords paid much lower key record deal wherethe initial financial rewards lower possibility earning aliving hard workpublishers extent step development artists forboth major record publishing companies advances drop overall andthey looking greater range rights including live andmerchandising rightsthe album become less important individual tracks whatpowers industry commercially online people buy tracks like whichthey heard radio recommendations social networksites internet links artists similar music lead anincrease crossselling like amazons ebays customerrecommendations get used music packagedwith services advertsconclusionsartists use internet partner investors outside themusic industry distribute recordspiracy remains major problem one way make money frommusic ally another service like mobilephone companymarketing become increasingly important raising musicabove noiseartists try domain nameif commission someone design website make sure theygive ownership various elements make goodhosting maintenance arrangements data protection legislation extends information held hardcopyform well electronically data protection act cameinto force march also implemented database directive chapter branding introductionin following chapter im going look whole area ofbranding first looking merchandising deals get trademark benefits building reputation name toprotect next chapter looking sponsorship dealsbranding way use name logo reputation tobuild particular image public mind may think isntrelevant artist starting business true newartists going concerned getting first record deal inworrying brand however look many theboy girl bands imagemaking surrounds tv artists suchas il divo angels girls aloud revival take spicegirls successful us artists like beyonce able tosee putting bit thought branding even simplest level canpay big dividends everyone wants x factor winnerbut artists think getting basics branding rightfrom beginning simple getting good memorable nameand registering domain name two small cheap stepsyouve already started establish brandbranding big business growth online activities theinternet added commercial outlets brand moststraightforward building artists name reputation inorder help sell records concert tickets moresophisticated name reputation public image help sell otherthings necessarily ones involve music artists like spice girlsused names likenesses girl power image originally selleverything crisps soft drinks sweets reviving withtheir reunion tour used sellproducts supermarkets tv advertising also bear mind manysuccessful live artists make much money sales merchandise atthe venues online artist websites ticket salesthis idea branding isnt anything new successful companies haveinvested lot money company name logo establishingname recognition products think heinz sainsburys cocacolaor mcdonalds companies virgin turned branding art formsir richard branson realised value virgin name fact thatthe consumer immediately recognises familiar red whitecolours putting recognition together reputation beingslightly antiestablishment got consumers buy almost everythingthat name linked healthy dose selfpublicity sirrichard kept name brand public eyewith nine ten new artists failing make significant mark therecordbuying public strike rate record business appalling aswe saw chapter increasingly case record companies relyon excellent marketing achieve one big hits moremoderate successes keep going getting marketing campaignright therefore crucial youre chancein last seven eight years explosion numberof acts seek fame fortune traditional route hardslog gig circuit fast track appearances realitytelevision shows like twentyfirst century equivalentof talent show started popstars spawned hearsay therunnersup programme liberty result anunsuccessful court case change name liberty x butnevertheless went international success pop idolphenomenon telephone voting members public spawned alucrative new source revenue tv broadcaster maker theprogrammes final first pop idol contest audience million voting young gareth gates achieved chart success young continues feature largely arecording artist also live performer stalwart events asthe queens jubilee concert buckingham palace thcelebration concert trafalgar squarepop idol followed fame academy cross thereality tv programme big brother pop idoltype talent contest whichdid live long phenomenon simon cowell xfactor hit screens initially traditional competition lateteenearly twenties artists cleverly widened appeal muchwider audience categories older wannabes casesthe contestants least finalists required condition theirparticipation sign recording contracts often also sponsorshipand merchandising contracts tv production company takes piece ofall income cases tv company business amanager option manage successful artiststhe artist offered contracts time relatively littlebargaining power although tinkering around theedges basic deal usually already set nonnegotiable courseonce artist successful renegotiation becomes possibility aguaranteethis type programme also took us american idolseries huge success making tv celebrity judges assimon cowellthere signs british public lost appetite theseshows even though record sales winners generally much lowerthan achieved youngs first single apart isdifficult think uk winners finalists gone sustaina pop career beyond first single cases album albums areoften rush released capitalise winners fame ficklepublic moves albums rarely much present coverrecordings peoples songs difficult artist reallyshow capable build longer term career one uk artistwho may buck trend leona lewis various reasonswaited quite long time album released xfactor went top download physical album andsingles sales charts managed stay course running secondhighest weekly sales figures behind arctic monkeysone main drawbacks shows create anexpectation amongst many people easy get break get ontelevision get million pound record deal set life theexpectation rarely met reality yet even evidence onehit wonder winners finalists disappear without trace dampenthis belief many people fail realise huge amount ofwork effort time goes making true career business kttunstall worked six years around clubs got bigbreak later jools holland last minute standin many socalledovernight successes fact laboured away years honing craftuntil finally spotted reality television shows lead many youngpeople believe somehow entitled fifteen minutes offame everyone record really rather easywhy else almost everyone myspace plugging records thereisnt much quality around rubbish danger thattrue talent get lost noise hence need greater ever foran angle bring foregroundbranding artistsmany artists recognising value name brand areactively trying put position make somemoney brand may followed exactly thefootsteps spice girls pick choose products wishto involved example clothing shops rangesto greater lesser extent successful artist always going abrand sense name people recognise moresuccessful artist likely name likeness andimage recognised members public like admirethat artists reputation theyll want know buythings tell like books magazines recordstheyll buy products name likeness calendarsposters screensavers tshirts items clothing artist isassociated computer game new phone fast car itemsbecome desirable manufacturers goods pay theassociation cool brand witness also number perfumes beingendorsed celebrities beckham perfumes forexample part branding process involves merchandising dealsfor products taken steps early could afford toprotect brand easy means stopping others fromcashing name without approvalcrossmedia branding becoming increasingly important beenshown consumers spending time online reading andresearching well entertained branding strategy ignoreonline uses least artists official website dynamicand regularly updated labels using linkage wellknown artistbrand website hosted label cement relationship theartist share revenues products bought website asmobile ringtones video clipsits usually good idea use name taglineslogan whichcould title new album name tour imageryand logo across forms marketing ensures consistent messageand enhances brand make sure media carry name andcontact details check online links sites work well linkto website carries consistent messageif youre considering linking sites view drawingtraffic site may agree share revenue thatsite example link site supplies mobile ringtones andcustomers come site buy latest record youmight agree mobile ringtone supplier pay percentage ofthe value sale kind referral fee vice versaif name likeness logo one trademarked canapply register trade mark marks names registrable itstoo common name descriptive something trade markregistry wont let register iteven havent got trade mark registered someone tries passthemselves order cash reputation resultsin loss damage means try stop iscalled action passing offif company wants use name promote product willdo sponsorship deal lend use name may agree toprovide services recording single performing anadvert turning trade show event give money andsometimes goods services airline tickets cars return seechapter fans looking information buy yourrecords look name arent usually going startlooking record company name fact many fans may know orcare label records come long find copies ofthem record shop online partly record companies areconcerned least control artists websites domain names afan going search artists name wanted find informationon tim westwood internet would search westwoodrather record company mercurydef jam recordcompany websites getting better first tended becorporate affairs services information provided intendedfor companies businesses theyre generally amagazine format news major artists label broughttogether one place links specialised websites many ofwhich owned put together artist management teamthese links open many new possibilities marketing artist manynow also require artist submit regular updates blog diary ofwhat artist tois listening towhat films like etcis branding good idea thought ubiquity thespice girls taking idea far believe neverunderestimate publics interest inside story behindthescenesglimpses artists careful avoid overkill someartists whole idea anathema artists know workon building name reputation order sell records somethough think theyre somehow selling put name toother products selling soul obviously personal thingsome artists particularly boy girl bands relatively shortshelf life new favourite comes along embrace branding orderto make much money quickly others arecontent limit branding activities tour merchandise sponsorshipdeals help support tour would otherwise make loss comesback game plan see chapter ive also worked artists take sponsors merchandisersmoney put charitable funds rather spending themselvessome make point telling public done others keep itquietis sell dont think right dont ithowever come credible refuse entertain formof branding remember youre already extent whenyou use name promote sales records tickets gigsthere many artists bands whose image doesnt easily lend itselfto selling loads posters tshirts whose image going tobe user friendly familyfocused adverts im thinking ofthe death metal bands fine dont waste time money onit also dont name associated every product thatcomes along indeed probably wise public willquickly tire products choose associate beselected overall game plan mindif decide merchandising deals name logo orlikeness also need decide far youre prepared go protectingthat merchandise pirates inevitably come along try tosteal market often inferior products even dont domerchandising deals may find pirates know artists thathave decided example merchandising deal calendarsonly find unofficial versions appear shops anyway aninteresting side note least one enterprising charity whichteams artists use illegal pirate merchandise seized atthe artists concerts supply disadvantaged children africa doesntcost artist anything may little bit good along waymerchandising dealsin simplest form band involved merchandising selltickets gigs band name attracts fans bought therecords want see perform live ticket gig isbought back band name bands core business isperforming live band name used sell records othergoods like tshirts posters time live concerts aremaking money sales records see chapter touring theconcert well attended artist may also sell plenty merchandiseeven credible artists usually tshirt poster available forsale gigs dont offer something likely fanswill get pirates outsidein entertainment business merchandising big business foryears people buy tshirt football strip video game theduvet cover bearing name image favourite cartoon characterfootball team pop group disney manchester united football club aregood examples know theres lot money made frommaximising use name likenesshow go getting trade markbefore begin use name sell merchandise outside corebusiness selling records essential name logo thatseasily marketable starting get reputation thatpeople relate game plan fair amount ofmerchandising think distinctive name logo thebeginning know difficult find name one else hasthought saw chapter check thoughtmust go making logo distinctive possibleif youre going chance holding pirates need toprotect rights name logo far possible want toprevent others jumping bandwagon manufacturing unauthorisedmerchandise satisfy market demand youll need housein orderif going go trade mark protection earlyonce career started take wait long may betoo late important get trade mark protection early possibleelvis presleys estate able protect use elvis name formerchandising registered trade mark uk waited untilten years deaththe elvis presley casein elvis presley enterprises inc successors estate ofelvis presley filed uk trade mark applications elvis elvispresley signature elvis presleythe uk trade mark applications accepted trade marksregistry opposed sid shaw trader whod beenmarketing elvis memorabilia uk since late thename elvisly opposed registration marks theelvis estate grounds among others conflicted sidshaws prior trade mark registrations elvisly theregistry upheld estates applications mr shaw appealed highcourt allowed appeal judgement quite criticalof character personality merchandising general court decidedthat public didnt care whether elvis presley memorabilia wasapproved estate elvis presley estate took caseto court appealthe court appeal refused estates appeal refusedregistration three trade marks court concluded trademarks distinctive evidenceproduced estate use marks uk mighthave indicated marks become distinctive estate ofelvis presley minds public therefore reason atall marks registeredthe wet wet wet casethe courts shown arent prepared interpret trademarks act narrowly favour someone registered trademark band name one example case involving band wet wetwet bravado mainstream case bravado rights trademark name wet wet wet bravado asked scottish lawequivalent injunction ordered mainstream preventit infringing trade mark mainstream publishing andmarketing book entitled sweet little mystery wet wet wet theinside story mainstream argued using wet wetwet trade mark sense rather used describe thesubject matter book also said werent suggestingin way published bravado somehowofficial bravado argued couldnt prevent use itwould meaningless trade mark couldnt thenstop used merchandise relating bandthe court decided words used course oftrade refused grant injunction said would beinterpreting meaning trade mark act narrowly wereso interpreted mention group name could aninfringement trade markthe saxon casethe area trade marks band names also recently reviewed bythe high court case byford v oliver dawson thiscase involved use name saxon biff byford originalsinger british heavy metal band byford bandmember since formation late steven dawson andgraham oliver left biff byford continued member theband numerous new lineups always called saxon oliver andgraham continued perform used variety names oftenincluding names reference saxon oliver dawsonnever challenged byfords right use name saxon theyregistered saxon trade mark attempted prevent byfordusing namebyford applied trade mark registry trade markdeclared invalid basis registration obtained inbad faith trade mark act dawson oliverwere guilty passing misrepresenting theirtrade mark saxon byford real saxon byford failedto trade mark declared invalid registrar deciding thatwith band members may claim bandsname first come first served rule regard registrationbyford applied high court overturned registrarsdecision declared oliverdawson registration invalidthere formal agreement original band membersgoverning use band name mr justice laddie held thecircumstances band name must owned original bandmembers partners means band partnershipwas split member would name unless formalagreement governing use however judge held thecircumstances dawson oliver abandoned rights thegoodwill ownership saxon name owned bybyford new members bandthis suggests bands must written agreement governingownership band name otherwise band splits nomember group members could use band name withoutagreement one original members may wish tocontinuehow apply trade markyou dont already rich famous register trade mark inyour name logo fact saw elvis case dangers inwaiting long apply trade mark soon afford youshould think apply protect name ofyour brand worldwide would expensive start usuallyadvise apply register name home market examplethe uk britishbased band places orhope gain market records merchandise examplethe us europe japaneach country special rules registration trade markand many cases application register trade mark one countrycan help applications parts world example therules present allow backdate application trade mark theus date uk application provided apply within six monthsof uk application apply uk trade mark registration july december apply us still backdate july making application trigger trade mark protectioneven takes year get registration trade mark andif granted backdated date application also givesyou priority anyone else applies register trade markin similar name logo however specialised areaand take advice trade mark lawyer specialist trademark agent lawyer put touch trade mark agent agood music lawyer working knowledge trade mark lawwhile may happy leave manager sort foryou remember name registered name notthat manager record companyonce youve decided countries youd like apply trademark finances permitting decide types product orparticular goods want sell trade mark countriesgoods services split trade mark registration purposes classesand important make sure cover relevant classes goodsand soon possible add classes later run therisk someone selling goods name class haventprotected example may applied register trade mark forthe class covers records class covers printed materialsuch posters theory someone else could apply trade mark thatarea get whole area passing also usuallyas costeffective get costs saving applying several classes atimea registered trade mark distinct advantages unregisteredmark actions stop infringements registered trade marks generallyquicker costeffective youre relying unregisteredrights registered trade mark puts world notice rights aregistered trade mark attractive merchandising companies givesthem monopoly goods mark registered givesthe merchandising company incentive deal youpassing offif havent registered trade mark uk try relyon common law right passing order protect name andreputation youll prove goodwill inthe name may case youre unknown havent yet got areputation goodwill name show someone elseis trading reputation passing using yourreputation confuse public authorised youas well goodwill reputation also show thishas actually caused confusion mind public resulting damageor loss example band using name oneconfusingly similar might advertise tickets gig town asyour planned gigs fans might buy tickets thinking theyre coming tosee loses ticket sales might possibly damage yourreputation band isnt good haveestablished reputation name particular area question ifyour name associated records someone trades ora similar name area clothing dont areputation less likely confusion mind publicone famous passingoff case involved pop group abbathe abba casea company called annabas selling range tshirts pillowcasesbadges goods bearing name photographs bandabba band didnt copyright photographs andannabas obtained permission copyright owners thephotographs use band rely claim passing offabba lost application injunction preventing sale becausethey unable show existing trade goods orany immediate likelihood one started judge also went tosay thought one reading adverts goods receivingthose goods would reasonably imagine band given theirapproval goods offered felt annabas catering apopular demand among teenagers effigies idols wordshave often repeated later casesits clear case establish already atrade area question could prejudiced areasonable likelihood starting trade youre seriouslythinking merchandising sooner rather thanlater setting ready starting trade forexample commissioning designs talking merchandise companies ormanufacturers applying register trade mark well advance ofwhen want start business get around pitfallshighlighted abba casethe p diddy casein september dj called richard dearlove reached settlement inhis case sean combs aka puff daddy aka p diddy preventhim changing name diddy dearlove successfulrecord producer claimed using name diddy ukfor dj activities since high court action settled thebasis sean combs agreed shorten name agreed paydearlove lieu damages legal costs estimated mr combs agreed advertise offer provide orcauseprocure others advertise offer provide goods servicesunder reference word diddy also undertook toremove uk materials articles custodypower control use would contravene undertakingunfortunately end matter casecame back court mr dearlove claimed sean combshad breached settlement agreement time successfulas judge rejected claim early judgement ordered thematter tried full trialmaterial relating sean combs album press play appeared onmyspace youtube website wwwbadboyonlinecom whichfeatured name diddy six tracks album contained referencesto sean combs diddy dearlove claimed promotion underthe diddy name uk contravention settlement whilst thejudge made important observation placing trade mark theinternet location outside uk could constitute use markin uk also recognised fact lyric one thesongs album contained word diddy could also anadvertisement goods services uk could havebreached settlement particularly many artists use lyrics toassociate various goods services didnt meanthat every reference product service lyric potentialbreach someones trade mark would depend lyric wasused whether intended promote product service thereason judge thought matter full trial hecould tell without hearing evidence whether materialuseof lyrics something within sean combs control wasthen could well found breach settlementthe importance case emphasise global nature internetand care used infringe persons trade mark anothercountry making something available internet one country whereit wouldnt breach could viewed another countrywhere problem test would consumer infringingcountry thought advertisement reference trade mark wasdirected also recognised lyrics could used sell otherproducts well help promote artist new recordings sowhen deciding someone advertising particular namewe need think laterally outside might normally thought aspromotion eg ad poster celebrity interviewthere run cases personalities taken legalaction adverts believe play voicesinging style orimagetom waits casetom distinctive gravelly voice felt televisionadvert opel cars featured singing voice style closeto coincidence claimed car company haddeliberately used soundalike one tv ads imply hehad participated marketing campaign sought injunction tostop ads asked award least damagesearly reported reached outofcourt settlementthe details known mr waits indicated willdonate money receives charity settlement came almostexactly year waits similar court case spain wherevolkswagen used soundalike tv ad also million court judgement past us company fritolaywho used impersonator mimic voice youd think theseadvertisers would learn means business famously criticalof artists take sponsorship money big business isparticularly galled voice used types ofadsdavid bedford caselate dave bedford brought action injunction againstthe company targeting uk directory enquiries marketwith number using two runners style hair andmoustaches singlet shorts david bedford successful runner thes race director london marathon claimed wasbased image company behind campaign initially rejectedthe claims agreed settle matter making slight changes thelook characterother remediesif cant rely either trade mark remedy passing thenyoull see theres infringement copyright examplein design possibly theres false description goods thatmight unlawful trade descriptions act conclusions protecting nameclearly getting registered trade mark protection best way go aboutprotecting brand youre getting started probablywont money spend protecting band name balance hasto struck youre ultimately successful havent applied trademark may end kicking others cash name andmarket unauthorised products apply late may late inthe case elvis hand often certain whether anartist ultimately going successful enough justify expense asensible thing would register trade mark one twoclasses including records course perhaps one twocountries first add countries classes things developits also worth bearing mind record company may advance youthe money make trade mark applications dont want yourrecord company trade mark make sure application theregistration name even offer register onyour behalfas weve already seen area ecommerce theres also greatdeal mileage registering domain name among otherthings gives control doorway official information andwhat offer registration cheap quick please dontforget need reviewing every couple years one recordcompany shall remain nameless arranged reminders fordomainname registrations go one email address owner thataddress left company one seems thought check themailbox redirect mail least one domain name registration lapsed ata crucial marketing moment bought back open marketunauthorised unofficial merchandisethe line arguments saw developed abba case wasexpanded case involving spice girlsthe spice girlsthe spice girls applied injunction italian publisherpanini unauthorised sticker book stickers entitled fabfive time spice girls trade mark registrations andin fact probably wouldnt helped becausepanini careful use name spice girls anywhere inthe book stickers spice girls trying use lawof passing protect bands image argued even thoughthe words spice girls used book clearly themthe book didnt carry sticker unauthorised arguedthis amounted misrepresentation spice girls authorisedor endorsed bookthe judge swayed arguments made differencewhether book marked authorised official refused togrant injunction consequence decision company putsout unauthorised calendar featuring pictures artist band thenprovided made clear calendar officialblessing band doesnt reproduce copyright wordslyrics orphotographs without permission wouldnt passing nora breach copyright rights judge decided even use thewords official wouldnt made case passing becausethe product clearly indicated approved artist thisparticular case spice girls trade mark application pendingbut hadnt registered couldnt rely arguing therehad infringement trade mark good example ofwhy important registered trade mark youre going tryto put stop sale unauthorised goodsyou might forgiven thinking cases involve millions ofpounds interest megastars employ people todo well true usually big names thathave inclination money bring cases court protecting yourname start low level like preventing pirate merchandisersfrom selling dodgy tshirts posters outside gigs stopping anotherlocal band cashing hard work youve put starting makea name yourselfhow go getting merchandisedealyou may start producing small range tshirts sell atyour gigs get printed locally put temporary stall inthe foyer venue sell may also sell offyour website clear sell enough make money youmight approach merchandising company largerscale merchandising company could big multinational company ora small independent company get names merchandisingcompanies directories music week also getrecommendations mates bands lawyer accountantor managerif youre starting sell larger venues regular gigcircuit merchandising companies may approach booking agentif could try concert tour merchandisebefore deciding theyre right retail mailorder merchandisingas wellthe merchandising dealif registered trade mark increase appeal amerchandiser however merchandise companies still interested inyou even havent got registered trade mark youre sufficientlywell known run commercial risk producing merchandisefor sale merchandise company take view whether isthe sort image sell particular types merchandise willknow image sell tshirts posters gigs also selleither merchandise different range products retailstoreseven quite small acts often shift reasonable numbers tshirts tofans gigs mail order website theres steadyturnover merchandiser interested deal obviously youonly sell two tshirts month close family thengetting merchandise deal going nonstarter case youshould looking would want wellobviously keep profit getto keep however awful lot work involved mailing themerchandise fulfil orders ensuring youve enough products tosell gigsif things start go moderately well youll probably need employsomeone look side things youll also need adeal company make clothing products yourdesign youll responsible selling either mail orderonline selected retail outlets local record stores yourgigs youll need able keep check quality productbeing produced something salesman able market thegoods distribute youll need make sure orders arefulfilled promptly accounts properly kept quite tallorder even get keep lions share profits wonderthen many bands find specialist merchandising company forthemwhat typical merchandising dealobviously merchandise deal different itsimportant use lawyer used sorts dealsthere however points issue every merchandisingdealterritoryyou onestop worldwide deal one company yourmerchandise needs series deals different companies fordifferent types goods example could deal onecompany merchandise sell gigs like tshirts sweatshirts capsand deal could limited uk europe companywas big enough major markets could worldwide deal ifthey werent could another deal us probably acompany specialises us marketplace talking aboutmerchandise wider sense marketing name likeness sweetpackages computer games crisp packets youll deal thecompany manufactures goods deal could aworldwide one one specific countries youre going aworldwide multiterritory deal make sure merchandisecompany resources look interests properly eachcountry find subcontract work subcontractor reliabletermif youre series concerts could merchandise deal thatwas linked dates world tour variouslegs likely would deal one merchandise company thatcovered whole tour however could deal one company tocover period uk european legs another company orcompanies parts world isnt common difficultto administer police term contract would duration ofthe tour particular leg itif youre merchandise deals sell goods shops mail orderthen term likely fixed period time probably aminimum one year three years morethe money merchandising company investing inmanufacturing costs andor upfront advances longer term theyrelikely want return longer term better chances beof recouping investmentsome merchandising deals linked recoupment aproportion advance term deal runs happens thiscan dangerous sales dont live expectations themerchandising company isnt good would like bestthing types deals right get dealafter say year paying back amount money unrecoupedthis give flexibility get deal isnt working andinto one mightrights grantedthe deal usually licence rights name likeness aparticular period assignment rights rights granted theright manufacture reproduce sell certain products featuring yourname andor logo registered trade mark youll required togrant trade mark licence merchandising company use trademark specific goodsthe rights granted could particular products types ofmerchandise days trend towards limiting granting rightsto particular products could grant right use name likenessor registered logo tshirts keep back rights productssuch calendars posters caps onyou might grant right use band name andor logo someparticular types particular product keep rights back formsof product example could grant licence ordinarytoys keep back rights use name musical toys couldthen merchandising deals types toys one ormore companies music going used musical toysthen publisher license right include music foreither oneoff buyout fee fee ongoing royalty seechapter record companies may variation merchandising deal anartist use voicecatchphrase downloads sounds mobiles thismay included record deal deal older type itmay covered may need separate deal done thatthe first flush enthusiasm quirky mobile ozone downloads dieddown isnt clamour years back muchmore likely exclusive licence recording deal recordcompany require artist record specific clips uses andwill paid usually percentage record company earns fromselling clips middleman aggregator offers thedownloads public via communications company areseveral parties take cut record company let alone theartist sees share deals lucrative earner everyone hopedthey going provide additional revenue source forthe record companies instead voice extract one yoursongs used aggregator also clear right use musicand lyrics publisher creating additional income stream thepublisher always done always easy track whatincome earned new revenue sources arehowever companies royaltyshare developing software totrack usage last penny time hoped properaccounting take place across new sectorquality controlonce youve decided goods going feature name likeness orlogo make sure goods highest possiblequality dont keep tight hold quality control could dopotentially serious possibly irreversible damage reputation ofyour brand tshirt featuring name logo falls apart thecolours run first wash going reflect badly youthe fan bought tshirt wont care another company thatmade theyll blame give reputation selling shoddygoodsthe contract usually say merchandising company mustsubmit samples designs approve theyre making goods toa design youve given make samples thatdesign youre satisfied quality sample youauthorise full production go ahead even rightto inspect product short notice insist upon improvements thequality dropped unacceptable level contract contain aguarantee product least quality sampleyouve approvedits also important merchandising company makes sure whatit manufactures complies local laws toys childrensproducts particular stringent safety standards may want toinsist manufacturer takes product liability insurance carefulalso company subcontracts processes subcontractormust also stick rigid quality controls ensure product safety carryinginsurance damage caused productif design one created either merchandisingcompany third party make sure assign rights design toyou dont may find designer comes knocking yourdoor money may want use design artworkfor album sleeve saw chapter made sureunder record deal acquire merchandising rights thatartworkmethods distributionthe rights grant limited certain types products butalso certain methods distributionyou might grant mailorder rights limit rights sellingmerchandise retail shops gigs specialist companieswho good tour merchandising arent good selling goodsto retail shops vice versa also specialist etailers areexpert selling online important find right company forthe right method distributiondepending means distribution basis youre paidmay also change varying straight royalty flat fee percentageof net receipts doubt ask breakdown end figure isarrived ask details taking cut top yousee share seems high wrong challenge ask furtherexplanations developing area moment noabsolute right wrong way account business decision bechallenged negotiatedadvances guaranteed minimum paymentsyou may get advance youre going earn sales thegoods advance recoupable earnings weve alreadyseen types music business deals advance isnt usuallyreturnable dont sell enough recoup advance one exception isif youre merchandising deal live tour dont someor concerts expect asked repay allof advance tour agreements also say advances repayablein whole part ticket sales concerts dont reach particularlevel example may get fixed sum sometimes called theguaranteed minimum isnt repayable unless cancel whole tourthen payments made dependent either onyou particular number big stadiumtype concerts youselling minimum number tickets whole concert tour youdont gigs dont sell enough tickets dont get thosefurther paymentstheres also another catch tour merchandise agreements isthe one touched contract may say termcontinues youve earned enough sales tour merchandise torecoup either whole advance guaranteed minimum arentcertain youll able within reasonable time youllwant option get paying back unrecoupedamount dont option tour isnt big success thenyou could stuck tour merchandising company nexttour without prospect advances get youcan try find someone else deal tour merchandise thenext years tour may even get pay another advancethe advances could payable full sign deal anumber instalments linked concert appearances sales productwith say total payable signatureroyalties licence feesyoull usually receive percentage sale price goods aroyalty go first recoup advances youve already thispercentage either calculated gross income usually onthe net income certain expenses deducted deductions includevat similar sale taxes cost manufacture printing goodsand costs distribution sale online sales theremay also charge things like secure credit card systemswhen youre tour merchandising deal commissions fees areoften payable owners concert venues right sellmerchandise premises usual merchandise company odeduct payment gross income companies also try todeduct expenses including travel accommodation costs theirsalesmen unspecified expenses im convinced theseshould deducted good rule deductions look atthem carefully ask justification deduction ifnecessaryobviously youre paid percentage gross income willbe much smaller percentage percentage net fee gross would equal net incomedepending deducted gross example agross income sales tshirts featuring name per tshirt royalty would net income royalty based net income would accountingaccounts usually delivered retail mailorder deals every three orsix months obviously point view youll want accountedto quickly often possible right go andinspect books account regularly least year alsobe able go stock check time timemerchandising deals tours different usually touraccountant check stock sales sheet daily basis hewill expect paid within short period time preferably within hours gig latest within seven daystrade mark copyright noticesif trade mark registered contract confirm theywill include trade mark notice product copyright notice foreach designtermination rightsas contracts merchandising contract say whatcircumstances deal brought end include apersistent failure quality standards failure put product themarketplace agreed date material breaches contract forexample dont account company goesbust stops acting merchandise company also theright end dealenforcementthis could subject chapter right contract shouldsay whos responsible tracking infringements rights theresusually requirement merchandising company reports anyinfringements trade mark copyright come across eachproduct much interest keep pirate activities aminimumthere civil criminal remedies stopping infringements youcan also enlist help trading standards authorities hm revenueand customs often authorities prepared seize unauthorisedproducts bearing name registered trade mark even without aregistered trade mark trading standards authorities sometimesprepared rely trade descriptions act order make seizures andbring prosecutions experience trading standards authoritiesare invaluable help clearing streets counterfeit products itspossible provide hm revenue customs trade mark registrationdetails assist identifying seizing unauthorised productsentering country ports airportsnew modelsmerchandising indeed sponsorship income covered nextchapter often forms part new deals offered recordlabels socalled models dealt fully thechapter recording deals recap record company orproduction company may offer deal get access toadditional sources income might shares publishing shares ofconcert ticket revenue often shares merchandising sponsorshipincome new artist sponsorship income likely quite small butmerchandising income may significant artist growing loyalfan base plans tour regularly record company may want tobe paid share income sources money dothen percentage want vary somewhere around asmuch negotiable percentage could grossincome would dangerous artist deducting recordcompanys share cost making distributing merchandisethere little profit left much better would base percentageon net receipts profit expenses repaid somecompanies insisting income shared life deal butyou may want try limiting advances recouped orto say end first contract period cases record companywill actually want take merchandising rights exclusively exploitthem avoided unless significant financialincentive record company controls income fromthis source artist receive money advances including record advances recouped issues like creativecontrols also dealt cases income sourcescontinue end term record deal reducingpercentage period time deals work financialupside take care tie long fortoo high percentage come really resent years thelineconclusionsmerchandising use name reputation sell goodsnot everyone want lots merchandise deals noteveryone position build name andreputationconsider registering trade mark name logoif havent got registered trade mark reputationyou may able stop people trading name lawsagainst passing offmake sure copyright designs commissionmake sure right use design featured albumartworkthink limiting territory rights grant elvis presley trade marks rpc bravado merchandising services ltd v mainstream publishingedinburgh ltd fsr details process involved outlined governmentwebsite wwwwebdbpatentgovuk uk classes goods services common onesused music business class records class printedmaterial programmes posters class clothing lyngstad v annabas productions limited fsr chapter sponsorship introductionwe saw previous chapter artist protects name registeringtrade marks taking advantage laws passing ofcopyright protected name brand choose far toexploit brand decide use sell records andvideos promote live performances many artists choose dojust dont really go outside core area activity isfine one saying may need look somekind merchandising deal bolster income live work manytours would make loss werent underwritten merchandising dealsand often sponsorshipsponsorship kind extension merchandising deal sponsoruses association product increase awareness ofthe product encourage people buy sponsor providessponsorship money return right trade importance aparticular sector market example sponsor soft drink mightlook sponsorship deal pop artist would appeal teenagersan alcoholic drinks manufacturer hand would want sponsoran artist appeal overeighteens particular theirearly twentiespepsi keen sponsor artists recent years spice girlsreleased track pepsi single featured track pepsi ad ontelevision robbie williams done sponsorship deals lloyds bankfor royal albert hall concert several deals smart carsincluding premiere film fleet smart cars availableto ferry celebrities premiere corrs also associated withlloyds bank television ads recently destinys child withmcdonalds mcdonalds also launched big mac meal tracks thecustomer purchases big mac gets access code worth one freedownload connect music store also whole area acompany features previously unreleased track released asingle car companies favourites ministry soundreleasing track jacques body featured animatedrobotic peugeot car advert gut records released diet coke soundtrackas single positiva releasing vocal version lloydsbank ad featuring sarah cracknell early pepsi max featuredmusic written exclusively black eyed peassponsorship deals often done concert tours youll often see thename sponsor ticket example band x sponsored bycarling arrive gig youll find banners andposters sponsors may one sponsor couldhave main sponsor title sponsor tour another theprogramme tickets another soft drinks sale venueand yet another alcoholic drinks venues often restrict extent towhich allow outside sponsors plaster brands thevenue see chapter interestingly time live scene seems tobe vibrant carling recently confirmed ending nineyearsponsorship reading leeds rock festivals carlingweekend carling also longer official lager festivalsthe managing director company rights two festivalsfestival republic said mutual agreement partiesfeeling time pursue new opportunities may see newsponsor board southern half event may well revert itsoriginal name reading festivalclothing companies often loan clothes photoshoots liveappearances return suitably prominent namecheck youre luckyyou sometimes get keep clothes diesel similar youthbrands looked sponsorship past upandcoming newdesigners trying break uk market may keen adeal kinds deal closer would call endorsements thanpure sponsorship let known support endorse aparticular product example might mention interview youdo shopping particular shop fashionable notting hillsuddenly wannabes queuing door shop partly theoffchance youll also try copy look retailersor designers may pay goods hard cash kinds endorsementshow find sponsorthere number ways get sponsor possible band toapproach designer company ask sponsorship shoe companywho makes doc marten boots least one occasion know ofsponsored artist following direct approach managercompanies want promote supporting encouragingyouth culture course music plays huge part suchsponsorships clothing companies commonsponsorship agentsapart direct approach another means getting sponsorship dealis approach specialist agent represents one two bigcompanies looking suitable projects sponsor act youand go potential sponsors behalf lists agenciesin music week directory magazines like audience also thetried trusted wordofmouth recommendation friends othercontacts business youre sufficiently successful brand thata sponsor might interested agents likely approachyou manager direct things dont feel tograb first thing comes along youre desperate funding tounderwrite shortfall tour means deal keep shortand see things work get deepwhat chargeif employ agent find sponsorship deal willusually take percentage deal percentage canvary gross sponsorship income example ifthe agent brokers deal drinks company sponsor next uk tourand drinks company prepared offer privilege theagent would take fee thesponsorship made partly wholly goods rather cash agentwill expect get percentage cash equivalent value ofthose goods drinks company offer cash worth free lager give away fans agent acommission would still want cashthe money usually paid agent time youre paid ifyoure paid two instalments half beginning deal restwhen finish tour agent would get fee upfrontand get balance moneythe agent may want exclusively employed agent aperiod time usually year could longer thattime wouldnt able use sponsorship agents haveto make sure good enough first advantage get anexclusive arrangement incentive agent bring deals toyou opposed anyone else disadvantage cant go toanyone else dont get particularly good deals get anagent nonexclusive basis give flexibilityif agent gets deal tour sponsorship sponsorcomes back sponsor next tour agents insist thatthey also get commission repeat work even nolonger exclusive agent time second tour logic thatthey made initial introduction benefit followupi see logic obviously factors also play part yougetting followup offer next tour professional wayyou dealt first deal benefits sponsor saw camefrom efforts increased fame meantime itmight acceptable agree pay agent short endof relationship would try draw line say six totwelve months subject negotiation take onthe agent could agent worldwide solely responsiblefor getting sponsorship deals around world many sponsors aremultinational companies may bad thing thinkyour agent doesnt necessary overseas connections might justagree act uk decide use agentsoverseasif agent representing company comes offer ofsponsorship wouldnt expect pay fee brokering thedeal circumstances paid company concerned ifhe also looks payment would right resist unless therewere good reasonsethical considerationsno dont worry im going go serious talk yourmoral values well actually suppose bit want thinkabout whether youll accept sponsorship company offers itand merrier going select sponsors onmoral ethical groundswhen decide game plan look sponsorship deals youhave think effect brand yourreputation narrow line drawn using sponsorship byselected companies enhance brand accused fans ofselling products choose associated mustcomplement image youve established example ifyoure aiming teenage market may alienate perhaps theparents supply pocketmoney associated alcohol ortobacco hand cultivate badboy image wont wantto associated cuddly toys exception would yourplan reposition marketplace example wantedto move teen preteen market might choose sponsors ofadult products show youre growing also consider themoral sensibilities fans could alienate large proportion ofthem manufacturers gm foods fur company yoursponsor mixed reaction news u sponsoring aspecial customised black ipod thought astute cool movewhilst others thought odd band averse sponsorshipdeals one stage careerdont forget companies youre sponsored alsoexpect things wont want anything bringtheir brand disrepute show bad way bear mindwhen negotiating sponsorship deal need careful youkeep even balance expectations feel alluncomfortable youre asked giveyou signal either try change little pull dealyour public fickle thing difficult know whetherthey accept youre par course theyexpect fans think youre selling yourpress people going quite bit redress balancethe issues need think whether want beassociated companies involved either directly indirectly inactivities causes disagree example youre acommitted vegetarian may want involved company thathas subsidiary business raising battery hens astrong aversion anything cruelty animals animal testingyou wont want sponsorship deal company frenchsister company ran laboratories used animals test productsif things matter need ethical check made onthe company make sure arent way involved thingsthat would unacceptable remember although usingtheir association benefit business youre associatedwith sort things stand forscope sponsorship dealthe sponsorship deal could particular tour series toursfor example could uk european leg tour orcould whole world tour could also particularproject company could sponsor particular event example aoneoff concert could expect personal endorsements theirproduct may want personal appearances give privateperformances company sales conferences rally troops theymay want write record song especially maywant release promotion proper commercial release im sureyoull seen special offers get single album yourfavourite artist collect given number ringpulls packet tops orspecial coupons exclusive record deal cant thesedeals unless first get record companys agreement waive theirexclusivity may agree think publicity helpsell lots records sponsoring company access markets inparts world record company cant break withoutspending lot money example soft drinks companieshave huge market parts south east asia south america bybeing associated countries youre getting huge amountof exposure help sell lots records exposure couldbe much valuable amount marketing money yourrecord company may prepared put launching areasobviously makes sense cases considerabledegree cooperation record company planning whatyoure terms live appearances sponsor intends todo dovetail plans chances worlddominationcome lot closerwhether tour sponsorship individual event sponsorship areasonable rule thumb sponsor expects moreyou expect paidexclusivityyou could one sponsor given time could aseries sponsors different products youre going onesponsor return exclusivity get lot moneyif youre going look number different sponsors differentproducts take care dont narrow options muchif youre going drinks sponsor limit extent theirsponsorship alcoholic nonalcoholic drinks depending yourelooking another sponsor example pepsi cocacola waslooking sponsor might limit sponsorship soft drinks youcouldnt another soft drinks sponsor could sponsor foralcoholic drinks food sponsor try limit theirparticular product example biscuits crisps whatever wouldleave lots food products find sponsors careful whatyou agree return sponsorship money could findyourself troublethe spice girls v aprilaan example case brought spice girls anitalian scooter company spice girls suing company forpayment balance monies said due asponsorship deal theyd done scooter manufacturer thescooter manufacturer produced series scooters thecolours associated member spice girls forexample theyd produced bright orange version geri spicescooter geri halliwell otherwise known ginger spice gerihalliwell however left group shortly deal donethe scooter company refused pay counterclaimed spicegirls misled time deal knewthat geri halliwell intended leave group february thecourt decided spice girls found misled thescooter company didnt pay balance theirsponsorship money furthermore spice girls ordered paydamages scooter company losses theyd sufferedwhats typical sponsorship dealthe servicesthe first thing establish want whatevent expect sponsoring remember keep scope theirsponsorship narrow without reducing money onoffer allow possibility getting sponsorsif sponsor expects series things example writing anew song live concert tour making television ad tv specialthen make sure arent overcommitting taking toomuch may able properly professionally youagree much youll end either badly thiswill reflect back could harm good failto deliver goods sponsor could decide sue youexclusivityonce youve agreed going sponsor product isthat associated decide youre going haveone exclusive sponsor whether going give exclusiverights particular product type product still option totake sponsors productsterritorynext decide whether deal worldwide one belimited particular countries could deal us fareast depending type sponsorship example one company thatis big area world well known parts theworld could sponsor far eastern section tour could thenswitch another sponsor us european legcreative controlif sponsor intends feature name likeness way thecampaign whether packaging adverts otherwise youll want haveprior approval uses may want insist ask specialphotoshoot photographer choosing could submit tothem number examples photos like agree canhave final choiceif youre writing special song ought say whatit sounds like even sponsor give brief work arerecording song specifically commissioned youllwant know whether particular lyric theme featured andwhether youre comfortable youre asked record newor special version existing song allow particular track beused campaign youll need know whether intend change thelyrics music youll probably want control andto final approval bear mind also approval extendto cowriters composers original work publishersand record company may give permission making therecording new version may also want check context inwhich song used case find offensivetermyou agree long deal last specific event atour sponsorship deal run leadup event whichcould weeks days tour end shortly event tourhas completed sponsor may occasionally right use upprinted materials products already manufactured thiswouldnt normally three six months shouldntmanufacture product anticipation deal tocome end obviously time theyre allowed sell offthe product exclusivity ends go lookfor new sponsor general sponsorship deal particular productthen might agree runs year perhaps option extendit mutual agreement would normally agree extension ifyou got paid sum money youll want make sure anyremaining stocks sold soon possible end deal itcould interfere either sponsorship deal next part touror new sponsorship deal type productyou also bear mind longer name becomesassociated one company particular product difficult itwill get deal another company example public hascome associate name pepsi soft drinks cocacola lesslikely want sponsor might saying wish hadthis problem pointbanner advertising venuesif sponsorship tour part tour sponsors usuallywant name banners concert arena may agreethat go foyer may want concert hallitself artists insist banners stage sponsorsname projected stage backdrop stops severalminutes go stage whether want insist kindsof restriction depend views closely want tobe associated sponsor well bargaining power dontthink unreasonable though ask banners arent intrusivethat detract performanceif sponsorship deal involves publicity sponsor concertvenue careful dont run restrictionswithin venue venue owner may already given drinksconcession another company example cocacola may already havethe right soft drinks sale venue exclusion allother competing brands case venue wont take well ifyour sponsor pepsi drapes banners logos placethat doesnt mean definitely wont able sponsorshipdeal youll aware restrictions make sure youdont agree anything contract cant put effect onthe ground sponsor want opportunity put stand inthe foyer shouldnt guarantee may bevenue local authority restrictions permissions required feespayable sponsors responsibilitymeet greetswhatever type sponsorship deal likely sponsorwill require involved kind meet greet sessionsthese sponsors key customers possibly competitionwinners get meet may concert speciallyorganised events bear mind live performance drainingyou may want meet lot people beforehand afterwards youmay need time come adrenaline rush performing dontovercommit know bands share meet greetsessions job manager make sure thatyour sponsors dont get overeager expect even demand much ofyoufreebies promotional activitiesby mean things sponsor expect get nothing partof sponsorship fee usually want guaranteed number freetickets concerts always want youll want togive need compromise may offer tickets atbigger venues less none smaller onesthe sponsor may want attend press conferences productlaunches make personal appearances always subject toyour availability professional commitments ifyoure concert tour europe dont want find yourselfcommitted return london press conference shouldalso try limit appearances maximum number days theterm dealtake care guarantee youll concert tour aparticular region may able deliver maylose lot money however sponsor may agree underwrite orpart tour important perform partsof worldif sponsor wants feature adverts need specify howmany whether tv radio extent involvedyou rights approval unlikely youll able limitthe number times repeat adverts unless youve considerablebargaining power aim allow reasonableamount repeats without getting stage every time turn onthe television theres nothing offputting thesponsor shouldnt want either sometimes need thebrakes applied themtrade mark licences goodwilli discussed last chapter advantages registering trade mark ifyou trade mark either pending registered name logothen sponsorship deal youll expected grant licence yoursponsor use trade mark limit licence usescovered sponsorship deal licence end thesponsorship deal doespaymenti bet wondering going get yougoing get paid work amounts vary widelydepending youre expected size company yourfame length deal exclusive benegotiated casebycase basis sponsor agent usuallycome figure sponsor thinks worth afterdue consideration may want accept try push higherfigures million pounds plus sponsorship big name artists notunusualthe sponsorship contract wont spell much youll get paid also say get money sponsorship fee could bemoney alone cash goods occasionally goods although thatcase endorsement deal usually recoupable orreturnable exceptions though break side thebargain example tour case ofmisrepresentation spice girls scooter case contractmay say required repay money mayget sued return may also required return themoney pay compensation bring sponsors brand intodisreputewhen youll paid also usually kind compromise thesponsor want hold back much fee theyresure youre delivering side bargain hand youll beactively promoting sponsors product youll want getting someif sponsorship fee bank least youll want tobe paid soon specific things achieved example ofthe money paid sign deal start theconcert tour balance end touryou also clear included fee youre arecording song remember mechanical royalties bepaid publisher cowriter see chapter anexclusive recording deal record company may want payment returnfor releasing exclusivity advert going puttogether visual images television example synchronisationfee payable publisher publisher cowriterthese significant amounts money whos going responsiblefor fees included sponsorship fee tosort publishers sponsors responsibility theanswer make considerable difference end inpaymentyou right end deal sponsor breaches thepayment terms otherwise doesnt fulfil side bargainconclusionsdecide types product want associated witheither target companies produce products orthrough agent decide youll wait come youdecide youre looking one exclusive sponsor series dealsfor particular productsdecide want worldwide limitedcountry dealmake sure services provide manageable andthat necessary permissions record andpublishing companieswhen setting level fees agree includedtry get much fee paid upfront possible spice girls limited v aprila world service bv chancery division chapter touring introductionthe last five years seen change fortunes record andpublishing business opposed promoters concert venuesmintel estimates live music market worth million whether people get recorded music easily andcheaply devalue whether rediscovering thatwe social animals heart stuck front computer forhours really rather sad whatever cause spending large sums ofmoney going see artists perform live look recordbreaking night run prince enormous amounts ofmoney people pay tickets big name artists timewhen record companies struggling issues piracy illegal freedownloads challenges heart business models isprobably surprising innovative deals emerging inthe last years centred live sector one fewpresently making money hence growth ubiquitous modelswhere record company takes share artists live earnings themost talked deal however madonna livenationmadonna live nationmadonna always brilliant reinventing alsoalways canny business woman two traits combined inthis dealit seems one album record deal warnersthey also probably right bring least one greatest hits orbest album next studio album madonna currentlyfinishing recording free contractshe apparently discussions warners new deal orextension existing deal move surprised theindustry announced new deal would traditionalrecord company live touring promoters live nation whatis model dealas details began emerge warners put statement wishing herwell confirming plans release new studio album last undertheir deal spring ends twentyyear relationship thelabel artist speculation rife whether afalling upset may warners want topay kind sums madonna looking perhaps also theycouldnt offer full advantages model artistlive nation biggest concert promotion company world itlost million made small million profitfrom revenues excess billion first quarter dothis deal well received considerable publicity deal mayhope attract stadium size artists look theirnew deals get chance earn madonnas touringendorsementsponsorship deals merchandise next ten years andthe recording income three studio albums madonnas live toursattract huge audiences seems clever move receive reputed million return giving rights live nation however abit gamble madonna admittedly supremely fit may want still touring pace next yearswill brand remain important enough command large endorsementsand sponsorship deals tours less merchandise sales betherethe wall street journal reported october bepaid million sign advance million millionfor next three albums plus million payment cash shares forthe concert promotion rights tour still reportedlyreceive gross touring revenues bad days workbut bear mind full financial package nearly alwayslinked delivery product achievement certain targets arenot met deal could well lot less attractive financiallymama groupanother company amongst many aiming capitalise thecurrent success live music scene uk aim listed company mamagroup thorough analysis live industry observed thevarious mostly small barfly venues managed group foundersadam driscoll dean james set seeing could get pieceof profit promoting concerts also ancillary incomelike tshirts merchandising management development ofupcoming artists manage eighteen uk live venues includingrecent acquisition hammersmith apollo west london associatedmanagement company supervision signs talented acts including someperforming mama groupmanaged starter barfly venues tomanagement deals control big moneyspinning brands like gay andown collection media marketing agencies targeting studentmarket called campus group presently working digitalordering delivery live concert ticket alongside music track andthe tshirt allround onestop shopof course activity rests continuing success livesector always cyclical nature like areas theeconomy commentators say may peakedwith madonna deal dont crystal ball towait see ride opportunities whilst heregetting startedwhen starting youll probably get gigs handtomouthway manager chase probably starting yourhome town local pub dates live town large studentpopulation might get universitycollege circuit local bandsare often popular rag summer balls possibly support otherbetterknown acts getting know local social secretary theuniversitycollege help remember local bands bit ofambition thingif get local press radio behind open morelocal gigs dont forget college radio make fan stationmanager particular dj theyll plug local dates alsothose afield take copies demo station use yourbest selling skills convince could start futurecoldplay killers kt tunstall whoeveronce local following look venture outside areato bigger hopefully betterpaid gigs word warning dont eventhink inviting ar people gigs unless youre well rehearsed andtight playing command enthusiastic local following ivebeen many gigs band makes fatal error treating justanother session front mates act far casually areunderrehearsed local record company scout happens gighe could put life could set back campaign arecord deal several months damage repaired samedisastrous situation could happen theres reporter localnewspaper gig gives bad writeup dont get wrong iknow every act day whatever reason doesntcome scouts newspaper reviewers take day accountwhat wont forgive arent acting professional way youshould treat every gig professional job potential one youllbe discovered pete doherty amy winehouse exceptions thatprove ruletry find local scouts major record companiesit may someone local college radio station local bands thathave around longer may able tell otherwise ask thereporter music events local newspaper may even themwhoever scout may looking move businessthemselves using discovery great local band steppingstonesome managers also act kind ar outpost dont ignore localmanagers eitherdoing hard work mostly unrewarding bandsget play venues larger towns deal venue owner orpromoter return booking band guarantee bea minimum number tickets sold dont sell enough tickets haveto make shortfall pays drum rentacrowd among yourlocal fans friends family know bands sell package tours theyhire coach sell tickets gig coach get backthis proves especially popular band manages get gig alarger town city trip gig combined chance aday city reasonable priceas mentioned chapter might also consider entering one themany competitions run around country might billed battleof bands vodafone live look adverts local press themusic papers like nme kerrang contests often viewed asslightly cheesy quite credible way break business getsyou noticed whats problem nothing happens dont tomention ever involved itthere also venues special showcase evenings forunsigned artists writers ones know london theremay well others town near ask around club promoter tonymoore unsigned acts night pub called bedford balhamwhich although south river still attracts ar crowd barflyin camden barfly operations around country similarevents recognised source new band talent regularlychecked ar scouts prs occasionally supports events forartists either completely unsigned signed record dealthe american collection society ascap also holds unsigned artist eventsfrom time time contact details venues organisations tobe found useful addresses end bookyou try get unsigned acts part annual uk musicconference called city usually held september regularhome manchester years place uk musicbusiness people gather drink five well venue awhole series music events mostly unsigned acts unsigned gigsare held local music venues pubs magnet ar scoutsand record label honchos past event afruitful source new talent including suede oasis muse ones watch included elle sappelle moths sky larkin bepart unsigned section submit demo briefbiography unsigned organisers unenviable task ofwading vast pile material come shortlist bands nights event best bands yearusually end gig london either immediately event awhile later showcase camden barfly december broadcast live xfm great piece promotionfor acts involvedmost artists already signed see live concerts essentialmarketing tool people havent yet bought one records may go toone gigs love much next day go andbuy entire recording output good review live gig giveyour latest release valuable publicity also current emphasis beingplaced radiofriendly artists means records arent sort thatradio powerful radio stations going play havelittle alternative build fan base live concerts see chapter nonmainstream genres folk blues jazz sales theartists recordings gigs forms main part sales incomealongside mail order sales websitesgetting booking agentthe next stage manager legworkyourselves get booking agent probably happen yousign record deal see chapter may however happen youveestablished reputation good live act attracted attention oflocal agents see youre safe bet venues regularlybook acts fordo need booking agent possibly horizons set atonly playing local pub venues dont mind work yourselfyou probably wont need one someone else youre going topay commission want make sure going worthwhilebefore get one also arent likely interested unlessyouve already established reputation live work youll probably haveto passed pure beginners stagewhat may find certain venues closed thevenue owner books acts brought selected booking agentshaving booking agent also give credibility get moreprestigious bigger venues open possibility supportingbigger name acts booking agent percentage getits interests drive hard bargain agent good youshould end better deal negotiated yourselfyou might think manager could job booking agentyes could early days probably specialisedbooking agents experts putting together larger events ukor european tour medium large venues stadiums know allthe promoters get best deals better chance gettingthe prime dates manager dont daybydaybasis agents also know main venues youre likely wantto play one two youll thought venue isoutside main concert circuit specialised expertise tonegotiate good deal everything else thats going around atour manager may time properly maypay find someone saw consolidation theuk agencies also invasion usbased agents williammorris caa given agents bit shake alsoconsolidation increased bargaining power getting strong agenton board greatly increase chances getting good gigs goodmoneyhow find booking agentyou ask mates music business agents usewhich ones rate found trustworthy wordof mouth often reliable method finding good booking agent besure booking agent works area music youotherwise wont contacts right places use youbooking agents also listed directories music weekdirectory could call local ones try find sort actsthey regularly work venues book another good source ofinformation agents monthly magazineaudience also gives music business news including details upcoming festivals music industry eventsif record deal likely ar man direct youor manager good booking agent obviously takeon board suggestions shouldnt blindly follow advice aswith finding manager also ask around arrange meetmore one agent get come see perform livethis show seems enthusiastic also askaround booking agents seen clout yourrecord company accountant lawyer experience ofdealing booking agents give guidance alsoimportant agent reputation honest dont want abooking agent whos going run ticket takings agentwho interested works big organisation find youll bedealing person hell passing someone else inthe organisationbooking agents probably approach manager eitherdirect via record company theres good buzz hype youand youre signed record deal happens tips apply askwho else books ask around reputation honesty andreliability get meet band see perform live make surethe agent gets picture youre trying achieveone thing also aware booking agentsmay also getting financial kickback record label come onboard agent know record labels keen see artistsperform live encourage agents get involved paying either aretainer small percentage record sales usually shouldbe record companys expense recoupable ordeducted royalty record income necessarily badthing could conflict interest want andwhat record company thinks best also work outyour deal agent whos paid way need bear inmind theyre also getting record companywhats booking agency contractsome agents dont written contracts artists representthey prefer work trust tell artists commission rate theytake leave artists tour manager sort things theriders see security requirements risk agent innot written contract isnt great manager theagent probably booking one tour time sorted inadvance commission tour interest ongoing record orpublishing royalties merchandising sponsorship income saideven though agents dont bother written contracts bookingagents like contract keep things clear give somecertainty plan whats happen future indeed sincethe introduction new employment agency regulations may noalternative future put terms writingemployment agency regulationsthese regulations came force couple years ago apply allkinds employment agencies charge fee people get workfor work seekers include actors musicians singers dancers andother performers well songwriters authors directors involved inthe creative aspects film theatre productions models professionalsports people rationale behind regulations ensure clientknows terms business agent thefees regulations seek ensure client cannot made tosuffer penalty terminates agency contract require client totake services provided agency terms business begiven clients writing cant afterwards changed without theclients agreement separate client account must kept regularstatements provided decent agencies already adopted theseaspects regulations best practice may help weed someof charlatansalso nod direction health safety issues regulationsrequire agents consider suitability client job inquestion eg putting forward someone trapeze artist sufferedfrom vertigo hand also require client inform theagent becomes aware reasons suitable jobthe terms agent employed hirer circus ownerlooking trapeze artist must also clearly stated written downin one document regulations place obligation theagent ensure client necessary permitsunionmembership etc necessary job questionif agent wants right deduct fee fees job hehas specifically agreed client engagementagreement may prompt review agents terms business theagents sued civil court breach regulationswhat booking agency contractin many ways booking agency contract similar managementcontract see chapter several parts contract arecommon booking agency contractsexclusivitythe booking agent looking exclusive arrangement wontwant competing work agents arrangement withthe booking agent sits alongside management agreement indeed themanager may involved appointment booking agent themanagement contract usually give artist right approve theidentity booking agent manager looks aspects oftouring actual booking concerts danger anoverlap commission arrangements artist doesnt want bepaying booking agent manager gross income themanagement contract usually say manager takes hiscommission commission booking agent deductedthe management contract usually give artist approval termson agent appointed particularly wants charge thanthe industry norm booking agents fee deductedfrom gross income first managers commission becalculated net amount thats left agency commission anyother deductions agreed management contract taken offterritorythe contract could worldwide one could specific territoryfor example north america worldwide deal possible thatthe booking agent want use local subagents territories forexample booking agent may offices uk europebut linked another company individual us recentinflux us agencies uk market kind gentlemansagreement try poach acts respective territoriesbut gloves offthe artist may want right approve identity subagents subagents fees come booking agents fee andnot payable artistif worldwide deal artist want satisfied thebooking agent necessary contacts established subagents good job countries artist likely want toperform live good appointing uk booking agent worldwide whenhe great job uk hasnt clue deal promotersor venues parts worldtermthe length term vary considerably could particulartour example uk arena tour case contract endafter last date tour artist free deal next touror us leg tour another agent long doesntinterfere uk booking agents rightsthe term could openended continuing one party gives othernotice end arrangement usual notice period minimum ofthree months may also agreement notice cant take effectduring tour agent gets commission whole tour theyhave set even arrangements terminated thetour finished fair tour arrangements often beset many months advancemany booking agents looking certainty fixedtermcontract could short year terms three five yearsarent unusual obviously viewpoint longer yourecommitted one booking agent need contract thatputs definite obligations booking agent try get work youthe contract also contain getout working becausethe booking agent cant get work otherwise falling jobthe booking agents dutiesas saw management contracts agency contract doesnt often setout great detail booking agent agents duties areusually expressed general terms least kindof obligation agent try get work thats jobif theres fixedterm contract youre ready gigs agentcant wont get work option go toanother agenton hand agent get work theright decide whether actually want work contract willprobably give right turn offers work onreasonable grounds example booking agent gets three datesin north england fourth day later torquay might bereasonable say cant reasonably get gear fromone end country time wouldnt becosteffective take account travel costs getting ifhowever booking agent got work turn nogood reason cant turn around say agent hasnt donehis jobyour dutiesyou usually agree refer offers live work come toyou booking agent exclusive arrangements youmustnt act booking agent also usually agree keepyour booking agent aware plans example plan torelease new album september youll expecting live dates tohelp promote release youll need tell agent beginning ofthe year begin outline tour consultation andyour manager many bigger venues booked months ayear advance key dates earlier agent told plansthe sooner start take options key venues dates theseprovisional bookings confirmed details tour firmedup youre tying tour release album dates wontprobably finally confirmed approximate delivery date thealbum known said doesnt always work plan recordingoverruns delivery date shift could impact thetour dates however gigs big venues usually set monthsafter album release integral part promotion surroundingthat release tours also try tie plans release thealbum overseasyoull usually agree use best efforts dates thebooking agent booked agreed obviouslyillnesses occur sometimes tours particular concert dates arecancelled short notice due usual take insurance againsthaving cancel tour one dates illness accident affectsone band members insurance policies arent cheap theartist gets laryngitis halfway world tour happened withoasis three band members involved car crash causing thecancellation postponement us dates comforting knowthat insurance cover losses meatloaf cancel reschedulesome dates tour health problems velvetrevolver cancel dates visa problems insurance policiescan also taken cover dates cancelled notenough tickets sold course expensive areprobably worth big stadium dates youve got decentmanager shouldnt worry whether necessary insuranceis place tour manager youinsurance policies also taken cover things like bad weatheron openair gigs owner site hosts glastonbury festivaldescribed press hed offered insurance cover badweather hadnt taken premium high given thenumber years site turns giant mud bath probably toohigh cost especially mud almost become part theexperience stoic british concertgoing publicyou get insurance cover things price remember asituation member band spending year living outside theuk tax reasons rules time allowed return uk fora given number days year band world tour whichincluded dates uk last dates fell last daythat would entitled uk lose taxadvantages concert due finish pm meant thatwith helicopter standing country timeif wasnt would lose significant amounts tax savings aninsurance policy taken cover happeningeverything going well band got little enthusiastic inthe number encores getting nearer pm bandfinally left stage swift dash helicopter followed andluckily man away timevan morrison exile v marlowbut dont think always protected cancellation noshow van morrisons service company exile got trouble ordered court pay gary marlow owner thecrown hotel marlborough damages mr marlow hadbooked van morrison appear hotel also promoter ofthe gig written contract according exile gavethem prior right approval advertising promotionalmaterials ie would seem van morrison wanted keep relativelylow profile contract also said mr marlow best topromote show mr marlow mentioned intended appearance ofvan morrison answer enquiries press resultexile decided van morrison would perform arguing thisinterview breached right approval publicity however thejudge decided nature promoters contract promoteand artist wants place restrictions promotion haveto clear unambiguous contradictory contract notdrafted way exile found wrongfully prevented vanmorrison performing pay upi heard odd grounds cancelling tours one advancedby opera singer dame kiri te kanawa feared bombarded withunderwear certainly takes beatingkiri te kanawa casein australian case reported april dame kiri te kanawawas booked appear coheadliner tour aussie veteranjohn farnham cancelled watching dvds shows wherehe thrown underwear fans promoter leading edge sued herfor million money says lost publicity costs andticket sales supreme court judge rejected claim ruling thatalthough emails sent details venues fees theproposed concerts firm commitment theconcerts contract finalised question themost basis aspect english contract law contract formedthe feewhat agent paid fee usually percentage gross incomefrom live appearances include appearance fee also anybenefits receive kind opposed cash example thepayment get particular contract could made appearance fee plus car provided tour venue promoter freetravel hotel accommodation agent usually want add valueof car travel accommodation gross income inworking fee course see value touraccountant one many jobs see proper value beenplaced nonmonetary itemsthe fee usually gross income yourepaid appearance fees car worth bookingagent receive ie agent willnegotiate promoter venue direct usually agreethat promoter venue pays fee direct balance beingpaid may deposit paid agent may wellhold security fee clear sufficient ticketsales mean date wont make loss booking agent may well agreeto release deposit less agency fee although sawabove new regulations mean get writtenapproval order deduct fee monies keep thefees separate client account agent may negotiate guaranteedminimum payments venue promoter arent returnableeven insufficient tickets sold make date viable bookingagent usually insist paid work contractedfor substantially negotiated term agency contract forexample may contract fortydate tour particular agentand move another agent rest dates nexttour may free still pay firstbooking agent work putting original fortydate tourtogether sometimes agent limit commission concert datesthat within six months end term contract thiscould little hard agent artist world tour itslikely could run well beyond six months agent done thework setting tour strong arguments saying theyshould paid work unlikely pay anyother booking agent tour arent going get doublehitfor fees booking agent done allright job contract isntbeing disputed hasnt brought end booking agentis breach contract position reasonable one take sometimesif agent leaves one company go another one move withhim agrees pay fees old agency return takingyou himaccountingthe booking agent usually want collect money deduct theircommission paying balance youyoull want make sure money paid separate clientbank account youll need see detailed statements beenreceived commission calculated youll want thebalance paid quickly need right carryout audit booking agents books records make sure youvereceived amounts properly duethis particularly important payments may receivedupfront form deposits venues guaranteed sumsregardless number tickets sold deposit may returnable insome circumstances one jobs tour accountant keep trackof arrangements well keeping close eye sums paid incash night deposits automatically sit theseparate account new agency regulations might want tospecify agreement shouldthe balance due paid end gig butthat may possible case least weeklysometimes payment may come monthly intervals arrangements areparticularly complex involve overseas tax issues arent going bepaid night payment delayed rough outline calleda settlement sheet prepared end gig given tothe artist tour accountant within three days checkassignment keyman provisionsyou need establish going agent key contact thebooking agency larger booking agency important toget sorted theres nothing worse signing agencythinking youre going dealt one hotshots todiscover passed junior experience cloutif get right contract terminate thatkeyman isnt available agent obviously good agent isgoing working one artist going greatdemand cant therefore expect every minute ofthe day comes putting together big tour whether youre theheadline support act need know agent tolend experience bargaining skills sorting details theagency isnt going happy agreeing keyman clauses thecontract particularly good agent wants go another agency orwants set account puts goodbargaining position terminate contract agent leaves andthen move new agency want agent use fact thatyou could terminate negotiate better terms theyre stay withthe agency better settlement terms still want leave agencydoes agree keyman clause probably say right toterminate arises agent consistently around thirtydays also usually exclude periods agent isgenuinely ill holidayif agency plans sell sell contract another companyor wants buy bigger company right refuseto tied arrangements unless agency first gets approvalfinally contract give right terminate term ofthe contract agent insolvent breaches obligations forexample doesnt pay balance ticket money shouldand fails put right within reasonable time putting onnotice shouldpromotersa promoter responsible booking artists perform live particularvenues could one man promoting single venue multimillionpound multinational corporation owning right promote whole raft oflarge small venues live nationwhat promoters dopromoters responsible securing venue selling ticketsthe promoter may venue owner may separatecompany arrangement particular venue thisarrangement may exclusive nonexclusive promoter may dealdirect artist manager may negotiate bookingagent promoters make money margins venuethen want cover costs make profit deal avenue make money difference topay venue pay artistbookingagent allowing expenses promoter may also controlthe sales concessions venues example selling food drink ormerchandise promoter may charge rental concessionsandor take percentage takingsa promoter may promote one venue perhaps festival seriesof venues promoters operate nationwide also whooperate particular parts ukonce dates pencilled promoter want agreementcommitting artist dates laying terms whichthey performnaturally sorts arrangements likely affect mainartists bill top billing headline acts supporting artist willhave little say terms deal promoter thepromoter usually agree fee headline act actto agree deal supporting act terms willappear billas discussed promoters like mama group live nationare also branching controlling ancillary income streams notgenerally within promoters remit merchandisingwhats promoters contractyour obligationsthe contract set concerts thecontract could spell length time required perform forexample may say youre expected one set performance atleast forty minutes duration smaller venues may say youreexpected two fortyminute sets break betweenpromoters obligationsthe promoter agree provide least venue ticket sales facilitiesand basic door stage backstage security arrangements thereafter itsdown individual arrangements agreed contract promotermay agree supply certain equipment personnel example aparticular sound desk sound engineer dates include overseasgigs personnel supply provided necessarypermits including work permits overseas dates overseas personnelworking ukthe promoter also usually required provide agreed level ofbackstage amenities form dressing rooms toilets andmeeting vip areasits also usually responsibility promoter provide insurancecover injury death caused members public calledpublic liability insurance vital ensure cover placeobviously managers job manager boardbut member public get injured early days well youshould think unfortunately accidents happen live gigspeople fall get caught crush front stage thereisnt insurance place person injured could look direct forcompensation anyone employed construction work forexample stage lighting rig subcontractors alsocarry insurance responsibility could fall back therewas unfortunate spate concert related deaths serious injuries inrecent years beginning deaths music fans roskildefestival denmark followed deaths clubbers inchicago hundreds deaths rhode island club fireworksdisplay part band great whites set led disaster accidentinvolving one trucks carrying concert equipment george michaelforced singer cancel show prague atlanta opening artist raylavender akon band members completed sound checks andleft stage canopy suddenly caved uk incidents likethese led greater insistence health safety issues thesetting safety focus group offshoot international livemusic conference licensing actthe licensing act became law began impactin brought major changes venues licensed focusis health safety public order issues radical overhaul ofthe uk licensing system one major change venues put livemusic regularly need premises licence local authoritywhereas need entertainment licence one twomusicians performing together exceptions occasional events andpurely acoustic sets maintained initially concern forthe impact changes live music scene led launchof government supported live music forum whose remit includes theevaluation impact licensing act promotion theperformance live music generally report mid found theeffect act live music broadly neutral beenan impact grassroots level increased bureaucracy regulations inan attempt minimise side effects legislation whichwas meant ease restrictions live music forum hasrecommended making exceptions need licensing acousticsets venues live music incidental main event theyare also lobbying exemption small venues holding fewer ahundred people report studied licensing ministerwho promises respond fully due coursethere casualties brecon jazz festival relies alarge extent special atmosphere open air live sessions tocancel ten events apparently impossible tolicense whole town centre premisesin related matter george michael fined overrunningthe licensing curfew wembley stadium june fined every minute overranthe private security industry licences regulations werent enough additional red tape new regulations intended toprotect unscrupulous bouncers doormen also introduced n private security industry licences regulations areeffective march require door supervisors securitystaff licensed display identifying licence times theapplication requires declare criminal convictions cautionsthere separate regulations licences required supervisingthese activities private security firms provide security pubs clubsand like must also licensedartist ridersanyone whos seen spoof film music business spinal tap willknow occasionally ridiculous artist riders lists ofspecific requirements artists comfort andentertainment backstage black jellybeans sandwiches cut circleswill ive seen strange riders time one twelvepages detailed menu requirements including specific types ofcereal drinks bought us europeantour pretty unreasonable changes negotiated andsubstitutes found riders specify crate good whisky fivecrates beer well rock n roll artists take catererswith use caterer know familiar theirparticular requirements riders good reason forexample artist may vegan vegetarian allergic particularfood ive also seen riders insist hotel rooms hypoallergenic bedding pillowsits usual leave negotiation details manager orthe tour manager promoter usually costeffective get yourlawyer involved riders form part contract thepromoter make sure requirements reasonable affordableand obtainable dont omissions sufficiently serious thiscould breach contract even omissions minor innature cause major grief artist last thing apromoter wants artist goes stagefeesyou booking agent dependent promoter ticket salesand income youll want sure youre guaranteed certain level ofincome youre already established artist may able get aguaranteed minimum included contract guarantees bepaid amount regardless whether promoter sells enough ticketsthis promoter takes risk get level theguaranteed minimum right theyll pay even dontsell single ticketover guaranteed minimum sum might receive afixed percentage promoters net receipts example theguaranteed minimum promoter paid certainagreed expenses entitled net receipts netticket sales get guaranteed minimum thenet receipts worth deducting theguaranteed minimum due another thetour accountant check carefully expenses thepromoter deduct reasonable percentage receive ofthe net monies represents reasonable return alternative youreceive fixed payment dependent levels ticket sales forexample could agreed get guaranteed minimum plus ticket sales exceed receive another thistype payment arrangement must assess realistic ticketsales high enough reasonable chance receivingfurther paymentspayment accountingthe contract set guaranteed minimum payment bemade usually least half paid upfront rest thenight first concertsthe balance payments made night gig orpossibly end particular leg tour end week tourits important tour accountant access boxoffice tillsand receipts night concert ticket stubs bekept least three months afterwards case need checked bythe accountant payments merchandising deal may bedependent given number people concert see chapter ticket stubs head count night prove number ofpeople particular date access information proof veryimportant receipts expense promoter allowed deductshould also scrutinised kept later checking expensesallowed tour accountant deductedother incomethe promoter venue owner may done deals cateringcompanies drink suppliers contract set whether youshould get share profits sources example thevenue may deal cocacola official suppliers ofsoft drinks venue artist commands loyal following offans ensure concerts sellout benefit tococacola considerable number soft drinks sell thoseconcerts sufficient bargaining power insist sharingsome money cocacola pays promoter venue theright exclusive supplierthe sale merchandise important source income youthe promotervenue may make charge right set upmerchandising stalls venue merchandising deal coverwhether merchandising company allowed deduct thischarge gross income receive percentageif sufficient bargaining power could insist alonehave right sell food drink promoter gets incomefrom merchandise sales sponsorship dealswith food drink companies well merchandising deals kindsof arrangements tend apply established successful artists ateam people able give effect arrangementsrestrictionsthe contract insist promoter stops anyone recording theperformances unless course live recording film concert isbeing made record contract probably say something notallowing anyone make recording performance verydifficult prevent bootlegger unofficially unlawfully recording theperformance show right spirit putting requirement thecontract promoter demonstrate dont condonethis sort activity intend make film performanceperhaps make video live webcast television broadcast thecontract make sure promoter allow access venuefor recording extra charge also need sure theaudience knows filmed purpose signs allentrances usually spell outeach venue restrictions parking stage crewcan gain access load equipment particular stipulations orrestrictions set rider schedule contract inresidential areas may severe restrictions late artist canplay may early curfew crew load theequipment back may come back next morning soyou need ensure equipment kept securely insuredagainst loss damage nationwide tour tour manager needto know restrictions well advance wouldnt funny adate scarborough friday night equipment still intorquay crew couldnt get load equipment afterthursdays torquay gig seven oclock next morningan important part protecting brand ensure nosales unauthorised merchandise inside outside venue easier fora promoter control illegal merchandise inside venue may sayhe control happens outside case try tomake sure venue promoter cooperates tradingstandards officers personnel trying stop unauthorised orpirate merchandisegetting funding live workfunding tour come number different places thelowest level youre starting local gigs canexpect paid little nothing petrol money afew free pints beer progress may get small percentage ofthe ticket sales may make money sales tshirts orrecordings performances sell gigs probablywont much way profits cost hiring pa paying fortransport maybe agent managerit possible unsigned act get sponsorship live work asmentioned chapter companies doc martin lager companieshave sponsored live tours unsigned acts recently sony ericsson andorange sponsored interactive talent show called mobileactunsigned possible make decent living live gigs cankeep costs play decentsized venues loyal followingof fans hard workonce youre signed record deal bigger venues may open youa booking agent may come scene get slots support bandsor lowerdowntheorder gigs summer openair festivals money bemade merchandise sales tour sponsorship however likelythat wont make big profit live work youve achieved quite adegree success fame recording artist even may barelybreak even expensive live set lots special effects acast thousands live set kept simple without loads ofbacking singers live orchestra stand better chance makingmoney important balance cutting expenses back minimumagainst risk show disappointment fans wouldbe counterproductivetour supportmost artists need support record company get theroad record company rarely agree put record contractunless lot bargaining power youre prepared hold forthis support expense perhaps lower advance royalty even ifits specifically contract usually record companysinterests touring promoting new album canonly making loss shortfall record company tocome rescue underwrite shortfall usually called toursupporttour support usually recoupable royalties recordsales however negotiable could reduced recoupablewith remainder treated nonrecoupable marketing expense ofthe record company sometimes tour support tour aparticular part world example japan could agree thetour support recouped japanese record salesin addition making shortfall record company may pay abuyon fee fee payable headline artist tour hisrecord company privilege allowed support forsome new artists association established name gives theman opening much wider potential audience well chance toperform bigger venues headline act additional source ofincome reducing amount tour support theyll need recordcompany buyon fees large venues concerts bigname artistscan run tens thousands pounds one reasons youlloften see bigname artist supported another smaller act whos onthe label way costs kept familyhow much tour support needbefore go record company ask tour support needto idea much youll needfirst youll need get someone prepare tour budget could beyour manager regular accountant bookkeeper however whendoing bigger tour either headline support consider getting aspecialist tour accountant board tour accountant could someone atthe regular accountancy firm one recommended friendsyour ar contact manager suggest people lawyer mostimportantly tour accountant must honest must understand tourpromoting works brave enough tackle unscrupulous promotersabout run cash midway gigthe tour accountant person job put togetheran outline budget make guesstimates income expenditure asdetails guaranteed minimum buyon fees merchandiseadvances become known factored accountant willwork closely manager work type showsyou intend put number musicians elaborate stageset lighting effects affect tour budgetonce tour accountant good idea likely profit perhapsloss prepares outline draft budget manager takes toyour record company negotiate level tour support importanttherefore doesnt make wild guesses accurate beas youre likely needthe record company usually set maximum amount willpay underwrite shortfall example tour accountant may haveestimated tour loss record company checks figures andmakes assessment valuable record salesif tour goes ahead may decide one two dates bedropped costs could saved set limit howmuch pay case adjustments may say willpay tour support manager sitdown tour accountant production manager working thetour see savings made tour goes ahead doesbetter expected loses record companyunderwrites shortfall one actual amount theywill pay maximum determined actual costs supplied bythe tour accountant end tour supporting invoices thetour worse expected makes loss recordcompany obliged pay may insist pick therest bill important get figure anticipatedshortfall realistic possiblethe record company usually agree pay part tour support upfront means essential personnel paid isdue essential equipment hired tour accountant thenhas juggle gets paid along way wait finalinstalment comes record company needless say touraccountant rarely popular man toureven something record contract tour support itsunlikely details included usual set thesedetailed arrangements side agreement main record contractcopies side agreements kept together recordcontract youre reviewing accounting statements consideringdoing audit need details arrangements youvereached amounts arent recoupable salesunless side agreement simple lawyer review itis signedother issuesthere things taken account whenplanning tourtax planningyour accountant advise whether tax advantages youin putting touring services limited company shouldthat ukbased offshore company see chapter accountant advise use limited company serviceagreement put place company thecontract promoter limited companyin countries obligation pay tax country onearnings live work undertaken promoter may deductthe tax hands money case contract thepromoter must make sure promoter hand sums haswithheld relevant tax authorities countries arereciprocal tax treaties place possible claim exemption someof taxes tax treaty place may able toreclaim amounts withheld promoter beobliged necessary paperwork supply formsyou may need complete show country servicecompany based pays tax local tax authorities eitherconfirm exemption tax income provide certificate howmuch tax withheld offset uk income taxpurposesobviously everyones tax circumstances different onlyvery general comments nothing substitute proper professional taxplanning advice planning done far ahead possiblepublicising tourthis joint responsibility promoter recordcompany also vested interest want coordinate ownmarketing efforts tour dates example label planned aposter campaign particular towns uk may decide target thosetowns youre live dates tour posters may also giveinformation latest record released promoter thevenue publish adverts music local press listing forthcomingtours press officer internal press office recordcompany get work placing information press gettinginterviews personal appearances promote tour youll beexpected mention interviews press radio tvyour record company careful overstep mark spate legal actions brought camden council thesenior executives sony bmg attempt curb illegal flypostingcamden council took unusual step using antisocial behaviour ordersasbos executives accusing companies led savingmoney legitimate poster sites putting posters albums gigson available space including shop hoardings pillar boxes service ofthe orders meant court power order jail sentences tofive years extreme cases executives stop practice theasbos seen last resort prosecutions requests stop flyposting failed seem measure success theexecutives reached compromises council avoid continuance ofthe orders promised commission illegal flypostingincreasingly internet used advertise tours cult bandthe first use sms text messages fans alert asto whereabouts next secret gig part generic formof marketing called viral marketing uses internet databases totarget information fans could record companys websitebut usually artists website possibly link thepromoters site venue websites used offer thepossibility ordering tickets online offering competitions wintickets meet artist artist record company websites fulfil animportant role promoting tour selling tickets onlinethe fan club also invaluable publicising tour regularnewsletter sent fans give details forthcoming live events andwhere tickets bought sometimes fan club deal thepromoter andor travel company offer special travel accommodationand ticket packages reduced rate fan club members fan club hasto careful offer things cant deliver example membersof boyzone fan club apparently offered special topoftherangeseats boyzone concerts part special package seems thepromoters didnt deliver expected good seats leading apparently ademand return monies bad experiences verynegative effect fan base support artist samethings seem happened teen tv star hannah montana fanswere encouraged join fan club apparently promise ticketsbut promise help get tickets expected asellout tour fan club failed deliver disgruntled fans began usclass actionother personneltour managerdepending size tour degree success mayappoint tour manager work alongside manager organising thedaytoday details tour tour managers go tour handleall crises come generally paid weekly fixed fee andreceive free travel accommodation probably fixed daily sum forexpensessound lighting engineershow music sounds look stage crucial successof live performances bands learn early stage importanceof sound engineer relying stranger astrange venue soon afford bands also like bringalong lighting engineer daily weeklyrate free accommodation travel daily expensesbacking band session musiciansif youre solo artist one member group signed therecord label backing musicians singers engaged forthe tour many different types arrangements reachedwith regular band members annual retainer smalldailybased retainer arent needed higher fee theyhave work rehearsals personal appearances interviews duringthe tour arent needed could firstcall basis whichmeans drop everything make available youor may completely free work understandingthat call arent available youll get someone elseyou afford replaceable crucial toyour sound would better advised put retainer afirstcall basisother nonregular members band generally engaged adaily weekly rate plus free accommodation travel daily expensesadditional fees may payable regular nonregular members otherpromotional work appearing video live tv radioperformance webcast promote tour fee paidcould include extra activities fees important youagree buyout rights musicians vocalists performanceswhether regular band members musiciansunion equity members minimum rates work youwant rules bought way rights andwhat subject repeat fees details usefuladdresses dont buy rights may get difficulties ifyou go ahead tv video deal performances includingthose session musicians singers may believe youve clearedall rights say much contract havent musicianor vocalist union come woodwork mostunhelpful moment light recent successful claims sessionmusicians years event see chapters publishing bandarrangements would also advisable get written confirmation thatthey interest songs performingall personnel given written agreements specifying theirfee paid expect get way services andrights returnpersonnel arent regular members team enter intoconfidentiality agreements make clear keepconfidential anything find roadwith intended head people selling salacious stories andpictures however regular band members could becounterproductive could get upset might see asyou trusting issue privacy see chapter importance getting things clear contracts musicians isborne case involving elvis costellothe elvis costello caseelvis costello employed mr thomas musician perform theeuropean tour part band also going theus tour part separate contract costello employed mrthomas service company elvis costello limited tourhad breaks countries europe mr thomass serviceswere required mr thomas took sevenday break ukand us tours put claim payment didnt get paid heapplied court wind upliquidate costellos company forinsolvency ie unable pay debts fell due thecourt declined order mr thomas paid thebasis court think part european tourconclusionsif already successful live recording artist consider newpartners like promoters music industry dealsevaluate socalled degree models carefully work youdo sums rightget good agentget adequate insurancetie touring record companys marketing plansuse internet advertise forthcoming tours conduct employment agencies employment businessesregulations regional promoters association uk informal grouping ofpromoters contact josh dean concorde madeira drive brighton bneu tel buckinghamshire chilterns university college bucks newuniversity international live music conference safety focus groupand european agency health safety work osha created awebsite dedicated safety issues called safety rockswwwsafetyrocksorg contains risk assessment tool operatingin live music scene elvis costello limited v thomas chancery division june chapter band arrangements introductionthe solo artists songwriters among may want skip chapterbut cowrite plan kind recording collaboration would beworth reading see potential problemsit may seem negative talk problems youve releaseda record even got deal thats exactly looking atthe things cause friction within bands address things thebeginning everything going well much easier causeless tension wait raise issues youve roadnonstop six months cant stand sight believeme seriously strain destroy relationshipwho owns band nameownershipas saw chapter choosing right name vital youvedecided band name done check havethe right use decide owns namethe record company wont normally expect band name thereare exceptions particularly field manufactured bands ones wherethe record company thinks name concept hires people toperform cases might good reason say theyshould name forms part deal productioncompanies also insisting right hire fire members ofa band maybe entirely manufactured band acceptable butnot think band comes label already formed recordcompany expect confirm right usethe name exclusive right use connection withthe recordings make record contract nonexclusive rightafter contract ends music publishers also want exclusive right touse name connection exploitation songs termof publishing contract nonexclusive right end termyou dont want give exclusive rights uses name onecompany example record company would mean youcouldnt use name sell merchandise sponsorship dealwho within band owns nameit essential sort beginning also firmly believethat put youve agreed writing realise improbably whistling wind tell every band sign deal thatthey band agreement usually nod say theyunderstand one never anythingabout bear mind case looked chapter decidedthat isnt spelled agreement band member use namewithout agreement others doesnt terribly formaldocument although would advise proper band agreement drawn upby lawyer would best even dont go would betterthan nothing write youve agreed sign keepit safe place may think top bitunnecessary cant prove owns band name get thevery unedifying spectacle two band members arguing whohas right use name possibly ending none thembeing able soan example practice ongoing legal suit us wheremike love claiming sole right use beach boys name heis suing exbandmate al jardine claims illegally using nameholly johnson former lead singer band frankie goes tohollywood another trying claim sole right use namefor relatively shortlived band one sure seem havegenerated quite bit litigationfrankie goes hollywood trade mark caseholly johnson tried register trade mark frankie goes tohollywood goods services including music video andrecording goods entertainment clothing merchandise wasopposed members band peter gill mark otoolepaul rutherford brian nash registrar decided goodwillin name owned band whole accrued fromthe point recording performance started agreementregarding ownership goodwill made outset mrjohnson allowed use alone would amisrepresentation result damage members wasthe case even though better known former bandmembers mr johnson acknowledged partnership itwas fact established goodwill name beforehe member partnership soon startedrecording together members partnership goodwill began toaccrue partnership echo back cases liberty x andblue registrar found even sixteen years inactivity therewas still residual goodwill protect still sold records therewas evidence still goodwill one example thefact episode tv series friends featured characterwearing frankie says relax tshirt happen one ortwo members band band name example theyform core band others arent permanent members aband may made core vocalist lead guitarist whodo writing rhythm section bassist drummer ona wage signed record contract core members may notwant share ownership band name two unless anduntil become fulltime permanent band members thefrankie case highlights essential fact recorded theoutsetits common agree members band band namemore sophisticated band agreements could set gets use nameif band splits may decide case none couldcarry using name carry performing together aband continue use band name one leaves cantthen get problems two members leave set anotherband simple solution something talkover lawyer suggestions maywant adoptthat said may fact get say happens bandname band splits record contract may well decide theissue contract might say record company final sayover continue use band name may seem unfair ifyou think record company invested lot time moneyin building name reputation name theirmarketing efforts wont want risk losing control one ormore members band leave result one couldcontinue use name may get chance say youalready band agreement place usual lot ofbargaining power record company decide gets use theband name think whether band membersshould paid kind compensation loss right use thename made clear frankie goes hollywood case itspossible either terms partnershipband agreement bythe operation partnership act band name treated asan asset partnership forms part goodwill areformulas accountants use work much goodwill isworth example partnership dissolved band splitsup vocalist continues solo artist others could thevalue share goodwill name calculated paid themas part settlement band members quite difficult anddelicate question needs treated carefully another goodreason sort beginning tensions orpretensions get wayband structuresyou decide ownership name things howthe income divided lawyer putwhat youve agreed legal document also need decide legalform arrangements going take simpleanswer best bands needs going different andyou look merits important involveboth lawyer accountant question lawyer willbe looking protect legal viewpoint accountant belooking financial tax implications different types ofagreement accountant know personal circumstances willbe able advise whether one type structure works better another foryouthe two main types arrangement limited company apartnership also subspecies called limited liability partnershipwhich kind hybrid two features partnership asjoint liability debts element limitation extent anindividual partners liability third parties structure adoptedby least one label know common amongst professionalpartnerships larger law firms ask accountant could workfor bandif decide band partnership bandagreement usually take form partnership deed like alegal contract sets partnership going operate daybyday basis puts writing agreed band namethe split earnings decide become limited companythen youll probably advised shareholders agreement whichdoes thing essentially partnership deed also deals withwhat happens shares company band splits one ormore members leave risk confusing things even alsopossible band take form partnership limited companyand individual members decide set company toprovide services band company ill go inmore detail belowlimited companya years ago accountants regularly advised bands set limitedcompany bands services entertainmentbusiness good tax reasons especially tax yearout available employees selfemployedindividuals partners partnership particular tax loophole nowbeen closed tax advantages considerably reduced thereasons setting limited company complex youregoing take specialist advice accountant lawyerthe main advantages areyou spread income example large advance anumber years therefore taxed year whichyou get itit may taxefficient way distributing income bandmembersit might protect legal actions anyone bringing suchan action would sue company first instancealso lot bands income going earned overseas anoffshore company may used avoid paying uk tax decide youneed access money ukamong main disadvantages rules governingwhat companies cant accounts published membersof public could find much earn although areexemptions allow small companies file abbreviated accounts andthere also higher administration charges limited companyobviously sooner get advice decide band structurethe better leave late try put structure place afteryouve already entered contracts things get much complicated ifyouve already done record deal individuals decide youregoing limited company record deals would benovated ie renewed name company also youve alreadyreceived money individual might jeopardise scheme totake money country may result inland revenue decidingyou taxed individuals regardless existence limitedcompanyon basic level decide halfway negotiation arecord publishing deal change structure business affairs personat record publishing company isnt going find funny astheyll redraft contract deal new structure wasrecently told hour record contract signed amajor record company deal done limitedcompany record contract individual rang therecord companys lawyer let know despair ten peoplewere meeting hour get contract signed time tochange go fiction deal signed drinkthe champagne photos taken lawyers went away toturn deal limited company could actually besigned company paid moneyif decide limited company bear mind youll topay get company set name want assumingthat name available youll pay annual running coststhe band members shareholders youll agree howmany shares member going probably equalnumber need daytoday decisions running limitedcompany generally require plus majority twomember bandand shares block decision othermajor decisions company generally require plus majority soif fourmember band equal shareholdings one membercould block major changes three could gang fourth pushthrough daytoday decisions get around problems couldbring band usually advised put shareholders agreement placewhich govern daytoday matters dealt majordecisions could require unanimous agreement otherwise three fourband members could vote major change wishes thefourth shareholders agreement also deal happen ifa member wants leave usually require resign officerof company first offer shares bandmembers value shares cant agreed accountant usuallybrought arbitrator decide matterpartnershipthis main alternative structure bands present without limitedliability option may change limited liability partnerships gainfurther ground band members partnership together theparticular venture band partners treated equally andprofits losses shared youll usually advised put apartnership agreement writing agreement decide theventure going run daytoday basis whether partners areequal whether equal others happen tothe band name partnership dissolved record whether anyonehas put money goods equipment partnership ifso whether money intended working capital business aloan whether equipment gifted partnership stillowned one member loan band band memberown equipment uses example drum kit guitar itwas bought band advances make joint property whatabout vocalist equipment microphone twodoes share ownership equipment band members thepartnership deed also deal thingsa partnership agreement also deal question isentitled shares songs publishing advances incomethis tricky subject emotive one say thatit dealt beginning relationship moneystarts earned songs see chapter even dont written agreement still apartnership taxman look reality work togetherand things like band income dealt withservice agreementsregardless structure place band possible anindividual band member company call servicecompany service company exclusively entitled theindividuals services entertainment business service companycan enter record publishing deal hold shares bandscompany interest partnership record publishing companiesare used arrangements usually happy incorporate theminto contractual arrangements especially told earlystage usually want individual sign agreement called aninducement letter confirm service company entitled hisservices agreeing service company drops picture forany reason abide contract personallya service company usually set tax reasons inlandrevenue looks closely service companies often used adevice add weight individual claiming selfemployed andnot employee example record producer engaged inhouse producerengineer recording studio service companyand claimed employee recording studio inlandrevenue said look behind service company whatthe real relationship producer studio theindicators relationship actually one employee hewill taxed employeethis issue often comes artist engages musicians aparticular tour record album musicians may want treatedas selfemployed musicians contracts carefully drawnup establish existence selfemployed relationship isdefinitely one lawyersband incomewhatever structure put place decide happen tothe incomerecord video touring merchandise sponsorship income usuallyshared band members weve seen exceptionswhere band consists one two core members signed therecord publishing deal members employed workalongside cases employed members usually eitherput retainer weekly wage theyre employed sessionmusicians session musicians paid work theyarent usually signed exclusively free work others e echapter disputes usually arise area songwriting income thisdoesnt mean arguments never arise relation recording income orindeed sometimes boththe cure caselaurence tolhurst former drummer cofounder band thecure asked leave band sued lead singer ofthe band record company damages arising deals donein tolhurst argued record deal done fiction recordslimited gave robert smith lions share recordingincome left crumbs asked court agree thatthere partnership place order smith account profits receivable agreement also arguedthat forced enter agreement undueinfluence exerted record company owner chris parry hesaid mr parry fiction records account alltheir profit deal allowance skill andlabourthe case turned character attack tolhurst allegationswere made contribution bands success declined aresult drinking problems part tolhursts case hehadnt given enough information deal hesigned hadnt independent legal advice wesee familiar theme emerging tolhurst argued deal shouldbe set aside court order account recordincome determine much actually entitled tothe court dismissed claim said question undueinfluence didnt arise although record company would havebeen position exercise undue influence terms offered werenot obviously bad fact judge thought tolhurst lucky tohave offered arrangements circumstances andfound hadnt signed agreement undue influencethe fact hadnt independent legal advice didnt affect thecourts decision deal bad one judge alsodecided partnership place respect agreement smith tolhurst fact come differentarrangement happen incomedisputes often arise relation songwriting income theres problem ifall members band contribute equally songwriting process thenthe income songwriting split equally however raremuch common situation one two members theband write songs give rise two possible sources ofresentment write songs could come resent sharingadvances royalties nonwriting members band thewriters dont share income gives rise resentment thenonwriters miss potentially lucrative form incomeof course leaving aside tensions may also argumentsabout actually wrote saw kemp case othermembers spandau ballet brought case gary kemp arguing thatthey entitled share publishing income cowriters themusic songs recorded unsuccessful beother arguments much band members actually contribute thecreative process way interpret perform song ifthe contribution genuine one credited cowriterbut contribution main writers isthe value contributionwhat members band write publishingadvance comes band broke imagine tensions couldthen occur main songwriter takes publishing advance doesntshare others even agrees share advance equally withthe others happen advances recouped publishingroyalties start come royalties go mainsongwriters continue divided equally isnt one answer tothis personal individuals concerned lookat cases realise important try sort outhere three examples ways seen bands deal withthis issue many possibilitiesone band know arrangement one member controlled allthe songwriting took publishing income began tocause tensions volunteered share percentages publishing incomefrom songs band membersive also heard story may myth members rockband queen agreement got credited writer thesongs singles turn true democratic doesntreally deal problem band members weakersongwriters dont write successful songs others banda third way dealing ive come across share theadvances royalties equally advances recouped afterthat band member would account publisher andthe income writers contribution songs would paidinto accountthree different solutions ticklish issue whatever worksfor written soon possible circumstances changereview arrangements see would fair change themaccounting taxone main things cause problems band tax vat inboth cases bands often dont keep enough money back pay bills hmrevenue customs vat man heavy powers imposepenalties often one main creditors forcing windingup limited company make bankrupt even ifthey give time pay financial penalties interest topay believe wont get away ityour accountant advise much kept one side fortax hes books hell able tell toexpect pay vat man hell also probably advise keepall receipts sort ones legitimatelyrecharge business expenses tax havent kept isno proof favour get cardboard box get habitof throwing receipts organised couldhave file divided months year put receipts therelevant month makes life lot easier yourbookkeeperaccountant comes booksyoull need band account unless accountant thebooks youll need basic accounting system could simplecomputer spreadsheet youd keep record income receivedwhere expenses work ifyou gig march youd record much received muchit cost gig dont forget keep receipts yourexpensesleaving member provisionsthese clauses recording publishing agreements bands thatdeal happens one members band leave banddisbands totally contract record publishingcompany naturally wants try prevent happening theyve investeda lot money supporting band making records videos inpromoting around world last thing want band fallingapart course words contract going keep aband together one decided call dayindividuals develop personally creatively necessarily thesame direction band members one member band may getmarried children want spend much time roador may change artistic style might suited solocareer member band course also possibilitiesthat band members grow hate sight yearson road band comes end docreatively used case happened deal ended andthe companies moved next potential big thing nowadays somuch money resting building reputation artist splithappens record publishing company wants able try andsalvage investment want option pickup rights new projects writers artists go withouthaving compete open marketthe record company also want try right continue touse name band theyve invested lot money building upas brandrecord publishing companies also want option topick choose continue deal sometimes called theremaining members dropfor example drummer leaves band record company willwant right continue remaining members band thebasis continue perform record band also wantto contract replacement drummer may put thesame terms remaining members may retainer basisif whole band splits company want option newcontracts individual member publisher might newcontracts know writers probably go doother things record company may decide continue deal withthe lead vocalist main focus band guessing willteam artists form another band solo careertheres usually system built contract gives record orpublishing company breathing space try work whattheyre going record contract usually give company theoption call leaving member deliver demo tapes hewould solo artist new band usually providestudio time make demos contract may also require theremaining members band demo new tracks without areplacement member see company think future theband drop record publishing companymay know immediately whether want continue leavingmember remaining members may come quickdecision dont hold breath though probably take themaximum time contract order look optionsonce demo tapes delivered record company theyusually month two decide time theleaving member remaining members band limbo theterm contract usually suspended meantimethe record company may decide take option leavingmembers new project remaining members vice versathey may also decide take option remaining membersthey may decide abandon fatefor leaving member remaining members dropped fromthe contract end obligations record publishingcompany dont repay company share anyunrecouped balance account however share royalties fromrecordings made songs written time decision todrop continue applied recoup unrecouped balance thedropped artist songwriter wont see royalties recordings orsongs advance fully repaidfor example lets assume unrecouped balance therecord account record company continues withthree remaining members drops fourth leaving member lets alsoassume band shared advances royalties equally leavingmembers share debt royalties leavingmembers share royalties recordings made amember band go recoup unrecouped debt thats happened royalties thoserecordings paid leaving memberif record company continues remaining members paysthem advances leaving members share royalties doesnt getused recoup additional advances wont received anyshare debt fixed time dropped contractby record company least something yourlawyer deal negotiates contractthe situation remaining members whose contracts continue isslightly complicated royalties oldrecordings goes recoup share unrecouped balance example share anything else thats earned fromthe old recordings first goes recoup new advances receivedand old account new account recouped willthey paid royalties also works way around royaltiesfrom new recordings go first recoup new advances surplusgoes recoup share old debt accounts arerecouped see royalties new recordingsif contract continues remaining members newcontract issued leaving member record publishing companywill want continue rights leaving member andorremaining members original recording publishingcontracts however one two parts contract liketo try change record company often try change minimumrecording commitment album singles rationale thatuntil record company knows new lineup perform themarketplace dont want risk committing make album withsingles seen largely promotional tool albumbased artists ifyour music isnt directed singles market hold analbum commitmentthe record label also usually want options future albums thiscould either number albums left original deal forthat number plus one two agreed time therecord deal originally negotiated youll bargainingpower theres guarantee record company want negotiatethis middle leaving memberband split situationthe record royalties usually old agreement butmay go back rate applied first contract period youvereceived increase royalty based either record sales becauseits later contract might go back rate increase tookeffectthe advances usually fraction advance would havegot contract period example fourpiece band andone left would entitled nextalbum remaining three members expect entitled isnt however foregone conclusion lawyer haveto fight behalfbecause artist walks away unrecouped debt chanceto start many actually crossing fingers hoping theyll bedropped fairly shortterm response though alldepend whether get new deal certainly reason tosplit band hope youll get droppedthere leaving member clauses special arrangements theremay different rules recoupment different levels new advancesdepending member band leaves key seen tobe proceedings may feel lead vocalistfront man shouldcommand larger advance preferential terms leaves saythe bassist may even say theyre interested leavingmember rights key peopleas imagine sorts provisions disruptive andif bands first deal arrangements ought really avoidedboth record companys viewpoint bands earlystage one knows going turn star whod havethought genesis drummer phil collins would turn excellentlead vocalist successful solo artistdifferent arrangements also occur publishing deals forexample one four writerperformers band may prolificwriter adverts jingles addition work band thesecircumstances possible four members separate accountsand initially receive equal share advances really works ifeach writer earns equal share income goes first recoupthe total band advances writer earns significantly morefrom work jingles writer income source onlycredited account next accounting date receive acorrespondingly larger royalty chequeone area probably change publishing deals aftersomeone leaves minimum commitment one songwriter previouslywrote album others split areexpected deliver album going aproblem leaving member clauses publishing deals lawyer willusually try reduce commitment achievable levelwhat happens bands assets splitif partnership band agreement say happens tothe bands assets band splits one members leaveif theres written verbal agreement prove theband members theyre partnership rather antiquatedpartnership act govern happens essentially partnershipis dissolved unless partners elect continue agreement cantbe reached fair way dealing assets partnership isdissolved assets realised ie sold proceedsdivided equally partners agreement cant reached onwhether something goodwill reputation band nameshould given value value matter usually referredto accountant acting arbitrator way recordcompany deals name recording agreement may helpdetermine valueif band partnership shares limited companythen shareholders agreement andor memorandum articles ofassociation say happen usually remaining memberswould want right require leaving member resign fromany office director company secretary also sell shares thearrangements would normally give remaining members right buythose shares back certain price accordance fixed formula orit may require shares valued independent accountant taxquestions could arise everyone take advice anaccountant tax lawyer split occurs absence writtenarrangements danger company could become unworkableif leaving member director company secretary hasntbeen guilty wrongdoing without written agreement wont beeasy remove office service contracts employmentadvice sought terminating arrangements without anagreement cant easily get shareholders sell shares anddepending size shareholding could block votes requiringa plus majority indeed requiring simple plus majorityif twoman band two members fourpiece bandhave leftonce agreement reached bands assetsthis recorded settlement agreement drawn upby lawyer particularly important matters rights bandnames copyrightsif agreement reached parties headed almost inevitablytowards litigation courts even though reform legal systemin england wales places considerable emphasis conciliation andalternative dispute resolution adr still see largely unedifyingspectacle bands fighting courtthe partnership band agreement clear ownswhat brought deal example one bandmembers transit van allows band use benoted band member could also put money band keep itgoing either loan band without interest morepractically gift use partnership may may notbe allowed get back equivalent sum leave also usual theleaving band member take band equipment heparticularly uses fair unless one person use lot ofexpensive equipment paid band advances caseyou would expect equipment valued remaining bandmember either get equipment value paid share itsvalue leaving member going take equipment awayif band name genuinely closely associated one individual thenits fair say individual allowed continue use thename band splits band members thatwill helped make name successful person using nameafter band splits compensate others figure cant beagreed referred accountant value many caseshowever name dies end bandeach band member continue responsible share therecord publishing company unrecouped balance usually becovered record publishing deal old accounts arerecouped individual band members entitled agreedshare royaltiesits also wise decide whether band members unanimouslyagree something done material createdtogether going majority decision example yearsafter band splits record company wants put g r e e h salbum record contract may give band approval whether therecord company band agreement say whether theband members agree democratic thing would sayyes practical thing would say amajority decision one person couldnt hold gun heads theothers record company situation arises approvals ofthe use material adverts films view adecision band members practically possible ifthe band split one gone business andarent easily contactable decision remaining members whoare contact prevailrecently spate cases claims involving boyband bustedjames bourne v brandon davisbetween december october james bourne matthewsergeant kiley fitzgerald owen doyle composed performedsongs together early lineup band busted nowritten agreement judge accepted partnership atwill saw frankie goes hollywood case thislineup split james bourne matthew sergeant joined upwith charlie simpson form new busted lineup march lineup signed record deal universalisland records partof deal james bourne assigned performing rights theearlier recordings universalisland quite common lineup successful continued january againsplit james bourne went form new group called son ofdork august new record deal mercury recordsand assigned performing rights performances beforethe date contractin brandon davis issued ninetrack cd featuringperformances original lineup made hotel immediately james bourne mercury records universalislandissued proceedings immediate injunction alleging infringement ofmr bournes performance rights passing using namebusted relation recordings court ordered immediateinjunction september october mr doyle theoriginal lineup purported sell mr davis consents necessaryin respect performances assigning copyright andperformers property rights rights connection thoserecordings mr davis argued agreement effect ofassigning performers property rights four basisthat partnership property partner could deal andbind partners judge accepted performers propertyrights could become partnership property would necessary forthere formal agreement give effect mr davissclaim failed waited long split doanything four years long gap claim mr doyle wasacting ordinary course partnership sell propertyrights partnership could seen part winding upof partnership even partnership property werestill held individuals retained beneficial interest thepartnership exclusive rights dispose rights bestthey could argue rights applied benefit thepartnership individuals james bourne within rightsto grant individual performers rights record companies mrdavis right rights knew mr doyledidnt mr bournes authority assignment eventfor something like consent four members would beenrequired copyright act athe main lesson learned somewhat complex legal case thatto avoid doubt best deal writing partnershiparrangements rights performers rights well copyrightbut end disputes involving members busted twoof original lineup kiley fitzgerald owen doyle broughtan action arguing universalisland released recordings featuring theirvocal performances eponymous album busted also claimthat integral creation busted including coming withthe name cowriting bands early hits claim therewere unfairly cut equation manager richard rashman andthat rashman failed fulfil contractual commitments manager toprotect interests making sign agreements departurethat greatly favoured rashman remaining band members areclaiming share royalties bands early songs trade markuse unless settles trial set february conclusionsdecide good name band protect far candecide band structure put written agreement placedecide going allowed use name split upmake sure leaving member clauses contracts fairdecide things youre still friends inland revenue issued guidelines quite useful examplesof main indicators someone either employed selfemployed called ir obtained local inlandrevenue office tolhurst v smith others emlr chapter moral rights privacy individual introductionmoral rights origins wellestablished european principles oflaw aimed protecting creative types ensuring works treatedwith respect also called droit moral chapter im onlygoing give overview rights usedthere many books subject want read furthermoral rights separate copyright circumstances cankeep moral rights youve assign copyright tosomeone elsein europe long felt artists rights receive economicie financial reward use work adequately protected bythe copyright laws however integrity work deservesseparate protection hence development separate droit moral theuk legal tradition makes economic rights important ofartistic integrity doesnt uk value integrity creative worksyou may well ask dont give value question ofemphasis answer lies cultural differences uk andthe rest europe different legal histories havethe european principles moral rights included majorinternational legal convention intellectual property berneconvention particular brussels revision berneconventionthe uk lagged long way behind indeed fact didntincorporate two basic moral rights uk law meant manyyears uk unable fully comply berne conventionas uk became integrated europe became clear wewere step fully complying berne conventionbut also giving sufficient weight rights generalprinciples harmonisation govern operation europeanunion meant uk come line moral rights wewill see peculiarly british fashionthe copyright designs patents act first uk statute thateffectively incorporated principal moral rights beenlimited moral rights copyright act act onethat brought uk line europe enabled us comply theprovisions berne convention since february performers alsohave legal right identified performer object toderogatory treatment recorded broadcast performancesthe moral rights arent linked owns copyright work inquestion may person necessarily exampleyou could assign rights copyright musical work musicpublisher author work question could retain yourmoral rights fact law cant assign moral rights remain withyou beneficiaries death intended protect fromunscrupulous people may want assign moral rightsalongside copyright however one means endif fellow band members write musical work together thenyou moral rights independent oneof decided abandon moral rights doesnt mean rest ofyou toin reality act merely put law previously beendealt contracts crucial difference contract canonly bind contracting partner whereas moral rights canenforce third parties party contract forexample may clause contract says becredited composer music publishing company forgets todo breach contract sue however theworks licensed inclusion compilation album compilationcompany doesnt credit unless moral rights youcant take action contract compilation companyand record company moral rightsyou take action compilation company breach yourmoral right identified author whether publishingcompany wants take actionwhat rightsthere four moral rights three likely affect youthese three rights exist respect copyright works work outof copyright dont moral rights relation itthe right paternitythe first moral right right properly identified author thework performer performers performance broadcast orwhen recording performance communicated public isalso known paternity rightthe right owned author copyright literary dramaticmusical artistic work performer relation performancesso composer lyricist original songs would right tobe identified written words composed music aperformer name stage name name group alsobe identified manner likely noticed audience yourperformanceits also possible youll moral rights artwork used thepackaging records person created work seechapter artwork youll notice though owners soundrecording copyright dont moral rights sound recordingthe right exists relation musical work lyrics workis exploited one five ways work commercially published includes sheetmusic also sound recordings soundtracks films issue public copies work form sound recordings showing public film soundtrack includes work issue public copies film soundtrack includesthe work remember definition film include videos anddvd work adapted adaptation exploited one theabove ways right identified author workthat adapted arrangement capable copyrightprotection author adaptation may also right beidentified authorthere moral right identified performer workis broadcast recording communicated public areexceptions requirement performer must identified notapply reasonably practicable also doesnt apply theperformance given reasons relating advertising news reportingwhat poor djs whod danger breaching moral rightsevery time irritatingly didnt give name check playing yourrecord radio guidance present whether wouldbe taken reasonably practicable name performers ona recording common sense suggests failure give group orperformers name stage name would breach unless inadvertentbut would practicable name every performer including sessionplayers may necessary session musicians agreements tospecifically waive moral rights identifiedif moral rights artistic work artwork rightcomes effect work exploited one following ways work published commercially exhibited public visual image broadcast otherwise made available public film including visual image work shown public copies ofthe film include videos dvds issued publicsection act sets details author beidentified one example author musical artistic workmust identified copy logical wouldnt want recordcompany able get around right identifying firstsay one hundred copies issued restassertion rightthere however one big order able rely thepaternity right first asserted right may havenoticed inside cover books published since astatement along lines right authors name identified asthe author work asserted accordance sections copyright designs patents act bookpublishing worlds way asserting authors right paternity youwrite song dont want right identified authorthen dont assert moral right paternity dont insistof credit clause contracts wouldnt want beidentifiedif want identified assert right generally statement respect particular act exampleyou could assert right identified author musical workin sound recording sound recording included afilm may wonder anyone would make distinction youcan choose assert rights document assign anycopyright work example exclusive music publishing dealwhere assign rights period time see chapter oryou written means brings assertion theattention someone responsible breach rightthe problem binding people whoseattention assertion rights brought example could put awritten document asserted right paternity thatdocument put away drawer wouldnt brought toanyones attention couldnt rely moral right later someonefailed identify author work putting assignmentdocument best way ensuring anyone later takes anyinterest work assigned notice assertion yourpaternity rightsif musical work jointly written example membersof band responsible asserting right paternityone band member cant take upon assert behalf theothersthere number exceptions important one islikely fact copyright one created anemployee employer anyone acquiring rights doesnthave identify author work example wrotea jingle part job employee jingle company unlessthere anything contract said employer give youa credit wouldnt wouldnt able rely anyright paternitythe integrity rightthe second moral right right author work performer abroadcast recording communicated public tohave work subjected derogatory treatment ie someone treatyour work way reflects badly work indirectly youthis sometimes called integrity right right owned authorof copyright literary dramatic musical artistic work director ofa copyright film includes video dvd performer inrelation broadcast performance recording hisperformance communicated public right onlyapplies relation work copyright doesnt apply soundrecordingsthe right several hurdles first establish thework subjected form treatment ie beenadded parts deleted work altered adaptedin way something done little aschanging one note one word lyrics isnt treatment work ifall put unchanged form context reflects badly onits author example someone uses song part soundtrackfor porn video isnt treatment work purpose ofyour moral rights treatment someone changes key orthe register musicin case involving george michael court asked consider thequestion treatmentsomeone put together megamix george michaels tracks usingsnatches five songs also slightly altered lyrics thecourt decided definitely treatmentonce youve established form treatment youthen show treatment derogatory purposesthat means distortion mutilation something prejudicial yourhonour reputationwhen youve established points look atwhether treatment subjected particular type use thecase literary musical work integrity right infringed publishing commercially performing public broadcasting otherwise making available tothe public issuing copies public film sound recording including aderogatory treatment workin case artistic work treatment used one ofthe following ways publishing commercially exhibiting publicly broadcasting including service makes available thepublic visual image derogatory treatment work showing public film including visual image derogatorytreatment work issuing public copies filmin case film includes video dvd integrity right isinfringed person shows public includes cable programmeservice derogatory treatment film issues public copies ofa derogatory treatment film case performance thebroadcast work recording performance iscommunicated public rights also apply online digitalreproduction via internetfalse attributionthe third right extension right existed previouscopyright act right work falsely attributed toyou would happen someone says piece music written byyou directed particular film isnt fact case thisfalse attribution neednt writing verbal also neednt beexpress implied someone could suggest televisionprogramme author particular piece music youwerent could imply without coming straight andsaying many ways mirror image right paternityif false attribution applied workthat used one following ways said aninfringement moral right person issues public copies literary dramatic artistic workor film false attribution example creditswrongly identify author music could aninfringement moral right person exhibits public artistic work copy artistic workin false attribution case literary dramatic musical work person performs thework public broadcasts otherwise makes available publicsaying wrongly work particular person case afilm shows public broadcasts makes available public asbeing directed someone fact directed material issued public displayed public contains falseattribution relation acts also infringement thiscould catch publicity posters films adverts magazines bookor false credit packaging recording piece musicthere also rights indirectly infringe right therights extend making available internet making digital onlinecopes worksprivacy photographsthe final moral right right privacy photographs youcommission intended protect unauthorised use bynewspapers like private photographs havecommissioned youre starting business right may notbe immediate practical interest theres always motto thattheres thing bad publicity however later life youre amegastar seeking protect privacy costs may remember thisright use unscrupulous photographers keen sell souland life tabloids right used alongside privacy andconfidentiality rights developed courts implementingthe human rights act see later chapterownership rightsas weve already seen moral rights belong authors composers ofmusical works writers lyrics intended spoken sung withmusic performers sound recordings broadcasts theirperformances record producer may moral rights theproducer may also performed record orcontributed writing words music see chapter real beauty rights rights author orperformer cant made assign songwriter may beenrequired assign copyright words music publisher partof publishing deal see chapter cant made assign hismoral rights retains moral rights position takelegal action someone infringing rights even publishingcompany wants take actionthere course difficulties moral right paternity youwould show right infringed thatyou asserted right way person infringing hadnotice assertion assertion assignment document andwas general nature could take action assignee therights anyone else taking interest rights subsequentlythis could help take action infringement paternity rightagainst publisher one subpublishers easily againstsomeone acting unlawfullythe moral rights first assertedduration rightsthe paternity integrity rights last long copyright exists thework question applies right privacy commissionedphotographs films persons death right take action forinfringement passes whomever specifically directs morethan one person right false attribution lasts twenty yearsafter persons death infringement death hispersonal representatives take action criminal offence toinfringe moral rights proven right seekinjunctions andor damages importantly exercise degree ofcontrol whats done workthe catchthere though one big problem rights beendealt peculiarly british way youll recall two main moralrights first introduced uk law order enable uk tofully comply requirements berne convention theconvention said laws signatory countries ought contain theauthors moral rights however nothing convention thatprevented country incorporating rights laws makingconcessions economic interests exactly happened inthe uk arose largely result intensive lobbying powerfulrecord publishing interests country also result longstanding laissezfaire tradition spoke earlier uk stillfavour economic interests authors rights happened thathaving included rights act law went say thatthe author could elect waive rights agree assert rightof paternity enforce rights waiver must inwriting signed person giving right waiver aspecific work works within specific description works generally itcan apply existing future works conditional unconditionaland revocable points would also apply moralrights performerswhat consequence waiver provision im sure canguess soon industry realised rights could waived allcontracts changed include standard waiver rights thewidest possible terms clauses included provided anabsolute unconditional irrevocable waiver moral rights ofwhatever kind relation existing future works even put themin record contracts little chance right existing inthe first placeconclusionso bother discussing rights youre going waive themanyway comes bargaining power creativecontrols important could try insist towaive youre forced waive moral rights try onlywaive uses works properly authorised people tryand retain right enforce moral rights unlawful users ofyour works infringers rightsif youre made waive rights lawyer usually usethat lever try get benefits rights theback door helps us negotiate favourable credit clauses youand cover happens arent properly credited rely theintegrity right get contractual consents cant donewith work example words music cant changedwithout consentprivacy individualive talking book chapters particular howyou capitalise fame fortune another side thecoin rights famous person prevent others cashingin fame intruding private life celebrities protecttheir privacy happens press gets intrusivethere two opposing schools thought work onehand could argue personalities worked hard create theirfame shouldnt able benefit results hardwork control others celebrity handsome consider fame personality created public issociety large decides whether individual famous sotheir name image belong publicthe courts different countries adopt different approaches usits much easier protect personality publicity associated withit uk courts half century adopted approachthat choose go arena get fame maybefortune name reputation matter public interest andpublic propertythe cases laws passing discussed earlier clearlyshow courts keen assisting famous personalities clearthe market unofficial merchandise see chapter notrade mark copyright infringement breach tradedescriptions act well western europeancountries youll find law gives much broader protectionindeed right privacythe petula clark caseone first french cases involved petula clark authorisedan agency interview photograph particular publicationthe agency concerned however sold photographs another agencythat used weekly publication petula clark successfullyawarded damages french court proportional loss theopportunity earn revenue publication photographsthis line approach consistently followed france inthe ukthe eddie irvine casea different case involving racing driver eddie irvine givensome hope courts starting acknowledge acommercial value named image wellknown individual whichthe individual entitled protecttalksport produced limited run advert doctored picture ofeddie irvine showing seeming hold radio mobile phonein ear tag line suggested supported particular sportradio stationirvine brought action damages passing argued thathe substantial reputation goodwill defendant hadcreated false message insignificant section publicwould take mean irvine endorsed radio station radiostation argued freestanding right characterexploitation enjoyable exclusively celebrity passing claimcouldnt based allegation false endorsementthe court agreed irvine held action passing offcould based false product endorsement judge recognised thefact common famous people exploit names andimages way endorsement todays brandconscious age onlyin field expertise wider field also righttherefore valuable reputation protected unauthorised useby parties fact brochure limiteddistribution relevant even damage done may negligiblein direct money terms court accepted potential longtermdamage could considerablethe case referred chapter branding also suggests theregulators beginning accept circumstances valuein persons image entitled protectthe implementation human rights act uk law attracted much interest among personalities advising theythought might afford protectionthe human rights act gives individual right respect hisprivate family life home correspondence must howeveraccording human rights act balanced importance offreedom expression press courts required performthis balancing actthe introduction law saw flood cases juicy onesinvolving stories sex drugs others less tabloid nature butboth sorts centred serious question right privacy hereis selection casesthe michael douglas casethis involved claim actor michael douglas publishers ofok magazine hello breached privacy secretlyphotographing wedding catherine zetajones publishing thephotographs ahead exclusive given okthree judges reviewed history developing law ofconfidence privacy effect introduction thehuman rights act considered acceptance right toappropriate protection ones personal privacy extension thelaw confidence placing fundamental value personal autonomythe court declined expand new right privacy saying mrdouglas ok sufficient protection existing laws ofconfidencethe earlier ca case kaye v robertson followed thebasis law moved develop law privacy without theneed first establishing relationship confidentiality whichsometimes done artificiallyon balance decided mr douglas right privacy eventhough waived right agreeing deal publication ofphotographs event question weddingthe legal saga continued damages later awardedto mr douglas ms zetajones million ok thecommercial damagehello announced would appeal amount damagesawarded decision house lords may thatwhilst douglas zetajones entitled damages breach oftheir right privacy ok also entitled damages wasboth significant blow ok anticipated damagesand bulk legal costs one created huge hole inthe case law thought protect magazine spoilerstory run rival would seem protection available underthe privacy confidentiality laws circumstances unless thereis appeal european court would seem end thisparticular saga expect cases area magazinesseek establish extent cannot protect terms ofexclusivesms dynamite casein ms dynamite sought rely right privacy article human rights act complained press complaintscommission islington gazette published information whichmade possible identify location home pcccode conduct pcc upheld complaint found thecode breached whilst may acted sharp slapon wrist islington gazette without stiff financial penalties inthe form compensation lacks bitethe courts shown tendency grant injunctions area ofprivacy example libel fact together hope ofcelebrities improvement right privacy intrusivepaparazzi tabloid reporters led several new cases areathe footballer casea footballer wanted prevent publication kissandtell stories bygetting injunction newspaper court balance theinterests individual freedom speech decide whetherthere public interest served allowing publication theydecided balance wouldnt prevent publicationthis case made clear nearly intrusions privacy dealtwith area breach confidence seems move away fromthe douglas case clearly wished establish separate law ofprivacy returning law confidence necessary forcelebrities show information obtained confidentialcircumstances case also seems show courts sympathies tippingin favour freedom press stressing need balancingact privacy individual public interest dontmean piece juicy news publicinterest public figures accept activities insome circumstances make publics interest writtenabout whether like notthis approach seems followed cases brought bycelebritiesthe jamie theakston caseanother celebrity caught trousers tvpresenter actor jamie theakston visited brothel wasphotographed one women threatened sell herstory press apparently failed pay servicesrendered theakston sought injunction stop courtapplied rules confidence decided woman owed himno duty keep matter secret public interest servedby story visited place also ruled though thatthat interest didnt go far photographs made orderpreventing publication photographsthe naomi campbell casethe first privacy cases come trial implementation ofthe human rights act one brought supermodel naomicampbell daily mirror mirror intended publishdetails ms campbells drug addiction sought injunction oprevent court decided public interest inknowing addiction apparently previously proclaimed anantidrugs stance didnt extend details therapy withnarcotics anonymous granted injunction breach ofconfidentiality awarded low sum damages asignal court didnt think much behaviour judge wentso far say im satisfied lied oath clearcase damage caused publicity surrounding case andher evidence court outweighed caused original articleappeals took case right house lords may theoriginal decision stated upheld law courts majority decisionthere clearly still legal tightrope walk legitimateto publish oversteps mark law still developing andoccasional inconsistencies remainsebastian coe caseshortly house lords decision naomi campbell casesebastian coe brought high court action seeking injunction againsta newspaper publishing details mistresss abortion wasprivate medical information courts declared suitable forprotection ms campbells case might expected succeed buthe notsara cox v people newspaperdj sara cox sued people newspaper published nude shots ofher boyfriend john carter honeymoon whilst relaxingon private beach action settled award indamagesthe elizabeth jagger casein march elizabeth jagger brought claim injunction thehigh court prevent publication cctv footage heavypetting near doorway nightclub boyfriend callumbest judge agreed right privacy balancedagainst public interest thought came firmly side ofprivacy caseas many areas english law much depend individualjudge hears case country press selfregulated thepress complaints commissiona case involving canadian musician helped put rest ofthe inconsistencies set guidelines draw linebetween need privacy desirability free pressniema ash v loreena mckennittalthough perhaps household name ms mckennitt verysuccessful canadian folk singer toured internationally afriend perhaps correctly former friend niema ashpublished book written entitled travels loreenamckennitt life friend ms mckennitt claimed bookcontained great deal personal private information lifewhich entitled keep private ms mckennitt someone whotook pains protect reputation privacy relying theduty confidence keep private business affairs private shesucceeded claim first time round ms ash appealedthe court appeal decision useful lawyers itsummarises present state law privacy confidenceenglish law right sue invasion privacy thecases brought breaches confidence area law alsoencompasses provisions human rights act ways thatare always comfortable balance drawn rightof individual private information misused againstthe right freedom expression addition court considerwhether individual complaining misuse private information hada reasonable expectation privacy latter requirement behindsome inconsistent decisions judges sometimes findthat claimants behaviour led foregoing thisexpectation privacy example might film star used hisfamily promote image happy family man might havegiven right expect prevent others publishing pictures ofhim familyms mckennitt passed first hurdle court appealjudges found information personal nature fallwithin category private information ms ash ratheringeniously argued could private ms mckennitt becauseshe shared experiences judges rejected line ofargument thought book wasnt ms ashsexperiences ms mckennitt used anexpression personal experiencesthe judges also decided case merely msmckennitt sought publicity hadnt lost right protectherself publicity didnt likeso decided private information entitledto protect court decide right outweighed bythe right freedom expressionthe judges found freedom expression didntautomatically outweigh right privacy case lookedat detail case found ms ash ownstory tell ms mckennitt werecome public domain told ms ash ms mckennittdid mean ms mckennitt lost expectation thatinformation would kept private might think different ifms mckennitt already given warts interview anewspaperms ash thought right expose saw msmckennitts hypocrisy difference public privatelife judges disagreed special circumstances thatwould justify revealing private information charge ofhypocrisy alone enough reason event foundon facts ms mcmennitt fact hypocriteon hand court also made clear noautomatic right private life person public eye insome circumstances areas lives wereentitled keep private special circumstances would need future tobe shown example private life football player bemade public without consent special circumstances would bematters fell within area political public debate wouldnot therefore normally apply private lives individuals evenpoliticians public eyeexactly week later court appeal handed judgement theappeal associated newspapers permitted publish extracts fromthe prince wales private journalsassociated newspapers ltd v hrh prince walesin respects case looks obvious nevertheless endedup court appeal probably reflection amount ofmoney newspapers make stories revealing nature wellas fact still developing area law pressperhaps senses chance gain ground privacy versus pressfreedom battleprince charles kept handwritten journals eight total containinghis impressions views course overseas visits theperiod employee princes providedcopies journals mail sunday published substantialextracts relating visit hong kong including commentswhich disparaging certain chinese dignitaries met heractions breach employment contract prince charles suedher two grounds breach copyright breach confidence onthe breach confidence case issues essentially inms mckennitts case outlined press freedom ofexpression enough justification override princes right privacyin private lifethe court first heard case thought gavejudgement prince newspaper appealedonce court appeal judges outlined state thecurrent laws confidence case also discussed extent towhich employee position confidence fairly andreasonably recognise information privateonce question balance interests beweighed also addition court appeal felt toconsider weighed also took account theinformation obtained result breach confidentialrelationship based contract employment contractin case fact employee contract whichcontained clause obliging employee keep contents thejournal confidential balance favour even heir thethrone right keep thoughts private fell princesfavour one famous lost right private lifeconfidentiality agreementswhat last case particular highlights confidential relationshipdoes exist example celebrity housekeeper driver orbodyguard important confidentiality agreement putin place make extent confidentiality clear confirmthat matters remain confidential add claim breachof contract confidencehowever doesnt always go way celebritythe beckhams v gibsonin april david victoria beckham brought action highcourt prevent disclosures former nanny abbie gibsonabout marriage private life confidentialityagreement place beckhams claimed breached thejudge refused grant injunction matter came beforethe courts former nanny voluntarily undertook release anyfurther information pending full hearing many cases usuallythe end matterharassment actionsapart seeking court orders civil courts injunctionscelebrities seek involvement police prevent theactivities paparazzi reporters whose activities border ofstalking rely legislation introduced prevent privateindividuals hounded stalked police persuaded toget involved effective moving recalcitrant membersof press wont private criminal actions possiblealthough cases rarely come trial celebrity would giveevidence many reluctant whether police privatecriminal case court going want see detailed evidence theextent harassment private detectives often hired producephotographs paparazzi hounding celebrity private securitystaff often called upon produce detailed statements extent theharassment many paparazzi freelance make moneyfrom selling stories photos highest bidder exclusives netthem tens thousands pounds syndication rights worldwide n owonder keen wonder many celebrities forced eitherinto almost total isolation uk move overseas france usbeing particular favourites privacy laws strongerconclusionstry retain moral rights canassert right identified author work early aswidely canif waive moral rights use get improvedcreative controls contractput confidentiality agreements place work closestwith youconsider harassment actions intrusion becomes muchbefore embarking privacybreach confidence actions considerwhether potential bad publicity trial could outweigh anyadvantages gained see copinger skonejames copyright th edition sweet maxwell detailed legal description uk moral rights first appeared rome treaty article bis brussels revision berne conventioncontains two basic moral rights right identified author awork right work distorted mutilated otherwisealtered manner would prejudicial authors honour orreputation moral rights found chapter act sections theremedies found section ff performances moral rightsetc regulations sections cdpa section cdpa section cdpa section cdpa morrison leahy music v lightbond emlr see section cdpa details persons could liable forinfringement right section cdpa exceptions section cdpa section cdpa section cdpa irvine anr v talksport limited chancery division michael douglas catherine zetajones northern shell limited vhello ltd emlr v b c emlr theakston v mgn ltd qbd emlr campbell v mgn ltd ukhl guardian june guardian june times march niema ash v loreena mckennitt ewca civ december asoociated newspapers limited v royal highness prince ofwales ewca civ december times may chapter sampling plagiarism introductionsampling plagiarism two sides problem plagiarism isthe taking someone elses ideas passing ownsampling essentially thing subtle difference betweenthem guilty plagiarism need show someone hadaccess material coincidence soundsvery similar work sampling always deliberate act theperson sampling deliberately takes parts someones work andthen possibly manipulating includes work bothsampling plagiarism infringements copyright sample theactual sound copying digital recording infringementof sound recording copyright dont actually make copy thesound recording copyright could take piece music youreinterested using get someone replay reperform anidentical way still sampling would aninfringement musical copyright music literary copyrightin wordsis sampling theft many people argue cultural evolution basedon taking bits existing popular culture adapting changing themthey argue new musical genres borrow influenced earlierones rb gospel rock n roll rb thatbelieve think clamping sampling stifles growth theywould favour removal restrictions using parts ofsomeone elses copyrightthis well take logical conclusionthen one would able protect work music would devaluedand people wouldnt able make living work surely thatslikely lead less creativity rather believe wrong todeliberately take someone elses work without permission withoutpaying anything without giving proper credithow much samplealthough sampling around since theres still awful lotof confusion sample lot people think becausetheyve sampled couple notes seconds someone elseswork havent sampled simply isnt true copyright act says copying substantialpart question quality part sampled quantitythere number cases courts considered asubstantial partcolonel bogey casein case hawkes son paramount included sound thecolonel bogey military march newsreel used bars ofmusic lasting seconds question whether twentyseconds fourminute piece substantial part musicperformed band made main theme march courtclearly looked quality copied well thequantity found infringement copyright taken placejudge slesser said though may prolonged inits reproduction clearly view substantial vital anessential part reproducedthe beloved caseso could something shorter twenty seconds constitute samplethe band beloved sampled eight seconds recording apiece called euchari sample repeated several times thebeloveds track sun rising sound recording aperformance emily van evera work sampledhyperion owned rights sound recording sued apreliminary hearing judge gave opinion eightsecondsample brief constitute substantial part wanted thematter go full hearing however happens manysampling cases hyperion settled court permission use thesound recording sample given retrospectivelythe macarena casea claim brought produce records limited dance hitmacarena released bmg records infringed thecopyright sound recording farm called higher higherthe sample consisted short sound made vocalist paula davidwhich produce alleged used looped throughoutmacarenabecause sampling cases get court lot rested caseif went full court hearing court confirmed shortsample could constitute substantial part would firm rulingthat could relied later disputes judgement wouldbe difficult rely widely held view three seconds theminimum amount necessary constitute substantial part moreimportant potential guideline samplers bmg towin particular case decision part sampled didntconstitute substantial part would mean success record companybut wouldnt necessarily given guidance asubstantial part subsequent sampling case would continue bedecided casebycase basis hand case goneagainst bmg short sample said substantialpart bmg would lost particular case recordcompanies would also lost argument small samplecouldnt constitute infringement copyright bmg settled ofcourt terms remain confidential possibly potential downsidewas greatthe question also comes time time whether samplea rhythm drumbeat would argue shown beoriginal distinctive substantial part copied areof course many rhythms popular music many drum basslines used currently fact used earlier worksthis particularly true area reggae music inevitably goingto duplication tend however agree aaron fuchs hes manbehind eightbeat drumbeat used classic hiphop track thehoneytrippers impeach president brought legal actionsagainst sony def jam alleging particularly drum sound oneof distinctive hiphop genre worthy protection ofcopyright find report case coming court presume itwas settled court like many casesin united states courts handing decisions suggestthey leaning towards giving protection distinctive unique soundthe rap artist dr dr\u00e9 successful receiving endin court proceedings perhaps reflecting nature raphiphop genreof musicin indian composer bappi lahiri court injunction halting thesale debut album truth hurts prot\u00e9g\u00e9 dr dr\u00e9 signedto label aftermath records lahiri argued hit songaddictive contained four minute sample one lahiris songsthoda restiam lagta hui lahiri composed film lahiri sought proper credit use work andcompensatory damagesin songwriter michael lowe brought copyrightinfringement action arguing track x rap star xzibitssuccessful album restless used beat created lowe dr dr\u00e9 wasnamed codefendant one coauthors xlowe argued unsuccessfully created recorded beatand gave record producer scott storch hope wouldpass dr dr\u00e9 storch denied however lowe admitted hedid expect paid anything return beat judgedecided basis couldnt sue payment didntrule facts use beat itselfhow clear sampleif clear youve sampled someone elses work aninfringement copyright unless get permission copy andreproduce work dont could sue damages thecopyright infringement also injunction stopping fromcontinuing use sample imagine record companies arentvery happy artist samples material others anddoesnt get permission expensive record company iftheres injunction recall copies single oralbum remove offending sample recutting remastering andreissuing record fact expensive may botherredoing kill single album isnt good solutionfor best get permission use samples calledclearing samplesmost record contracts whether theyre exclusive recording agreementsor licences clause says guaranteeing allsamples cleared recording delivered makes itclear responsibility fair youre one putthe sample first place bear mind producers andremixers also opportunity introduce samples recording atvarious stages process contract make responsiblefor clearing samples introduce sometimes recordcompany idea including particular sample turn goodsong great monster hit record company encouraging toinclude sample take responsibility clearing itpossibly additional recording cost cost may may berecoupable depending dealin case point judge terence etherton qc sympathyfor defendantthe walmsley casewalmsley recorded track contained two soundrecordingsamples track licensed acid jazz contract requiredacid jazz pay royalties walmsley walmsley gave warranty thatthe copyright track free thirdparty claims hesigned agreement unknown part explanation maybe didnt pay much attention see acid jazzrefused pay royalties even though track chart successacid jazz said track given rise number disputes ithad pay monies settlement said relying itswarranty said walmsley breached walmsleys evidencewas hed told acid jazz time agreement andsubsequently samples told acid jazz nolicences required sought acid jazz would doitthe judge found acid jazz owed royalties walmsley andalthough walmsley breach contract acid jazz notpermitted equitable principles rely fullknowledge true position outsetwith types music particularly dance electronic hiphoparenas record company fully aware samples willoften help clear advantage use theirgreater resources clout pull favours get things cleared quicklythis clout downsides youre small struggling dance labelthat asks clear sample person whose work sampled less likelyto ask large amounts money emi sony bmg forexamplewhen seek permissionideally try get clearance youve recorded samplethen dont get permission havent wasted recording costs andtime reality wont usually possible take time track downthe owners work sampled find ask forpermission even find may take time gettingback may negotiate terms clearance themeantime cant get finishing recording track thiscould hold delivery record eventual release also youregoing need recording sampled work going sound like inyour version even demo practice therefore theclearance process takes place recording made duringthe recording process sometimes left record beendelivered think late start clearance process feelersshould put beforehand least find owns toget idea whether theyre likely give problemmost record contracts licences say delivery recordinghasnt taken place evidence produced usually form ofclearance letters agreements samples cleared youhavent used samples want give warranty sort ofguarantee effect delivery taken place unlikely thatyoull get advances due paid delivery see chapter willtime start run record released marketing plan wontbe put action therefore sooner samples cleared bettersome people say theyre willing take risk use asample wont spotted think sufficiently obscure orhidden track sample wont discovered well possiblethat could get away limited edition lowkey releasefor example going press copies therecord release small dance label might luckyeven spotted copyright owner sample may bother totake legal action amounts involved legal costs andhassle suing wouldnt warrant happens bigger recordcompany licenses track gives big marketing push youmake big success right find youre licensing loadsof different compilations havent cleared youre found outyoull end big problem hands copyrightowner sampled work incentive taking court thebigger record company licensed track may get sued bythe sample owner record company turn usually anindemnity means sued make youresponsible damages costs involved youve breachedyour warranty uncleared samples recording bylying may also irretrievably damaged relationshipwith label future worth risk judge itis also much easier internet find tracks might havebeen obscure lowkey releases whilst advantages arelooking launch career online significant disadvantages youwere hoping keep track low key personally really dont think itsworth risk seen many deals come unstuck issuesarising uncleared samples least tell record company asearly possible enlist help clear itwhere go clear samplesif decide clear samples go clearance youvesampled actual sound recording need seek permission theowner original sound although may passed someoneelse licence assignment rights see chapter start bylooking recording sampled copyrightnotice say copyright owner time forexample emi music first point call would emithey able tell still rights dont wantto show hand soon might want lawyeron names basisyou must allow plenty time first thing betrying achieve agreement principle use thesample artists wont allow works sampled anycircumstances best know early possible youve gotthe agreement principle negotiate terms alsotake time know fairly early whether going askfor ludicrous amount clearance make uneconomicalfor sample used remember well clearing use thesound recording sample clear use underlying musicand appropriate wordsthe owner copyright words music may writercredited sampled recording quite possible though thewriter may assigned licensed rights music publisher seechapter youll look whether publisher credited goto see still control rights may forpart world may passed rights back theoriginal writer mcpsprs database contain details whoclaims control publishing rights see chapter wouldbe good starting point youre member either mcps prs thetitle writers name common one example john smith thedatabase going throw lot names try narrow thesearch giving much detail canthe importance clearing samples correct party highlightedin following casethe ludlow caseludlow published song im way robbie williams guychambers cowrote jesus camper van published byemi bmgbecause two lines jesus resembled im way mr williamsapproached ludlow acknowledge resemblance agree thatludlow would copublisher ludlow wanted williams andchambers offered ludlow refused albumcontaining track released repeated demand emiregistered ludlow share lyrics ie thewhole song ludlow brought claim copyright andof income sought injunctionthe judge found infringement copyright butthought borderline gave opinion defendantshad offered generous left another court determine theamount damages also decided balance ludlows conducthad oppressive governed money gone alongwith things seemed agreeing things lastminute release refused injunction summary judgementan injunction granted final hearing future copies thatwilliams album minus trackthis another example one partys conduct prejudice casewhen relying anothers bad conductwhat sometimes happens possible clear underlyingwords music sound recording youre adamant youhave use sample try get reproduced almostidentically replayed recreated havent sampled thesound recording clear underlying musicwords ofcourse good job sounds identical originalthey may believe youve replayed still sue mayneed independent evidence example studio engineer youdidnt use sample sound recordingi involved case happened client sampledpart sound recording asked permission denied setabout replaying sample recreate sound even went thetrouble getting specialist report musicologist confirm hehadnt used original sound recording replayed neverthelessthe owner original sound recording wasnt convinced threatenedto sue clients record company released track using rightthey record contract client froze royaltiesthat would otherwise payable client track questionuntil outcome dispute money stayed frozen forover year substantial amount client wasunderstandably frustrated ah hear say serves right forcopying someone elses work well get high mighty justmake sure one ever accuse sampling plagiarismhow much costthis always question negotiation depend important thetrack youve sampled crucial use itrecord companies usually clear sound recording copyrights anupfront sum sum sell certain number recordsfor example upfront another youve sold copies record includes sample usually comes theartists royalty may shared record company really wantsto keep sample inpublishers sampled works may clear rights oneoff fee feeand sum based numbers records sold likely howeveris want percentage publishing income track ineffect publisher sampled work saying writer betreated cowriter work receive cowriters share theincome share could much substantial use beenmade work example track seeing called beatgoes substantial use made sonny cher song samename although band altered track given uptodatesound warner chappell publish sonny cher song insisted thatthe seeing version treated cover version retained publishing use less substantial lower percentage maybe agreedas saw ludlow case claims asong may claimed even relatively small percentage sampled acopyright infringement owner sampled works entitled becompensated blatant offence court asked awardadditional damagesif youre going lot sampling work going endup give away publishing certain tracks dobear mind may make difficult fulfil yourminimum commitment publisher make sure take intoaccount setting original level commitmentwhat happens dont clear somethingif sample isnt cleared dispute arises record company maysuspend payment dispute resolved may limiton long suspend payment could year mcpsalso right suspend payments publishing income adisputes procedure followed mcps wont directly interveneto resolve dispute sometimes used arbitratorthe shut dance casein mcps brought action dance label shut anddance suad behalf ten publisher members claimingtwelve separate infringements copyright works writers asprince suzanne vega legal action taken owners ofsuad pj smiley told music press policy never toclear samples time macho culture prevailed use ofsamples oneupmanship going could get awaywith terms uncleared samples thought commentreflected cultural approach sampling suad didnt defend thecase damages awarded labelfailure clear samples good time could result injunctionpreventing distribution copies record order bebrought back distributors destroyed could also sued fordamages copyright infringementhowever bad copyright owners sue want paymentwhen work sampled track ride time black box mayhave attracted fair amount litigation time claimfrom hartman whose work love sensation sampled apparentlymr hartman loved new work much wanted neither payment awriter creditplagiarismfor purposes chapter im talking plagiarism asopposed sampling im talking situation someone takesanothers work copies passing work ofcourse overlaps situation replay sound sampled fromanothers work im describing cases writer hasclaimed another writer stolen copied work thesimilarities two pieces work striking would haveto believe one copied see casesbelow youve established similarities two pieces work thecrucial test whether person accused plagiarising work hashad access work possible unconsciously copy somethingor indeed arrive similarsounding piece work purely bychancethe john brett casethe composer lord andrew lloyd webber stranger claims ofplagiarism late songwriter john brett accused ofcopying two songs written lloyd webbers musical phantomof opera although similarities pieceslloyd webber able show written song first heproduced evidence performed mid whereas mrbretts evidence suggested sent demo recordings hissongs solicitor month later claim failedthe ray repp casein another case involving lord lloyd webber songwriter called rayrepp brought legal action new york accusing lloyd webber ofplagiarism mr repp claimed lloyd webber stolen passagefrom song till used phantom theopera lloyd webber cleared afterwards made apassionate statement condemning increase cases allegingplagiarism blamed lawyers oh dear us people withan eye main chance said many people aroundwho thought worth chance record companies wouldrather settle fight potentially damaging court cases understandthat returns unopened unsolicited demo tapes sent hisoffice policy believe adopted wellknownsongwriters wish avoid claimsthe francis day hunter casean early case area set number guidelines whatconstitutes plagiarism case francis day hunterin case argued eight bars chorus songentitled little spanish town copied song whythe judge found number similarities two works butdecided copying ie plagiarism proved went thecourt appeal court also agreed copying beenproved took opportunity consider subject copyinggenerally appeal court judges said establish thatthere definite connection two works veryleast show writer accused copying access thework otherthe chariots fire casethe film chariots fire music written also thesubject number court casesthe writer logarides written piece television called city ofviolets claimed writer vangelis copied four crucialnotes city violets writing theme tune filmchariots fire logarides said consciously unconsciouslyvangelis infringed copyright court decided wasinsufficient similarity works aninfringement ruled argument vangelis hadunconsciously copied wasnt similar enough evidencethat produced show vangelis access work wasalso strong although court thought possible thatvangelis heard song city angels logarides able toprove vangelis actually access workthe beyonce casein singersongwriter jennifer armour brought lawsuit againstbeyonce knowles claiming beyonces hit baby boy includedlyrics armours song got bit love armourbrought evidence show beyonces record label access toher song sent former manager alsosaid representatives beyonces collaborator song seanpaul also sent copy whether beyonce ever heardarmours song decided end casefailed first hurdle two songs compared side byside court came conclusion two songs substantiallydissimilar therefore copyright infringement tocomplain aboutbut isnt always deliberate seems perfectly possible anartist copy anothers work unconsciously client wasunaware copied snippet mclean song vincentuntil pointed thing happened toscottish band belle sebastian apparently track single theband released june entitled wrapped books verysimilar hit single sir cliff richard entitled country writtenby backing band shadows belle sebastian seeminglyoblivious similarity pointed friends theydecided best thing come clean single releasedand approached publishers shadows song carlin music anoffer publishing wrapped books song luckilyfor accepted carlin contrast robbiewilliams ludlow case take care approach correctpeople permissionsoundalikesthis someone deliberately sets imitate successful piece ofmusic often used advertising agencies dont want paythe price right use original piece work instead theycommission songwriters write piece close imitation theoriginal art form already seen chapter onbranding cases tom waits successfully sued advertisingagencies clients use soundalikes distinctive voicehere cases areathe chariots fire case another chariots fire case clarks shoes deliberately set togain financial advantage using piece music veryclose similarity chariots fire theme found beblatant plagiarism obvious case didnt reallyset guidelinesthe williamson music caseanother case involving advertising company pearson used parodyof song nothing like dame advert coachservice lyrics changed layout verse choruswas similar manager licensing division mcps heardthe advert thought sounded like original song isnothing like dame told publishers song chappellmusic library williamson music limited exclusive licensee ofthe song uk plaintiffs complained ofinfringement copyright williamson music limited retained rightof approval requests synchronisation licence relation tothat song consent given judge applied test ofwhether ordinary reasonably experienced listener would think onhearing track copied work grantedan interim injunction basis plaintiffs established thatthere case answer seems opinion therehad infringement music wordsit seems test whether something parody allowable andone infringes copyright case former parody hasto conjure idea original becomes infringement ituses substantial part originalsession musicians claimsthe last years seen spate claims session musicianssometimes twenty thirty years original session took place thatthey properly paid work done cases pointout importance ensuring agreement session musiciancovers performances musician vocalist also theirinterest underlying songit thought kemp case looked chapter represented legal position uk band session members didnot interest song merely interpreted played thesongwriter directed tohowever position challenged bluebells case valentino v hodgenssession player bobby valentino hired perform violin part asong written bluebells member robert hodgens alreadyrecorded band judge accepted valentinos claim hadbeen given free hand create violin part whereas hodgens hadclaimed told play even played himon guitar clearly one could argue case turned onthe facts judge preferred valentinos version events thisalone therefore would opened floodgates interest song judge awarded valentino would beenseen oneoffwhat made case stand manner judgesidestepped issue taken valentino long make hisclaim delay fifteen years usually would beenenough successfully argue claim time barred whatappears attempt judge find favour ofvalentino judge decided correct interpretation thesituation valentino originally granted licence use hiscontribution song free entitled revoke thislicence done song rereleasedfifteen years later went big hit valentino awarded hisshare royalties could said revoked hislicence quite extraordinary interpretation situation reallystresses need clarity session agreements also gave manyothers idea could bring claims many years event serious others including claims record royalties fromthe school choir performed free charge original recording ofpink floyds another brick wall threatened claim rodstewart ray jackson mandolin player rods recording maggiemay culminated april decision case brought sessionsinger clare terry writers publishers pink floyd hitsong great gig sky dark side moon albumthe pink floyd casems terry session vocalist paid perform track thegreat gig sky given credit performance somethirty years later brought claim similar fashion bobbyvalentino case interest song outofcourtsettlement received cash payment must beensubstantial album sold million copies since itsoriginal release catalyst publisher emi writers inpink floyd reach settlement may judge hadindicated convinced ms terrys claim hademployed special wailing technique recorded series sessionsand effectively helped compose song parallels thebluebells case obviousfinally course recent case concerning song whiter shadeof pale looked detail chapter appealconclusionsif sample someones work youll get permission useboth sound recording copyright copyright underlyingmusic andor lyricsput process clearing samples hand early possibleif chance uncleared sample found legalaction taken dont take risk clear remove itif cant clear sound recording copyright see canreplay sounds sound like original clear rights theunderlying musiclyrics insteadif copy anothers work pass youreguilty plagiarism unless show similarity wascompletely coincidental way could haveheard work youre accused copyingthere fine line drawn soundalikes parody andplagiarism overview state sampling see also plagiarism andoriginality music precarious balance reuben stone published inmedia law practice vol sections cdpa section cdpa sections cdpa section cdpa hawkes son ltd v paramount film service limited ch hyperion records limited v warner music uk limited wwwmusicjournalorglawupdates richard walmsley v acid jazz records limited chancery division see section cdpa chapter description firstowner copyright musical literary work ludlow music inc v robert p williams guy chambers emimusic publishing limited bmg music publishing limited chancerydivision remedies infringement copyright see sections cdpafor civil remedies sections cdpa criminal sanctions francis day hunter v bron ch emlr wwweveningnewscoukprintnews warner brothers music limited others v de wilde williamson music limited v pearson partnership another fsr wwwfreelanceukcomnews chapter piracy introductionpiracy huge worldwide problem worst offenders area ofphysical pirate copies eastern european far eastern countriesincluding taiwan bulgaria ukraine pakistan weak copyrightlaws little means enforcement although taiwan beginning torecognise something declared antiinternet piracyyear countries piracy rife also export illegal records intothe uk according ifpi antipiracy report estimatedthat one three cds sold pirate copy dvd piracy growing problemas bandwidth fast internet access makes reproduction quick easytaiwan remains biggest producer blank cdrs acquiredvery cheaply small commercial operations push pirate copiesthe online world even worse ifpi antipiracy reportestimates billion illegal songs downloaded thisis frightening amount putting positive spin ifpi reckons thatthis shows large potential market legitimate use musiconline point fact record company revenues legaldigital sales tripled billion record companies claim thatthis balance revenues losing traditionalphysical sales saw chapter trying drastic measuresto deal problem record company trade bodies like uks bpithe ifpi us body riaa continue tackle physical andinternet piracy legal actions pirates illegal filesharerswinning support high court orders force isps disclose theidentities individuals distributing multiple music files illegally peertopeer networks individuals face claims compensation forcopyright infringement legal costs extracts theantipiracy report highlighting key decisions helping thebattle control online piracyin june us supreme court ruled mgm v grokster thatfilesharing services distribute software object ofpromoting use infringe copyright held liable theresulting infringementsin august seoul district court ordered soribada korean ppservice prevent users swap copyrighted songs shut downin september federal court australia held kazaa wasguilty copyright infringement ordered shut orimplement copyright filtersalso september taiwanese court issued criminal convictionto directors kuro pp service breach ofintellectual property rulesnovember saw grokster pp network agree shut downoperations light us supreme courts rulingin february danish supreme court ruled eu lawisps obliged terminate connections customers whoillegally upload materialmay saw american operators bearshare agree cease tooperate music film download services sell assets thelegal filesharing service imeshin june dutch court appeals ruled zoekmpcomeffectively declaring deep linking infringing mp files illegal inthe netherlandsthe decision australian court kazaa start sustainedpressure kazaa come line internationally terms outofcourt settlement applies kazaas operations worldwide andconcludes ongoing legal proceedings brought record companiesagainst services operators australia united states kazaaagreed pay substantial sum compensation record companiesthat took legal action stop copyright infringement kazaanetwork kazaa also agreed introduce filtering technologies ensuring thatits users could longer distribute copyrightinfringing filesthere also signs political pressure may brought bearon isps join forces antipiracy organisations bpito battle illegal downloads music whilst gowers review may nothave given industry hoped extension sound recordingcopyright recommend isps adhere industry practice datasharing allow illegal downloaders indeed uploaders identified andtargeted done voluntarily end december thegovernment announced intention release paper othercultural issues online steps taken legal actionscontinue pirates physical copies toor v malonein march reported airdrie sheriff court scotlandhad jailed george malone built black market operationselling thousands fake dvds cds admitted producing theillegal copies selling industrial estates across west centralscotland sentenced nine months prison assets wereseizedin partnership set new police unit dedicated tocombating movie piracy federation copyright theftfact music videos fall within remit steps taken introducecopy protection systems new cds prevent multiple copies madeand improved tracking systems trace online usage music illegally havemet mixed success soon digital rights management systemdrm developed rolled commercially computer hackers setout break usually succeed matter days quicker whilewe gifted rest assured soon way found toget around drm enterprising soul make available toall users whole area drm perhaps irreversibly tainted thescandal surrounded sonys attempts roll new drm system inearly november socalled rootkit debaclein attempt limit number copies could made cdsonybmg introduced copy restriction software embedded incopies new cds released label badthing type software used caused problem theelectronic frontiers foundation eff said software consisted aprogramme called rootkit commonly used spyware companiesto track online eff feared cd rootkitsystem played computer would bury new program within theoperating system computer enabling sonybmg monitor thecomputer users computer activity order example prevent usermaking additional copies cd online reports system causedsuch outrage sonybmg issued new program website whichenabled computer user see computer infected toadd insult injury enable user uninstall alsoclaims slowed users computer made vulnerable toattack indirect effect stopping users listening legalmusic mp players online designed hidden itwas easy see causing problem argued itmight also used mask malicious spyware computerviruses legal class actions begun us within days sonybmgannounced going produce cds protectionsystem published uninstall program website things wentfrom bad worse sonybmg eventually recalled millions cdsand exchanged whilst publishing apology customersthis publicity disaster increased innate distrust amongst many alldrm systems led system abandoned altogether late battle illegal downloads need fought another waywhat piracypiracy theft reproduction someones copyright without theirapproval generally commercial scalethere three different types pirate recordscounterfeit recordingsthese copies cds cassettes vinyl records also copy thepackaging artwork graphics example someone gets hold amaster recording use make copies pass offas original dont usually care sound quality like oreven tape cd play want make look asmuch like original possible take money youdont find get home pirated copy trade marksand logos original copyright owners also copied make themlook much possible like originals infringement thetrade mark could give rise legal action right seechapter course youre buying cds tapes marketstall half usual retail price youve blame turnout dodgy copiespirate recordingsthis unauthorised duplication original sound recording thepirate takes master recording copies without permission theoriginal copyright owner sound quality usually good theoriginal physical copies always online copies piraterecordings usually put different label original indifferent packaging trade marks logos original copyrightowners arent usually record packaging aim undermineyour market original putting pirate copy first adifferent form way going present example yourelease socalled white label copies next single release pressand djs review advance commercial release calledwhite labels vinyl form white label saysthey arent commercial use unscrupulous characters copy thatrecording put compilation record without gettingpermission without paying anything itpirate recordings generally made countries little nocopyright protection exported countries practice ishowever spreading countries agencies charge antipiracy less effective sometimes publishing rights cleared andauthorisation obtained collective body like mcps nopermission obtained reproduce master sound recording forexample putting pirate copy master recording yourown dance compilation might apply mechanical licence fromsomeone like mcps get right reproduce song masterthis lends air respectability release means one lesscollective body worry dont bother get permission theowner sound recording hope either doesnt get hearabout release hasnt money inclination sue forcopyright infringementyou could cases take advantage different laws copyrightfor example might get permission use song originalsound recording might copyright country makecopies without going back original copyright owner canimport countries recording still copyrightundercutting legitimate market country aproblem sound recording copyright eu different indifferent countries example sound recording copyright denmarkwas twenty years end year first releasedwhile uk fifty years meant twenty years danishcompanies could legitimately say sound recording ofcopyright permission required reproduce denmark theythen used principles freedom movement goods within eu toexport recordings eu countries began real issuewhen early beatles stones albums started come copyright indenmark become less problem since directive theharmonisation copyright related rights made duration thesound recording copyright fifty years throughout eusometimes pirates argue valid licence release soundrecording chain contracts going back many years often inthe ownership copyright properly recorded andthere many changes ownership years days itwasnt unusual deals singlepage sketchy outlines didntmake completely clear owned could therecordings confusion successfully exploited later recordcompanies claiming right put recordings somedodgy deal struck twenty years earlier sometimes difficult provethem wrongbootlegsa bootleg recording live performance whether actual gigor television satellite radio internet broadcast madewithout permission performersyou used see shiftylooking people gigs tape recorders undertheir macs making terribly bad recordings performance theimprovements technology miniaturisation devices noweasier ever make reasonable digital recordingsthe phil collins casein early phil collins exgenesis drummer turned successfulsolo artist brought action imrat record distributor inrespect royalties sales germany cd recording one hisus concerts made without consent german lawgerman nationals entitled stop distribution performances madewithout consent regardless performance takes placeforeign nationals couldnt rely law performance hadtaken place outside germanythe court decided european union countries providenationals european union countries degree ofprotection would country akey decision tightening performers rights across eur v langleya man described one europes notorious musicpirates also known mr toad pleaded guilty sellingbootlegged recordings led zeppelin gigs led zeppelin guitaristjimmy page gave evidence glasgow court notauthorised recordings said poor quality alsodrew distinction fans swapped recording professionalbootleggers langley pleaded guilty two copyright three trademark infringements sold illegal recordings made live gigson silver rarities langley masters labels arrest came afterthe bpi organised raid stall scottish record fairhow spot counterfeit pirate orbootleg recordcounterfeitsthese often sale markets carboot sales often obtainablefrom street traders selling goods suitcases street corners theprices usually less fullprice record shopsthe packaging often poor quality possibly blurred printespecially gets small print sometimes white borderon edges inlay card cassette cds copiedthese inlay cards may look genuine outside openit see poor representation inside trade marks maybe removed smudged partly obscured pirates try get around anallegation infringement trade mark name logo originalrecord company may also missing blurred obscured may bea source identification code something introduced yearsago show place manufacture sound quality often verypoor particularly cassettes copy protection devices definitely beabsentbootlegsthese often found sale music festivals secondhand orunderground record stores collectors fairs aiming diehard fans want every available recording favouriteartist price often higher legitimate product toreflect desirable collectors fansthe packaging may leave company information could nocatalogue numbers proper credits bootleg cds good soundquality particularly compared bad quality bootlegcassettes inlay cards often simple colour photocopieshow stop piracyit probably possible completely prevent illegal uses music theinternet whilst bpiriaa ifpi actions may deter casual oropportunist illegal filesharer deter hardline pirates copyprotection devices circumvented reasonably competent hackersand event sometimes prove counterproductive prevent alegitimate user transferring music cd pc car orworse sonybmg found see also accepted thatregardless might happen drm systems future cds whichhave market time socalled legacy cds becopy protected rights owners accept concentrate onputting systems place make sure copyright owners creators arepaid whenever music used certainly view muchcan done prevent pirate recordings sound recordings alreadyin marketplace music industry hardware manufacturersare putting efforts making legitimate downloads easily andcheaply available using desirable music hardware like ipod see inchapter however doesnt mean control illegal manufacturing plantsand seizure illegal copies abandoned underlying rightsbeing infringed whether infringement online orreproduction physical tapes cdscopyrightpirate recordings may infringe sound recording copyright rightsin music lyrics well artwork infringement ofcopyright reproduce issue copies public perform public orinclude cable programme including online calldirect infringements copyrightindirect infringements copyright include importing possessing thecourse trade selling exhibiting infringing copies public andordistributing course business obviously aimed atthe distributor retailer know reason believe thatthey dealing infringing copymoral rightsif writer composer lyrics music isnt identified workhas subjected derogatory treatment may well aninfringement moral rights waived see chapter trade marksif artists record companys trade mark name logo reproducedwithout permission trade mark owner infringement thetrade marks act trade descriptionsif record misdescribed represented something isnot may breach trade descriptions actenforcementfirst decide youre going go got evidenceagainst could try take action pirate manufacturer butthis may difficult theyre based overseas could decide try tostop distributors starting continuing distribute pirate recordsyoull move fast nothing distributed could try getan injunction stop distribution taking place already beendistributed may need court orders person retailing theproductso youve decided want target docivil actionyou apply injunction although move quickly youcan ask court make order preventing infringement rightsthe court make orders preventing sale distribution andorimport pirated products youll probably also make claim financialdamages reimbursement legal costscriminal actionyou show defendant reason believe dealingwith infringing copy copyright work penalties imprisonmentandor fine kind action need involve police willneed explained copyright exists product howit breached also convince sufficientlyserious put resources case april us senatepassed bill make criminal offence capable sentence tenyears imprisonment found illegally copying distributingprerelease music films us obvious targets whoillegally acquire films albums important artists officialrelease date hoped law help deter hardcorepirates indication uk government plans followsuitprivate criminal prosecutionsthe cdpa gives right bring private criminal prosecution thiswas first used successfully case run firm prosecutesomeone using computer bulletin boards copy computer gamesillegallythe cdpa also makes possible officer company liableto prosecution offence committed company avoidcompanies slipping netif someone found guilty infringement court order allthe offending articles handed order destruction imsure youve seen pictures companies like rolex using asteamroller crush fake copies watchestrading standards officersthese local government officials helpful getthem side good friend mine extrading standards officer andhe tells like nothing better good raid pirate usuallyact enforce breaches trade mark using powers given thetrade descriptions act among others enter premises seizegoods rights also extend infringements copyright canprosecute offences fraudulently applying trade mark theapplication false description goods part implementationof recommendations gowers review intellectual propertytrading standards received additional million assist fightagainst piracy help officers new role alsoenforcers copyright infringement changes cdpa wereimplemented give right authority enter premisesseize goods documents relating copyright infringement well astrade mark infringements offences criminal ones isthe possibility unlimited fine ten years imprisonment ishoped may act deterrent piratessome piracy casesin march following police trading standards raids yogeshraizada sentenced three years imprisonment record fines eleven counts trade marks act followingseizure thousands pirated cds dvds video cassettesin glasgow sheriff court jailed stephen reid fivemonths selling pirate cds computer games mr reid beenfilmed interview broadcast gmtv breakfast show whichhe boasted illegal business previous convictionsfor selling counterfeit videos raiding premises tradingstandards officers made test purchases police andtrading standards put surveillance raid led seizureof cds believed contain pirate materialalso mark purseglove jailed uk court three anda half years alleged mr purseglove one biggestbootleggers world amassed fortune estimated beabout million years operated pirate soldhis bootlegs around world including internet internetauction sites arrested protracted investigation antipiracy teams ifpi bpi charged conspiracy todefraud uk recorded music industry proceeds crimelegislation homes chelsea brighton seized hisassets ordered forfeit judge made clear severityof sentence intended act deterrent others sendout strong message courts provide effective protection forthe rights copyright owners purseglove collected bootlegrecordings household names music business paying peopleincluding bands sound engineers make illegal recordingsbroadcasts copied made counterfeit copies legitimaterecordings previously arrested deported usand shown contempt previous court proceedingsantipiracy unit aputhe apu set bpi also receives financial support themusicians union british association record dealers bardthe apu investigates complaints piracy take informationfrom record companies musicians members public l omonitor new technology might affect record industry theapu runs training courses seminars police tradingstandards officersthe apu assist civil criminal actions work anumber industry bodies attended gave evidence inmore criminal cases closed websitestrafficking unauthorised mp files others threatened dealillegally unreleased tracks also closed auctionwebsites offering illegal mp compilations bootleg recordingsthe international federation phonographic industry ifpithis represents international recording industry youre member ofthe bpi automatically become member ifpi ahundred members seventy countries involved theinternational fight piracy lobbies governments appropriatecopyright protection helps ensure laws enforcedother bodiesother bodies involved fight piracy include federationagainst software theft fast set represent thesoftware industry publishers end users federation againstcopyright theft fact represents film video producersmanufacturers distributors well tv satellite industriesand european leisure software publishers association elspa whichrepresents publishers interactive software computer games andhas antipiracy hotlinefact fast music publishers association mpa looksafter interests music publishers also set hotline autumn people report suspected cases film music software piracyyou also get legal advice copyright trade mark issues theywill tell education training initiativesimplementation gowers reviewone recommendations gowers review intellectual propertywas isps adhere protocols sharing data rightsowners identify disbar services infringecopyright report says isps cannot demonstrate theseprotocols proved operationally successful end thegovernment consider legislating isps wish havelegislation imposed upon hoped therefore willput pressure reach agreements record companies andpublishers would assist battle illegal use copyrightthe isps potentially strong position agreed shareinformation rights owners enabled rights owners showthat use illegal isps would position quickly barthe illegal user service obviously possible theillegal users would move activities another isp allthe isps turn also shared information users banned thatmight drive illegal users internet altogether isps couldcertainly present position almostuniversally monitor content provide themeans pipeline still lot work governmentpaper expected february help move debate forwardleaked highlights seem suggest requirement toshare data isps seem propose three strikes yourebarred rule illegal file sharers implemented uk law section cdpa term isfifty years end year sound recording firstmade released time fifty years end yearin first released see springsteen v flute discussed see collins v imrat handelsgesellschaft mbh wmlr source protecting value british music published bpi antipiracy unit see sections cdpa section cdpa section cdpa section cdpa section cdpa section trade descriptions act r v reid r v purseglove source bpi market information june details activities see wwwfastorguk details activities see wwwfactukorguk hotline number chapter collection societies introductionas know copyright right individual mostcases right exercised individual decides ownbehalfhowever comes time makes sense rightsto exercised collectively organisation set represent theinterests members make business easy possiblerequires onestop service example wouldnt commercially viablefor owners radio station go copyright owners thesound recording copyright rights songs therecords station bosses want play programmes would befar timeconsuming costly hence rise collection societieswhich represent interests publishers record companies authors andperformers several brief details outlinedbelow useful informative websites would payyou look atwhat collection societiesthey effect organisations set various categories rightsowners administer rights collectively sole one theirmain purposeson whole collection societies private opposed stateownedbodies subject form government statesupervision uk supervision provided partly copyright act established form compulsory arbitration theshape copyright tribunal part competitioncommission formerly monopolies mergers commissionoverseeing whole thing course eu intervene orintroduce paneu legislation thinks national solutions outofstep require updating review harmonisationthe purpose collection societies provide practical andeconomical service enable members enforce administer certainof copyrights bodies make easier others get licences touse copyright works also certainty payment theseuses usually fixed rate one individually negotiated withincertain guidelines idea also acting collectivelyadministration costs reducedthere course possible dangers inherent collectionsocieties nature monopolies job competitioncommission police whether monopoly position abusedblanket licencesone features collection societies grant socalled blanketlicences right use certain rights works controlled thesociety particular purpose particular period time aparticular rate anyone wishing take advantage blanket licenceshas take licence whole catalogue example performingright society limited prs negotiate blanket licence radiobroadcasters right broadcast public works controlledby prs licence would given period time say year andwould subject review prs would negotiate individual radiostations likely representative bodies rate wouldbe applied licences could flat fee per annum could belinked revenue radio station earns example percentageof advertising revenue earned commercial radio stations couldbe combination bothwhilst collection societies became adept negotiating andadministrating collective licensing schemes countries fornondigital means distribution things became difficult themwhen came digital uses came pressure theeuropean commission make easier new commercial ventures toflourish across european economic area eea whilst laudableaim takes time get members agree course action therate set centralised licensing particularly involves newmedia means distribution people setting negotiating therate little knowledge formats would stayingpower appropriate means setting rate timethey felt way forward european union thought beingtoo slow establishing crosseurope licensing schemes issued reportin october urged societies review reform theirpractices particular provide multi territorial licensing orderto create greater legal certainty commercial uses foster thedevelopment legitimate online services perhaps fearing solutionswould imposed two years since thepublication report committed attempts reform practicesparticularly area digital music online mobile phones thecollection societies trying put place schemes facilitateonestop licensing across europe attractive proposition forcommercial users music new applications servicesas hard evidence efforts two major initiatives announcedat european trade conference midem france january themusic publishers association announced onestop paneuropean digitallicensing solution conjunction mcpsprs alliance mcps themechanical copyright protection society limited scheme allows musicpublishers appoint alliance agent management onlineand mobile rights across europe costs minimised use atemplate agreementthe second announcement also one mcpsprs alliance whohave seized chance become strong player across europe thealliance announced plan act german society gema anexclusive onestop shop angloamerican repertoire digital rightsbelonging emi music publishing new organisation owned bythe alliance gema jointly called centralised europeanlicensing administration service celas idea timecelas may used commercial users looking avoid tonegotiate individual licensing agreements national collectingsocietiesstill international front ppl announced november newinternational deals collection societies russia italy switzerlandbringing total number reciprocal agreements closer home rapid advances availability ofblanket licences online digital uses music glance mcpsprs alliance website reveal schemes everything dvds tomemory cardsa recent development introduction blanket licenceschemes use music podcasts whilst commercial radio ascheme place months bbc finally agree deal itspodcasts autumn bbc trust onlyfinally authorised full roll podcasts april thus allowingthe bbc start negotiating public performance limited whichcontrols master rights sound recordings major labels thebroadcasters convince record companies podcasts werenot back door means download music extent majorlabels remain somewhat sceptical granted licences usethirtysecond clips music podcasts contrast aim representsmany independent record labels agreed deal ppl whole trackdownloadson flip side mcpsprs agreed licence use music podcastsin march podcasts really come last coupleof years means customising personal radio station alsoas new revenue source initially podcasts made available free thericky gervais show immediate smash hit milliondownloads worldwide opened possibility commercialmarket things episodes show later madeavailable p time online etail sites like itunes many thepodcasts remain free promotion add value anotherservicemspsprs also recognised need twotier licensingscheme going noncommercial small commercial setups could justify afford payment minimum peryear royalty payable scheme podcasting lownumber people unlikely generate much revenue optto licence limited online exploitation licence sets anannual minimum low biggest challenge faced music publishers theircollection society mcpsprs last couple years thearguments appropriate rate apply online uses music mcpsprs reached agreement major record companies someof isps isps including yahoo refused sign thedeal isps major labels issues definethe revenue would pay agreed rate matter ended upbeing referred copyright tribunal arbitrator set copyright act oversee disputes collective licensing schemesafter expensive drawnout hearing tribunal ratified theterms settlement rate proposed definitive guidelinesfor definition revenue provided arbitrator called iffinal agreement subject could reached individual cases theagreed rate ondemand music downloads subscription streamingservices set gross revenues rate set interactivewebcasting services revenues noninteractive webcastingit revenues minimum royalty safety net also setadministrationa main role collection societies administration rightsmaking sure members interests properly registered thatpeople using rights necessary licences paid thenegotiated rate collect monies allocate distributethem societies charge members fee kind theadministration rights usually percentage gross income theycollectthere usually one society category rights majorexception us three societies identical things compete forthe right administer publishing rights namely ascap bmi sisacsometimes society administer one right examplein europe number collection societies administer theperforming rights also right copy reproduce works fact inthe uk prs mcps combined many managerialand administration functions go joint name alliancerights grantedthe societies either take assignment certain rights membersor licence members act agents theterms membership collection society usually dictate formthe rights granted take idea establish thesemembership rules clear mandate grant licences use certain rights aswe see section new issues less certaintythan desirable mandate collection societies dealwith new technologiesthe collection societies usually reciprocal arrangements othersocieties protect members worldwide reciprocalarrangements mean uk societies represent interests theiruk members foreign artists writers composers within ukwith categories writers receiving treatmentone main advantages collective licensing course thegreater bargaining power get part big collectiveeffort rates rewards uses works collectionsocieties get better could get onetoone basisother collective bodiesthere number music business bodies represent theinterests various parts business could collectivebargaining interest groupings music managers forum mmfand aim association independent music also include unionslike musicians union mu equity british music rights thecollective voice british academy composers songwritersbasca music publishers association mpa mcps prssee groupings common act aforum debate greater lesser extent means usingcollective bargaining power get things members asindividuals could find hard achieve brief description theaims set section useful addresses end thebookthe societiesin following section im going briefly describe structure andfunction main bodies exist uk momentmore details obtained individual societies whomalso publish brochures describing members theirwebsites whole informativethe british phonographic institute bpistrictly speaking isnt collection society organisationthat represents interests uk record companies nonprofitmaking trade association set bpi based central london see useful addresses itsmembers uk record companies currently membersthere fee become member fees mainly fund activitiesthe subscriptions full members minimum fee plus annualpayment members performance income collected ppl thischange subscription base intended open membership morecompanies however december wake public statementfrom guy hands terra firma new owners emi group questioningthe level payments associations like bpi riaa ifpi thebpi announced substantial reductions subscriptions paid thefour major record companies formula remain forindependent record labels chairman bpi insisted thedecisionmaking process reduce subscriptions begun well beforehands made statement bpi members approved agree tobe bound membership rules code conduct bpimaintains youre member bpi automatically also become amember ifpithe bpi code conduct deals music charts drawn upand involves bpi investigating alleged irregularities example thereis attempt buy unusually large numbers copies particularrecord order artificially gain higher chart position bpi findsthat member guilty infringing code employsanctions member including expelling member andorimposing fine part owner official charts companybecause trade association rather rights body doesnt takeany rights members grant licences otherwiseadminister collect money exploitation rightsthe bpi provides forum discussion acts membersgenerally matters common interest lobbyingfunction westminster brussels also negotiates agreementswith groups music publishers musicians union equityit also important function protecting members rights antipiracy initiatives promoting british music overseas antipiracyunit active trying reduce amount piracy uk roleincludes taking highprofile litigation cases pirates givingpublicity successful seizures pirate goodsphonographic performance limited pplthis record industrys licensing body licences records forbroadcasting public performance collects revenue generated anddistributes itit represents large number record companies ofwhich members bpi performersthe ppl based london incorporated company limitedby guarantee see useful addresses contact detailsthe ppl negotiates collective agreements broadcasters l oprotects rights members takes legal action protect thoserights doesnt however antipiracy unit staff relieson members bring infringements attentionppl number different tariffs apply various uses themusic repertoire usually payable annually areminimum charges much paid members depends theuse take assignments exclusive agency rights various rightsfrom members include broadcasting public performance dubbingof background music role took multimedia uses anddigital diffusion rightsppl distributes income collects owners soundrecordings performers tracks registered theirperformance ppl profit organisation fee tojoin cover costs charging fee administer rightsvideo performance limited vplthis company associated ppl record industrys licensingbody music videosits members owners public performance rights music videosbeing publicly broadcast made available public ukvpl licenses music videos broadcasting public performance itapplies number different tariffs different uses musicvideosvpl takes assignment members public performance anddubbing rights music videos nonexclusive licence thebroadcasting rightsvpl collects performing income use music videos unlikeppl obliged law share income performers withits record company members fee joining like ppl itcovers running costs charging fee administer rightsassociation independent music limited aimthis relatively new association set members drawnfrom independent sector music business mostly recordcompany side including publishers production companies andmanufacturers nonprofitmaking trade organisation independentrecord companies distributors ukit acts forum debate also lobbying function itsfunction trade association means also collective bargainingroleaim based london provides legal advisory service itsmembers number checklists points look negotiatingvarious types deals forwardlooking licensing deals ithas struck online distributors behalf largely independentmembershipthe performing right society limited prsprs uk collection society composers songwriters musicpublishers charged administering public performance andbroadcasting rights music lyrics also administers filmsynchronisation rightboth music publishers songwriters members set company limited guarantee also represents almost millionforeign music copyright owners affiliations overseascollecting societiesprs based central london become member prsyou assign performing right film synchronisation rightto prs although members assign rights reserve categoriesof rights types use rights works rules allowmembers request prs doesnt license performing right aparticular work example unlawfully sampledthe criteria membership composer least one piece ofmusic public performance broadcast beendocumented eg set list programme playlist broadcasterswebsitea letter broadcaster promoter venue owner confirmingbroadcast performance music needed oneofffee currently including vatthe mechanical copyright protection societylimited mcpsthis company set order collectively license mechanicalreproduction music ie copying music synchronisation ofmusic visual images see chapter mcps prs jointly sharebackend administration resources name alliance arenow supporting online electronic means record companies send datafor mechanical licensing due course replace existing paperregistration formmcps publishers songwriters members main area ofactivity negotiating administering collective licence schemesmcps subsidiary music publishers association limited acompany limited guaranteemcps doesnt take assignments rights membership agreementprovides member appoints mcps agent manage andadminister mechanical copyright uk mandate grantlicences collect royalties exceptions retainto grant mcps full details website see membership section also obliged use best efforts preventinfringement members rights take legal action nameand often sothe types licence agreements listed website detailas exclusionsmcps charges members commission administering rightsand collecting royalties website contains details rates detailed description collection societies historysee copinger skonejames copyright section cdpa defines licensing body society otherorganisation main object one main objects thenegotiation granting either owner prospective owner copyrightor agent copyright licences whose objects include thegranting licences covering works one author sections cdpa past two major reviews individual collectionsocieties first published hmso cm dealt specificallywith public performance limited second published hmsocm dealt performing right society limited reportcontained several criticisms society since altered itsrules try deal concerns wwwbmrorg dubbing right copy produce reproduce make recordsembodying sound recording example would television sportsprogramme music background sound recording thatmusic dubbed television programme information cateo see wwwbpicoukbisinfo orwwwcateoukcom wwwmcpscouk chapter appendix working music businesshere brief overview information available musicbusiness meant complete list information sourcesive come across researching book contact details inthe next section useful addresses body textif youre interested formal training music business thenthere number courses available access theinternet excellent resource finding courses theuniversity college clearing site wwwucascouk good start pointor general search using good search engine educationmusicfor short evening courses check floodlight local authoritypublications courses outside london also check bpi website agood general resource information careers industrywwwbpicoukmy researches turned following universities andcolleges run courses either media music businessqualifications vary nvqs hnds degrees dont offera nationally recognised qualification overview acertificate complete course check course details makesure meet requirements list isnt complete one anymeans neither recommendation particular coursehigher educationlegal business coursesbath spa university college running fulltime twoyear commercialmusic course leading hndfoundation degree option athird year leading ba hons full threeyear ba also availableit also offers creative music technology coursethe university westminster offers ba hons degree incommercial music involving music production music business practiceat harrow campus well oneyear diploma music business andan music business managementbucks new university offers hnd ba hons fulltime courses inmusic industry management well audio music technology digitalmedia live production studio production marketingthe continuing education department city university london runs anumber parttime introductory courses making music work anintroduction music industry also offer distance learning andweekend courses cultural industries law introduction tothe music industry well marketing event managementgreenwich community college south london also offers parttimecourses music business musicianship covers copyrightlaw marketingdartington college arts devon runs ba hons degree course inmusic performance professional practice compositionbased arts cultural managementde montfort university leicester offers bsc hons courses musicand media studies technology innovation well ba hons artsmanagement media studieskingston university offers fulltime parttime course leading ahigher diploma ba degree audio technology music industrystudiesoxford brookes university offers number combined modulesinvolving music including lawmusic business administration andmanagement leading ba bsc llb hons degree may suitthose interested general opposed specific legal coursethe university paisley also runs ba course commercial musicand stresses involvement industry professionalsroehampton institute london southlands college module inbusiness studies music within business studies combined honourscourses either fullor parttime courses leading either bahons bmus honsthe university sunderland offers number combined basincluding business music business law music intriguingly italso offers course entitled gender studies musicthe university wales institute cardiff hnc hndbsc honin music production technology music audio electronicsystemsthe university glamorgan runs degree music technology adegree course popular musicfor looking technical emphasis highlyregarded tonmeister course old university university surreythis bmus tonmeister degree course music sound recordingits fouryear sandwich course time spent work placementsthe intention prepare career professional audioindustrycanterbury christ church university college runs full parttimehnd course popular music technology thanet campuscanterbury christ church university also runs ba hon musicindustry management commercial music music sonic artsthames valley university also offers various two threeyear fulltime courses covering music recording aspects music businessfor example advertising sound music recordinguniversity salford also offers ba hons course popular musicand recording emphasis popular music music technology butit also aims prepare career music business therecording industry say youll directed towards modules studioperformer producer depending aptitude interests shown inentrance tests interviews profile course accredited bythe association professional recording servicesthe nottingham foundation music media offering andhigher education courses well commercial training courses themusic multimedia industries courses validated newcollege nottingham offer bnd hnd certificates musictechnology well music industrythe academy contemporary music based guildford linkupswith many industry bodies part course module businessstudiescity college manchester offers courses fda popular music production fdsc music new media management continuingstudies courses validated university salfordbimm offers certificate modern music diploma modern musicdiploma songwriting diploma sound engineering tourmanagement bimm professional diploma level modern musicbimm professional diploma level songwriting foundation degreein professional musicianship ba hons professional musicianshipbimm also run annual summer schoolsthe university aberdeen new law degree option inmusic courses performance studies taken first second yearof degreecommercial coursesthere also courses run commercial organisations aim givepractical overviews aspects music business one moreestablished organisations global entertainment group areoffering twoday core programme called music industry overviewthen one twoday specialised modules ar artistmanagement pr marketing promotions running record label allcourses delivered central londonthe music managers forum mmf offers short courses called masterclasses members aim members aspects music managementand industry either short evening courses weeklongintensive onesthe british phonographic institute bpi occasionally offers onedaytraining workshopsthe music publishers association mpa holds induction courses andspecialist seminars also runs courses conjunction mmfwwwmpaonlineorgukbecoming solicitorif want become solicitor law society give informationif already first degree law need complete oneyearlegal practice course twoyear training contract discretionary fasttrack qualifying may available already relevantbusiness experiencethe law society includes media studies intellectual property asoptional courses part legal practice course law society alsorequires practising lawyers keep date law undertakingfurther training working lifeif first degree isnt law youll need additional oneyearconversion courseinhouse private practiceonce youve qualified solicitor choose whether work aprivate law firm inhouse lawyer record music publishingcompany managers dont usually employ inhouse lawyer smalllabels publishing companies usually use lawyers private lawfirmsthe competition specialist music business lawyers intense ittakes considerable effort normal working hours buildup practice body clients use regularly legal advicewithout practice unlikely promoted associate salaried orfull partner sharing profits losses business financialrewards job satisfaction however considerablethose think would find difficult build practiceor arent interested becoming full profitsharing partner owningtheir business may decide work inhouse instead isnt saythat easy option work inhouse intense theres nojob security follow company policy corporate linethe upside working atmosphere relaxed donthave stresses building practice running business itcan good way move management positionsit possible move two partner west end musiclaw firm left go inhouse one big music publishing companiesand ended running whole european operationbecoming barristerinstead solicitor could choose law degree followupcourse recognised bar school minimum one years training tobecome barrister barristers cant partners law firms without requalifying solicitor often work inhouselawyers information becoming barrister contact barcouncilbecoming legal executiveyou also get qualification legal executive information onlegal executive qualifications contact institute legal executives itdoesnt entitle become partner law firm give alegal qualification done evening dayrelease classes whileyoure working stepping stone becoming fully qualifiedsolicitor although would take many years find legal executives inimportant support roles media law firms smaller firms roleisnt different fully qualified solicitors legal executivesalso work inhouse intents purposes work asqualified solicitors however often view music companiesthat unless youre fully qualified lawyer additional businessqualification mba masters degree business administrationyoure unlikely get promoted management role handyou may desire go management may happy witha nonmanagement rolenonlegal jobsfor general overview types careers available music business agood place start would sian pattendens book make themusic businessyou could also refer careers advisory service governmentbacked enterprise job advisory centres chapter useful addresses academy contemporary musicrodboro buildings bridge street guildford gu sbtel fax website wwwacmacukacca association chartered certified accounts lincolns inn fields london wca eetel fax email infoaccaglobalcomwebsite wwwukaccaglobalcomaim association independent musiclamb house church street london w pdtel fax email infomusicindieorgukwebsite wwwmusicindieorgamia association music industry accountantsunity house euston road london nw aytel fax ascap american society composers performers cork street london ws ljtel fax email infoascapcomwebsite wwwascapcombar council high holborn london wcv hztel fax website wwwbarcouncilorgukbath spa university collegenewton park campus newton st loe bath ba bntel fax email enquiriesbathspaacukwebsite wwwbathspaacukbmi broadcast media inc harley house marylebone road london nw hntel website wwwbmicombournemouth universityfern barrow poole dorset bh bbtel fax email enquiriesbournemouthacukwebsite wwwbournemouthacukbpi british phonographic institutethe riverside building county hall westminster bridge road londonse jatel fax email generalbpicoukwebsite wwwbpicoukbucks new universityqueen alexandra road high wycombe bucks hp jztel fax email advicebucksacukwebsite wwwbcucacukcanterbury christ church university collegenorth holmes road canterbury kent ct qutel fax email admissionscanterburyacukwebsite wwwcanterburyacukchambers partners publishingsaville house long lane london eca hltel fax website wwwchambersandpartnerscomcity universitynorthampton square london ecv hbtel fax email ellcityacukwebsite wwwcityacukconcert promoters association st marks road henleyonthames oxfordshire rg ljtel email cpnmakingmusicorgukdartington college artstotnes devon tq ejtel fax email enquiriesdartingtonacukwebsite wwwdartingtonacukde montfort universitythe gateway leicester le bhtel fax email enquirydmuacukwebsite wwwdmuacukequity british actors equity associationguild house upper st martins lane london wch egtel fax email infoequityorgukwebsite wwwequityorgukequity independent trade union representing actors alsoother performers including singers dancers equity negotiates industryagreements tv radio broadcasters theatres record companiesthrough bpiglobal entertainment group theadmin office design works william street felling gateshead nejptel email infoglobalmusicbizcoukwebsite wwwglobalmusicbizcoukiael international association entertainment lawyersduncan calow general secretarydla piper uk llp noble street london ecv eetel website wwwiaelorgifpi international federation phonographic ltd piccadilly london wj ddtel fax email infoifpiorgwebsite wwwifpiorgilex institute legal executiveskempston manor kempston bedford mk abtel fax email infoilexorgukwebsite wwwilexorgukinformation commissioners officewycliffe house water lane wilmslow cheshire sk aftel fax email notificationicogovukwebsite wwwicogovukinstitute chartered accountants england wales thechartered accountants hall po box london ecp bjtel fax email psogenicaewcomwebsite wwwicaewcoukkingston universityriver house high street kingstonuponthames surrey kt lqtel email admissionsinfokingstonacukwebsite wwwkingstonacuklaw society chancery lane london wca pltel fax email contactlawsocietyorgukwebsite wwwlawsocietyorgukmcps mechanical copyright protection society limited berners street london wt abtel fax email writerquerymcpsprsalliancecoukwebsite wwwmcpsprsalliancecoukmiracle publishing limited york street london wu patel fax email infoaudienceukcommmf music managers forumbritish music house berners street london wt lrtel fax email websiteukmmfnetwebsite wwwmusicmanagersforumcoukmmf trainingb turner street manchester dztel fax email infommftrainingcomthis uk trade association artist managers set upapproximately twelve years ago international managers forum actas representative body managers forum debate matters ofinterest members lobbying bodymusic weekludgate house blackfriars road london se uytel email feedbackmusicweekmusicweekcomwebsite wwwmusicweekcommusicians atlas themusic resource group porter place montclair nj tel fax email infomusiciansatlascomwebsite wwwmusiciansatlascommusicians union palfrey place london sw petel fax email londonmusiciansunionorgukwebsite wwwmusiciansunionorgukthe mu uk trade union solely representing musicians wasformed members regional structure thatincludes offices london cardiff birmingham manchester glasgowit acts collective body seeking improve status musicians andthe money earn mu makes national agreements variousorganisations including bpi recording sessions andpromotional videos television companies broadcastsnew musical expressipc music magazines blue fin building southwark streetlondon se sutel fax email ipcsalesqqsukcomwebsite wwwnmecomoxford brookes universitygypsy lane campus headington campus gypsy lane oxford ox bptel email querybrookesacukwebsite wwwbrookesacukpinnacle entertainmentheather court maidstone road sidcup kent da kktel website wwwpinnacleentertainmentcoukppl phonographic performance limited upper james street london wf detel fax email memberinfopplukcomwebsite wwwpplukcomprs performing right society limited berners street london wt abtel fax email infoprscoukwebsite wwwprscoukroehampton institute londonroehampton lane london sw putel email enquiriesroehamptonacukwebsite wwwroehamptonacukthames valley universityst marys road ealing london w rftel email infotvuacukwebsite wwwtvuacukucas university clearing advisory serviceucas po box cheltenham gl lztel email enquiriesucasacukwebsite wwwucasacukuniversity greenwichold royal naval college park row greenwich se lstel email courseinfogreenwichacukwebsite wwwgreacukuniversity newcastle upon tynenewcastle ne rutel website wwwnewcastleacukuniversity northamptonpark campus boughton green road northampton nn altel email studynorthamptonacukwebsite wwwneneacukuniversity paisleypaisley pa scotlandtel email infopaisleyacukwebsite wwwpaisleyacukthe university seeking approval change name university thewest scotlanduniversity salfordsalford greater manchester wttel fax email courseenquiriessalfordacukwebsite wwwsalfordacukuniversity sunderlandst marys building city campus chester road sunderland sr sdtel email studenthelplinesunderlandacukwebsite wwwsunderlandacukuniversity surreythe registry guildford surrey gu xhtel fax email infosurreyacukwebsite wwwsurreyacukuniversity westminster regent street london wb uwtel email admissionwminacukwebsite wwwwminacukvitala ladbroke grove london w ahtel fax email webmastervitalukcomwebsite wwwpiascomvitalwelsh music foundation west bute street cardiff bay cardiff cf lhtel fax email enquirieswelshmusicfoundationcomwebsite wwwwelshmusicfoundationcomindexthe page references index correspond printed edition fromwhich ebook created find specific word phrase theindex please use search feature ebook readerar artist repertoireaccountant help choosing album involvement booking agent help choosing future manager help choosing precarious life producer help choosing radio play importance recording studio help choosing relationship scouting sending demos social networking sites abba abilene music accountantsbooking agents business managers directories finding charge choose institutes lawyer help finding publishing record deal help getting tax see taxtouring vat see vatwhat advances costinclusive minmax formula payment terms publishing size good advertisingbanner adverts venues flyposting local press marketing campaigns music social networking sites tv see also marketingaftermath records akon album recording distributing see record making aalbum cycles albums move away seeing alternative dispute resolution adr amazon american idol american society composers publishers ascap antipiracy unit apu apple aprilla arctic monkeys armatrading joan armour jennifer artwork cover ash niema associated newspapers association chartered certified accountants acca association independent music aim association music industry accountants amia att audible magic automatic backing band session musicians bandincome leaving member provisions limited company name partnership registers service agreements split structures barfly barrett aston barrett carlton barrister becoming barry paul barton lukas battle bands bbc music bdo stoy hayward beach boys bebo beck beckham david beckham victoria bedford david bedford bees beethoven street music beggars banquet bella union belle sebastian beloved berne convention best callum betsy trottwood beyonce big active big brother black box black eyed peas blackhurst tim blue bluebells blunt james bmg bob marley wailers booking agents bootleg recordings bourne james boyzone bpi british phonographic institute brandingartist merchandising deals protecting name trade marks unauthorised unofficial merchandise see also merchandisebranson sir richard brecon jazz festival brett john brian rawling productions limited brp british academy composers songwriters basca british association record dealers bard british music rights broadcast music inc bmi brooker gary bucks music group bug music bunique business managers busted buzz creating caa camden council campbell naomi campus group carlin music cases legalabba associated newspapers v hrh prince wales aston barrett v universal island records beckham v gibson beloved beyonce blue chariots fire colonel bogey cure eddie irvine elizabeth jagger elton john v dick james elton john v reed elvis costello elvis presley francis day hunter george michael gilbert osullivan grokster holly valance hyperion records v dr lionel sawkins james bourne v brandon davis jamie theakston joan armatrading john brett kemp kuro liberty x ludlow macarena macaulay v schroeder mark taylor v rive droit music limited matthew fisher v gary brooker michael douglas ms dynamite naomi campbell niema ash v loreena mckennitt oasis p diddy petula clark phil collins pink floyd r v langley ray repp sabam v scarlet sara cox v people saxon seal v wardlow sebastian coe shut dance soribada spice girls tom waits trent reznor valentino v hodgens van morrison exile v marlow walmsley wet wet wet williamson music ztt v holly johnson cd compact disccompilations cover mount dealer price distribution see distributionlegacy manufacturing record companies lose control pricing retail price sales falling sound quality cdr centralised european licensing administration service celas chambers guy chrysalis records church charlotte clark petula clarkson kelly coe sebastian coldplay collection societies administration becoming member blanket licenses rights granted societies see also individual societycollins phil colonel bogey combs sean competition commission concertsbattle bands commission online open mike presentation prices tickets secret showcases venues see also touringconfidentiality agreements copeland sherry agency copeland miles copyrightdemo duration exclusive recording contract fair dealing exemptions getting back licence deals moral rights online piracy publishing rights come ownership copyright act copyright patents act copyright directive european copyright tribunal costello elvis counterfeit recordings cowell simon cox sarah cracknell sarah creation records crimea daily mirror danny darkness david paula davies ray davis brandon de lalande richard dean mark dearlove richard def jam delivery requirements deloitte delta leisure demos composition demo deals finders agreements mp recording sending ar person studio deals destinys child devo digital memory devices dmd digital millennium copyright act digital rights management drm disney distribution catalogue single item deals consolidation sector exclusive versus nonexclusive deals major versus indies merchandise traditional distributors encompass online distribution djm doc martin domino records douglas michael downloads charts free illegal royalties subscription services see also digital rights management online music salesdoyle owen dre dr driscoll adam dudgeon gus dvds artist website sales copyright cover mount demand licence fees marketing piracy royalties eagles earwig ebay electronic frontiers foundation eff elle sappelle elton john emi eminem end history regan epic records equity ernst young essex music limited european commission european economic area eea european leisure software publishers association elspa european union eu copyright directive evera emily van facebook fame academy fan clubs farm farnham john federation copyright theft fact federation software theft fast fiction records fiduciary duty film soundtracks fingerprinting technology fisher matthew fitzgerald kiley flaming monkeys flute fopp fox frankie goes hollywood franz ferdinand friends fuchs aaron fuller simon gallagher noel gates gareth gay geffen gema getting started gibson abbie gigs see concertsgilbert osullivan gill peter girls aloud glastonbury festival gmtv google gorillaz gowers review great white grokster groups see bandsguardian gut records hadley tony halliwell geri hammersmith apollo hands guy harassment actions hartman hawkes son hear music hearsay heart higher education hmv hodgens robert holly johnson honeytrippers horn trevor house lords human rights act hyperion records ie ifpi international federation phonographic ltd iglesias enrique il divo image band impala city independent legal advice inland revenue innervision integrity right internet see also downloads internet service providers onlinemusic salesinternet service providers isp iphone ipod irvine eddie island records islington gazette itunes jackson ray jagger elizabeth james dean japan jardine al jenkins katherine jobs steve john elton johnson holly jupiter research kaiser chiefs kazaa keane keeble john kemp gary kemp martin kennedy john kerrang keyman provisions killers kobalt koopa kuro lahiri bappi lala langley masters later jools holland lavender ray lawyerbeauty parades choosing employing conflicts interest directories finding legal consultants new breed relationship get law reports law society leading edge leaving member provisions leeds festival legal executive becoming lemar lewis leona libel liberty liberty x licensing collection society blanket licenses deals mechanical licenses performance publishing synchronisation licenses territory limited online exploitation licence linda solomon lion king live music forum live nation livesey yvette livingstone bunny lloyds bank logarides lost highway love mike lowe michael macarena madonna magic numbers mail sunday malm john malone george mama group management agency music limited mam managersar contacts business managers contracts directories expenses fiduciary duties problems bands help finding lawyer find independent legal advice essential experienced legal cases involving new business models pay personal assistants personal managers postterm commission qualities look recommendations relationship role shortterm contracts surgeries tax territory trial period trust look see also music managers forum mmfmarketingartwork dvds epqs fan clubs flyposting inhouse external local press online paying photographs biographies pluggers radio play sms telesales tours tv advertising videograms marlow gary martinsmith nigel master recordings mccartney paul mcdonalds mcfly mcgee alan mckennitt loreena mclean mcps mechanical copyright protection society limited see alsolicensingmcpsprs alliance meatloaf mechanical licenses memory sticks merchandising mercury prize mercury records mgm michael george michaelson scott microsoft midem mills gordon minidisc minimum commitment ministry sound minogue kylie mintel mixing see also remixingmobile music players mobile phones montana hannah moore tony moral rights morrison van moths mps mpcom ms dynamite msn mtv muse music managers forum mmf music publishers association mpa l music station music week musicians union mu myspace name band napster nash brian national insurance news corp nicoli eric nine inch nails entertainment nme norman steve nova oasis ocean colour scene ok oliver graham online music sales charts data protection distribution free future hosting agreements illegal marketing new business models official websites piracy pricing record industry attitude towards reproduction royalties social networking sites see social networking sitessound quality streaming online broadcasting subscription services territorial issues website design rights copyrights see also downloads mobile music players mobile phones podcastsand ringtonesonward music limited open mike evenings orange orchard otoole mark override royalty page jimmy pd deals paramount parlophone parry chris partnership artist label partnership act passing paternity right paul sean pdas p diddy pebble beach peer music peertopeer pp websites performing rights people pepsi perfect songs personal assistants personal managers see managerspet shop boys photographs privacy pias pink floyd pinnacle piracy antipiracy unit apu bootlegs copyright see also copyrightcounterfeit recordings enforcement stop spot counterfeit pirate bootleg record moral rights pirate recordings rootkit trade descriptions trade marks pj harvey plagarism pluggers tv radio podcasting association podcasts police pop idol popstars positiva ppl premier league presales presenting presley elvis press complaints commission pride dominic prince prince wales charles privacy individual private security industry licences regulations procol harum produce records producersas coauthors copy moral rights credits demo duties mixing pay royalties standard work promoters prs performing rights society limited publishingaccounting administration deals advances controlled compositions copyright exclusive agreement find music publisher independent publishers mechanical licenses minimum commitment moral rights creative control ownership disputes performing rights print record deal restraint trade rights granted rights period rolling contracts royalties single song assignment subpublishing deals synchronisation licenses royalties territory degree deals tracking systems music publishing rights publishers type deal whats typical publishing deal punk radiohead radio radio play radio raizada yogesh rashman richard reading festival record making aartwork budget credits delivery requirements mastering digitisation mixing producer production deals record company refusal release recoupment costs remix royalty reduction rights standard work studio package deals studio finding contract record companies consolidation costcutting future independent major refusal release albums see also individual company namerecord dealsaccounting advances copyright creative control versus large advances delivery requirements development deals exclusive future album options hype multimillion pound legal principles licence deals new business models new kinds deal noninclusive production deals record budgets royalties territory splitterritory deals degree deal twoalbum firm deals happens production deal bigger company comesalong record sales decline see also cdsrecoupable nonrecoupable costs regal room regan fionn rehearsing remixing remote control restraint trade reznor trent rhode island club riaa record industry association america rice damien rice tim richard cliff ridgeley andrew ringtones rive droit music limited rdm roland kevin rondor uk rootkit roskilde festival rough trade royaltiesdvd leaving member mechanical see also mcpsmerchandise override performing see also prsproducer publishing record deal synchronisation rutherford paul sabam safety focus group samplinghow clear sample much sample happens dont clear sample seek permission go clear samples sanctuary records sawkins dr lionel saxon schroeder music publishing ltd scissor sisters club scouts see also ar seal secure digital media initiative sdmi sergeant matthew session musicians digital shadows shalit jonathan shaw sid short cuts showcases shut dance suad silver rarities silvertone simpson charlie sinclair jill singlesdownloads see also downloadsminimum number rise sales sisac sky larkin slicethepiecom smith robert social networking sites see also individual site namesolicitor becoming songwriterscoauthors moral rights publishing deals see also copyright publishingson dork sonny cher sonybmg sony records sony ericsson sony walkman soribada soundalikes sound lighting engineers sounds radio spandau ballet spice girls spiral frog sponsorship agents ethical considerations exclusivity find scope deal tour whats typical deal springsteen bruce starbucks stewart rod sting stone roses subpublishing deals suede sun sunday mail super furry animals supervision synchronisation licenses royalties taiwan take talksport taupin bernie taxaccounting band split exiles managers offshore companies production deals returns touring taylor mark te kanawa dame kiri terra firma territorydistribution within licensing managers merchandising deals sponsorship online sales publishing terry clare theakston jamie degree deals thom sandi mobile tiscali tmobile tolhurst laurence tosh peter touringaccounting artist riders backing band session engineers booking agents budget cancellations employment agency regulations funding insurance losses madonna live nation mama group managers commission merchandise see also merchandisepayment accounting personnel promoters publicising regulations sound lighting engineers sponsorship support tax planning degree deals tour manager trade descriptions trade marks trading standards truth hurts tunstall kt tv appearances united statescopyright laws distribution licensing within online music sales within personal managers see managers personal managersproduction deals record labels territory universal music group upsetters usb flash devices useful addresses u valentino bobby valance holly vangelis vat vega suzanne velvet revolver venueshappening sponsorship deals see also concerts touring individual venue nameviacom videos video performance limited vpl violent femmes virgin records virgin megastores vodafone v waits tom walmsley wardlow john warner brothers music warner chappell watkins tom webber andrew lloyd webcasts weiss george davis wembley stadium west kayne westwood tim wet wet wet wham whiter shade pale procol harum william morris williams robbie wilson tony winehouse amy x factor xfm xl xzibit yahoo yorke thom youtube young zavvi zetajones catherine zomba group ztt acknowledgementsthanks rico callejo reporter majority myinformation law cases ben challis general music lawupdates rachel ryding invaluable assistance researchingbackground material updating names addresses section finallyto husband david hitchcock mother sarah mary harrison fortheir continuing supportthis ebook copyright material must copied reproducedtransferred distributed leased licensed publicly performed used inany way except specifically permitted writing publishers asallowed terms conditions purchased asstrictly permitted applicable copyright law unauthorised distributionor use text may direct infringement authors andpublishers rights responsible may liable law accordinglyversion epub isbn wwwrandomhousecoukthe law book correct best knowledge december views expound mine alone although havetried give practical examples throughout book everyonescircumstances different facts every case book asubstitute independent legal advice given personally liabilitycan accepted virgin books ltd anything done relianceon matters referred bookann harrisonthis edition first published great britain byvirgin books ltdthames wharf studiosrainville roadlondonw hafirst virgin paperback edition published great britain virginpublishing ltdcopyright ann harrison right ann harrison identified author work hasbeen asserted accordance copyright designs patentsact book sold subject condition shall way trade orotherwise lent resold hired otherwise circulated without thepublishers prior written consent form binding cover thanthat published without similar condition including thiscondition imposed subsequent purchasera catalogue record book available british libraryisbn" +} diff --git a/tL-Manager-mini-lesson-music-business-data-analytics-pdf.json b/tL-Manager-mini-lesson-music-business-data-analytics-pdf.json new file mode 100644 index 0000000000000000000000000000000000000000..7f6bfa170225b14673d5d0039a9e299c25be2ce2 --- /dev/null +++ b/tL-Manager-mini-lesson-music-business-data-analytics-pdf.json @@ -0,0 +1,5 @@ +{ + "filename": "tL-Manager-mini-lesson-music-business-data-analytics-pdf", + "department": "Manager", + "cleaned_text": "meet data pyramid key processing music industry data liv buli following excerpted berklee online graduate course data analytics music business end goal working data reach actionable insights intelligent recommendations words want able use data information manner allows us confidently predict outcomes take action based think happen want reach larger audiences spending less money market artists efficient way possible sell albums rack streams use data get us first access process data responsibly exactly get unstructured data actionable intelligence presented simple though surprisingly complex start digging chart known data pyramid lets get mini lesson liv buli liv buli data journalist author living olive new york previously senior music data journalist pandora media next big sound buli spent career working intersection storytelling data science visualization thinking best tell stories data speaking conferences around world also author penelope pies pizza party first book vizkidz series collection books teach fundamental concepts data visualization analysis childrenmusic businessdata pyramid layer pyramid represents stage analysis application data raw data start inevitably spend time actionable insights derive arrive intelligence level order truly understand value framework lets take closer look individual layer meaning fundamental layer data pyramid perhaps unsurprisingly data point talking collect unstructured raw data points evolve collection dsps digital service providers like spotify itunes etc social networks become mainstream lets forget myspace popular legal online network musicsharing companies like next big sound got start spotify launched us instagram really took platform artists data pyramid data layer music industry generally talking following data artist album endpoints lady gagas twitter handle facebook username timeseries data instagram likes past days etc event data meaning album release dates concert dates metadata instance defining lady gaga female singer genre pop label interscope layer data pyramid plenty work done move data towards deriving informa tion knowledge intelligence well learn different raw forms data might dig next topic next level pyramid information starting talk structuring data perhaps visualizing graphical manner performing cursory analysis order begin understand data actually find clues value might eventually work words questions might able answer data pyramid information layer platforms like next big sound soundcharts others provide web applications allow us play around data information layer alternatively upload raw data industryagnostic reporting tool like tableau plotly possible learn lot data level pyramid though making sense structured data require industryspecific knowledge context information derive knowledge making way data pyramid industryspecific context help us convert information knowledge instance setting benchmarks milestones unique music industry within specific genres tailored particular label artist descriptive contextual information derived data lends generalized insights environment artist working within instance study data thousands artists performed latenight television shows understand impact tends online engagement whether varies show show point artist development ideal performance sort data pyramid knowledge layer tenure next big sound spent significant amount time learning users context would typically apply analysis aimed build datadriven benchmarks valuable groupings artist stages order meet needs doesnt make sense compare performance indie artist beyonc\u00e9 unless looking demoralize disappoint keep mind mean prescribe action know exactly outcome artists cannot say artist x number followers performs jimmy fallon going sell x number albums say however artists size average sold x number albums performing jimmy fallon use information benchmark performance set expectations top tier pyramid intelligence relevant able prescriptive analysis also far riskier endeavor data pyramid intelligence layer intelligence layer indicates able predict outcomes recommend actions high level confidence high level confidence extremely important talking prescribing specific actions business decisions worth millions dollars artist sign release music maximum impact whether send artist arena tour expensive make wrong prediction almost go without saying fundamental clean accurate data cant build valuable charts reasonable benchmarks accurate predictions data corrupted lacking way believe likely find pot gold end rainbow find clean consistent raw set data spend majority time data layer familiarizing data characteristics thinking best structure data searching inconsistencies inaccuracies snowball bigger problems later lets take closer look raw data might look like trouble data following highlevel overview looks like platform like next big sound endeavors collect process combination public facebook page likes wikipedia page views etc proprietary point sale ticket sales data ultimately deliver insights back users whole process would fairly straightforward raw files import database clean consistent unfortunately thats rarely case lets look imagine data presented lets turn next page see data usually presented learned reviewing data pyramid know go ahead process data rife inconsistencies issues ultimately end delivering insights inherently flawed common issues music industry data common issues might come across music industry data include data simply missing doesnt update looking data set often find unpopulated cells assuming collecting data daily one reason could simply artists seeing activity every day instance new band playing local shows getting start likely see consistent activity social media activity data fact looking across artists average number new facebook page likes less one alternatively data indexer break fail manner artist changes social handle username mentioned earlier artist album endpoints important data source music industry happens tyler creator changes twitter handle fucktyler tylerthecreator hitting endpoint twittercomfucktyler attempting collect data tyler creator suddenly unable collect timeseries data artist unless switch highly publicized take notice update artist endpoint result missing data unless access historic record backfill characteristics data confusing different data available different formats different periods time looking deltas totals value collecting updated tally million followers total new followers added today instance facebook page likes reported facebook application programmable interface totals facebook ptat people talking reported rolling average last seven daysare networkwide spikes dips accurate time time might come across massive spikes dips data networkwide specific group artists network made sort update report data great instagram purge platform shut whole slew spam accounts single day causing poor justin bieber dip billion followers well massive dip deltas across majority artists platform fact top artists various networks tend losing followers daily basis consistently work clear spam accounts across platforms widely publicized industry event like grammys caused legitimate spike activity p diddy buy bunch twitter followers tidal fudging play counts kanye delete account timerelated issues considered timezone collecting data whether consistent across sources data source update certain time day data reported weekly daily basis instance soundscan still reports point sales data weekly basis platforms move towards immediate data reporting typically less issue still worth looking several reasons solution simply divide weekly number seven get daily count periodicity one factor instance facebook could overall see activity mondays weekly data reporting also makes difficult capture big events assuming happen single day drive sales streams artist clear industryspecific knowledge extremely valuable determining quality accuracy data often issues crop analysts responsibility uncover cause eventual remedy messy data key concepts layers data pyramid data information knowledge intelligence raw data needs attention useful layer data pyramid collect data directly need consider whether use archive public data sets scrape website query api music industry data trickier businesses unusual artist change key component brand instagram handle stance given issue etc always carefully consider source data discover great content onlineberkleeedu takenote" +} diff --git a/tL-Music(design--Branding.json b/tL-Music(design--Branding.json new file mode 100644 index 0000000000000000000000000000000000000000..b3f565ec3c6648b2a84e577e36a44986997545e8 --- /dev/null +++ b/tL-Music(design--Branding.json @@ -0,0 +1,5 @@ +{ + "filename": "tL-Music(design--Branding", + "department": "Design", + "cleaned_text": "songseekers broadly terrace london uk nwlg tel faxinfosongseekerscouk wwwsongseekerscouk musicequity power music brandingsongseekers song seekers music equity power music branding erosion mass markets consumer trends towards customisation personalisation driving marketing towardsan experiencebased economy steven j heyer coo cocacola madison vine conference february music powerful medium bring emotional qualities products services life help activate brand promise beat music canliterally connect heartbeat consumer power music use achieve greater success brand arena however currently misunderstood undervalued paper discussesfour principles help companies recognise value music context branding also address evaluate music opportunities andsuccessfully integrate wider longterm business strategy four concepts discussed follows music identity music strategy music equity music differentiation song seekers music identity brand identity carried music recent years consumer purchase decisions become weighted towards emotional attributes rather functional benefits become increasingly hightech crave personalisation high touch subsequently experiencedbasedmarketing focuses communicating emotional values brands current trend way forward true marketing potential music without stimulus access mood emotion deeply move specific demographics within target market seconds addition heritage music artistgenreetc reflect culture time period lifestyle without even playing note musicians songwriters innate talent making connections distilling message essence often dreamers visionaries operate emotional level natural drivers direction catalysts expressing complex social issues contemporary voice addition new multimedia platforms interactive mobile phones music extend reach ability impact consumer multitude levels television commercial historically initial platform brands used music support visual idea therefore logical first place creating brands music identity gapcreative teams excelled approach gaphas clear compelling music dna fun edgy innovative approachable personal consistency style television commercials plain white backdrops young energetic multicultural people bold exciting music gap identity glue host different products successfully launchedthey created formula clicks consumers mind gapclearly understands building brand tone voice requires repetition exposure song seekers gaphave repeatedly used format result helped promote artists new tracks seasonal commercials singersongwriter rufus wainright appeared christmascommercial record company began promoting guy appeared gapcommercial macy gray got break baby gapcommercial recently mariannne faithful taryn manning closed generation gap demonstrating strong music strategy could used convey message powerful z continue reach right markets emerged interesting significant dimension public started talk gapcommercials outside environment commercial reach extended media started contribute pr strategy without costing brand penny rather gapcommercials looking like rip something mtv artists brandy britney spears backstreet boys copied gapstyle looked like gapad company developed aesthetic spilled music advertisements creating great commercials placed trust music provide something compelling close logo expensive shoot gaphave created music metaphor consumers feel great products brand essentially promise gaphas used music help define promise carry consumers many companies however make mistake multitude music messages sent one time period time without coherent connection every time brand uses music area marketing create asset liability thebrand depending success music selection usage artist arena theplatform true surely follows every time brand considering usingmusic every customer touchpoint every bb communication dialogue bespoken voice brand reflecting core values lifestyle essence brand brand sound like key question every brand intending use music ask able answer confused sonic brandingwhich audio identity best demonstrated intel inside note melody orthe angelic sounds every computer sings bill gates microsoft opened sound brand complex emotional response brand evoked universally commercial players management acquisition ofmusic contentproperty right consumer street receiving end thesound brand initial connection made consumer conscious subconscious level brand music used song seekers one intangible qualities music say something power brand simply association consider message microsoft whenthey used rolling stones copyright start windows launch almost every newspaper headlined story alleged paid track microsoft forgiven using original rolling stonemaster sound recording fact never openly communicated thepublic remembered microsoft paid company asong commercial one biggest bands world initial message microsoft biggest players townbut whilst microsoft paid legendary sum money use copyright question kind capital investment longterm music equity measured subsequently leveraged association author would like define music equity net com mercial value brands relationship music taking account assets liabilities commercially leveraged measured otherareas marketing activities brands experience rapid globalisation try extend across cultural differences need vehicles consistently convey organisations core values defined associations becomes increasingly pressing clear andstrong music identity represent organisation wants brand stand future music provide external picture customersand act internal pulse business strategy song seekers music strategy music industry gets commercial given cd sales plummeting people downloading music becoming increasingly expensive promote artists music industry beginning really embrace importance music beingused commercial benefits exposure currently however parties approach brand music relationship individual agendas question remains open benefits fromthe association results neither party fully leveraging power partnership music industry also unpredictable entrepreneurial movingso quickly opportunity arise leaves little space third partiesoutside inner sanctum participate default unless werepartners initial process music industry look recent success stories music commercial directly helped bottom line great example nikes recent use old relatively unknown elvis track soundtrack commercial commercial gave track huge airtime broadcast media something theradio stations would give artist dead years prmachines moved action hype quality thecommercial cost shoot fact elvis estate persuaded allow modern remix track popular dj jxl th anniversary death superstar amount column inchesthat partnership produced beyond wildest pr expectations bmg record company elvis catalogue spent last years repackaging reinventing elvis back catalogue steady modestlevel success back commercial subsequent single hit territories able produce release new cd elvis nos last years shifted tens millions copies album whatmade cd powerful included latest hit little lessconversation charted year th anniversary song seekers relatively simple see principle financial beneficiaries elvis partnership key question could leveraged fornike part overall music strategy objectives aspirations financial opportunities clearly mapped issues two major industries willing work together need change cultural business practices acollaboration content marketing longer term strategythat creating value relevance consumer connection hasintegrity sides short term satisfies shareholders symbiotic convergence brand ad agency recordcompany needs occur past disparate divisions music industry given secondhanded insights work ie music ideas attached onto conceptualand finished stages promotional idea even commercial onair problem arising pattern partnership music parties part thinking defines brands core values target audienceetc difficult develop promotional activities tap theessence brand leads lack synergy overall brand strategyand music identity vast amount time money spent trying marrythe two create negative experience brand understanding music route chosen first place also neither party qualifying whatwent wrong exceptions rule gap levis target pepsi etc spectacular dirty vegas days go might flop never featured spot mitsubishi eclipse commercial launched previously obscuresong music charts helped receive grammy nomination bestdance recording powerful proof dj comes onto radio andsays mitsubishi song hard explain phenomenon sayspierre gagnon mitsubishi motors na president ceo pleasedwith know breaking songs become popular key issue mitsubishi addressing convert pr attention commercial buys make success music translate car sales song seekers order brand fully leverage power music need ask fundamental question saying yes opportunity use music music strategy clearly answer four questions music say brand ii types music activities carry brands positioning personality core attributes iii music ventures mutually beneficial brand music industry partner iv brand going achieve brand cannot answer four questions clear consistent response clearly defined music strategy music strategy shouldactively seek engrain coordinated music identity within brands cultural fabric every audio representation organisation television commercialto elevator music powerfully convey companys music dna integrating music whole marketing strategy key marketing intrusive youre going lose provide entertainment thatsan asset life jarrod moses ceo grey world alliance behalf pgpringles latest entertainment partnership july song seekers music equity measuring value music brands one reasons music currently undervalued many organisations difficult directly measure impact influence sales researching success music campaign value often measuredusing following parameters facilitate communication rational message specific campaign adequate benchmark music industry measures success billboard charts brands agencies often seduced use standard measure secondary benefits brand using music partners music industry set theircriteria record sexy carries certain amount kudosbut say brand naturally companies know sales product service successful much analysis done measure extent results attributed music following questions answered isthe music equity artist track genre etc heritage music intangible benefits could music inject brand music creating brand liability future asset leverage opportunitiescan brands equity create music industry fundamental underlying question needs introduced decision making process current music equity brand use music affect david aaker uses five dimensions measuring brand equity lifestyle awareness perceived quality associations loyalty interestingly david heronreasoned music effectively contributes brands marketing strength entertainment value structure continuity memorability lyrical language targeting authority establishment todays brand profiling music equity concept even considered let alone value actually measured would evaluation add tomarketing solutions brands able make informed decisions aboutmusic usage confidence assesses every aspect promotional communications activities song seekers valuation music equity brand begin ask questions must answered create intellectual music properties move beyond boxthe bottle logo help create consumer relevance consolidateconsumer loyalty song seekers music differentiation designing emotions make difference marketplace music essence emotional elements brand power responsive peoples needs sensory pleasure promises delivery research shown people relate brands verysimilar way relate people form relationships based personalityappearances style image trust great music create yearning abrand selfconfidence security ownership make us feel webelong larger group arguably music evokes emotionbut rather whole brand image music entity music define relevant differentiated credible value proposition especially markets high degree competitive convergencemusic often deciding factor whether customer buys product orservice competitors customer hears may make differencebetween choosing choosing brand gerald j gorn effects ofmusic advertising choice behaviour music make difference song seekers conclusion create impetus change economic pain economic opportunity intellectual macro level industries already thoughtisnt translated action yet afraid missing outon important pieces cultural connection time fear subside thefearful lose jobs new model isnt developed old one simply collapse steven j heyer coo cocacola marketplace compelling messages consistent delivery emotional experiences heart brands success organisations need activelydevelop fully integrated powerful multimedia music strategies shift currentthinking regarding music soft service function cornerstone business strategy needs occur understanding vital party collaboration appreciates value others strengths partner looking one work period time oneoff transaction selfinterest replaced collaboration respect winwin benefits result brands music industry music incredibly powerful vehicle power convey emotional attributes products services simultaneously creating layeredtextural experiences lives taking marketers song seekers contributor ruth simmons bsc managing director songseekers international ltd years experience running strategic music consultancy ruth constantly fascinated ways music used sell products andservices new division songseekers music equity result lifetime experience observing ways brands agencies themusic industry continue transact music yet miss true currency exchange also direct result continuous dialogue collaborationwith amazing children daniel rachel brand strategists intheir right music design respectively email ruthsimmonssongseekerscouk acknowledgementsthe author also appreciative support insight given john bartle former chairman bbh bruce haines chairman leo burnett andy tilley managing partner unity mark collier managing director daredigital nigel foster head european tv jwt jane rattle head tv leagasdelaney frances royale head tv bbh nick raphael managing director epic records sony catherine davies head product sony alex myersinternational product manageruniversal records mark crossingham commercial product development universal records many colleagues patiently listened offered two pennith notes aaker david brand leadership new york free press bedbury scott new brand world new york viking penguin braithewaite farrell odonoghue cum feel noize branthwaite ware music advertising th esomar conference gobe marc emotional branding new york allworth press gorn gerald effects music advertising choice behaviour journal marketing vol winter heron david music advertising analytic paradigm music quarterly vol kelley tom art innovation new york random house klein naomi logo new york picador" +} diff --git a/tL-Music-Industry.json b/tL-Music-Industry.json new file mode 100644 index 0000000000000000000000000000000000000000..3aa2c1b7965c9d3667f7a06cccf6c5246714b250 --- /dev/null +++ b/tL-Music-Industry.json @@ -0,0 +1,5 @@ +{ + "filename": "tL-Music-Industry", + "department": "Manager", + "cleaned_text": "music industry case study major producers sony corporation sony corporation multinational conglomeration based tokyo japan sony corporation electronics unit parent company sony group sony group consists sony electronics sony pictures entertainment sony computer entertainment sony music entertainment sony mobile communications sony financial produce consumer elctronics telecommunications communications information equipment semiconductor electronic devices battery chemicals play station films television music sony music entertainment sony second largest big four producers founded american record corporation renamed company sony music entertainment entered joint venture bertelsmann merging create sony bmg music entertainment sony bought bertelsmanns stake sony bmg became sony music entertainment headquarters new york total offices across globe chile thailand uk produce music worldwide executives company doug morris chief executive officer kevin kelleher executive vice president chief financial officer morris previously head universal music became chairman ceo july st reconstructed sony upon arrival revenue million operating income million labels number labels across world major ones columbia records epic records rca records sony music nashville provident label group verity gospel music group sony music latin sony masterworks legacy recordings columbia records uk rca label group syco music red distribution jg records produce sony music produces hundreds artists around globe numerous labels studios artists includeacdc michael jackson foo fighters franz ferdinand one direction shakira jimi hendrix oasis mariah carey distribution sony aim use vertical integration within company complete control products distributed producing physical copies music cds producing music software devices walkman late means control distribution products pay expenses outside companies however music industry changed drastically increase downloading music online stores itunes sony distribute corporations apple combat issue sony uses new media technology creates software online programs example sony recently made music unlimited offers instant access millions songs sony devices play station android xperia phones bravios tvs bluray disc players psps pcs used combat software spotify shows sony adapting rapidly changing industry universal music group universal music group largest big four music corporations acquiring bmg music publishing owned french media conglomeration vivendi completely separate universal studios headquarters located california usa revenue million operating income million founded deca records became universal music group divisions universal music group multinational conglomeration number divisions universal music publishing group universal music group distribution interscopegeffenam island def jam music group universal republic records universal music group nashville verve music group decca label group universal music latin entertainment universal music enterprises universal strategic marketing show doguniversal musicvcooperative music polydor records mercury music group island records group universal music tv london records bravado twentyfirst artists elabs silver scopelabels universal music group number labels across globe labels outside us us labels include interscope geffen island def jam music group universal republic records universal music group nashville decca label group verve music group universal music uk universal music publishing universal music publishing music publishing group part umg ump owns administrates million copyrights largest music publishing business world offices countries artists produce wide range international local artists genres across globe current top artists artists include lady gaga lil wayne eminem justin bieber keri hilson kid cudi enrique iglesias rihanna taylor swift nicki minajflorence machine bombay bicycle club lana del ray lmfao u chemical brothers prince stereophonics universal new media technology universal music group codeveloped vevo site designed music videos allows free adsupported streaming music videos higher quality found youtube emi emi fourth largest big four british owned multinational music company headquarters london set merging columbia graphophone company gramophone company record label owned citigroup revenue billion taken citigroup billion debt citigroup announced deal sell music part sony publishing business selling umg total billionlabels emi number labels across globe angel astralwerks blue note capitol capitol latin capitol records nashvilleemi classics emi cmg emi records emi records nashville manhattan parlophone virgin classics virgin records artists emi also wide variety artists lily allen bat lashes beatles beastie boys luke bryan coldplay gorillaz david guetta iron maidennorah jones lady antebellum massive attack kylie minogue katy perry pink floyd snoop dogg tinie tempah thirty seconds mars production emi also owns emi music publishing billboards publisher year last years united states million songs publishing catalogue emi new media technology history emi linked beginnings recorded sound digital music began take emis first music websites went live emi streamed first complete album first company release digital album download launched first internet single emi first major music company make music available without digital rights management software agreements hundreds digital partners distribute music across globe warner music group warner music group third largest big four headquarters based new york usa net income million founded warner bros records later became warner broselektraatlantic records became warner music group made completely separate time warner despite name company sold access industries inclabels wmg number labels across globe main ones atlantic records group warner bros recording group rhino entertainment warner music nashville independent label group production warner music groups music publishing business includes warnerchappell music includes nonstop music music production library word music publishing music publishing integral component wmgs broader digital strategy key element effort redefine role modern music company wmgartists wmg produces work vast array artists aerosmith gnarls barkley michele buble johnny cash dragon force led zepplin morrissey muse panic disco ramones red hot chilli peppers" +} diff --git a/tL-ar-mngmnetEar Training Core | Berklee College of Music.json b/tL-ar-mngmnetEar Training Core | Berklee College of Music.json new file mode 100644 index 0000000000000000000000000000000000000000..6b6be37a97e4b8b99124f7d141257489fa324ab3 --- /dev/null +++ b/tL-ar-mngmnetEar Training Core | Berklee College of Music.json @@ -0,0 +1,5 @@ +{ + "filename": "tL-ar-mngmnetEar Training Core | Berklee College of Music", + "department": "General", + "cleaned_text": "" +} \ No newline at end of file diff --git a/tL-dersignGetting-Your-Album-Art-Ready-3-Things-To-Know-About-Cover-Art.json b/tL-dersignGetting-Your-Album-Art-Ready-3-Things-To-Know-About-Cover-Art.json new file mode 100644 index 0000000000000000000000000000000000000000..f507db5c7866e8562d5548af545d45d8219fed7b --- /dev/null +++ b/tL-dersignGetting-Your-Album-Art-Ready-3-Things-To-Know-About-Cover-Art.json @@ -0,0 +1,5 @@ +{ + "filename": "tL-dersignGetting-Your-Album-Art-Ready-3-Things-To-Know-About-Cover-Art", + "department": "Ar", "Design", + "cleaned_text": "getting album art ready things know cover art httpswww tunecorecomguidesthingsyoushouldknowaboutcover art order distribute music digital stores streaming services things need audio \ufb01les metadata album title track titles artist names release date etc cover art required components must store specs today talking cover art getting artwork appropriate format \ufb02ies digital store shelves cover art order stores accept artwork format needs meet several technical criteria jpg gif perfect square aspect ratio least x pixels size best quality rgb color mode includes black white images getting album art ready things know cover art httpswww tunecorecomguidesthingsyoushouldknowaboutcover art sign nowif youre distributing music amazon demand store printing physical cd covers need resolution dpi format weve talked requirements formatting text album single ringtone well applies artwork certain rules stores dictate cannot included artwork example even resolution dimensions short requirements could result store rejection heres cant include email addresses urlswebsites contact info includes social handles pricing stickers artwork scanned copy physical cd something suggests format release cd dvd digital exclusive disc cut text images image thats compressed one corner white space names digital stores logos words express temporality like new latest single limited edition exclusive getting album art ready things know cover art httpswww tunecorecomguidesthingsyoushouldknowaboutcover art sign album cover size inches square also may sound like given make sure image isnt blurry pixilated adjusted via aspect ratio number pixels cover art one including stores wants squint see art cover art size pixels important keep mind stores requirements around cover art format vary example spotify albums spotify covers require pixel format shouldnt discount might look elsewhere include things list digital stores likely reject release tough generate sales music isnt stores dont really important text artwork match artist name album title getting album art ready things know cover art httpswww tunecorecomguidesthingsyoushouldknowaboutcover art dont artwork worry weve got covered get artwork step creating release click green button says make art comb pages art options \ufb01nd one speaks youll able add text customize releasesometimes artists release single upcoming album advance album release need make sure artwork single speci\ufb01c single heres mean youre distributing single cant remember upcoming album n e artwork single must say cant remember title amnesia even though single upcoming release n e also make sure artist name artwork matches artist name release information adding extra artists cover art arent actually performing release isnt good idea example youre covering song john lennon name cant artwork artwork also include songalbum title artists nameit even text whatever make sure isnt mismatching situation going game set match digital booklet include release itunes accepts digital booklets attach long meet itunes speci\ufb01cations head information may need booklets booklet need art getting album art ready things know cover art httpswww tunecorecomguidesthingsyoushouldknowaboutcover art trouble youre uploading artwork make sure contact artist support team \ufb01nish distribution well help get music way" +} diff --git a/tL-design--Album-Covers-analysis.json b/tL-design--Album-Covers-analysis.json new file mode 100644 index 0000000000000000000000000000000000000000..2583a2d26de4555939882fed0e4b842b79e2be40 --- /dev/null +++ b/tL-design--Album-Covers-analysis.json @@ -0,0 +1,5 @@ +{ + "filename": "tL-design--Album-Covers-analysis", + "department": "Design", "Manager", + "cleaned_text": "album cover album cover analysisanalysis merouanemerouaneskepta microphone championskepta microphone champion album artist centered album artist centered appears prepared fight thus appears prepared fight thus depicting aggressive nature depicting aggressive nature indicates asserting indicates asserting dominance relatively dominance relatively competitive grime genre competitive grime genre prepared take challengesprepared take challenges despite fact sweating despite fact sweating skepta maintains boxing stance skepta maintains boxing stance making eye contact making eye contact camera well album camera well album released period skepta released period skepta feuded grime artists feuded grime artists notably wiley title grime notably wiley title grime king thus argued king thus argued photo intended showcase photo intended showcase artists relentlessness well artists relentlessness well readiness contest artistsreadiness contest artists different font used title different font used title allows potential buyers audience allows potential buyers audience differentiate artists namedifferentiate artists name title album microphone title album microphone champion describing artist champion describing artist intending hyperbolise skill well intending hyperbolise skill well give references past victories give references past victories title therefore upholds apparent theme title therefore upholds apparent theme competitionof competition white background allows white background allows audience initially focus artist audience initially focus artist featured cover due featured cover due contrasting red gloves contrasting red gloves darker skin artistdarker skin artisteminem relapseeminem relapse red black colour scheme gives connotations anger danger suffering themes artist known exploring controversial lyrics themes also conventional raphiphop genre suggests artist intentionally intends depict content manner order appeal fans work fans hiphop genrethe term relapse term used album addresses artists relapse prescription drugs abusing time production illegal substances album name also unconventionally positioned order cover resemble prescribed medicine packetan image artists face made collage prescription pills implying artists dependency drugs well hinting lyrical content albumbob marley survivalbob marley survival colour white contrasts well black background traditionalstyle african pattern difference size positioning helps us differentiate bands name albums name colour white connotates purity therefore implied album aims spread positive messagea militaryesque font used create serious atmosphere towards theme uniting africa concept pan africanism bob marley known singing font also chosen due criticism bob marleys previous album kaya weak lyrics relating issues source wikipedea flags africa featured montage implying artists proafrica conveys message album intends address issues faced people ultimately survival african nations western world tyler creator goblintyler creator goblin upsidedown crucifix commonly associated biblical concept antichrist pure evilthis creates tense atmosphere around content album artistthis conventional hiphop genre artists aim tostand others exxagerating certain aspects colour pink used aesthetics rather connotative purposes colour contrasts well grayscale image artistthe grayscale photograph artist gives prominence vibrant pink text well providing connotations emotionlessness depressiondevlin art rollingdevlin art rolling design album art intends promote content using audience familiarity thee cover resembles popular rizla brand rolling papers product audience working class year release familiar withthe title play phrase featured packaging using term rolling colloquialvernacular sense meaning correct way conduct oneself" +} diff --git a/tL-design-47-Ways-To-Make-Money-as-a-Music-Producer.json b/tL-design-47-Ways-To-Make-Money-as-a-Music-Producer.json new file mode 100644 index 0000000000000000000000000000000000000000..7e4f751864259b9082f7965d9510c8ed383ac76f --- /dev/null +++ b/tL-design-47-Ways-To-Make-Money-as-a-Music-Producer.json @@ -0,0 +1,5 @@ +{ + "filename": "tL-design-47-Ways-To-Make-Money-as-a-Music-Producer", + "department": "Manager", + "cleaned_text": "ways make money music producer could generate full time income focusing craft introduction im glad copy producer money making secrets reached ready revealed dive head opportunities want share little story idea book came inspired make probably already know im guy internet geek marketing music day long helps music producers reach goals matter financially mentally spiritually helping become best version duty talking hundreds music producers power social media one strong pattern occurred clue actually make money skills abilities apply low pay unrelated jobs sustain passion music producer thats saddest part music producers one creative people entire world many different skills talents however many fail fully utilize goal ebook show many opportunities around could take advantage hopefully reading book see countless moneymaking opportunities still focusing craft generating full time income dream fact reality attainable hope find lot value ebook help see lot opportunities make money focusing craft imagine thank getting copy producer money making secrets lets dive jmprz contents sell beats ghost producing spotify playlist placements sell mixing services sell mastering services edit podcasts entrepreneurs sell sample packs paid promotions instagram royalties sell project files mentor someone start record label sell merchandise play live shows create plugin sell subscription teach online start blog become sound designer content creation artists audio editing services become foley artist become composer become vocalist djing start youtube channel instagram services affiliate marketing become artist manager promote events kickstarter start something new become va another music producer provide recording services start event sell course platform connect patreon email marketing manage ads music producers dropshipping sell track artworks edit music videos start podcast publish bookebook sponsorships create producer tags write melodies others create websites artists sell beats first selling beats beat selling game fun exciting lucrative start per beat joke platforms like beatstars airbit soundgine provide tons artists already looking buy beats need create professional beats consistently build authority position leader beat making world using platforms many benefits dont need huge fanbase celebrity need create amazing beats consistently put platform youre beat maker looking way earn money craft definitely give shot even following use platforms provide safe place get paid downside using platforms like kind set price would expect pay youre control pricing platforms take fee youre making full amount beat sell think definitely give shot youre interested making money beats ghost producing kind negative name music producer world serious money maker imagine would get paid per track make starting dont need fans content creating marketing stuff creating music getting paid well course music good otherwise one would buy still worth give shot best part tons artists various genres create music like doesnt matter youre big room trance producer youre interested kind stuff popular platforms edmghostproducer yourghostproducers houseoftracks course create music artists specifically make exclusive name order work advantage set price charge thousands dollars work also think kind ridiculous using someone elses music beat making world cool dance music negative name personally never tried make money ghost producing want give shot maybe work right youve tried send dm would love hear experience spotify playlists placements kind new way make money spotify leveraging playlists followers actually spotify terms service include basically provide chance artists featured playlists fee solid fan base around spotify playlists use websites like submithub playlistpush monetize playlist people send music pay small fee receive fee decide want put music playlist method wont make rich could additional cash flow fund music career know people earn per month bad playlist best part need like playlists followers start monetizing playlists already existing fanbase think grow give shot might work sell mixing services one oldest popular ways earn money music producer selling mixing services bet youre familiar basically make someones track sound good adjust volume use various techniques effects make separate sounds work together main goal make track flat possible distributes well types speakers entry point mixing engineer usually earn somewhat per song really beginner top ones go per song insane sell mastering services basically selling mixing services however goal make already well mixed track sound loud commercial ready give extra little push existing mix really top lot people type service also offer mixing services together really correlate mastering usually earn bit less less work know per song standard rate edit podcasts entrepreneurs wont believe opportunity right seems like simple task producer huge problems others may know podcasts really catching momentum right lot influencers brands started podcasts literally ear effective marketing building relationship audience many entrepreneurs started podcast however audio simply sucks know happens audio sucks right people turn entrepreneurs problem solution offer get paid especially funds also stuff set audio levels correct putdesser remove hum unnecessary noise thats grateful trust want try find podcast low quality audio tell lot people turn since pleasing hear podcast low quality offer edit one podcast free hear results ask would want get professional sounding podcast every time lot places find soundcloud spotify anchor lybsin buzzsprout podbean many google platforms podcasts get tons results also entrepreneurs great audience target since different kind mindset others know would better hire someone else professionally rather sell sample packs many music producers dream make money selling sample packs attain mean basically sell sound get paid haha sounds like dream create unique samples make sound professional organize everything present producers like buy simple especially love fact digital product cost distributing practically zero except fees disadvantage selling sample packs competition high would compete sample pack giants like vengeance kshmr cymatics many dont forget splice never made money music producer would recommend start one really good understanding business side world knowing competition strong weak sides advantages excellent customer research tons stuff im saying wont make money fact really doable im saying probably wont top player niche thats goal everything however still want please pick exact genre make sounds everyone work specific better also sample pack great thing giveaway audience free people love quality stuff give value audience value trust money paid promotions instagram probably easiest way earn money instagram simply leverage audience size offer people promote something whenever product music event page much earn depends big instagram page like reposting page personal brand also engaged audience also plays big factor roughly followers expect earn per story post promotion btw sold first shoutout profile followers haha might think great money maker well takes couple seconds post story seconds bad opinion considering fact keep except transaction fees vary downside method following already ready grow honestly hard grow page instagram create page geared towards music producers simply repost people content make sure credit original creator page grew first followers days definitely hard lets say repost posts day reposting easy trust could get followers four times faster assuming know youre definitely attainable bonus tip already decent following want earn money go similar pages look already promoting something stories posts dm promoting offer promotion already spending money promotion high chance buy promotion royalties one oldest ways earn money directly music release music different platforms collect royalties streams platform pay different amounts per stream general earn less cent per stream little bit research however dont know true according google spotify pays per stream little math get best case scenario need get around streams earn well bad release music independently however lot artists cannot get amounts labels take hefty cut anyway could serious money maker get tons streams release independently however would rely method since stable may say much sustainable easier ways make money music producer royalties could great addition main income stream considering fact earn love sell project files honestly genuinely think excellent way earn fist money online improve production skills make money time basically produce music anyway offer people buy project could learn course track project must really good otherwise one would buy still improving producing skills earning money time yes please method pretty popular youtube people make templates different genres andor styles set website audience could buy downside youre probably bound one daw youre selling fl studio project files people use daw wont able use much earn depends standard per generic project file awesome part method youre selling digital product distribution cost zero means profit mentor someone commonly overlooked one lowest hanging fruits something achieved really cool definitely use one need create product whatever may youre selling time mentoring different teaching online selling courses since usually specific training period usually one six weeks training work specifically someone one one help himher get results broad information one specific topic help every decision could reach goals fast make mistakes easily charge beyond mentoring provide enough value achieved something really cool people willing pay amount start record label many producers dream usually dont start bulsht excuses keep starting money connections one like label different taste majority many well youre one listen power social media dont need basically youtube spotify soundcloud instagram platforms distribute music free network free one like artist pops unique better stop excuses honestly want label start dont overthink figure things go earn getting cut artist royalties sold tracks bigger labels organize events serious money sell merchandise one probably work already established audience true fans true fans buy anything present serious money maker really create nice cashflow tshirts hoodies caps mugs pillows name may sound like simple unnecessary expense people truly love artist pillows logo mean much doesnt matter emotional value attached people buy emotions logic also possibilities today dont even need inventory merchandise business model called print demand pod create merchandise get order upfront cost risk involved awesome right even websites offer make free mockups fans could see merchandise would look need photographers even merchandise item live golden era need computer access internet play live shows one applies established artists definitely possible people less known produce really good music raving fanbase strong branding venues looking doesnt matter type music produce whenever edm hip hop tons places looking new artists play already audience brand produce great music never played life shows want try find venues play similar music offer play free first like satisfied ask pay next time create plugin sell subscription youre real nerd lot money start many opportunities field really technical side music production definitely take consideration audio geeks always looking new slick plugins try make life easier plugin producers buy believe endless smile dada life prime example plugin adds filter eq reverb stereo separation effect track one knob definitely default plugins come native daw endless smile saves tons time especially comes automating things sell plugins couple hundred dollars one time fee would create monthly fee using plugin bucks people afford feel confident buying also awesome thing recurring revenue stream means sell receive payments many times teach online really similar mentorship usually teach one specific topic short period time cost way less lets say youre good mixing offer people get hour consultation exact process mix tracks make sound best maybe youre good creating marketing plan artists genius music theory name possibilities endless youre saving lot time since cram countless years experience failures present directly could succeed fast usually consultations start per hour totally depends skill level much value even consultations per month extra bad also ever wanted create sell course would suggest consultations first better understanding people struggling could create better course help later start blog dont like talk camera feel like express better words blogging need personally like write well wrote whole book haha even though passion completely zone reality press buttons keyboard write hours reason makes feel relaxed also youre naitive english speaker would highly recommend write least articles topics love improve english skills lot want course many different platforms let free favorite one medium dont need make website stuff register start writing people already articles good chance blow terms monetization possibilities endless sell courses beats services simply promote song make money royalties choose website also earn adsense however blog pretty big earn reasonable amount way become sound designer like studio hours tweak knobs may consider becoming sound designer terms earning money either create sounds sell audience simply someone hire create sounds creating sounds selling advantage scale infinitely product digital disadvantage market properly test become profitable dont want really entrepreneurial want earn money love creating sounds may right fit people sell soundbanks constantly looking new sound designers take packs next level also learning sound design improve production skills lot content creation lowest hanging fruit tons pages instagram facebook thousands followers simply repost people content would reach offer content creation services would pitch idea branded content way better since position authority leader better long term success already know lazy create branding also helps get sales indirectly network create opportunities since content someone else dont believe open instagram click someones repost page around music niche well tons content thats open someone elses page posts original content feels natural better connection content creator would reach music producer pages post like infographics n stuff offer audio editing service talked bit around topic editing podcasts entrepreneurs section lot people start companies products singers idea deal audio desperately looking someone knows deal since tricky everyone knows clipping issues audio sucks compared people thats help find gigs websites like fiverr freelancer upwork many become foley artist dont know foley artist basically person create sounds movies see horse running film hear horse sounds job foley artist create yes movies usually record sound shoot happens afterwards earn money two ways get hired company freelance would choose freelance since fun downside huge collections random items mean tons look also pretty fun interesting full time job opportunity dont want follow entrepreneurial journey become composer technically speaking composer musician author music form usually hear word composer think musician writes music scores films thats true youre film scoring orchestral type music like hans zimmer definitely look one previous one earn either freelancing making orchestral scores smaller projects websites like fiverr upwork get job type field work big companies become vocalist know probably apply since cant sing like producers actually know yes exist lol time use abilities productions amazing earn money huge demand vocalists would stupid take advantage havent done would first find producers like ask need vocal tracks free course would agree would haha free get credibility trust position leader ask would want collab time ask small pay dj special occasions djing tightly connected producing start screaming different yes difference however lot producers want play live shows music tour want anyway youre good producing djing shouldnt hard need feel music rhythm pick right song basic djing knowledge required dj clubs people dont really care fancy tricks want good music smooth transitions music playing without breaks also may dj weddings birthdays special occasions thats different story youre beginner usually may earn per night depends location venue communication skills start youtube channel excellent way earn money learn network youtube channel solid fan base earn adsense take brand deals promote somebody elses products commission would suggest post tutorials teach producers way create lot value remember recognition bigger brand importantly teaching others improve skills learn two course could post funny meme videos think really earnings completely depend youre going monetize want get views adsense would per views could promote products depends instagram services ohhh love one imagine getting paid using instagram dream haha well using brainlessly strategy help people gain exposure ive im happy method could consult others artists terms strategy gain followers offer sort software service saas many artists get enough exposure art would offer ive done many times works long offer really good need knowledge instagram thousand followers proof preferably easiest would consulting one hour consultation expect get depending skill level affiliate marketing amazing opportunity dont product audience youre familiar affiliate marketing brief explanation promote someone elses products get commission dont deliver product service sell amazing opportunity want get start earning money fast audience good selling honestly want learn sell start affiliate marketing dont focus delivering anything selling terms earnings totally depends affiliate program youre promoting affiliate programs offer sale yes earn less products beauty dont product test many different ones fast become artist manager youre business side music industry andor great connections many different people consider becoming artist job would develop artist meet goals whenever playing live reaching millions people simply making living music think great way develop artist since youre getting valuable experience implement future career terms earnings artists earnings typical range fee course completely depends contract may ask flat fee percentage promote events promoting events could great opportunity learn whole structure want play live network get valuable life experience may think unrelated job nothing music goal play live different kinds venues becoming promoter puts really close organizer event learn whole infrastructure music events operate gain valuable contacts time get free tickets network events offer fee per sale often require contract kickstarter ever felt something missing music producer environment something could help others produce music faster easier maybe youve facing kind issue lately found new solution present world live world create product distribute next day need phonelaptop internet access nobody knew subpac years ago device put back chair could feel bass instead hearing helps mix low frequencies better since youre mixing based feel also common problematic low end mix subpac helps solve problem become va lets say really want work particular artist way would agree since production skills low dont strong brand whatever might could become va virtual assistant basically would stuff lazybusy times monotonous tasks huge money maker really strategic play manage pull want take step improve chances drastically offer free wont earn money get closer maybe one day lead making song together knows tons opportunities provide recording services think pretty straightforward songwriters businesses entrepreneurs even music producers particular project mind execute need professional gear trained people would provide type service pay course depends clients needs exactly would time would come place record something help setup gear also could rent studio one create nice cashflow tons networking opportunities requires lot investments gear years experience really good know lot producers already boxes checked start event know easy sounds youre really passionate work doesnt massive event thousand people start close friends house next time invite people ask friends would like join later rent place invite even people make awesome people join word mouth powerful tool quite people going event look sponsors beverages food type stuff email hundreds know friends type events energy drink companies sponsor really often google tomorrowland first year see everybody starts low dont afraid sounds intimidating start sell course youre skilled music producer one specific skill youre really good teach others scale ive talked teaching others previously still recommend creating course see people get great results help could create course help infinite amount people put knowledge one course sell people people trust see results buy since want achieve courses start even depends level influence definitely amazing money maker beautiful part create distribute many times want especially good producers since want spend much time producing imagine producing get dollars rolling platform connect could create platform producers connect network get value quite already skio spinnin records etc host remix contests place show tracks get feedback look djs many doesnt need brand new app website could literally use something like discord invite producers later create kind premium subscription get access even amazing limited edition stuff literally could cost like per month think way make people pay per month something really cool thats passively imagine people great patreon bet already know one patreon platform creators producers artists videographers etc sell exclusive access newest piece work video song something like especially popular among youtubers decided make youtube channel would teach others music producing whatever may patreon would amazing addition set rates usually starting point subscription costs bucks may sound lot remember previous method could get patrons email marketing email one biggest assets online world email power connect people directly companies successfully using emails drive traffic platforms sell products even social media platforms collapse tomorrow keep email list thats valuable nowadays also use infinite amount times companies ready pay around per email depending quality traffic could use sell products could create something amazing like ebook ask people email address return could sell companies looking make sure consent stating email used companies since otherwise illegal sell rent give away email youre safe manage ads music producers know successfully run campaign facebook ad platform youre golden really high income skill really high demand right nowhere close easy thats valuable offer service artists could see people react different kinds music creatives could implement also amazing opportunity network get first clients offer work free would cover ad budget could also reach producers offer service show results ask would want try one month manage bring results price accordingly hire quick little tip look sell kind service product much easier since get return investment make money makes sides happy get sales make money provide amazing service get paid ton friends offer type service price starts per month definitely huge money maker youre analytical side dropshipping okay hell music well youre trying create brand make money side dont want sell service could sell people products put branding lets say youre hip hop artist really chain type necklaces could easily create online store around people would see wearing would want thats branding important make even awesome would get free cd album yes people still use make really personal touch possibilities today easy dont even need hold inventory pull people order website fulfill order suppliers ships customer make really personal touch sell track artworks youre good graphics want earn money dont know youre creating art blood anyways monetize could easily get paid around per track artwork especially youre good websites like fiverr upowork freelancer could sell service people already could simply message people offer plus create amazing track artworks since master making edit music videos know music producers versatile lot skills also know realize take advantage high chance youre creating music youre making music videos offer producers would work better could film definitely doable without mentioned previously websites could sell services make sure niche since tons video editors many people focus lets say editing music videos hip hop artists focus specific niche people know youre serious youre right fit start podcast podcasts rise right many producers entrepreneurs influential people realise power market really moving towards audio content yay really convenient since stuff listening podcast get lot value youre literally ear person close get online world also people started using things like alexa siri voice things definitely good move start podcast similar youtube could earn sponsors promoting peoples products also invite bigger artists interview leverage audience get attention win win situation publish bookebook expertise subject write book course kind like writing go many different places could sell bookebook popular amazon google play simply manually writing book put authority could mean exposure brand music books usually range ebook sell infinite amount times also writing learn since youre basically relearning everything scratch sponsorships amazing brand loyal follower base reach sponsors want collaborate sponsors definitely looking ways reach people get awareness sales products make sure youre actually right type audience products also many people make mistake wait hope sponsors find sadly live world much noise noticed smarter reach create producer tags honestly easy sell make want money tomorrow try producer tags little snippet sound usually like call audio logo usually seconds someone shouting name something like extremely popular hip hoprap scene producers create one rappers dont opportunity right could dm bunch rappers offer create one like sell day thats nice little cashflow also youre beatmaker create one free put name higher chance rappers actually buying beat since provided value upfront create melodies others another common way could earn money creating melodies producers know sometimes hit roadblock cant get anything done would help could work personally create huge collection melodies sell make sure niche much possible dont want sell hardstyle melodies tropical house artists maybe thats new genre create websites artists wont believe many artists want websites mean cool one could great way showcase work want sell beats show music sell merchandise everyone needs help might wondering could since zero experience coding websites dont worry know drag drop elements youre good go platforms like wix wordpress shopify clickfunnels many others offer create website without coding knowledge select want website drag placed thats eye good design could literally crush one dont create websites people overcomplicate things think really hard others dont want would rather hire someone could easily sell simple website pretty low website creation move pricing later progress look artists successful website show work contact information maybe even sell something definitely demand thank came far im really proud hope got lot value ebook learned least methods could potentially create cashflow music producer many opportunities music industry people believe luckily youre ahead game" +} diff --git a/tL-design-album-cover-instructions.json b/tL-design-album-cover-instructions.json new file mode 100644 index 0000000000000000000000000000000000000000..f2fb3885f7386b8fc55c4c50b3834a0580e3d832 --- /dev/null +++ b/tL-design-album-cover-instructions.json @@ -0,0 +1,5 @@ +{ + "filename": "tL-design-album-cover-instructions", + "department": "Ar", "Design", + "cleaned_text": "album cover art hired design new album cover favorite song record great album cover draw new listeners put limited space needs count include artwork artist album name style colors images properly represents content inside picture drawing visual representation artist thinking c l r color important element design choosing right colors match style message music make break album design think color way get dressed morning choose various pieces outfit consider combinations colors wear feel combinations look particularly good colors wont put together album cover designs range simple monochromatic onecolor backgrounds vibrant oneofa kind illustrations examine album cover examples consider design compliments music artist album cover art use pencils markers crayons paint collage create album cover feel free use images artist printed computer magazines make sure album design original copied plagiarised remember design compliment emotionfeeling vibe song artist chosen artist song album" +} diff --git a/tL-design-yr-9-album-art-2.json b/tL-design-yr-9-album-art-2.json new file mode 100644 index 0000000000000000000000000000000000000000..70603c805b9565cb0078335ff321653ffd5e98ed --- /dev/null +++ b/tL-design-yr-9-album-art-2.json @@ -0,0 +1,5 @@ +{ + "filename": "tL-design-yr-9-album-art-2", + "department": "Ar", "Design", + "cleaned_text": "week lo able ga ther present range inspiration researching artists typographycreate visual mind map mood board artists graphic design typography album covers likeconsider present compositioninclude images ideasand artist names group mind mapping activity mins individually mind map many ideas mins share ideas group mind map table adding extra ideas mins steal tables ideas table wordsbegin mood board complete homework include depth analysis one album coverwwwudiscovermusiccomstoriesiconicalbumcoverdesignerswwwshortlist comentertainmentmusiccoolestalbumcoverswwwcanvacomlearnfamousgraphicdesignerslinks album artists graphic designershomework collect example images album covers graphic design typography make mood boardalbum artistsworth looking atreid milessheppard faireypeter savillepeter blakehipgnosisstorm thorgersonand aubrey powellrogerdeanvaughan liverstanleymouse millerkalschenkalhr geigerjeff koonsjulien opie sheppard faireyanalyse album coverjeff koons eye drawn first image explain eye drawn heredescribe composition elementsobjects arranged foregroundbackground bigsmall highlow leftrighthow would describe colours tones bright vibrant warm cool dull contrasting monochromatic tonalhow would describe shapes space soft hard geometric organic repeating symmetrical dense sparse negative positivedescribe use typographydescribe mood gives moodwhy like itwhy choose" +} diff --git a/tL-he-Innovative-Business-Model-of-Music-Industry.json b/tL-he-Innovative-Business-Model-of-Music-Industry.json new file mode 100644 index 0000000000000000000000000000000000000000..ab0cf5c2c9f28dcd0ebc72bbb03f4562a2672b26 --- /dev/null +++ b/tL-he-Innovative-Business-Model-of-Music-Industry.json @@ -0,0 +1,5 @@ +{ + "filename": "tL-he-Innovative-Business-Model-of-Music-Industry", + "department": "Manager", + "cleaned_text": "innovative business model daft punk introduction music much like activities creative industries undergone profound changes since late transformation physical media compact discs cds digital media specific format mp massive adoption peertopeer download software napster actors benefited developments computer mp player manufacturers apple ipod itunes streaming services spotify youtube others experienced inexorable decline physical media distributors virgin megastore europe tower records usa tellier technological innovations made possible implement new ways business music industry promoting new offers innovative services young companies moyon management terms company offers customers targets way organized remunerated co nstitute business model effects technological innovations business models widely studied management science research level companies sector music labels little work focused create music artists first electronic music group win grammy award best album french duo daft punk composed thomas bangalter guy chapter written alexandre perrin innovation cultural creative industries first edition edited estelle pellegrin boucher pierre roy iste ltd published iste ltd john wiley sons inc innovation cultural creative industries manuel de homem christo innovative business player music industry however general public know much musicians cultivating secrecy medi scarcity since daft punk effectively chosen hide faces appear robots decision goes promotion strategies forc e sector idea borrowed main character film phantom paradise new electronic music scene however kraftwerk pioneers field groups innovative character ther efore found elsewhere chapter show since beginning careers creators opposition dominant business model music industry section define precisely components business model describe model used music section subsequently section de scribe first attempts artists break dominant model finally focus specific case daft punk electronic music segment address innovative nature french groups business model section methodology well main lessons learned th dive daft punk system described section definition business model business model defined diffe rent ways included article summa ry proposed authors strategor propose business model composed three elements relevant attractive value proposition customers valuable architecture b business value equation c first component business model focuses value proposition offer offer may take form good service corresponds set ch aracteristics offered customers hope th ey value characteristics price features relate services brand image called value proposition proposal made according buyers interested offer free one hand eg google sea rch engine freely accessed users profitable hand massive number free users allows google sell ad vertising space th free service innovative business model daft punk second component focuses ability companies mobilize resources skills b value architecture corresponds organizational framework necessary achieve proposal activities carried internally others carried service providers designing architecture like asking oneself question course choices made company proposes organized judicious allow profitable c cost structure revenues generated determined value architecture value proposition hus model coherent elements compose create business value building equation requires answering question much table summarizes various issues related definition business model proposal architecture business equation characteristics service product offered resources skills mobilized revenues generated costs generated offer offer need internally commission much profits generated table dimensions business model major technological changes lead development new business models make old ones obsolete innovation focus model order understand innovative nature daft punks model therefore necessary explain predominantprincipal dominant model music industry business model music industry business model music industry constantly oscillates two main activities recorded music live music revenues generated one usually influence since musicians usually produce recording encourage listeners come see concert vice versa size global music market estimated billion page recorded musi c sector estimated around innovation cultural creative industries billion overall section co st live music concerts festivals estimated billion section detail current business models section present examples innovations section recorded music understand business model musi c essential describe different rights holders involved creation recorded work includes two types intellectual property one composition score lyrics one interpretation figure provides summary complex operation figure music industry works beginning artistic creation book painting etc music idea composer tr ansform idea melody runs head c oncrete real creation either writing notes score composing directly instrument computer author person write lyrics musical composition provided song composer author creators give birth concrete way idea give precise personal form must ensure original character penalty public performance funds disseminate promote autho r compose rpublishe r produce rfunds help recorded workreproduction mediumcollective management societies collect rights singe rthe innovative business model daft punk accused plagiarism legal point view parents musical work rights creation copyright authors also proprietary right authorize exploitation works throug h public performance eg public concert radio broadcasts used film music advertising reproduction medium cd streaming platform return th e use work authors receive remuneration author may decide entrust management business rights collective manageme nt society sacem france ascap usa business point view music composition therefore activity linked music publishing economic impact assessed nationally performance royalty organizations data aggregated global level cisac conf\u00e9d\u00e9ration internationale des soci\u00e9t\u00e9s dauteurs et compositeurs composers authors may receive payment royalties directly organizations annual subscription also receive payments rights publisher companies sonyatv music publishing warnerchappell music universal music publishing finance advance authorcomposer creation projects assist administrative procedures protecting rights often contract creator stipulates sharing income generated intellect ual creation long term objective companies build broad catalog songs lyrics used much media possible public performances france number employees music publishing house mainly one ten ey broadcast musical work must recorded said fixed medium recording work important step music played internet radio sold stores etc performers required record musical work individuals play music musicians orchestras sing course possible performer may also songwri ter performing rights additionally managed producers commonly known music labels labels finance distribute promote recorded music work usually recorded either personal studio home studio professi onal studio latter case specialists sound engineer involved recording given costs risks involved record co mpanies obtain subs tantial share revenue generated use recording music label innovation cultural creative industries involves signing exclusive contract artists financing production music album lump sum advance company turn ensures control paymen royalties revenues generated concerts sale merchandising products etc system works biggest sales company finance intimate less popular recordings latter may beco cult records future music labels therefore responsible promoting artists radio stations streaming platforms social networks return create catalog recordings called masters master tapes trigger payment reproduction rights use france three main labels collect rights recordings scpp soci\u00e9t\u00e9 civile des producteurs phonographiques independent labels collect sppf soci\u00e9t\u00e9 civile des producteurs de phonogrammes en france emergence streaming labels signed agreements streaming companies spotify monetize catalog platforms pay advances reco rd companies order use catalog process revised upwar ds downwards depending titles listeners platforms actually listen practice depending countrymusic publishing sound recording activities grouped legal entity simple search naf code companies regi stered code z sound recording music publishing includes universal music publishing publisher universal music france label universal production music france producer although activities separate due reasons previously mentioned different entities often subsidiaries crossshareholdings share capital terms economic weight sec tor activity publishers creators represents recorded music estimated billion worldwide music producers labels therefore represent majority revenues generated corded music sector see table publishing activity billion publishers billion rights billion publishers billion rights production activity billion billion table world market recorded music source adapted page innovative business model daft punk live music live music encompasses activities allow musician play music front audience specific location concert hall barrestaurant festival etc called public performance show example six ten french people attend concert festival least year despite growing concentration within global companies live nation sector remains fragmented local usual process young musician therefore start performing concerts neighborhood city region fi nally recognized national level venue holding public concerts live music must pay license fee collecting societ ies charge around festivals total budget annual sum depending th e size venue recent audio signature technologies allow venues wish identify real time different tracks played group dj remuneration system quite similar recorded music since festivals concert halls often pay musicians advance renowned artists also negotiate pe rcentage income generated tickets sold merchandising gi ven high structural costs low occupancy rate concert halls interest business actors involved organization c oncert festival promoter owner concert hall build pa rtnerships business actors local authorities city region companies wishing associated event question banks textil e companies media technology etc current business models tend forget original business model music indeed public representation musician whether composer give performance front people gained entrance fee live temporary experience first source income musicians therefore still concert whether wedding private public concert musicians performers derive income practice music since songwr iters necessarily performers recorded music allows receive income use music therefore players sector essential link revenues generated concerts nd generated listening recorded music group musician use streaming platforms promote national international etc conversely listener discover music group festival listen private copy innovation cultural creative industries detail player music industry creator publisher producer trying build business model allow solve equation costs revenues creators composers performers produce music scores music composition software based musical knowledge main difficulty lies need fi nance creative complex activity income work created received future therefore need financia l advance often paid publishers producers publishers objective build catal og works broad enough rich enough interest users advertisers television film studios etc equation based type risk taking investment artistic creation whose future revenues generated repeated use media diverse video games television series producers develop content requires distribution medium adopted majority public latter use mp player mobile phone cd player producers must therefore work widespread distributors specific area producers risk taking thus based investment support promotion performer said producer signs artist receive future income risktaking becoming increasingly unpredictable producers made mandatory sign socalled degree contracts including recorded music revenues concert merchandising neighboring rights revenues table summarizes business models use music industry proposal architecture economic equation creator artistic creation projects score software ability create intellectually lack financial resources receives income shares rights financial advance publisher obtaining catalog disseminating artistic creation medium collects income catalog needs quality catalog collects revenue catalog used medium producer recording promoting artistic creation medium invests recorded media need diversify investments funds promotes recorded music collecting artists rights table business model music industry innovative business model daft punk first historical attempts break model noting abuses inadequacies actors sector adapt technological changes simply responding evolution audience musicians first actors innovations business model attempts concerning value propositions first attempt author modify offer certainly dates back james brown album live apollo alb\u00e9ric tellier p reminds us th time live records still rare james brown wanted follow footsteps ray charles become huge star thanks recording published faced reluctance record co mpany king records business model based creation singles recorded studio live album unlikely successful expected moreover type recording went classical model public bought record would continue co concerts unlike ray charles supported record company james brown financed recording personally invested today rent equipment concert hall chosen apollo theatre new york recording finished james brown tried convince syd nathan boss king records buy tapes publish album tellier p success colossal since album remained weeks american charts live apollo ranked th rolling stone ranking best albums time example creator james brown ran risk financing recording project concert usually risk assume producer return majority share income favor another interesting attempt history concerns group radiohead english group distributed new album rainbows download offered internet users possibility setting price context different th e one experienced james brown innovation cultural creative industries since innovative proposal concerns dissemination recorded work cost recording recorded music still mainly consumed physi cal medium customers personal music players mainly used illegal download sites napster kazaa legal sites itunes latter case industry price title single album therefore offering album free revolutionary elberse fact downloading album totally free charge since price paid technical fee time band distributed deluxe box set including two cds exclusive songs vinyl record art book download code album like james brown radiohead shouldered risk financing cr eation deluxe box set ended relationship label emi group indeed achieved total financial creative independence original proposal creators therefore capture total value produced sales recorded music attempts concerning value architectures decision sign record company remain independent player certainly strategic issue creator rhetorical question best interest many artists answered everything since prefer focu composition interpretation receiving financial advance simply outsourcing certain investments artists reduce share future revenues often transfer intell ectual property works producer container musician moby sums go bank give loan buy house end loan repaid interest bank owns house financial legal independence artists therefore essential maintain control creation income growing number artists chosen create legal entity singleperson company limited liability company examples include madonna michael jackson recently jayz respectively become producers maverick records fo r madonna investors publishing beatles catalog case michael jackson investors music distribution platforms tidal case jayz innovative business model daft punk attempts concerning business equations turning fans subscribers certa inly interesting proposal artist search financial resources singer prince offered fans exclusive information con cert tickets invitations sessions unpublished songs download exchange monthly subscription recently shockingly history music band vulfpeck asked fans stream album sound spotify collect rights finance tour therefore used music catalog finance tour without financial support promoter crowdfunding platforms participatory funding also response problem artists financial independence allowing fans make monthly financial contri butions case patreon platform investments catalog mymajorcompany simply receive future signed album private concert pledgemusic platforms allow artists receive financial advances without sacrificing future revenues remain masters artistic creation section aimed define business models place music industry identify various ssues innovation attempts artists acted entrepreneurs industrys eyes lets look specific case french group daft punk methodology methodology used involved case study data collection based financial documents balance sheets available internet literature review group daft punk given difficulty assembling primary data opted method allowed us access financial information accessible beginning careers also reconstruct decisions taken group bearing mind decisions recorded accounting documents therefore downloaded accounting documents business entities attached daft punk group namely daft trax sarl france created august french sectoral code enregistrement sonore et \u00e9dition musicale z innovation cultural creative industries aims finance groups activities collect rights carry financial transactions english en tity described music label publishing house daft punk shareholder base consists two representatives thomas bangalter guyhomem de manuel christo financial documents company ar e available infogreffe website fee however announcements published bodacc official bulletin civil commercial announcements make possible retrieve partial data daft life ltd england created june sector code artistic creation sic company aims collect groups revenues recorded music created date license agreement groups first album homework signed virgin music financial documents company freely accessed website companies house financial authority great britain present day table appendices section presents result reconstruction daft arts inc united states audiovisual production company created january c\u00e9dric hervet paul hahn hervet editor creative director daft punk years co producer interstella electroma hahn producer manager group united states entity made possible finance video clips feature film daft punks electroma visual musical odyssey follows story two r obots quest become human company dissolved june daft arts based jim henson production studios los angeles company known family audiovisual productions specifically muppet show reconstitution groups financial situation therefore allows us follow financial flows different entities year financial results entity simplified table year daft trax sarl daft life ltd daft arts inc revenues operations nc net income loss nc table daft punk groups financial results innovative business model daft punk daft punk innovative model electronic music following table view impact innovations made daft punk context electronic music influenced artists dimensions detailed proposal architecture business equation description offer finished product home studio use record companies promotion distribution control financial resources intellectual property tax optimization legal entities based different countries share revenues temporary license agreement reinvest profits spectacular concerts influenced artists dj hiphop artists edm skrillex table innovations business mode l influence artists innovation concerning value proposition electronic music offered new opportunity artists violaine sch\u00fctz birth france generally french touch resulted importing english warehouse parties early hits time created home bedroom home studio brand new machines sequencers samplers turntables produced small independent labels like solid record company launched \u00e9tienne de cr\u00e9cy songs often tested evenings artists also djs traditional pattern music production shortcircuited many young people sold guitars discovered joys electronic equipment freedom implied sch\u00fctz p exactly three young musicians thomas bangalter guy manuel de homemchristo lauren brancowitz left group found phoenix launched rock band darlin innovation cultural creative industries covering beach boys songs co mpositions soon realized style music longer fashion turned techno evening organized beaubour g museum paris evening discovered underground music made people dance didnt know songs played dj played rock nobody danced says thomas bangalter documentary daft punk unchained making electronic music expensive even time seemed easier trainee producers write electronic music songs instead pop jazz early nece ssary spend f excluding inflation build little french touch studio including necessary mu sic software like cubase sch\u00fctz thanks savings th e support families thomas bangalters father former disco music producer daft punk equipped best computers synthesizers time set home studio start writing first album entitled homework reference home studio innovation involved integrating production costs music recorded artists however co sts reduced absence rental fees professional recording studio two young musicians learned trade sound e ngineer mixed sampled cut modulated sounds started performing live djs early age showed certain talent handling mixing boards record companies time wanted sign band exclusively innovation concerning value architecture october daft punk signed deal landmark history music agreement english label virgin music kept intellectual property rights catalog granted record company exclusive distribution homework album period years offering record companies excellent finished product french duo reversed balance power without need financial advance used record compa ny promote record finance fact signed company gave artistic flexibility sch\u00fctz pproach later taken many artists djs rappers hown editorinchief les inrockuptibles jeandaniel beauvallet documentary daft punk unchained innovative business model daft punk biggest holdup history music industry business model clear beginning daft punk want total control artistic production also brand communication managed impose record companies didnt need advance american hiphop stars time referred daft punk signed big labels french duo perfectly prepared agreement creating two legal entities one france daft trax sarl one england daft life limited two members group equal shareholders innovation operated daft punk found global vision management contracts optimized use legal tax sense entities exampl e shows funding see table hypothesized access details account line ar e costs charged recording discovery album figures show amount cash available english entity quantify success latest album random access memory since level available cash increases cash flows form intercompany loans daft trax sarl daft life limited also observed financial documents figure illustrates movements french entity lends english entity latter paid year salary guy thomas creating label publishing house france england american entity dissolved date group able optimize tax situation indeed interbank loans subsid iaries technique well known tax practitioners increase revenues nd conversely lower expenses countries tax commercial prof lower tax architecture relatively sophisticated music industry time innovation concerning business equation optimizing groups financ ial sustainability b een daft punks real obsession without financial au tonomy duo knows music industry allow artistic auto nomy labels investors want right control creators order limit risks contrary daft punk project see box fo r complete list documentary innovation cultural creative industries daft film electroma cartoon interstella selffinanced one three legal entities owned group risktaking led critical financial situation see figure due relative failure third album human high cost electroma interstella year launched major world tour played poker game w ith organizers biggest american music f estival coachella group asked advance finance pharaonic project giant led pyramid would surround two members group stage th e result extrem ely spectacular concert left lasting impression much american magazine la weekly ranked best concert time festival unlike general patterns electronic scene daft punk chose reduce number concerts tour innovation involved building groups business equation selffinancing project betting significant sums key con certs strategy later taken american dj composer skrillex even admitted present audience coache lla handling rare public appearances record releases produced greatest care daft punk duo built innovative sustainable business model public appearances makes performance unique moments makes collaboration artists pharell williams chilly gonzales etc even precious daft punk become french luxury product conclusion daft punks success built arou nd four key principles break rules music industry things way b present finished products c finance work keep control young singersongwriters like jacob whitesides scrupulously followed four aspects whitesides owns publishing recording house double u records retains future rights music revenues uses bmg label disseminate music possible channels worldwide unlike daft punk built success involving fans social networks facebook snapchat instagram latter appears external validator artists talent eyes record companies contrary daft pu nk cultivated media scarcity account social networks exercis e manag e dissemi provide copyrig bodies fin stakeho pa compa n punk r hea r p figure conclu e control ov e ement h nated com p r song w ht outside h conside r ancial indepe lders n e line wit h yment th e nies r jacob whi rt mus ppendices exam p de chap er works process panies suc h writers national r ty p ndence c r ew europea n h howe v e economic main cont r tesides v ic industry h ple acc june inno v ter thi acco h kobalt col l territory pe offer reators n copyright l ver without rights c rol g verse pr human afte r ounts analyz e source c vative busines observatio n mpanied wor k offer c lect neighb outside co l makes poss fair remun e legislation technologic creators ame u p ocess p u r ed daft life l companies h model daft n creators c rigorous f ks crea ct oring rights llective n ible main eration th e dopted e al tools performer p fut u ut creato r imiteds balan ouse punk financial ated service nagement tain e various eptember simplify record ure daft r back ce sheet innovation cultural creative industries year account th june turnover cost sales gross profit administrative expense operating profit interest receivable interest payable profit tax tax ordinary activity retained profit period retained profit brought forward retained profit carried forward assets tangible current assets stocks debtors cash bank inhand total current assets current liabilities bank loans overdrafts taxation social security creditors trade creditors provisions liabilities charges total creditors net current assets total net assets provisions liabilites charges financed calledup share capital profit loss account shareholder funds table reconstruction daft life limiteds balance sheets excel source author innovative business model daft punk figure cash flow daft life limited source author transactions directors included creditors amount owed guy manuel de homen christo director company transactions th e year sum related monies paid artist included creditors amount owed thomas bangalter director company tr ansactions year sum related monies paid artist related party transactions included debtors sum owed daft trax sarl company registered france co mpany related virtue fact directors daft trax sarl also di rectors daft life limited transactions year sum relate third party costs incurred daft life limited funded daft trax sarl included debtors sum nil owed daft inc company incorporated united states america th company related virtue fact directors daft inc also director daft life limited transactions year sum related third party costs incurred daft life limited funded daft inc figure example financial flows daft trax sarl daft life limited year source adapted companies house innovation cultural creative industries creation rock band darlin paris april first single new wave name two darlin meeting manager pedro winter may first single da funk name daft punk band august daft trax sarl founded paris january launch first album homework virgin records june daft life limited created london creation daft inc los angeles later daft arts inc november launch documentary daft story dogs androids firemen tomatoes march second album discovery virgin records october first live album alive virgin records may interstella tory ecret tar ystem duo moves los angeles january daft arts inc created los angeles march third album human virgin records april first compilation musique vol virgin records april first concert coachella festival california november second live album alive virgin records pedro winter leaves position group manager february daft punk wins grammy award alive single harder better december soundtrack film tron legacy walt disney may fourth album random access memory colombia records january daft punk wins five grammy awards including album year september launch singles starboy feel coming composed rapper weekend box chronology daft punk group source author innovative business model daft punk references ey panorama des industries culturelles et cr\u00e9atives ernst young paris martindelpierre h daft punk unchained bbc worldwide moyon \u00e9 le changement du business model de lentreprise une \u00e9tude des majors de lindustrie phonographique phd thesis iae lille page w global music copyright business grew bn music business worldwide online available httpswwwmusic business worldwidecomhowtheglobalmusiccopyrightbusinessgrewbybnin accessed september sch\u00fctz v daft punk humains apr\u00e8s tout camion blanc rosi\u00e8resen haye tellier bonnes vibrations \u00e9ditions ems caen" +} diff --git a/tL-manage-mrk-ar.json b/tL-manage-mrk-ar.json new file mode 100644 index 0000000000000000000000000000000000000000..dee00bf926025713e357a30dab515a449de82212 --- /dev/null +++ b/tL-manage-mrk-ar.json @@ -0,0 +1,5 @@ +{ + "filename": "tL-manage-mrk-ar", + "department": "Marketing", "Manager", "Ar", + "cleaned_text": "setting stage ipart copyright sage work may reproduced distributed form means without express written permission publisher copy post distributecopyright sage copy post distribute introduction music business learning outcomes describe scale music business united states today identify key tec hnological advances impacted music business past years describe signifi cant developments recent years created increased access industry aspiring artists discuss ways tha technology might shape music business future identify event happen new song finds way market list ways artis business professional obtains information music business yesterday today tomorrowthey equally important picked book likely interested music business works today things headed tomorrow music business vibrant innovative field full creativity ingenuity also complex ecosystem interrelated industry segments lingo business practices order understand music business works today need understand business evolved time fundamentals busi ness constant creation publishing packaging marketing distribution consumption music creators create one end artists merchants monetize music product array equally passionate talented individuals perform vital roles throughout process agents managers producers sound engineers record label executives bookers promoters broadcasters business advisers lawyers accoun tants however music industry today looks radically different start st century reshaped everevolving technology consumer preferences even global pandemic much changed remains differ ences course details details book laid following chapters core fundamentals music business term used include art profession business gramophone invented emil berliner decade thomas edison introduced phonograph nurulangaistock photo copyright sage copy post distribute part setting stage music along industrys current state art stcentury details examine major changes music audiences also set forth detail produces music consumes artists merchants others long music chain divvy billions dollars industry pro duces armed thorough understanding musicindustry hopeful well prepared career todays music business also music business tomorrowone next seismic shifts surely beats away music society weve got music us prepare surprises perceptions profession business music usu ally different reality partly field diverse changes rapidly also public face major record label charttopping superstar reveals small piece whole picture begin understand music business large diverse activity examine components method lets consider overall magnitude industry today facts provide perspective u music industry trillion ondemand music audio video streams played united states according mrc data provider data behind billboard charts reflecting consumer affection free flatfee subscription media services us recorded music revenue generated streaming including paid subscriptions digital customized radio services adsupported ondemand audio video totaling billion dollars according recording industry association america riaa concert giant live nation alone operated thousand events north america followed cataclysmic dip due covid pandemic americans plays musical instrument estimated musicians spend billions dollars year instruments accessories sheet music love affair starts young listening music cited popular activity among teens passion music limited one genre although cursory glance majormedia popculture lens might suggest desire strong n united states recorded music one primary forms entertainment worldwide ringing reported billion record companies globally suffered painful decadeandahalf slide beginning century meanwhile evercheaper digital production tools along wideopen online world combined spark explosion choices every possible music taste options often click away pumped many varieties pocketsize digital media devices attached eager ears around globe musicians longer restricted expression laws acoustics new electronic ways make music invented every year offering composer video producer controls fingers handle people access newer technology limited copyright sage copy post distributechapter introduction music business expressive capacities imaginations short music side music business booming business side music business straight line strong consumer appetite music happy music industry far guaranteed major record label groups continue control lions share market explor ing new business models alliances different types artist contracts previously untapped licensing opportunities current hits important catalog old titles musicians recording artists newcomers veterans alike discovering ways ever build fan base book shows record music get onto digital services many artists picking choosing areas need desire professional muscle segments art business done better cheaper diy sweat indeed definitions artist record label retailer even music product blurring changing artist may record label composer might compose music symphony commercial film videogame music store might vinyl specialty shop streaming service app cell phone merchandising sec tion bigbox retailer stores may sell music form albums singles physically digitally may rent online access monthly subscription fee product recorded music direct source revenue artists record labels might viewed method promotion bringing revenue touring merchandise revenue generated one tshirt sale lot one stream new technologies also bring vast new opportunities evolve expandwhether technology question audio streaming music video services broadcasting even onceobsolete lp longplaying vinyl format refuses attend funeral historys overarching lesson industry rocked waves alwaysnew tech nologies century rocky adjustments business always emerged healthier prosperous yesterday history books provide spotty information musician fared earlier times professional assume beginning music making taken individuals groups simply pleasure performer often also composer audience social religious gathering occur early musicians might develop audience would pay hear sing songs time live performance sector music busi ness developed paying audiences followed music publishing recorded music sector finding paying audience among first important professional musicians western civilization mimes greek roman theater singingdancing actors roman law consid ered disreputable types calling infames outlaws middle ages minstrels germany jongleurs france first professionals musicians actually vaudevillians acts might include singing copyright sage copy post distribute part setting stage dancing also juggling card tricks even knife throwing trained animals show business begunin middle ages handful musicians involved secular music managed earn least part livelihood middle ages renaissance religious sector almost musicians enjoyed real professional status choirboys choirmen western church performed cathedral choirs another part christian service professional composers religious field seem first appeared paris around ce notre dame cathedral musicologists cannot provide satisfactory account profession composing music took shape following centuries day church musicians communities either unpaid paid professional rates conditions working musician somewhat better germany th th centuries tradition guilds included music trade musicians guilds influenced working conditions also creative artistic standards early guilds active organizing composition singing contests formulated elaborate rules accurate account proceedings may found richard wagners opera die meistersinger von n\u00fcrnberg time europe increasing numbers artists employed nobility house musicians composers performers put royal payroll make music salons ballrooms chapels wealthy patrons nobility looked artists servants expected use rear entrances royal buildings addition musicians royal patrons would frequently pay late gradually musicians acquired recognition professionals development new phenomenon paying audience first occurred musical theater opera particularly italy england public began pay way room hear music music business begun public accepted idea buy ticket hear professional increasing numbers paid con certs developed european cities vienna london paris also new york philadelphia boston lack reliable accounts organized promoted earliest paid employ ment professional musicians perhaps earliest notable artists manager agent wolfgang mozarts father leopold mozart discovered sons talent youngster practically still diapers wolfgang six years old leopold started presenting son europe leopold teach son much career management wolfgang earned considerable sums short lifetime seems died pauper mismanagement money careers sadly familiar song played throughout music history recent ancestor todays concert impresario circus genius p barnum opera singer jenny lind swedish nightingale came america barnum presented around country descended heavens barnums bookings earned artist american tour big money indeed days barnum understood public likes good show music business grew even classical field razzledazzle showbiz atmosphere time unique american contribution theater emerging minstrel show shows featured primarily white performers blackface makeup playing role black people although allblack troupes african american performers also existed minstrel shows credited creating first widespread opportunity black musicians perform united states development turned historical sig nificance would impossible even conceive music th century without copyright sage copy post distributechapter introduction music business pervasive influence black musicians minstrel shows way replaced vaudeville popularity minstrelsy vaudeville enlarged public awareness appreciation popular music thus entertainment business piano standard fixture parlors uppermiddleclass families thousands piano music racks across land one would probably find addition songs stephen foster known father american music book hymns copy ball year song first sell million copies month period several large music publishing houses developed e b marks witmark bros harms leo b feist mills music shapiro bernstein co popular music publishers took pride able spot potential hits couldnt find publishers wrote songs put composers weekly salaries work inhouse drummed demand sheet music persuading band leaders performers play music shows promotion called song plugging popu lar performer performance sheet music sales increased point music business story technology stepped play starring role unlike one occupies today hot new innovation records put wax thomas alva edison announced invention phonograph original use recording playing back spoken word called talking machine early recordings captured tinfoil wrapped around metal cylinder later wax cylinder eventually wax discs versions phonograph devel oped notably emile berliners gramophone earliest recordings music date back earliest superstar recording artist said enrico caruso italian opera singer released first recording records record players changed music industry immensely invention meant people could enjoy music comfort home beyond member family could play instrument sing fifty years following invention series technological improvements fueled competition made possible expiration original patents grew market recordings became predominant form home entertainment largest record companies today columbia records rca records draw line back directly innovators segment industry initially music publishers compensated use songs record ings made record players use player piano rolls another invention popular time created unsurprising rift industry us supreme court ruling major change us copyright law combined antitrust concerns music publishers secured right paid use music medium required mechanical device listen mids socalled mechanical royalties record sales surpassed sheet music primary source revenue music publishers composers came another technological disrup tion shake things radio mass media world always full music lovers development mass communication technology many new audiences could reached copyright sage copy post distribute part setting stage professional music making addressed small elite audience accustomed buying tickets attend symphony broadway musical buying records record players radio later television came along elite audi ence grew joined immeasurably expanded giant middleclass taste folk music country western songs blues jazz mass media forever changed size composition music audience merchants quick respond new millions paying customers tremendous upside clear start industry leaders misjudged radio broadcasting radio gave even consumers option enjoy music homes records publishers fought believing giving music away medium would hurt sheet music sales overexposure via radio broadcasting argued killing songs within six weeks debut potential customers could get store make purchase songs popularity waned much later publishers income broadcast performances became mean ingful record company concern people would listen radio instead buying records serious along musicians unions successfully pushed get law passed prohibiting records played radio prevent radio live performances taking big bite record sales another significant technological development entertainment field occurred synchronized audio added films creating socalled talkies movie producers discovered first sound film musical titled jazz singer star ring al jolson audiences would buy lot theater tickets hear songs sung silver screen major studios began scrambling synchronization rights enable add music films turn musical films rapid succession great depression sales records sheet music collapsed attendance vaudeville theaters dropped growing popularity movie musical concurrent depressions music market radio broadcasting grew rapidly music publishers shifted attention plugging vaudeville per formers new stars radio radio network broadcasts time emanated mostly new york chicago los angeles publishers closed regional offices across land focused plugging efforts new broadcasting centers worked publishers quickly discovered point promotional efforts toward big bands singers weekly sometimes nightly radio broadcasts time referred remotes songplugging grown local national enterprise development network radio publishers ones benefit development network broad casting big bands became nationally known network radio wellknown big bands became record stars management noticed bestselling big band records ones featured bands singer alert talent handlers pulled sing ers bandstand frank sinatra doris day ella fitzgerald etc started working alonefor much money beginning present era dominance popular singer became new stars superstars help recordings films world war ii whole world seemed discover appeal americas popular music enchanted brassy uptempo bigband tunes much world wide popularity fostered armed forces radio service stations broadcasting americanmade records around world millions listen ers heard great entertainment available kind music soldiers copyright sage copy post distributechapter introduction music business aka gis broadcasts intended late american style become world style gis returned home bought large quantities records musical instru ment factories switched producing weapons spewing guitars organs pianos wind percussion instruments quantity recorded music industry well music products industry reaching mass market record companies selling millions singles columbia came longplaying lp vinyl platter record music business experienced development overwhelming significance instead two songs per record song writers publishers could place songs record new lp record buyers could hear entire broadway show opera buffs could carry home entire opera box complete symphonies could easily fit one lp dollar volume classical records grew market versus today along growing popularity lps increasing availability lowcost tape recorders add boom highfidelity sound relatively low cost consumers could hear recorded broadcast music quality sound better audiophiles believed offered local concert halls music business began attract new breed merchants inventors new distri bution merchandising methods significant marketing development time discovery people would buy records wherever shopped enter rack jobber new kind music merchant set continuously restocked racks held records supermarkets variety stores department storesanywhere shoppers passed large corporations noticed people music publishing record business making lots money decided buy even financially con servative bankers started viewing music business highreturn enterprise bankers began making loans music publishers record producers artists managers main attraction new investors record production kind busi ness enterprise could someone invest say production record receive revenue times amount distribution rights record hit inexperienced investor music business began look like money tree buying selling music companies resulted industry revenue becoming controlled handful giant corporations become longtime big small club would shrink even smaller big later years dawn digital millennium weve seen th century modern music industry forged two thennew technologies phonograph record broadcasting st century approached third forcedigital technologyemerged shake industrys founda tions impact digital technology first felt process creating recording records manufactured eventually records distributed consumed recording artists producers engineers found freedom digital medium technical constraints analog tape including tape noise limited dynamic range digital audio technology progressed given powerful new tools vastly enhanced ability create assemble sounds digital signal processing systems digital reverbs delays samplers looping pitchtuning editing capability copyright sage copy post distribute part setting stage record labels also benefited decade half first compact disc cd albums rolled us assembly line record labels enjoyed unprecedented revenue growth digitally remastering analog catalogs persuading consumers replace record collections new cds music however cds marketplace essentially digital audio masters many copies could made without loss sound quality motion pictures experts group mpeg published technology standard audio layer aka mp ability compress highquality audio cd data file size anywhere smaller time music business transformed digi tal technology home computers evolved include capability first play audio cds copy content cd rip computer hard drive play mp files computer networks also evolved point typical college student could access internet dorm room concurrent evolution mp format home computer internet led describe existential crisis recorded music business digital threat grows internet spawned virtually unregulatable yet broadly accessible platform distrib ute digitized music files computers known peertopeer pp file sharing ability easily freely comfort home obtain mp file record ing sounded exactly like cd version opposed prior versions pirated records copy copy sounded worse worse decimated market legitimate recordings early pp networks like napster grokster websites like pirate bay limewire big drivers behind record company sales slump began new century global recorded music sales dropped nearly half steve jobs c apple bono l edge u celebrate release new apple ipod family products tim mosenfeldergetty images copyright sage copy post distributechapter introduction music business following decade result digital millennium dawned era financial pain industry music piracy mushroomed causing annual financial losses hundreds millions dollars record labels music publishers artists produc ers instrumentalists songwriters depended music sales livelihood itunes arrives technology doubleedged sword enabled catastrophic growth digital music piracy left much music industry reeling also made possible promis ing new business model industry brought masses computer company appropriate ironic given computers central place upheaval music business predominance apple ipod portable music player apples itunes store launched offered way legitimize monetize music file downloading way consumers buy tracks wanted rather entire albums economics cut dried record labels received fixed amount sale approximately twothirds singletrack downloads formula less extrapolated complete digital album sales apples solution prevent shar ing digital files use proprietary file format protected digital rights man agement drm measures instead mp format time record labels lobbied vigorously apple raise prices consumers complained lack interoper ability files bought itunes store nonapple products typical mp players apple labels reformulated agreement allowing variable pricing per track applicable labels discretion removal drm files itunes created template new music distribution system one followed retailers including amazon walmart success also brought new real ity detrimental conventional record labels built much reve nue sale albums consumers often bought album access one two favorite tracks consumers could simply buy tracks really wanted album sales steadily declined declining album sales meant lower overall revenues record companies artists music publishers songwriters come depend income generated socalled album cuts tracks album never released promoted singles congress courts early days digital recording era illegal pp file sharing music industry continued fight digital piracy using legislation litigation several key pieces digital technology legislation passed united states audio home recording act ahra stipulated purposes digital copies could legitimately made digital performance right sound recordings act ensured record labels would paid use recordings digital radio digital millennium copyright act estab lished range protections copyright owners legal liability limitations digital service providers legislation proved weak eradicate digital piracy revealed growing divide digital zeitgeist legacy entities built fortunes foundation intellectual property ip ownership control case copyright sage copy post distribute part setting stage point proposed legislation stop online piracy act sopa whose provi sions included allowing copyright holders request court orders would bar access alleged infringing websites far stricter penalties infringers blocked pow erful swift lobbying consortium entities ranging google library associations asserted sopa would lead wholesale censorship internet litigation response digital piracy produced mixed outcomes early record industry association america riaa sued operators internet sites supported sharing unauthorized digital files wellpublicized suits sites like napster limewire successfully resulted sites shut riaa turned bringing suit individual infringers identified address computer network aka ip address resulted col lege students even grandmothers home cable phone service account holders named defendants civil litigations tactically successful strategically dubious causing public relations damage record industry whole riaa eventually shifted publicity campaigns raise awareness impli cations illegal music distribution casual file sharer may per suaded benefits worth legal risk hardcore file sharers unlikely deterred legislativelitigious game technological catandmouse made one thing clear mechanisms law regulation simply could keep rapid innovation digital technology brought music public wanted music whenever wherever decided way felt free thus ultimately changed economic structure music industry music business ecosystem would adaptif could rick carnes president songwriters guild america demonstrates outside us supreme court oral arguments heard inside mgm vs grokster case gerald herbertap copyright sage copy post distributechapter introduction music business industry adapts happen overnight industry adapted upheaval music industry experienced start st century unlike happened past industries every technologyled revolution past two centuriesrailroads telephones electricity internetexperienced similar stages evolution embryonic hightech stage limited accessibility technology rapidly evolves entrepreneurial stage technology stabilizes attracts capital explosive growth stage numerous commercial startups multiple business models appear stage many consider music industry occupying consolidation phase fewer participants larger entities due mergers acquisitions stage record labels exploited successfully decades past digital revolution changed attitude generation music consumers per haps irrevocably among people came age era pp file sharing mindset music free cost difficult shake perception perhaps reality cost recorded music products proportion cost making worked development new business models embraced digital technology depended consumers paying content today new generations comes new opportunity change culture gen z born grew different attitudes toward media older siblings true digital natives used information fingertips including recorded music wanted easy access rather collection physical itemsor digital files matter considered purchasing decisions representative val ues music industry offered opportunity access music anytime anywhere legitimate music streaming services embraced development smartphones serve portable music players affordable access mobile phone data plans ushered era music streaming significant form consumption quickly became far primary way fans enjoy recordings young musicians industry professionals also helped reshape industry inside entrepreneurial sided little guy large established corporation attitudes shaped culture aspiring artists longer felt shackled established norms like creating music fit nicely one genre defini tion mindset influenced innovation transformed industry break ing barriers entry new companies referred digital aggregators provided opportunity artist easily get music onto digital music services meant gatekeepers past less control recording artists able break market past two decades cost digital audio workstations daws capable running easily personal computer continued come providing musicians real potential creating highquality recording basement combination affordable production easy access digital dis tribution meant music industry become less mythical accessible copyright sage copy post distribute part setting stage people result music business may shed mystique glamour process become viable career choice ways people ever technology culture spearheading big shifts surprising law struggled keep pace sometimes begin catch music modernization act mma brought massive overhaul us copyright law respect several important musicrelated issues ways puts money hands creators mma would possible without different segments industry coming together way seen decades mma comprised three titles title musical works modernization act modernized mechanical licensing works digital uses music like streams downloads title ii classics protection access act expanded federal copyright protection pre sound recordings certain types uses title iii allocation music producers act made easier music producers collect sound recording digital perfor mance royalties royalties payments made creators rightsholders exchange permission use works tomorrow future music business full opportunity thanks rapidly evolving tech nology evergrowing population music entrepreneurs entrepreneurially minded professionals consumers interested far simply listening stereo recordings watching twodimensional videos staring performers stage content king bill gates said nowadays content experienced equally important way technology may enable enhance experience future limitless sights sounds people connect virtually physically experience early examples music industry exploring virtual reality vr augmented reality ar create enhance musical experience look promising global covid pandemic changed world many ways full impact may clear years come willing consumers pay ticket live virtual concert remains seen know huge segments population never able afford ticket majorcity arena show new way con nect live performance price point could afford much larger would events market become every musical experience large small creates commercial transactionbillions billions transactions technology make rout ing transactions money back value chain creator accurate timelier music performance production collaboration take place real time across time zones continents look like one collaborators artificial intelligence ai every new technological innovation hack law usually late party terms providing protections stakeholders related use new technologies looking future music business know technology transformative winners losers balance power may changed much unpredictable know certain music continue power influence human spirit copyright sage copy post distributechapter introduction music business system works history bit speculation future mind time take closer view industry today put simply music industry described three essential elements creators music audience drawing together business music despite distracting spotlight changing technology music industry continues operate much like large multifaceted commercial activ ities main difference music business industries artisti cally driven product constant tug hairtrigger cultural shifts examining business aspects music rapid change product makes business almost unique even aided semiconductors seamless digital communications human talent key ingredient along value chain original creative idea ears eyes fan getting maze analyze value chain detail lets consider two different ways viewing industry whole first study flowchart shown figure graphically illus trates music business system principal subsystems second way grasping big picture examine sequence events often occurs new song finds way market following list sets forth much information appearing flowchart figure composer som etimes also performing artist writes song signs publisher publisher persu ades artist artists producer record song lawyers severa l stages negotiate contracts parties specify terms varying forms usage exploitation mechanical rights synchronization licenses record company prod uces recording usually video version recording promoters persuade programmers curators broadcast add audio recording andor video recording playlists record label sends recording distributors send digital music services physical products sold ships merchandise distributors sell retailers recording beco mes popular second wave exploitation occur licensing merchandise connected recording andor artist talent agency cont acts promoters venues book concert tour concert promoters e nlist cosponsors sell tickets road manager move people equipment concert produc tion manager dresses stage lights reinforces sound copyright sage copy post distribute part setting stage artists perform performing righ ts organizations collect performance royalties accountants cou nt money participants pay bills government coll ects taxes show money many people would say making music hasnt changed much centuries still catchy tune performed talented artists placing aside obvious changes wrought technology big transformation scale business songwriters composers lyricists music publishers record labels distributors broadcastersondemand digital servicesnoninteractive digital servicesmanagers attorneys agentsartists producers collective rights management orgs record storesconcert promoters venuesfigure music business sy stem selected principal subsystems copyright sage copy post distributechapter introduction music business music industry ballooned interconnected series segmented multibillion dollar businesses united states even counting intertwining even big ger business abroad businesses range recorded music music publishing live concerts sale musical instruments equipment well learn pages come success often springs moving back forth one business silo another understand industry well want examine chapter chapter silo role plays unique career opportunities presents figures found start book title page show sampling segmented businesses many billions dollars flow business business one sectors revenue composers royalty receipts another sectors expense publishers royalty expense thus music dollar may one time another end pockets multiple industry participants tools trade everybodys gotta learn sometime see big diverse industry stay top although staying informed always important music industry indus try matter times rapid change vital new trend technology eco nomic model seemingly little particular segment business may well suggest new means promotion potentially profitable new partnership additional income stream pursue new types licensing deals previously unheardof music distribution methods bring new twists turns copyright roy alties issuesissues could mean money moving pockets numerous music business players course job seekers looking need know new doors might open best educate market students study music business colleges universities university miami frost school music copyright sage copy post distribute part setting stage one great mysteries contemporary music scene many involved composers performers business people educators understand really works worse yet much believe know either date incorrect result pervasive ignorance business profession tragic top graduates conservatories fail get careers even started aspiring businessside candidates lack bigpicture smarts specialized savvy succeed competitive digital age musicians navigating diy waters fall victim sharks lack knowledge relying solely ingenuity artist business executive get information needed function effectively field read industry tr ade publications available online provide opportunity sign regular email updates read books written bout music business look ones long track record providing accurate information respected authors read authoritati blogs focus creative others business side music blogs come go asking around recommendationsfrom fellow musicians instructors industryconnected friends friendscan point relevant ones today join industry orga nizations listing major associations websites inside back cover book attend industry co nferences professional meetings national international affairs sponsored industry associations trade magazines performance rights organizations sometimes artists unions reliable sources information serious student found select group colleges universities specialized institutions following leadership university miami mids increasing numbers accredited institu tions offering courses degrees music business field course offerings usually include studies music business topics like music copyright music publishing record business live entertainment business arts administration recording technology depending program students may also take courses music theory perfor mance etc business marketing accounting entrepreneurship etc graduates programs cannot know course far better prepared others meet wideranging demands todays music industry music business system offers many opportunities individuals needed help make system function performer today ascend stardom hang orbit without array qualified supporting satellites whether star one myriad categories supporting players many although ambitious newcomers make luck timing education networking skills factors helped launch many successful careers creative business ends field four factors contribute success win music business strongly motiva ted really want win talented hey surround talented associates copyright sage copy post distributechapter introduction music business persevere hang succeed study busines insights creative process career trajectory industry economics first three items cannot learned book fourth item focus book music business offers excellent career opportunities really talented individual individual gets important information acts essential core information offered chapter takeaways music business multibillion dollar business technology many forms consistent driver changing businessfrom invention radio movies tv vinyl lps cds downloads streaming digital technology doubleedged sword improving ability produce new sounds disrupting established economic order decreases cost recording combined access digital marketplace provided digital aggregators made easy affordable aspiring diy artist release records variety ways learn music business including studying college level key terms analog p bigbox p cd p cut p digital rights management drm p distributor p engineer p genre p label p licensing p market p master p mp p music publisher p pp p piracy p promoter p publisher p rack jobber p record label p records p royalty p sheet music p station p streaming p synchronization rights p value chain p discussion questions discuss evolution music formal business church choirs middle ages mo dern enterprise st century copyright sage copy post distribute part setting stage terms creativity distribution models whats changed music business recent years wh remains shift digi tal media explain benefited shift hurt discuss aspiri ng music business professionals might first become exposed potential career paths industry note words boldface type indicate inclusion glossary section copyright sage copy post distribute" +} diff --git a/tL-manage-mrkt-ar.json b/tL-manage-mrkt-ar.json new file mode 100644 index 0000000000000000000000000000000000000000..c26017103999e2752ef8bdadbe6f992a39ffd0a8 --- /dev/null +++ b/tL-manage-mrkt-ar.json @@ -0,0 +1,5 @@ +{ + "filename": "tL-manage-mrkt-ar", + "department": "Marketing", "Manager", "Ar", + "cleaned_text": "studying music industries chapter explores several ways unpicking analysing complex web practices strategies narratives characterize usic industries political economy culture industry sociological n h r c l approaches also highlights transformations digital technologies brought areas music industries key findings music industries may explored variety research perspectives technological developments continue vljql\u00e0fdqwlpsdfwvrqwkhvwuxfwxuhdqgzrunriwkhpxvlflqgxv wulhv qwhuglvflsolqdudssurdfkhvpdriihuqhzlqvljkwvlqwrwkhpx vlf industries getting started study music industries uniform endeavour many varied approaches yield valid interesting important u nderstandings industries cultural economic impacts effects lives work interact st udies happen macro level scholars examine effects econom ic impacts practices music business whole interrel ationships businesses laws social forces also happen micro level centre activities individual businesses indeed individuals research focuses areas two extremes ex amines \u03d0 \u01e5 \u03d0 andertonch indd pm studying music industries entirely separate others round ed understanding music industries whole demands grasp vario us ways approaches may reveal insights business music chapter begins process introducing range research approach es starting organizational structure organizational structure \u01e1 \u01e7 tomedium enterprise sme multinational corporation examine organizational structure music industries wi areas \u020b\u020d\u01e1\u03d0 \u01e1 \u01e1 general organizational planning operational administrative staff sales marketing personnel larger businesses th ese areas people entire departments specialize one aspect business contrast smaller companies may give responsibility seve ral many even roles one person course roles exist within music organization depend large extent partic ular task organization performing sectors music indus try business represents connects music business like business operat e vacuum suppliers industry partners allow functi without perform every specialist role important examine considering music organization merely roles responsibiliti es within organization crucially relationships busine ss outside agencies drawing mapping internal external conne ctions helps us gain better understanding workings organiz ations place within broader political economy creative industr ies context investigating music industries understanding orga nizational structure particular business one fer critical insights business works provide useful knowledge erms practical applications example discovering repeatable procedures fo r music business success systems approaches avoided identifying problems within structure linkages organization simply generating new knowledge ways music organizations wo rk provide \u03d0\u01e5 political economy \u03d0 music organizations political economic fram eworks within operate words political economy intere sted power \u03d0 \u01e5\u01e1 policy generally understood level nat ionstate political infrastructure larger industry wh ole plays role andertonch indd pm chapter political economy studies primarily interested macrolev el examinations industries goods services production prac tices management relate informed legal economic c l e n operate accordingly political economy approach analysing music industries concerned music businesses ke money \u01e1 \u03d0 activities music businesses engage exploring u nderstanding \u03d0 industries may nations economy industries contribute economic wellbeing f nation employ great many people also strongly linked wider \u01e1\u03d0 \u01e5 corporate record industry instance relies upon system f capitalism political framework activities division labou r distribution \u01e1 \u03d0 \u01e1\u01e1 particular interest political economic analysis economic infrastructure political economy approaches may examine ways econ omic infrastructure business sector organization structur e n w r k n practice instance record labels tended work particular way past decades hits providing revenue requir ed prop business often takes losses elsewhere many u nsuccessful releases indeed commonly held belief eight ten releases fail recoup costs part recorded mu sic business \u03d0 \u01e5 \u01e1\u020b\u01e1\u020d \u020b\u03d0 \u020d\u01e1 relatively cheap manufacture individual copy marginal costs hence \u01e1 \u03d0 sale made record companys perspective p referable make one album sells million copies make albums hat sell copies overall number records would sold \u01e1\u03d0 \u037b\u037b \u03d0 \u03d0\u01e5 hitmakers recorded music industry artist ca n sell million copies record michael jackson thriller\u0373\u037b\u037a\u0373\u020d far valuable asset major recording company entire catalogue artists may collectively sell copies oligopoly star system political economy approach also interested form hat industry takes whole recorded music business arguably oligopoly industry players dominate market certainly true andertonch indd pm studying music industries \u03d0 \u01e1 \u020b majors command majority revenues within globa lized music industry whether label names owners many larger socalled independent labels see chapter olig opolistic market \u03d0 \u01e1 organization capital political impact majors b u l f f e c culture produced disseminated say p olitical economic structure organization major recording comp anies direct bearing kind music gets made heard f r n n c e predominant economic model recording industries b ased star system relatively small number artists pr ovide vast majority revenue model guides strategy thinkin g major record companies affecting choices record company personnel make regarding artists released promoted buying public political economy approach may reveal un equal power relations effect music gets creat ed promoted released patterns corporate ownership affec selection availability music gets broadcast sold store similarly commercial pressures impede suppress oppositional force purpose multinational corporations distribute work art \u03d0 \u020b \u01ef \u01ef\u020d \u0203 stress maintenance control means production distribution paramount interests corporat e music business world music industries copyright industries political economy approach revolves around understanding n u e r u w h n e c n b e e f r u c n h w h oney distributed central mechanism revenue generation music industries macro micro level copyrig ht form \u01e5 \u01e1\u00fa\u020b\u0374\u0373\u0373\u037b\u020d music business fundamentally copyright industry marks distinct kinds industries deal goo ds services copyright ownership control intellectual property ass ets serve create wealth different ways seen example buying selling \u020b\u01e1\u01e1 \u020d \u020b\u03d0 \u01e1 legal personal copyright central musi c industries \u037b\u01e1 copyright exploitation central political ec onomy approach understanding music industries perhaps importantly crucial remember po litical economy music industry always changing affe cted wide range forces changes public policy brought change n government changing hands portfolio different politica l representatives andertonch indd pm chapter \u01e7 \u03d0 \u01e5 organizations affect whole music busine ss changes public taste also impact fortunes whole sectors music industries even changes related industries huge impac instance radio station formats change time consumer electro nics industry continually experiments new devices ideas technology course major role changing fortunes music industr ies examined detail later chapters culture industry music business commonly referred literature public policy one cultural industries culture industries usually described industries create produce distribute goods nd services \u01e1\u03d0 copyright primary means control economic funct ions industries one sense study music business cult ure industry little different study music business terms po litical economy critical focus well key thinkers core texts end \u03d0 \u01e5 commodification standardization \u01ef \u01ef \u03d0 horkheimer dialectic enlightenment originally published german \u0373\u037b\u0377\u0377\u020d\u01e5 culture essence different factories producing st andardized goods \u03d0 net political effect calming appeasing public large critique \u03d0 popular culture creates single marketplace popular works succeed regardless artistic merit cultural wort h entirely problematic terms require unpacking working area critical theory addition adorno horkheimer suggest vast majori ty standardized fare owned controlled small numbe r major corporations claim serve consumer needs supplying wh audiences want point popularity successes e vidence serving need however creating meeti ng demand standardized products culture industries described manipulating public identities individual tastes consume rs minimized way music business perpetuate star system hat noted earlier \u03d0\u01e7 \u01e3 producing copies fewer fewer items andertonch indd pm studying music industries creative work everyday practice cultural industries david hesmondhalgh suggests cultural \u01ef \u03d0 understanding world industrie help shape \u03d0 \u01e5 \u01e1 \u01e1 understanding texts arrived selected \u03d0 maximize culture industries analysis music industries also pay attention work done context h ow cultural workers spend time hesmondhalghs recent book sarah ba ker creative labour media work three cultural industries goes depth work employees cultural creative indust ries including music business actually extent cons idered creative work constitutes good work conte xt similarly keith negus offers nuanced examination recorded music industries music genres corporate cultures \u020b\u0373\u037b\u037b\u037b\u020d\u01e5 \u03d0 \u01ef \u01e3\u03d0 \u020b \u020d \u03d0 \u01e5 relationship industry creativity say tension artists want create record companies wis h produce promote release furthermore negus explores idea industry produce culture culture produces industry oth er words music businesses capitalize exploit existing cultural practice scenes much seek create hesmondhalghs later work negus concerned understanding role workers within recordi ng companies \u03d0\u01e1 context record companies discussed terms inter nal culture informs shapes practices decisions made personn el working \u020b\u01e1\u0373\u037b\u037b\u037b\u01e3\u01e1\u0373\u037b\u037b\u0374\u020d\u01e5 \u01e1 analysing people within music industries impo rtant approach scholarly study music industries offers insig hts may gained abstract political economy approach ame business sector sociology study music industries function culture society another popular approach understanding music industries music culture industries formed aspects cultural engagement easy studying music industry fall logical tra p suggests people simply consumers marketed purchase undifferentiated products footwear chocolate bars po p music fact andertonch indd pm chapter people complex diverse interesting engagem ents music industries rich nuanced complicated symbolic meaning short music creates symbolic meaning people meaning expressed sorts different ways people simply discover buy listen music dance gather others enjoy music collect organize music create new kno wledge around music subgenres form scenes created support reinforce \u01e5 \u03d0 different kinds music note instance differen ces emo attire hip hop fashion skater punk clothing club wear house music fans identity formed expressed music particularl though hardly \u0203\u020b \u01e1\u0373\u037b\u037b\u020d\u01e5 moreover culture music expressed many varied ways worthy study examples include venues attended mu sic fans venues form basis social cohesion mation scenes musical heritage cities nations impact cultural identity broadcast local music effect civic pride development local music industries also relationship betwe en music race gender ways personal daily routines integ rated music listening supermarkets shopping malls health clubs oth er places people perform social cultural activities study music culture social force allows deeper understanding musical meanings created communica ted also sheds light meanings form basis music ndustries opportunities exist businesses engage subc ultures scenes daily activities people music b roader sense simply listening reveal fascinating insights great potential research deeper understanding study popular mu sic culture see tim walls studying popular music culture musicology musicology study musical works texts critical analysis arguably little overlap world musicolog ist student music industries yet considerable scope nterdisciplinary \u01e1 \u03d0 \u01e1 performance reception musical works knowledge sp ecialist language musicology musicological study musical exts strictly essential studying music industries awareness f terminology appreciation musical text whether paper record performance works offer broader grounded standing \u01e1 \u03d0\u01e5 \u01e1 andertonch indd pm studying music industries wide range listening understanding variety mus ical genres ability talk music way communicates musicians music professionals good basis professional conduct wi thin music industries words necessary abl e compose song write arrangement transpose work another key abl e play \u0201\u037a\u01e1 \u03d0 \u01e5 taking popular music seriously serious study popular music works texts fa irly recent development part many musicologists slow accept popular music forms worthy scholarly attention en pointed \u020b\u0373\u037b\u037b\u037a\u020d\u01e1 rock critics lack specialist vocabulary techniques musical analysis academic critics serious music forms command however popular music forms increasingly garnering attention musicologists instance international association study popular music aspm \u0373\u037b\u037a\u0373 \u01e1 \u0373\u0373 members worldwide iaspm conference likely hear people talk polyrhythm jazz relationship frank zappa third stream music discuss marketing strategies major record labels electronic ticketing music festivals understanding analysing music industries good idea bear mind things stake commercial infrastructure political economies labels distributo rs many people within academia broader music industries artw orks centre industries paramount interest musicolog provides language works discussed clarity agreed set terms fundamental concepts modes analysis fou nd allan moores rock primary text david machins analysing popular music metanarrative metanarrative global totalizing cultural narrative chema orders \u01ef\u020b \u01e1 \u0373\u037b\u037b\u037a\u020d\u01e5 grand unifying story makes sense little tories happen along way making part bigger universal pict ure term originally introduced critiqued french philosoph er jeanfran\u00e7ois \u020b\u0373\u037b\u037a\u0377\u020d religious doctrine unifying story understood embodying universal truth since used narrowly within li terary criticism \u03d0 \u03d0 \u020b\u01e1 andertonch indd pm chapter \u01e1\u0374\u0373\u0373\u0377\u020d\u01e1 examining metanarratives unpick simplistic cause effect \u01e7 \u03d0 \u01e1 investigate purposes used two examples f metanarratives given offers encompassing way think historical change within music industries music industry responses sociotechnological change \u01e1 \u03d0\u01e7 sharers digital pirates part bigger story ways large incumbent organizations well long per iod time react defensively perceive way life means income generation threat changing environment c ommon thread larger narrative music industries recurring theme example broadcast radio perceived major threat recording \u0373\u037b\u0373\u01e3 music free radio would buy parallel current situation regarding illegal downloads streaming services clear metanarrative industry threat used lobby f stronger copyright legislation enforcement readwrite vs readonly culture second example music industry metanarrative tensi often referred readwrite culture versus read culture professionalized broadcastcentric onetomany infrastructure recorded music business changed people active participants p urchasing score order play instrument home passiv e recipients whose relationship music merely listeners argued narrative seeing longoverdue return readwrite culture digital technology facilitates active engagement musical c ontent passive consumers becoming active participants mu sic creation \u020b\u037a\u020d\u01e5 hands music users rather music producers related wider metanarrative freedom information internet seeking either relaxation copyright laws enhancement f air dealing \u020b\u037b\u020d\u01e5 historical analysis historical analysis allows researchers offer detailed examin ations \u03d0 andertonch indd pm studying music industries otherwise metanarratives replaced small local na rratives lyotard \u0373\u037b\u037a\u0377\u020d\u01e1\u01e1 \u03d0\u01e1 recording studio record label promoter city scene genre c reveal details subtleties explain e xpress aspects music ind ustries would otherwise invisible examples popular music histori es abound \u03d0 \u01e1 shelves popular bookstores form biographies ot works aimed general readership popular music history also increasingly found form radio television programmes national public radio npr publ ic broadcasting service pbs united states many popular acclai med series explore origins events shaped busines bbc broadcasters offer similar coverage united kin gdom many shows demarcated musical genre bbc b ritannia series documentary programmes including jazz britannia pop britannia folk britannia \u020d\u01e5 \u03d0 companies production particular popular music arte facts events notably classic albums television series episode examines \u03d0 \u03d0 \u01e5 may argued history popular music industry culture music industry form publication produ ction popular music history books documentaries meets consumer desire f closer connection understanding music musicians r e f r instance hundreds thousands books beatles alone provides incredible wealth material someone investigating \u03d0 \u01e1 phenomenon worthy study historiography music industries simplest level people ndustrious music stories people work contribute great ly knowledge industries operate furthermore critical practice historiography able study h ow histories told ways examine discourses reliability methods enquiry well understand critical political frameworks biases underlie guides choic es important dates information included excluded albums nd artists \u01eb\u020b\u0373\u037b\u037b\u0373\u01e3\u037a\u037b\u020d \u01ef\u03d0 \u01ef \u01ef \u0201 \u01e5 \u01ef\u01e5 \u01e1 history written victors great deal hist ory ignored \u03d0 discrete cultural narratives serve exclude cul tural experiences people whose music tastes match cultural dia critics andertonch indd pm chapter canons examined critiqued historiography example \u01e1\u0374\u0373\u0373\u037b\u020d come form offer alternative voices stories technological development \u01e1\u03d0 \u0203 \u0203 \u03d0 \u01e5 chart progress sector direct relationship development dissemination different technologies music compositio n production distribution promotion consumption fact possibl e argue emergence widespread acceptance different technologies within recording industries hands consumers driven change music business popular music culture goes without saying musical instruments viol harpsichord synthesizer electric guitar ar e technologies tools created fashioned human beings perform specialist tasks different types musical instrument allowed different types music created different genres mus ic established new types musical creation emerge develo pment \u03d0 \u03d0 \u01e1 \u01e5 \u03d0 \u01e7\u01e1 dylan discovered switched acoustic elec tric guitar \u01ef \u01e9\u01ef\u01e7\u0373\u037b \u0373\u020b\u01e1\u0374\u0373\u0373\u020d\u01e5 technologies production \u03d0 know today audio recording thomas edisons talking machine \u03d0 \u01e1 \u0203\u03d0 \u01e1 \u0203 audio recordings music became massproduced phenomenon th e impact upon dominant form music business time prin ted sheet music industry understandably devastating fact time change many musicians members music business way record companies considered music bu siness today resisted new technology strenuously notion ingular idealized performances popular songs recorded international artists could played without involvement live musi cians must seemed major threat success mainstream industry time though course industry soon adapted \u01e1\u01f3\u03d0 popular song physical disc particular size revo lved certain \u0203\u0377\u0377\u020b\u0377\u0377\u020d\u0203 andertonch indd pm studying music industries songs maximum running time around four minutes cons equently know today perfect minute pop song r oots physical characteristics recorded medium rather ome abstract ideal music sound like similarly widely understo od concept album collection songs b artist represents single body work also certain characteristics based physical attribut es recorded \u0203\u0373\u0374\u01f3\u0373\u0201\u020b\u020d \u01e1 compact disc format fact certain genres music progressive rock included longer ambitious tracks idea concept album grew part artistic creative exploratio n physical characteristics lp recently technologies apple ipad allowed musicians experiment expand potential f album even using apps computer programs run n tablets smartphones similar devices see box box bj\u00f6rks biophilia biophilia zdvmunvvhyhqwkvwxglrdoexpuhohdvhdvdvrorduwl vwwzdvsuhvhqwhg multimedia experience across range technologies including cd vinyl digital grzqordggljlwdoerrnolyhshuirupdqfhvdqgwkhssohldgl krqhhvfulehgdvwkh \u00e0uvwsurshudssdoexpiruwkhldglwihdwxuhvdiuhhdsse rwkdwglvsodvdvhulhvri constellations three dimensional universe constellation represents one doexpvwhqvrqjvdqghdfkvrqjlvsxufkdvdeohvhsdudwhodvdq dsswkdwriihuvdxglr visual experiences essays animations opportunities user interaction rulqvwdqfhwkhwudfnuvwdoolqhlqfoxghvdqlqwhudfwlyhd qlpdwhgjdphlqzklfkxvhuv qdyljdwhwxqqhovdqgfroohfwfuvwdovzlwkwkhlujdphsoddiih fwlqjwkhvwuxfwxuhriwkh pxvlfdvlwsodvkhsxeolflwwkdwvxuurxqghgwkhdoexpdqg lwvfodlpwrehwkh\u00e0uvw rilwvnlqgzdvkhosixoirulwvsurprwlrqdqgpdunhwlqjfdpsdlj qexwzhpljkwtxhvwlrq krzpdqrwkhupxvlfduwlvwvzlooiroorzvxlwhzkdyhwkh\u00e0qd qfldoedfnlqjwrfuhdwhdq hoderudwhsdfndjhriwklvvruwzklohpdqpruhpljkwsuhihuwr irfxvrqpdnlqjpxvlf wkdqzrunlqjzlwklqwhudfwlyhduwlvwvdqgdssghyhorshuv \u03d0 production potential recorded music creative form see katz include magnetic tape multitrack recording llowed editing splicing overdubbing musical recordings electronic effe cts effects pedals samplers added new previously unheard sounds palette musical performance computerization recording composition latter example allowed nondestructive editing step programming \u01e1\u0203\u03d0 \u0203 andertonch indd pm chapter professionalsounding works nonprofessional situations bedroom \u01ef\u020b\u0377\u020d\u01e5 technologies consumption consumer technologies also revolutionized experience f music numerous recorded music formats introduced mor e successfully others quarterinch reeltoreel tapes compact audiocassettes \u037a\u01e7 \u01e1\u01e7\u01e1\u020b\u020d\u01e1 \u020b\u020d\u01e1 \u01e7\u01e1\u03d0\u020b\u020d\u01e5 \u03d0 \u01e5 \u03d0 \u01e1 recorded media ability rewind fastforward tracks r instant access size shape content packagin g artwork characteristics impacted upon success otherwise medium marketing timing pricing yet read reco rded media usually successful formats mentioned record industry moved smoothly records cassettes cds cds mps fact transitions far complex problematic worthy \u03d0\u01e5 media ecology media ecology examines farreaching impact changing te chnological environment regards technologies environmental forces hat exert \u03d0 \u01e5\u01e1 technological ages activities industry communica n n w \u03d0 \u01e5 approach study music industries helps us understand changing fortunes sector relation rapid accelerating technological change seen past years change studied paradigmatic level largescale developments shift print culture sheet music electric culture recorded music b roadcasting \u03d0 \u01e1 development transistor radios mp players por table individual listening electric digital age arguably music industries experiencing paradigmatic change \u01e7\u03d0 \u01e5 irrevocably changed shift print age elec tric age \u03d0 electric age digital age digital technologies continued andertonch indd pm studying music industries transform every aspect music business composition r ight consumption consequently predominant electric music ind ustries late twentieth century appear threat much sa way print music industries century ago th e media ecology approach important timely cas e shift digital online music merely change format w shift vinyl records cds complete change media enviro nment radical restructuring whole industry words th e sale recordings like sale sheet music may well become proportionately minor aspect popular music consumption industries fail adapt run risk becoming increasingly niche proposition technological determinism p r n r e n e p r c u l r w r n n g b u h e e e c l g approach ease possible fa position technological determinism technological determinism notion technology driving force societys history cult ure idea technology something happens culture busine ss powerless control choose reactions whi le may seem media ecology approach demands conclusion fact ecological framework offers subtle relationship mere cause e f f e c environmental shift necessary adapt order survive thrive technological environment shifts however adap tations caused environmental change developed response say choose responses uses technolog socially negotiated \u01e1 \u03d0 purposes marconi intended pointtopoint communic ation \u0203 \u01e1\u01e7\u01e7\u01e5 \u03d0 home imagined consumer use pick rec eiver particular time day still call receiver nd transmitter listen public performance concert hall end street fact users entrepreneurs media decided use th e telephone twoway pointtopoint communication conversely wireless telegraphy radio became known means disseminating musical performances geographically dispersed audiences true refusal inability adapt ch ange transformed media technological environment analogous dinosau rs inability adapt changed physical environment environment doesnt force single predictable change select negotiate responses change words technology affords certain rang e possibilities agency choosing responses within proces media ecology marshall mcluhans seminal work understanding media \u020b\u0373\u037b\u0377\u020d ideal place start andertonch indd pm chapter digital technologies fair say digital technologies already transf ormed process transforming entirety music industrie dozens hundreds ways digital technologies affected music industries impacts copyright distribution upon composition production distribution promotion consumptio n \u03d0 music business activities great scope future study \u0373\u037b\u0373\u01e1 new technologies new media somewhat misle ading digital media different many ways physical media ifferences considerable consequence future music ind ustries number different approaches areas investigation given serious critical analysis though must cont inue wary \u01e5 need consider characteristics aspects digital edia mark different analogue physical media though must remembered technologies cd actually combination physical format digital content digital discrete \u03d0 capture reproduce sound continuous wave digital recor dings sample sound discrete audio snapshots snapshot des cribed digital information form binary digits ca se cd \u0377\u0377\u01e1\u0373\u0373\u0373 \u01e5 \u03d0 \u01e1 cd player convert captured sound back waveform even accurate level merely approximation th e original analogue data digital perfectly replicable second thing know digital media relati onship original copy seen physical world appl way digital world physical copy artefact always imp erfect comparison physical original anyone taped cassette cassette tell contrast digital copy digital original fun damentally original deviate observable way digital media \u03d0 \u01e1 \u03d0 well original put another way original simpl another copy \u01e1 \u020b\u0373\u037b\u037b\u0377\u020d\u01e1 \u01e3 andertonch indd pm studying music industries \u01e5 \u01e1 \u01e1\u03d0\u01e7 \u020b\u01ef\u01ef\u020d\u03d0 information converted mp copy perfectly rep licable without loss quality copying could fact said natural state digi tal media \u03d0\u020b\u0201\u020d nothing physically moves download song nline retailer song never actually leaves store instead comput er issued instructions make perfect copy implic ations copyright music industries general profound philosophical \u03d0 \u03d0 \u01e5 \u03d0 item pricing agreed loss incurred un authorized duplication takes place theft answers questions \u03d0 \u01e1 one obvious answer answers central debates within music industries since advent digital media ce rtainly since \u03d0\u01e5 digital transformations production \u03d0 \u0374\u0377 production music made accessible creation recorded music become democratized quotation marks includ ed signify deeply problematic nature term practices sampling remixing production music videos become affordable chievable much wider participation way deprofessionalization certain areas music production due massive reductions cost entry ease quality results achieved without years f training \u03d0 \u0203 \u01e1\u03d0 \u01e5 digital transformations consumption digital media also affected ways people consume usic examples include rise portable mp players personal music pla yback development video games guitar hero n rock band emergence streaming cloud music services spotify lastfm pandora challenge traditional least last c entury system purchasing owning recordings likewise collecting organizi ng creating knowledge music transformed use online fora community discussion groups centred specialist interests niche music deleted outofprint recordings shared amongst fans recordings concerts demos centrally stored accessed globall andertonch indd pm chapter digital transformations distribution impact digital technology upon distribution music h r u g h \u01ef\u01ef\u01e1\u01e7\u01e7\u03d0 \u01e7\u0203 worthy ongoing investigation digitals role de cline independent chain retail music store longtail effect observed chris anderson \u020b\u0374\u0373\u0373\u020d\u03d0 environment challenges notion hit ce ntral mechanism revenue generation framework business succe ss mainstream \u020b\u0377\u020d\u01e5 simply sale recordings consumers instance major record labels made considerable inroads businesstobusiness bb strategies markets respect mobile handset manufacturers soft drin k companies corporate entities wishing supply music value added feature attract prospective customers digital transformations promotion promotion music also affected digital technologies ra ther relying opinion leaders tastemakers authorized mainstrea press electronic media digital technology affords potential publishing distribution opinion social media sites blogs ndependent companies socalled unsigned artists taken giving recordings away method removing barriers developing fan base author kevin kelly wrote blog independent artist could make decent \u01ef\u0373\u01e1\u0373\u0373\u0373\u01ef\u020b\u0374\u0373\u0373\u037a\u020d \u01e5 artists focus increasing annual spend mo st enthusiastic fans rather attempting increase number individu al sales anonymous transient audience issues seen throughout chapter study music industries take many varied forms may emerge range cr itical positions result lends crossdisciplinary approaches sociologists business scholars musicologists psychologists engineers media academ ics scholars many disciplines besides good cause stud music \u03d0\u01e5 \u01e1 \u020b\u03d0 \u020d\u01e5 problem specialism start specialism language musicologist freely use terms often obscure sociologists vice versa ca n effect andertonch indd pm studying music industries \u03d0\u01e1 \u03d0 \u03d0 decades academic conferences iaspm possible attend presentations explore technological social textual historical cultural business aspects music based research studies carrie scholars \u03d0\u01e5 guage barriers problematic contexts yet interdi sciplinary study new integrated joinedup avenues research emerge offer cross pollination collaboration new insights music industries problem fandom \u0203 immediately fall commencing studies te mptation focus ones scholarly attention variation topic favourite band great course difference researc h advocacy scholarly activity fandom though sa one shine academic light something enthusiastic bout fact many scholars relationship academic fan ac afan scholar \u020b\u0374\u0373\u0373\u020d\u0203 \u020b \u01e1\u0373\u037b\u037b\u0374\u020d\u01e5 subject good starting point involvem ent scene aspect business useful entry point th e study scene organization nevertheless important separate enthusiasm fan wishes convert prospective readers wonders ir favourite type music artist scholarly research analyses sh eds light meanings implications object study conclusion chapter provided number theoretical frameworks th rough students music industries approach analysis heir chosen subject demonstrated multiple ways e xamining \u03d0\u01e5 \u01e1 highlight complex discursive nature music industries show describing music industry simple coherent indeed explainable object analysis commonly held u n v e r l l \u01e7 \u03d0\u01e5 music industries exist within wide range geographic tempo ral legislative \u01e1 \u01e1 \u03d0 operate cultural meanings contribute finall chapter suggested approach brings together range dif ferent academic disciplines potential reveal nuanced integr ated insights different sectors issues within broadbased mu sic industries andertonch indd pm chapter reading david hesmondhalghs cultural industries tim walls studying popular music culture highly recommended thinking industries work cultural artefacts music keith negus popular music theory \u020b\u0373\u037b\u037b\u020d reading popular music histories critically tim wall nd paul longs \u01ef \u01e3\u01ef \u01ef\u020b\u0374\u0373\u0373\u037b\u020d offers useful example music history presented nterpreted television discussions impact music ndustries digital technologies internet may found andrew le yshons time space digital compression software formats musical netw orks reorganisation music industry chris andersons long tail \u020b\u0374\u0373\u0373\u020d\u00fa\u01ef music industry \u020b\u0374\u0373\u0373\u037b\u020d\u01e5 andertonch indd pm" +} diff --git a/tL-management:ardigital-music-landscape.json b/tL-management:ardigital-music-landscape.json new file mode 100644 index 0000000000000000000000000000000000000000..d22328ed2a16230f8d94a610669abc99cf6dd472 --- /dev/null +++ b/tL-management:ardigital-music-landscape.json @@ -0,0 +1,5 @@ +{ + "filename": "tL-management:ardigital-music-landscape", + "department": "Manager", + "cleaned_text": "wipo committee intellectual property development global digital music landscape overview distribution copyright rights administration music digital age bill rosenblatt billrgiantstepsmtscom april table contents table contents executive summary introduction ii music distribution channels music digital service providers dsps b video dsps c labels publishers e analytics tools dsp data f scarcity based distribution channels digital age iii digital music distribution trends challenges channel control b supply demand c fraud piracy generative ai iv music rights administration basics music copyright b identifiers metadata c licenses sound recordi ng rights flows b independent digital distributors c composition rights flows publishing administration services e synch licensing v opportunities developing countries opportunities copyright infrastructure b checklist independent creators vi conclusions references glossary author executive summary guide prepared per mandate given wipo committee ip development aims provide understanding digital music industry creators developing countries shaping public policy affects first part guide covers primary entities make music available public digital service providers dsps record labels music publishers also covers area renewed interest recent years distribution channels based scarcity collectability rather digital ubiquity physical vinyl digital nfts second part guide discuss es trends challenge music distribution artists today one challenge channel control digital technologies giving creators less control music packaged distributed presented users another supply demand former huge growing accelerated pace latter remains relatively flat causing problems exposure new independent artists copyright infringement well known problem since early days digital discussed along wit h recent cousin streaming fraud finally guide discusses generative ai potential impact music industry although early days exciting technology music context third part guide covers rights dministration copyright infrastructure oday music industry laws data systems processes nuts bolts plumbing enable creators get paid music heard discussion intended give creato rs policy officials overview basic elements copyright infrastructure including fundamental concepts copyright law standard identifiers metadata licenses covers flows information payments sound recordings musical compositions various services available independent artists simplify automate processes final section guide discusses opportunities developing countries whose creators may able partici pate global music industry services described may sufficiently mature copyright infrastructures enable participate fully possible section includes list suggested steps independent creators familiarize local copyright laws relevant identifiers copyright compliance tools sign cmos helpful services guide concludes glossary terms list references consult nd ongoing information views expressed herein solely necessarily wipo necessity high level overview copyright laws rights administration entities vary considerably one country another introduction digital technologies transformed global music industry ways least profound transformations took p lace century ago music could first recorded distributed portable consumer products piano rolls wax cylinders legal music marketplace focused downloaded files proved unsustainable streaming though invented late become popular proceeded dominate global music consumption around world nowadays digital music industry accounts three quarters global music industry revenue vast majority comes streaming yet services deliver digital music public tail end variety processes creating preparing distributing music processes also enabled digital technology part become far complex far global vinyl ruled industry since time igital technologies disrupted music industry inside professional recording studios began adopt digital recording technology late called digital audio workstation daw softw personal computers digidesign pro tools appeared early nowadays free low cost daw software audacity garageband widely used independent musicians use digital sampling create music also began late innovations kurzweil fairlight digital sampling synthesizers capabilities also filtered many free low cost tools everyday musicians also use first use digital te chnology distribute music public wide scale course compact dis c cd launched early distribution digital music public networks happen wide scale almost two decad es later internet technologies compressing digital audio became available everyday users used important entities recorded music industry apart creators songwriters performing artists mu sic publishers record labels radio retail record stores today new type entity evolved arguably important industry digital music service known digital service provider dsp indication size influence combined revenues dsps worldwide likely exceeded record labels sometime mid dsps certainly far influential record stores distributing music public countries around world influence terrestrial broadcast radio wane figure shows primary entities today digital music ecosystem independent creators artists create music recordings submit record labels see p digital distributors see p send dsps see p users play songwriters could recording artists submit information compositions music publishers see p publishing administrators see p discussed ifpi ifpi global music report global recorded music revenues grew march httpswwwifpiorgifpi global music report global recorded music revenues grewin number counts streaming downloads portion sound recording performance revenue differences entities figure shown green shown blue latter rights music former figure primary entities digital music ecosystem several entities besides shown figure involved process determining collecting disbursing royalty paymen ts describe resulting technologies complexities processes ill discuss go hand inhand enormous opportunities musical artists around world reach global audiences also require artists people work understand lot necessary half century ago guide aims address gaps und erstanding ii music distribution channels largest component global music industry revenue recorded music involves recording artists record labels international federation phonographic industry ifpi umbrella trade organization recorded music worldwide reported usd billion recorded music revenue revenue figures music publishing involves songwriters music publishers harder pin segment smaller recorded music estimated worldwide revenues usd billion third prong music industry revenue live performances discussed global live music revenue estimated comparable recorded mus ic course live music revenues affected profoundly recent years covid pandemic music digital service providers dsps important type entity distribution music public digital service provider dsp dsps provide following services models downloads selling digital files mp mp aac flac formats fixed non interactive streaming providing radio like playlists music possibly content audio streams either internet simulcasts amfm radio broadcasts pure play internet services customized non interactive streaming programmed streaming services provide ways listeners influence music selections featured artist selection thumbs upthumbs song skipping let users pick individual songs define playlists interactive streaming also called demand streaming streaming services let users pick individual songs define usually share playlists services charge monthly subscription fees free ads freemium models limited functionality free subscription tiers tethered downloads also called conditional limited downloads sub scription services enable users download files protected digital rights management drm work device downloaded long user subscribes service today dsps bundle severa l services subscription offerings noninteractive streaming services appeared late could used dialup internet connections common time tens thousands noninteractive streaming services available worldwide today example tunein radio app maintains directory first paid download dsps appeared early services soon bifurcated drm enabled services licensed major label c ontent universal music group bluematter drm free services independent label music emusic ifpi global music report kristin robinson us music publishing revenue grew b last year june httpswwwbillboardcompromusic publishing revenue united states nmpa us revenues estimated global revenues first interactive streaming service licensed music major labels rhapsody known napster achieved license agreements majors yet first dsp music make major impact market download service apple itunes music store launched sold drm protected files download services stopped using drm agreement record labels labels sought alternatives apple retailer could sell music files would still play apple ubiquitous ipods iphones interactive streaming music services lagged n popularity several years two major reasons first download non interactive streaming similar older models music distribution users already familiar record stores radio stations respectively model paying monthly subscription fee access enormous library music demand lasts long user pays subscription fee familiar second services could work computers internet connec tions fast enough support streaming smartphones appear mobile broadband internet connectivity appear late depending territory first interactive streaming services major label licens ing broke global scale spotify youtube spotify launched sweden chief innovation implement freemium model included free subscription tier limited access music earned revenue ads paid tier limitations ads spotify quite successful years getting free users convert paid youtube launched never really music service per se flourished de facto music service allowed users upload content included music youtube began licensing music major labels shortly acquis ition google achieved licensing major labels around time spotify launched several countries outside native sweden upward inflection point interactive streaming use came couple years afte r shown figure p interactive streaming far dominant mode music consumption world today several dozen dsps offer subscription based interactive streaming well models selection shown table also offer non interactive streams playlists well tethered downloads iheartradio offer internet simulcasts amfm broadcast stations well dsps listed table apart napster rhapsody spotify services launched earliest survived day include melon launched south korea kkbox launched taiwan jiosaavn launched saavn india consumer service yandex music russia gaana india anghami lebanon dsp regions countries apart brand name today napster dsp relationship us based file sharing network la te shut court order copyright infringement claims global services spotify countries jiosaavn south asian worldwide idagio classical countries deezer countries apple music countries youtube music countries tidal countries amazon music countries regional services anghami middle eastnorth africa europe united states audiomack united states uk canada several african countries boomplay music africa clarom\u00fasica central south america iheartradio north america australia new zealand joox hong kong thailand malaysia indonesia myanmar kkbox taiwan japan singapore malaysia kuack caribbean line music japan taiwan melon south korea indonesia napster north america western europe south america presto music classical jazz north america europe australia new zealand qobuz north america western europe south america soundcloud go north america western europe tiktok tiktok music resso indonesia brazil india mexico australia singapore trebel colombia mexico indonesia united states uma russia commonwealth independent states countries wynk india sri lanka several african countries limitations english language content free tier outside south asia youtube music paid subscription service launched separate regular youtube offers music uploaded youtube soundcloud basic service limited catalog available worldwide yandex music russia commonwealth independent states countries zvuk russia commonwealth independent states countries single territory services tencent music qq music kugou kuwo china netease cloud music china yousee musik denmark hungama music india gaana india patari pakistan flo south korea genie music south korea naver musicvibe south korea pandora united states table selected music dsps interactive streaming countries subject change standpoint rights administration handling submission music payment royalties interactive streaming services two basic types one epitomized potify youtube services spotify apple music deezer amazon music accept music record labels digital distributors see p agreed licenses process distributing music one services straightforward label digital distributor license agreement dsp feed music dsp put service refer optin licensing labels opt licensing music dsp hand dsps youtube soundcloud accept content uploads users work differently licensing perspective services generally obtained license agreements started operating sometimes actual threatened legal action rightsholders dsps typically license agreemen ts record labels allow labels decide case bycase basis user attempts upload content onto service otherwise generally presume user provided content allowed services typically us e content recognition technology see p tries identify music user uploading looking large database finds match service abides whatever content licensor arranged wit h service typically let content go exchange share advertising revenue rare cases block upload content recognition technology find match service simply allows content go words content user contributed services go rightsholder chooses dis allow therefore refer optout assuming music satisfies dsp policies guidelines editorial policies metadata licensing services accept feeds record labels indie distributors well users digital radio non interactive streaming services may operate differently interactive streaming services licensing perspective depending territory copyright laws services may invoke known neighboring rights ie performance rights sound recordings see p implicated terrestrial broadcast radio countries countries neighb oring rights exist licensing convention spain hungary belgium exist law generally countries signatories wipo performances phonograms treaty wppt require payment digital performance royalties sound recordings streaming dsps also sell permanent downloads market downloads shrunk worldwide fans abandoned streaming vinyl remaining download focused services selec tion shown table focus indie music ie major labels music djs electronic edm house etc western classical music high resolution files audiophiles lossless formats flac pcm service focus bandcamp indie music beatport music djs classical archives classical music emusic indie music hdtracks highresolution lossless jamendo indie music juno download music djs magnatune indie music prostudiomasters highresolution lossless supraphonline czechslovak music traxsource music djs table selected digital download services areas musical focus b video dsps popular music services today video services virtually based user uploads opt music licensing although also accept submissions see list signatories see bandcamp also acts label artists produces vinyl cds cassettes physical products contribute large percentage bandcamp revenue record labels distr ibutors video dsps use opt licensing well paidsubscription revenue models small ones primarily offer catalogs long form live concert videos examples include qello concerts canada pop music medici tv france classical music otherwise video services use music based user uploaded content youtube largest music dsp kind world sheer numbers yet difficult measure exact user base music musi c subset content study found video views youtube videos uploaders categorized music one category choices music videos youtube consist entire songs whether th ey official label videos users post yet vast majority views music videos youtube official label supplied videos studio recordings rather user uploads words although music youtube mixed among huge amount content youtube become essentially another licensed music service albeit one video based fact especially large number music video views youtube videos distributed vevo joint venture major record labels distribute official music videos youtube several video services mostly channels internet tv set top boxes apple tv roku amazon fire tv etc smart tvs pay tv operators around world h services tiktok competitors reels meta triller use lot music really music services per se services use music video clips like social network posts music releases tiktok example started platform users post videos lip synching dancing short clips music tiktok eventually acquired licenses record labels music clips used short form video services known derivative works copyright law generally require licenses copyright owners emphasis services users post videos rather artists play music growing number musical artists ti ktok channels popular channels tiktok superstar musical artists artists use tiktok clips promotional vehicles full length music plays dsps led tiktok launch two opt style dsps wn resso tiktok music though handful countries thus far see table tiktok able use dsps keep users tiktok services instead losing dsps addition short form social video platforms gaming platforms fortnite amazon twitch also important platforms music often video livestreaming musical performances several livestreaming platforms exist well youtube music categor ized interactive streaming music dsp although features lot video content youtube pex music became even valuable youtube httpspexcomblogstate ofyoutube music valuable example musical artists accounts get special designation tiktok apart tiktok standard identity verification program fans artists take user account na mes lead confusion eg currently tiktok account names therealladygaga taylorswifttoday list user names lady gaga dojacat taylor swift platforms disputes exist whether responsibility proper music licensing fall platform companies users apart opt vs opt dichotomy another important licensing difference video dsps require synchronization synch sometimes sync licenses copyright owners require synch licenses using music part presentation media video game vrar experience see p synch licensing c labels artist makes recording want release public ar e three general ways major label independent indie label independent digital distributor provide artists ways making music available dsps collecting royalties plays dsps first two also make music available physical media vinyl cds cassettes see p discussion digital distributors work independent artists lieu labels major labels currently owned three global recorded music companies universal music group umg sony music entertainment sme warner music group wmg owns several labels example wmg owns labels atlantic elektra asylum atco reprise rhino sony music owns columbia rca epic arista universal owns interscope geffen capitol republic island def jam verve virgin major indie labels typically copyrights artists sound recordings known master rights two exceptions superstar level artists able negotiate deals major labels retain ownership master rig hts indie labels allow artists retain master rights collectively major labels global market recorded music share slowly decreasing time also fourth major called merlin negotiat es licenses dsps behalf member ind ie labels collectively account another global market otherwise main differences major indie labels tradeoffs relationships resources indie labels tend give artists personal attention creative freedom typically offer artist friendly contract terms release master rights artist years majors pay bigger advances lot resources arket record vast majority music top charts worldwide released label owned one majors publishers music publishing covers musical compositions songwriters composers rather recordings explain ed detail three major recorded music companies corporate siblings music publishers universal music publishing sony music publishing warner chappell music respectively music publishing market less concentra ted recorded music kobalt music group bmg also often included lists statutory right copyr ight law rather industry convention one goes back days silent films music track synched movie played theater music copyright recorded music market share gains sme indies publishing sha growth umpg wcm april httpsmusicandcopyrightwordpresscom recorded music market share gains forsmeandtheindies publishing share growth forumpg andwcm top music publishers worldwide independent labels far many independent music publishers count addition traditional music publishers new breed service providers arisen help independent songwriters collect royalties various sources without claiming share copyrights called publishing administrators admin publishers analogous independent digital distributors discussed p e analytics tools dsp data artists managers labels number online tools disposal today help go beyond chart data analyze torrent information related artists music comes dsps social platforms tools useful planning single releases marketing campaigns tours social media presence many activities major dsps analytics ools eg spotify artists apple music artists deezer creators competitive market also emerged third party analytics tools analyze data across multiple dsps platforms popular choice cross platform music data analytics chartmetric chartmetric tracks artists songs performance several dsp broadcast radio artists metrics social networks tiktok facebook instagram twitter fan engagement metrics across multiple platforms synchs songs movies tv shows games concerts much powerful charting tools enables users download data analysis chartmetric constantly adding features improving data visualization look feel hand chartmetric expensive tools widely used within record labels artist management companies less individual artists small indie labels writing full premium plan co sts usd month per user chartmetric also makes artist plan available price time writing usd month artists provides features premium plan well free plan basic data powerful multi platform music data analysis tools include soundcharts viberate lower cost artist plans viberate also offers free lite plan artists f scarcity based distribution channels digital age digital distribution channels based idea digital content trivially easy copy send people drm digital downloads limi ts users downloads purchase online limit supply files online services drm free digital downloads technical restrictions copying redistribution streaming services employ flavors drm streamed content fundamental idea st reaming services make music available subscribers wide variety devices possible many locations possible words digital music channels rely ubiquity digital content digital networks download services amazon music also provide cloud sync capabilities automatically download copies music users purchase devices long devices service app installed logged user id course physical music products operate way limited number require cost effort reproduce recent years music distribution channels arisen reintroduce notion scarcity create music products th collectible importance scarcity based offerings increasing fans look ways engage music artists beyond merely hearing streaming services vinyl biggest scarcity based channel music today vinyl market vinyl lps inch singles hit bottom mid digital downloads rise cds still selling relatively well vinyl sales grown today vinyl multi billion dollar market worldwide represents least overall music industry revenue much used vinyl sales count vinyl sells cds digital downloads combined prices adjusted inflati equal vinyl peak period many countries vinyl second largest source music industry streaming albeit still much smaller streaming one big difference vinyl market today original vinyl market vinyl records used tokens fandom much used listening one survey found fully buyers vinyl turntables cassette tapes popular late also enjoyed resurgence much smaller scale vinyl cds remained popular recent years certain markets japan nonfungible tokens nfts noteworthy scarcity based music distribution channel today non fungible tokens nfts nfts byproduct blockchain technology revolution widely known popular use blockchain technology cryptocurrency blockchain bitcoin blockchain contains record every transaction currency ever take n place blockchains also used track transactions dont involve currency example phy sical product retailers use blockchains track goods come suppliers wholesalers nfts another example use blockchains strictly transaction records nft identifies purchase something fungible ie currency simply record purchase something stored blockchain like publicly accessible receipt transaction unalterable proof bragging rights user paid something something could anything world nfts typically one items digital content artists typically create mint nfts limited numbers single items luminate data luminate us year end music report httpsluminatedatacomreportsluminate usyearendreport blockchain database transaction records one internet owner instead everyone wants participate transactions given blockchain complete todate copy entire blockchain elaborate protocols update blockchains whenever anyone completes transaction ensure validity transaction integrity blockchain possible add transactions blockchain change delete music typical configuration nfts digital audio file combined wi th piece digital visual art music oriented nfts created physical items tour props rare musical instruments also created experiential items concert attendance like digital ticket stub relationship nfts copyright subject interest nfts digital content w ith rare exceptions content drm protection anyone listen view yet ownership nft belongs ne user time however legal standpoint buyer nft actually anything vinyl lps physical products nft buyer copyright musical composition sound recording unlike physical music products nft buyer anything else either likewise nft physical item tour prop nft buyer physical item nft merely transaction record nft sy stems merely replicate certain aspects copyrighted materials digital domain example nfts resold given away cds vinyl nft resold user associated transaction record blockchain changes extent mirrors concept exhaustion copyright law generally states seller copyrighted work exhausts rights c opy work purchaser right dispose sell lend rent give away wish nft records stored blockchains support smart contracts code routines implement sets rules run whenever nft minted changes hands smart contracts nfts typically implement payments resale royalties creators sometimes commissions nft platforms nfts resold sense mechan ics nft diverge physical copyrighted works countries support artists resale rights aka droits de suite dozens nft platforms focus specific types content music visual art etc others general users wallets show information nfts purchased web browser plug ins mobile apps even hardware devices user r esells nft record nft disappears users wallet appears buyer wallet nfts typically purchased using cryptocurrency supported blockchain nft eth ethereum blockchain nft platforms allow purchases standard currencies traditional methods credit cards nfts enjoyed period hype average prices exceeding usd peak selling price single music nft million dollars one reason crypto currency speculators drove much market activity ano ther ethereum widely used blockchain supports smart contracts used method validating new transactions ex tremely costly use computing power compensate electricity use environmental impact nft platforms charged gas fees often exceeded usd making impractical sell nfts vinyl like prices examples latter included nfts stradivarius violins guitars owned john lennon artist resale rights apply mainly single limited edition visual artworks known apply musical works world roughly evenly divided countries support droits de suite starting late ethereum switched new technology architecture reduced computing power requirements drastically gas fees decreasing going away entirely combined general exodus crypto speculators market caused nft pr ices plummet time writing average prices comparable vinyl lps small number music nfts considered valuable collectors items research firm water music built database music nft sales early put total revenue music related nfts usd million worldwide physical music revenue figure nft campaigns participating artists june year end source water music yet nfts dead contrary following typical trajectory new technology adoptions known hype cycle consists hype driven spike followed decline hype wears followed slow steady growth number artists minting nfts nft campaigns minting slowly increasing shown figure looks though nfts destined near medium term become established category merch cumcontent similar vinyl lps global physical music revenue b ifpi global music report httpsglobalmusicreportifpiorg gartner gartner hype cycle httpswwwgartnercomenresearchmethodologiesgartner hypecycle iii digital music distribution trends challenges streaming dominated music industry terms revenue music consumption worldwide since late shown figure streaming latest series format distributing recorded music public revenue consumption streaming still growing although growth slowing streaming already dominated market longer period time tha n tapes downloads streaming currently drives recorded music revenue worldwide growing likely inflation adjusted recorded music revenue reach exceed level achieved late height era lps cassettes though remains seen whether revenues ever reach time peak levels set peak cd era internet file sharing caused industry revenues collapse figure shows united states recorded music revenue figures adjusted inflation going back usa country detailed historical figures readily available representative economically developed countries howie singer bill rosenblatt key changes ten times technology transformed music business oxford oxford university press bill rosenblatt new music industry numbers riaa edison research show growth slowing march httpswwwforbescomsitesbillrosenblattnew music industry numbers riaaandedison research show growth slowing ifpi global music report counting performance synchronization revenues apply across multiple delivery modalities sharp drop revenues due combination oil crisis price oil raw ingredient making vinyl shot world economy went recession rise home taping albums moderate priced cassette equipment became capable high audio quality figure half century r ecorded music revenue format usa usd billions dollars source riaa music creators face several distinct structural challenges today streaming dominated market channel control one control distribution channels history music technology marked several innovations took channel control away fro artists record labels put hands fans previous examples home taping mids innovations chromium dioxide tape dolby noise reduction made possible record music onto cassette tapes home equipment sound quality approaching vinyl reasonable cost enabled mixtapes well unauthorized copies albums cd sequencing cd players shuffle buttons advanced models ability program one sequence tracks led fans away listening albums artists producers intended digital downloads digital downloads broke albums individual tracks led declines album sales relative single track sales arguably decline primacy album music release configuration streaming playlists majority music played streaming dsps comes playlists rather albums tracks users select individually placement widely followed playlists controlled either dsps users coin realm music exposure streaming services playlists either dspgenerated user gene rated dsp generated playlists human editors algorithms current trend moves channel control towards users rise mobile friendly short form video services tiktok easy touse video editing tools rising popularity extremely quickly statistics tiktok usage vary tiktok reported surpassed billion monthly active users worldwide compared billion youtube around time half billio n spotify mentioned short form video services lend importance users use music background videos artists behind music makes difficult artists gain exposure even complete music tracks causing artists create tiktok friendly tracks example start hook chorus instead waiting intro andor verse supply demand another trend imposes structural cha llenges today digital music market huge growing disparity supply demand streaming music services currently ingest new tracks catalogs worldwide every day contrast labels released thousand records singles albums per year vinyl era number growing example luminate data maintains database data million recordings end database growing rate per year last five years explosion music course due everincreasing ease recording releasing music innovations track cassette based home stud ios internet daws easy availability digital samples yet amount music available streaming dsps grow ing torrid pace demand hardly growing especially countries high percentages population internet access connected devices many hours day people listen music gap supply demand first became apparent licensed music market digital music download services mids would compete among things many million tracks music libraries early internet pundits predicted bright future lesser known creators long tail compared limited inventories content available ph ysical retailers bookstores record stores course big advantage limitless inventory music digital world makes every record ever recorded available anyone internet connection soon gave ris e problem among highly popular influential playlists today spotify today top hits nd rap caviar editorial playlists spotify also algotorial playlists editors generate h elp algorithms see example demandsage tiktok statistics every marketer july july httpswwwdemandsagecomtiktok userstatistics unique isrcs see top entertainment trends data says luminate presentation given luminate ceo rob jonas sxsw httpsluminatedatacomreportssxsw topentertainment trends see example chris anderson long tail future business selling less new yo rk hyperion discovery bigger variety music available harder find something might like digital content services casting better ways users find content since early days digital example discovery techniques developed introduced ways using user contributed crowdsourced information others based metadata created trained professionals recent techniques harvested comments posted websites blogs social media aid discovery another technique known collaborative filtering computes similarities music played music users played idea users tastes similar music listen might interest discussion discovery metadata see p suggests area still considered ripe improvement although music released music remains undiscovered argued music clutters offerings dsps discovery features considered important comparing today mainstream dsps sizes catalogs one result getting harder harder new independent artists get music discovered fact long tail theory somewhat turned head biggest music stars getting even bigger share attention pre internet days luminate data e xample shows recordings tracks database received plays fewer received plays less tracks received least million plays response record labels music publishers redoubling efforts promote catalog music defined music least months ldbecause likely familiar people already one main factors driven recent spate deals catalogs legacy musical artists bob dylan bruce springsteen neil diamond etc even recent stars shakira luis fonsi david guetta bought sold amounts reaching hundreds millions dollars major labels also pushing dsps emphasize premium music music example generated automatically background music fans increasing share catalog music listen example luminate data shows share catalog music streamed grew steadily c fraud piracy explosion recorded music intensified th e struggle plays streaming services broadcast radio begat payola bribes paid radio stations play songs air radio important way promote recorded music streaming led streaming fraud generation fake streams boost play counts dsps top entertainment trends along historically low interest rates top entertainment trends streaming fraud various forms streaming fraud exist setting stream farms computers automatically play songs repeatedly using identity theft take existing user accounts play certain music study early france suggested least streams country possibly much fake although many dsps take steps detect stop streaming fraud new techniques developed time thanks become lucrative market play count boosting services another form stream fraud involves uploading unauthorized copies remixes hit songs false artist names generate royalties uploaders latest way digital piracy affected music industry although case involves gaming system generate royalties instead getting music free file sharing stream ripping potential digital devices networks piracy well known since napster early internet based file sharing services credited devastating effect music industry revenue total recorded music revenue drop ped adjusted inflation decade industry peak cd dominated year us federal court found napster liable infringement ordered shut napster shutdown series file sharing network services appeared attempt ed skirt aspects napster led legal liability central directory files online locations many postnapster file sharing networks also shut legal actions others gnutella bittorrent designed shift liability away technology developers individual users still exist though used much music file sharing anymore instead primary means music piracy nowadays stream ripping capturing streams files users devices popular form stream ripping technology turns youtube streams files user device notice takedown since late right sholders many countries able use simple process called notice takedown get content removed online services posted without permission process first defined united states part law enacted digital millennium copyright act dmca relevant part dmca says essence send online service notification content posted service without permission ervice avoid copyright liability removes content centre national de la musique fake streams real phenomenon cnm working industry fight streaming fraud january httpscn mfrwp spotify deezer qobuz provided data study term copyright infringement controversial contrary widely held belief definition piracy origin ated long internet file sharing see example adrian johns piracy intellectual property wars gutenberg gates chicago university chicago press music dsp called napster operates today see table nothing common file sharing network late brand name quickly websites online services provide ways send notices dedicated email addresses web forms lthough dmca law usa many online services operate worldwide accept takedown notice laws similar dmca exist several countries yet dmca style laws processes prevent content reposted someone sent notice taken known whac amole problem led many copyright owners become dissatisfied notice takedown called new type scheme call notice staydown name suggests involves online service keeping records content subject takedown notices taking steps ensure one posts far countries implemented notice staydown law aside f rom takedown notices v arious technologies developed mitigate digital piracy first drm see p although many people like say drm music died apple stopped using files purchased itunes drm actually still used almost forms digital music distribution permanent file downloads virtually exception major dsps use flavors drm streams conditional downloads fingerprinting acr another technology originally developed address piracy fingerprinting also known perceptual hashin g fingerprinting technology analyzes bits content file extracts set numbers capture essence fingerprint properly designed fingerprinting algorithm return fingerprint every instance given sound recording regardless format codec bitrate etc fingerprint ing sound recordings nowadays considered quite accurate technology also exists detect musical compositions eg cover versions live performances songs yet quite accurate fingerprinting technology sound recordings use fingerprinting extract fingerprint file look fingerprint large database fingerprints content find match known automated content recognition acr simply content recognition probably bestknown application fingerprinting acr shazam app recognizing music public using microphone mobile device acr originally developed used file sharing networks detect block uploads copyrighted music wake napster shutdown filesharing networks used technology never popular instead acr became important use rights administration first major use purpose youtube see p part initial license agreement warner music group today copyright enforcement services use acr detect potentially infringing content publicly accessible places onli ne see httpsenwikipediaorgwikiwhac amole bill rosenblatt myth drm free music revisited february httpscopyrightandtechnologyc omthe myth ofdrmfreemusic revisited exception classical music fingerprinting algorithms often give false positives claim ing different performances standard repertoire piece eg bach mozart match given sound recording ironically standard repertoire compositions copyright even recorded performances websites blogs several services exist today ones focused music include muso audiolock uk digital content protection italy rightscorp us services send takedown notices described impact piracy many studies purport measure economic impact piracy good recent summary research area report written three researchers u nited states patent trademark office although much covers concerns video content rather music upshot dozens studies meta studies appears piracy negative economic impact music industry one outweighed positive impact file sharing promotes music leads legitimate purchases though size proportion impact continue matter debate impact piracy file sharing lessened past decade rise streaming services make enormous catalogs music available studies copyright enforcement service mus show overall piracy levels mid slowly rising thanks stream ripping industry consensus emerged antipiracy technologies services place legal services easy use provide lots music good prices rich features also effective weapons piracy generative ai problem oversupply discussed relates another trend pose structural challenges music industry coming years generative artificial intelligence ai although ai field around since generative ai ai techniques generate content help humans undergone series major breakthroughs recent years generative ai tools music widely available often free easy use without much technical expertise ai undoubtedly profound effects usic creative fields early predict exactly affect music industry say ai diminish opportunities musicians others say expand turns true depend many factors including legal rulings regulations well advances technology one thing sure whether ai used create assist humans create produce distribute usic lead even faster growth supply music available public respect generative ai latest series technologies sped rate recorded music releases discussed brett danaher michael smith rahul telang piracy landscape study analysis existing emerging researc h relevant intellectual property rights ipr enforcement commercial scale piracy united states patent trademark office march httpswwwuspto govsitesdefaultfilesdocumentsuspto piracy landscapepdf muso piracy never killed streaming httpswwwmusocommagazinepiracy wasnever killed bystream ing example whether laws legal precedents emerge require generative ai companies take licenses content use algorithm training purposes conceivable within next years pace new music releases hit inflection point dsps longer accept anything labels distributors throw dsps historically competed one another catalog size certain point sheer catalog size might important anymore conversely dsps also compete quality discovery offer playlists search navigation social features metastasizing catalogs leads diminishing turns discovery dsps may also find despite downward trend storage costs may longer cost effective keep storing music evolution download services towards niche markets shown table may point way future streaming services longer attempt offer every record ever recorded also serve niche markets one example classical music many unique requirements dis covery metadata see p user interface features examples classical focused streaming dsps classical music idagio see table apple music classical offshoot apple music resulted apple acquisition another classical focused dsp called primephonic iv music rights administration section ii guide described various types distribution channels music today along principal entities involved distributing music dsp processing rights royalties entities others describe involved complex behind thescenes world copyright law royalty structures licenses data processes related music success recording musician requires understanding complexity section explain fundamentals copyright infrastructure music ways royalties processed tools services available artists help manage processes basics music copyright copyright law piece recorded music two copyrights shown figure one musical composition also known musical work created composer songwriter artist performs recording thought conceptually sheet music plus lyrics recording also known sound recording phonogram course music recordings songs performer also wrote others latter case two copyrights belong different people figure recorded music track two copyrights one composition one sound recording copyright law generally efines rights copyright owner default unless license rights someone else vary somewhat one country another generally include rights reproduce copy distribute send someone else publicly perform composition sound recording territories define different rights right communicati public instead public performance european law mentioned reproduction distribution rights lumped together one whether law industry convention called mechanical rights compositions master rights sound recordings aspects music copyright also derive industry conventions rather purely laws example explained labels rather musical artists typically master rights sound recordings territories songwriters typically split ownership musical compositions music publishers rights synch grand rights exist convention rather directly law identifiers metadata despite many complexities music industry better organized content industries regarding rights administration contains small number well understood royaltable items compositions songs sound recordings tracks collections sound recordings albums latter two distributed physical products cds lps cassettes atomic units music rights royalty processing standard identifiers units standard alphanumeric identifiers recognized throughout industry used automate rights royalty processes important isrc international standard recording code created unique identifier sound recordings administered pi international umbrella recording industry trade associations first two characters isrc country code followed three characters denoting registrant usually record label followed two digits year release iswc international standard musical works code created unique identifier musical compositions administered cisac international umbrella organization collective authors composers rights management organizations explained upc universal product code closely related ean european article number international identifiers physical products type designed early used barcodes administered international supply chain standards organization gs ipi interested parties information created unique identifier songwriters music publishers administered cisac bureau international de ledition m\u00e9canique biem isni international standard name identifier recent standard launched increasingly used music industry unique identifier recording artists administered isni international agency uk grand rights rights use music stage performances dance musical theater example hit song nena urug uayan group marama album todo comenz\u00f3 bailando following identifiers isrc todo comenz\u00f3 bailando uym isrc single release nena uym upc todo comenz\u00f3 bailando cd iswc nena songwriter ferra agustin duarte ipi recording artist marama isni x supply chain metadata addition identifiers standard metadata schemes used conveying information atomic units entity another known supply chain metadata ddex digital data exchange standards body formed maintains family supply chain messaging protocol standards contain metadata schemes commonly used several ddex standards apply sound recordings ern electronic release notification used labels distributors feed release information dsps dsr digital sales report used retailers dsps report sales usage andor revenue music righ stholders administrators cdm claim detail message used rightsholders cmos send information dsps royalties claiming use compositions embodied sound recordings addition various standards maintained cisac used composition side cwr common works registration used music publishers send information compositions rights administrators collective mana gement organizations cmos discussed shortly ccid claim confirmation invoice details older standard used cmos send information dsps royalties claiming use compositions embodied sound recordings crd common royalty distribution used communication composition usage among cmos publishers creators need create metadata necessary generate ern cwr messages write record songs apps make process easy capturing metadata time creation including integration digital audio workstations us ing register identifier ensure proper credits one session studio another songspace division indie distributor fuga httpskbddexnetabout ddexstandards see httpswwwcisacorgformatstextthecommon royaltydistributioncrdorfro msocietytomembers discovery metadata important type metadata music discovery metadata describes music ways intended useful searching recommendations websiteapp navigation algorithmic playlist generation forms music discovery challenges discovery amid enormous supply music available today dsps discussed p long time standards least widely used schemes discovery metadata despite various attempts create discovery metadata schemes owned third parties gracenote jaxsta sell dsps services others proprietary dsps music genome project mgp used dsp pandora record labels dsps got together create discovery metadata standard ddex umbrella called media enrichment description mead primary impetus mead rise smart peakers amazon echo google nest devices process voice queries music among things labels smart speakers mutual interest ensuring responses queries play cumbia play bad bunny latest single play jazz alto sax play background music studying ontarget possible mead standard contains thousands metadata attributes song tests shown use mead metadata improves smart speaker responses example users less likely ask smart speakers skip next song smart speaker uses mead metadata provided labels mead tagged tracks likely included algorithmically generated playlists c licenses mentioned copyright owners get exclusive rights works copyright law license rights others licenses contracts specify royalty terms among things licenses agreed parties licensing scheme case often called voluntary licenses set law case called compulsory licenses voluntary licenses royalties defined part license agreeme nt compulsory licenses usually royalties defined law case called statutory royalties example record labels license recordings dsps via voluntary licenses royalty rates licenses typically confidential vary according several factors compulsory licenses exist specific situations radio means licensee eg streaming radio dsp play whatever music wan ts without ask permission advance must pay royalty usually set part ddex mead explained httpskbddexnetimplementing eachstandardmedia enrichment description meadmead explained highly detailed fairly recent set statistics streaming royalty rates several dsps around world see soundcharts music streaming services pay per stream actually matter june httpssoundchartscomblogmusic streaming ratespayouts law statute defines compulsory license compulsory licenses vary one country another addition entities known collective management organizations cmos define administer licenses catalogs content comes rightsholders represent cmos often offer blanket licenses dsps cover music cmo represents common type f cmo performance rights organization pro manages public performance communication tothepublic licensing catalogs compositions sound recordings also mechanical rights organizations mros manage mechanical licenses compositions many countries single designated cmos license music dsps handful multiple pros cmos manage one type right others manage multiple rights example prs music uk manages performance mechanical rights musical compositions cisac international organization author composer cmos maintains list members httpsmemberscisacorgcisacportalannuairedomethodmembersdirectorylistbysociety separate pros also exist performance rights sound recordings countries examples include ppca australia ppl uk ppm malaysia resound canada rmpl india soundexchange usa sound recording rights flows listener plays song dsp record label indie digital distributor see gets royalty according applicable license could voluntary license download demand stream compulsory license digital radio stream process straightforward record label pays recording artist roya lty according terms artist contract label artist uses indie digital distributor distributor pas ses royalty along artist less commission distributor takes similarly indie label distributo r involved distributor takes commission passes remaining royalties along indie label shares royalties artist according contract prorata vs user centri c royalties much said perstream royalty rates dsps pay record labels distributors based streaming play counts rates tend quite complex depend various factors hard pin recent controversy per stream rates abou dsps convert overall stream counts royalties artists labels traditional way simply dsp make payments given song proportional total number plays song users within territor come called prorata method calculating royalties example dsp indonesia gets billion total plays month mahalini raharja gets million plays mahalini label hits records gets total royalties dsp pays record labels month indonesia ndependent artists labels claim model puts disadvantage rewards biggest stars incentivizes gaming system raw numbers rather building loyal fan bases pushing alternative called user centric royalty model user centric model dsp divides royalties generated user subscription fees according hat user plays regardless much music user plays given period time example assume dsp chile charges clp month pays revenues record labels distributors assume user dsp listens myke towers time quevedo time myke towers label one world get clp clp dsp pays chile user quevedo label taste floor get clp happen regardless whether user plays music one hour hundred hours given month dsps tend resist move user centric royalty payments among things would require major retooling software use calcu late royalty payments complex implement audit writing soundcloud deezer global dsps adopted user centric model unclear change would really affect distribution royalties among superstars vs indie artists across musical genres studies done opinions vary though experiences soundcloud deezer dsp adopts user centric royalties coming years increase understanding independent digital distributors independent artists choose go without labels work indie digital distributors instead digital distributors accept uploads artists recordings associated metadata submit music dsps types services wholesale digital music distributors social media platforms karaoke services exercise machines music services restaurants retail stores etc handle various types pap erwork registering copyrights countries required artist receive royalties digital distributors master rights except cd baby produce physical music products help promote music dsps plugging songs inclusion editorial playlists otherwise marketing promotion writing dozens indie di gital distributors generally accessible artists anywhere world exceptions vary number location dsps distribute music though lists constantly growing changing ther points differentiation among services distributors also contribute music user generated content platforms youtube soundcloud programs content monetization social networks instagram facebook distribute music videos vevo see p dsp pay additional roy alties composition rightsholders see several rticles written see example huppe michael streaming services change artists paid forbescom february httpswwwforbescomsitesforbesbusinesscouncilshould streaming services change artists arepaid huppe ceo soundexchange us sound recording pro martin didier music streaming must switch fair logical payout model time lose music business worldwide february httpswwwmusicbusinessworldwidecomthe streaming music industry must switch toafairandlogical payout model isnotimetolose martin ceo outhere music paris based independent classical music label centre national de la musique music streaming impact ucps settlement model january httpscnmfrwp let artists choose dsps receive music let artists choose territories countries distribute music also offer publishing administration services see p also offer mastering services accept cover songs songs written already recorded others obtain mechanical licenses compositions covered speed services get music onto major dsps varies less hours two weeks also de pends dsp territory whether song cover ie whether necessary clear mechanical rights song offer mobile apps artists others websites pricing structures vary widely among indie digital distributors many multiple plans choose charge commissions royalties commissions may vary according plan artist selects similarly charge distribution fees also vary according plans offer som e plans charge per release others charge per number artists others charge annual flat fees time writing digital distributor entirely free commissions registration distribution fees annual memb ership fees writing soundon tiktok launched soundon distributes many dsps worldwide besides tiktok services possible tiktok continues build dsps around world start chargi ng soundon limit dsps works selection widely used indie distributors attributes shown table much detailed comparison available httpsaristakecomdigital distribution comparison ari herstand author book make new music business see references maintains chart detailed comparisons website promusicianhub httpspromusicianhubcomonline music distribution companies music data analytics company soundcharts httpssoundchartscomblogmusic distribution distributor launched areas focus commission distribution fees publishing admin cd baby downtown music cds yes yes songtrust ditto music yes emubands yes tunecore believe yes yes horus music asia yes symphonic urban latin electronic yes yes songtrust routenote asia yes yes onerpm latin america music gateway depends plan yes record union yes distrokid yes yes stem advances artists soundrop downtown music covers amuse depends plan landr production mastering yes united masters hiphop level warner music yes songtradr synch licensing yes soundon tiktok tiktokresso table selected digital distributors independent artists also distributors indie labels get member labels music onto dsps labels maintain infrastructure ex amples indie label distributors include alternative distribution alliance ada orchard ingrooves fuga companies provide different services depend needs labels composition rights flows royalty calculations sound recordings record label contracts labels licensing deals dsps complex flows royalties musical compositions plays dsps complicated sound recordings several reasons sound recordings embody compositions one reason derives fact sound recordings embody musical compositions discussed separate entities sound recordings separate administrators potentially separate creators labels historically passed information along dsps compositions embodied sound recordings reason roots development first lice nsed streaming music services early first dsps major label licensing owned major labels agreement major music publishers labels cleared mechanicals compositions licensing agency affiliated publishers licensing agency harry fox agency hfa maintained large database compositions associated sound recordings used database match recordings compositions cleared mechanicals compositions words major labels used agency represented music publishers labels corporate siblings clear mechanicals ensuing years major labels spun dsps independent companies independent dsps launched dsps still get composition information along recordings labels sent longer owned record companies corporate siblings music publishers dsps hired agencies hfa others clear mechanicals fact behalf way words burden clearing mechanicals shifted labels dsps none licensing agencies complete accurate todate database compositions matched recordings used various techniques find compositions recordings databases led inevitably errors omissions clearing mechanicals market interactive streaming small enough concerns raised streaming started become major source revenue industry composition rightsholders began bring legal actions damage claims large enough industry began take notice industry sought solutions problem monetary implications got larger yet solutions would simple especially since many cases labels necessarily maintain composition information associated reco rdings catalogs timely manner release music digital form one idea solve problem creat ing global database music rights everyone could use projects started none succeeded approach rejected impractical complex recent direction dsps ask labels send information least one rightsholder per music track ingest music cata logs yet another launch services facilitate sharing data among different types entities rather attempting store single large database example approach verifi rights data alliance launched startup verifi media compositions multiple songwriters publishers another reason composition royalty flows complex sound recordings recording always comes one label distributor rec ording underlying historical roots state affairs go back time labels rushing release albums cd required clearing mechanicals compositions l abels decided release cds clearing mechanicals large backlog uncleared mechanicals ensued led lawsuits settlements established release clear later practice largely per sisted ever since certain situations best known attempts global repertory database grd began abandoned four years later https wwwverifimediavrda composition may multiple songwriters may music publisher may affiliated different cmos average pop song today four songwriters dozen odds greater greater songwriters come different countries f example song played uruguay might written songwriters chile argentina affiliated pros scd sadaic respectively require involvement called subpublishers andor reciprocal agreements among pros recover foreign royalties addition rights ownership data change time happens much frequently compositions sound recordin gs example songs released splits royalty shares among songwriters finalized splits change release publishers buy sell rights compositions time complicates composition royalty transa ction processing parties involved composition royalties vary finally parties involved composition royalty processing vary one territory next also among rightsholders dsps within given territory figure shows typical composition royalty process streaming countries single cmos process royalties digital music use good high level description processes challenges see song royalties guide music managers forum httpsthe mmfnetsitewp contentuploadsmmf songroyaltiesguidepdf figure typical process sound recording rights flows plays music dsp steps process labelled figure follows labels distributors send music along metadata feeds ddex ern files see p dsp users stream music dsp dsp sends ddex dsr files see p labels distributors end reporting period month quarter data includes isrcs identify sound recordings along use counts types uses paid subscription streams free streams tethered downloads infor mation dsp sends play reports also ddex dsr files local cmo calculating royalties composition performances composition mechanicals countries sound recording performances also sends play reports pu blishers direct licenses either traditional music publishers eg sony music publishing admin publishers eg songtrust see cmo uses database technology determine compositions embodied sound recordings songwriters publishers splits communicates publishers cmos possibly third parties cases cant figure cmo sends dsp claim file could cisac cc id ddex cdm format reporting period showing rightsholders implicated music played royalties owed dsp pays royalties cmo passes rightsholders cmos necessary dsp pays sound recording royalties labels distributors simple example many variations possible depending country copyright laws conventions dsp deals publishers capabilities cmo factors example dsp may pay publisher directly denoted blue lines figure publisher share royalties paying cmo songwriter share dsps may pay called special purpose vehicles spvs partnerships publishers cmos represent anglo american repertoire separately repertoire dsp could hold royalty payment missing data dispute rights ownership dsp may operate country multiple cmos li cense dsps conversely cmo may operate multiple countries handle multi territorial licensing making possible process multi territorial rights single cmo dsp may arrangement rights administration service clear process mechanicals andor sound recording performances instead cmo yet another reason increased complexity composition royalty transactions synch licensing video dsps see p publishing administration services record labels take care rights administration royalty collection sound record ings music publishers manage rights administration royalty collection compositions implies independent songwriters face complex rights administration tasks indie digital distributors independent recording rtists publishing administrators also known admin publishers independent songwriters small publishers songwriters set personal publishing entities sometimes known vanity publishers entrust administration major publisher example lady gaga vanity publisher house gaga music uses sony music publishing administrator otherwise admin publishers exist indie songwriters services take percentages royalties various fees processing composition royalties take copyright ownership shares marketing promotion digital distributors songwriters almost anywhere world use services major publishers spv set although operate mostly europe example dsp could receive royalty claims add rights ownership known overclaiming primary purpose publish ing administrator handle mechanical royalties assumption pro handle performance royalties songwriter indie publishing administrators also handle synch royalties pro vide setlist submission tools assist collecting performance royalties live performances indie songwriters must also sign pro country although cases admin publishers take care admin publishers typically serve songwriters around world collect royalties worldwide well combination direct deals cmo relationships take commissions royalties higher synch royalties require effort charge either signup fees per song peralbum fees leading publishing administrators indie songwriters include songtrust division downtown music holdings owns number music service businesses songtrust partnerships digital distributors symphonic cd baby see table sentric owned believe france also owner number different music service businesses digital distributors tunecore cd baby routenote music gateway distrok id offer admin publishing artists use distribution services companies collect royalties tens hundreds thousands songwriters territories worldwide detailed comparison services features costs comes ari herstand httpsaristakecomadmin publishing comparison e synch licensing explained synchronization royalties arise industry convention apply music used another medium video game vr experience possible license synch rights sound recordings compositions example music supervisor television show license composition hire artist record cover version implicates composition license original sound recording implicates important point synch r ights every synch must licensed individually rightsholder set rates industry standards royalties rightsholders refuse license although several services make music synch uses available low cost free cmos online licensing hubs music owned major labels publishers lack organized marketplace synch rights understandable synch usages limited tv shows movies value nature music use varied according context volume usage limited today world video dsps lack organization synch licensing makes inefficient market publishers nowadays get disputes large user generated video platforms whose responsibility obtain proper synch licensing platform companies end users disputes sometimes result platform companies taking blanket licenses large publishers also instances synch license may required fair use fair dealing hi ghly situation specific may come instances news reporting documentary filmmaking catalogs means smaller publishers may go without licenses platforms publishers resistant collective standardized synch licensing would diminish control unstable situa tion take time resolve rightsholders motivated make market efficient ynch licensing growing opportunity creators rights administrators alike recorded music side although synch accounts overall revenue fastest growing category stagnant synch revenue rose almost double current growth streaming revenue ifpi global music report v opportunities developing countries thanks global reach dsps see table labels digital distributors see table publishing administrators see p recording artists songwriters developing countries access global digital music markets represent vast majority music consumption worldwide long good internet connectivity artists get music exposed public wide variety services ca n get paid royalties ir sound recordings help ensure creators take advantage f opportunities important educate musical creators availability digital distribution rights administration services independent creators availability administrative services independent labels music publishers help get running digital age without investment technology infrastructure basic nuts bolts copyright infrastructure including identifiers metadata copyright laws govern digital music distribution royalty flows music industry conventions transcend complement individual countries copyright laws many ways various services vailable independent artists compensate lack copyright infrastructure countries cmos lack capability collecting administering digital royalties services based handful western countries although collect royalties plays music around world necessarily help artists promote music locally commissions fees take move money country opportunities copyright infrastructure therefore opportunities exist developing countries local companies help musicians promote monetize music implied building capabilities complicated expensive yet things countries make easier reducing legal risk operational complexity example would helpful clarify responsibilities rights clearance administration country copyright laws means answering questions rights required music streaming possible consolidate single streaming rights sound recordings compositions rightsholders interests better served simple automatable licensing frameworks compulsory blanket licensing ad hoc bespoke licensing requirements must dsps clear rights music make available avoid legal risk sufficient offer music wait claims fro rightsholders pay royalties compulsory licenses release clear later become music industry convention cases despite potential tension national copyright laws responsibility clear administer rights cmos dsps rightsholders labels publishers particular responsibility lie identifying compositions embedded sound recordings compositions rightsholders splits type entities best positioned rights administration given country opportunities create entities government action entrepreneurship basic questions answered become clear er country set incentivize appropriate copyright infrastructures example become clearer whether composition matching royalty payments best handled cmos represent rightsholders service providers work behalf dsps combination se entity works behalf multiple types entities along clarity come avenues investment infrastructure including technologies skills move money onshore currently goin g us uk eu along investment come requirements data made available openly instead proprietary databases many rights administrators whether cmos otherwise maintain benefit movement towards open music rights data already begun example united states enacted legislation established cmo called mechanical licensing collective processes mechanicals streaming services law required mlc make complete database currently holds information million compositions available public via website free regular bulk data feeds low cost uk government study streaming music market recently led uk collecting society prs music announce project build database composition matching sound recording metadata dsps use open data music rights leads nly transparency royalty payments ability build administration analytic services quickly easily also ameliorate complexities associated multiple rights administrators given territory chec klist independent creators tips independent artists songwriters summarize many points raised guide learn country copyright law determine exclusive rights music country copyright law determine aspects music royalties covered country copyright laws mandatory copyright registration precondition collecting royalties compulsory licenses statutory royal ty rates find country approach neighboring rights radio digital radio play sound recordings processes royalties obtained register cmos presentation httpswwwwipointme learn country cmos wha extent involved collecting royalties digital music sign pro collect digital royalties worldwide country pro try sign one national residency requirements vary country cmo collects mechanical rights mro register country cmo collects neighboring rights performance rights sound recordings sign service providers recording artist sign digital distributor make music available dsps region worldwide songwriter sign publishing administrator digital distributor offers admin publishing services c ollect mechanicals composition royalties worldwide sign data analytics app chartmetric soundcharts viberate least one artist data apps dsps offer music spotify artists deezer creators etc identifiers note identifiers distributors andor admin publishers created isrcs iswcs ipi register one already isni registration agency list available httpsisniorgpageisni registration agencies copyright compliance ac quaint copyright compliance capabilities notice takedown forms provided online services operating country unauthorized copies music taken vi conclusions music business transformed digital technologies networks ways make accessible creators developing countries vigorously competitive worldwide market digital music services glo bal reach well regional players cater specific audiences different geographies streaming royalty rates aside good news creators internet connectivity many services available make music accessible audiences world clicks often nominal cost without taking ownership copyrights music short list simple atomic units commerce composition sound recording album makes particularly amenable global online commerce possible creators collect royalties sources ever many tools available often little cost enable creators collect examine data music received around world yet say devil details understanding global world music copyright royalties requires understanding many details copyright laws royalty schemes many types data whole host adminis trative entities beyond labels music publishers requires understanding different processes royalty flows sound recordings especially compositions today streaming dominated music world also fraught challenges beyond roy alty payments users become able slice dice music small chunks use posts social platforms creators lose control distribution channels creators releasing music world new racks uploaded dsps globally every day making new music harder fans discover new generative ai technologies promise accelerate supply new music even near future streaming world rife ways game system put creators limited means disadvantage biggest stars major label resources garner attention opportunities also abound developing countries b uilding copyright infrastructure supports digital music include revising copyright laws regulations reflect current processes conventions digital music also include appropriate investment public andor private sector rights administration capabilities help creators promote monetize music locally help repatriate portions revenues generated music commerce leaving country today many sources information assistance including wipo help journey references books jeff brabec todd brabec music money success insiders guide making money music business th edition new york simon schuster chris cooke dissecting digital dollar third edition music managers forum ari herstand make new music business practical tips building loyal following making living musician nd edition new york liveright donald passman need know music business th edition new york schirmer trade books online educational resources aris take ari herstand httpsaristakecom ari also runs aris take academy httpsaristakeacademycom offers online courses indie musicians curve royalty software vendor royalties online classes httpswwwcurveroyaltysystemscomroyalties music publishing httpswwwcurveroyaltysy stemscomroyalties recorded music music managers forum trade association music managers digital dollar reports httpsthemmfnetdigitaldollar songtrust publishing administration vendor booklets webinars httpswwwsongtrustcomresource center industry news billboard httpswwwbillboardcom music ally httpsmusicallycom music business worldwide httpswwwmusicbusinessworldwidecom variety httpsvariety comvmusic morning coffee weekly newsletter httpsyourmorningcoffeehomeweekly newsletter podcasts available podcast platforms music business worldwide musi c tectonics musonomics new music business ari herstand trapital morning coffee glossary acr automatic content recognition technology identifying content taking fingerprint looking database fingerprints find match see also fingerprinting catalog music music least months old cisac conf\u00e9d\u00e9ration internationale des soci\u00e9t\u00e9s dauteurs et compositeurs international organization cmos authors composers cisac administers standards including cwr common works registration ccid claim confirmation invoice details crd common royalty distribution iswc ipi see also cmo mro pro cmo collective management organization aka collecting socie ty service administers rights royalties behalf rightsholders affiliate see also pro mro daw digital audio workstation software recording mixing editing producing audio content computer ddex digital data exchange standards body creates maintains messaging metadata standards digital music supply chain ddex standards include dsr digital sales report ern electronic release notification cdm claim detail message mead media enrichment description see also supply chain metadata discovery metadata digital distributor service takes independent artists music submits dsps collects royalties dsps distributes royalties th e artists without owning rights see also label discovery metadata metadata describes music purposes discovery recommendation search app navigation algorithmic playlist generation etc see also supply chain metadata dmca digital millennium copyright act united states la w online service accepts acts takedown notices copyright holders avoid liability copyright infringement countries outside usa similar legal gimes see also takedown notice downloading transmission complete files service user device see also streaming drm digital rights management set techniques encrypting files streams sending users users must proper credentials valid subscription dsp decrypt play content devices dsp digital service provider online music service fingerprinting technique identifying content digital file fingerprinting algorithm analyzes data file produces series numbers characterize fingerprint see als acr flac free lossless audio codec n open royalty free standard algorithm compressing audio data smaller storage space loss sound quality freemium service subscription model includes free paid membership tiers generative ai class artificial intelligence technologies generate content automatically varying degrees human assistance ifpi international federation phonographic industry international umbrella trade organization th e recorded music industry ipi interested parties information standard identifier musical composition rightsholders songwriters publishers isni international standard name identifier standard identifier names often used recordi ng artists isrc international standard recording code standard identifier sound recordings iswc international standard musical works code standard identifier musical compositions label company issues administers rights sound recordings whether physical digital license contract rightsholder licensee dsp giving licensee rights content distribution rights master rights reproduction distribution rights soun recording name derives rights master tape recording mechanical rights reproduction distribution rights musical composition name derives mechanical reproduction piano rolls early th century mp short mpeg audio layer mpeg audio layer standard algorithm compressing audio data smaller space potentially compromise sound quality mro mechanical rights organization cmo administers mechanical rights musical compositions see also cmo pro music publisher company owns administers rights musical compositions musical composition aka musical work music lyrics song nft nonfungible token record transaction stored blockchain identifies item purchased digital music content optin licensing dsp scheme ingesting recorded music whereby accept music rightsholders license agreements optout licensing dsp scheme ingesting recorded music whereby accept music anyone rightsholders must indicate music forbid dsp offering negotiate license terms music allow dsp offer pcm pulse code modulation old er format uncompressed digital audio produces large files full sound quality pro performance rights organization cmo administers performance right musical compositions sound recordings see also cmo mro prorata royalties traditional royalty calculation scheme streaming dsps dsp pays royalties rightsholders based aggregate streams dsp users reporting period see also usercentric royalties publishing administrator service administers rights musical compositions behalf independent songwriters rights see also music publisher rightsholder owne r part owner copyright work musical composition sound recording sound recording aka phonogram audio recording performance musical composition see also musical composition stream ripping capturing audio video stream file resides user device streaming sending audio video signal internet user device via continuous series small chunks compressed audio video stream user device reassembles program content user see also downloading subpublish er music publisher administers royalties rightsholder different territory supply chain metadata metadata describes music purposes dsp ingestion rights administration royalty processing see also discovery metadata synchronization aka synch sync right use music connection another type media video game vrar experience takedown notice notice copyright holder copyright enforcement service acting behalf sends online service get remove content posted without authorization see also dmca upc universal product code standard identifier physical products lps cds designed represented barcodes user centric royalties royalty calculation scheme streaming dsps dsp divides royalties generated user subscription fees according user plays regardless much music user plays reporting period see also prorata royalties author bill rosenblatt founder president giantsteps media technology strategies consulting firm provide expertise technologies business strategy intellectual property digital media since music industry clients included major record labels digital music services technology companies investment firms startups around world advised testified public policy bodies north america europe asia issues related copyright digital age served expert witness litigations royalty rate proceedings united states canada netherlands digital music market digital copyright related technologies drm streaming media fingerprinting watermarking bill adjunct professor music business program n ew yo rk university guest lectured several universities including carnegie mellon columbia mit university virginia law schools rutgers university university new hampshire program chair annual copy right technology conferences new york coproduces copyright society spoken conferences worldwide including world economic forum davos switzerland trustee boards copyright society princeton broadcasting service inc advisory board american society collective rights licensing collecting society illustrators photographers bill author digital rights management business technology wiley coauthor howie singer key changes ten times technology transformed music industry oxford university press media industry contributor forbescom written publishers weekly periodicals holds degrees computer science princeton university massachusetts" +} diff --git a/tL-manager-AWAL-2018-ULTIMATE-RELEASE-GUIDE-pdf.json b/tL-manager-AWAL-2018-ULTIMATE-RELEASE-GUIDE-pdf.json new file mode 100644 index 0000000000000000000000000000000000000000..5eade412e273eac2e63f494c96345d0bc695cef3 --- /dev/null +++ b/tL-manager-AWAL-2018-ULTIMATE-RELEASE-GUIDE-pdf.json @@ -0,0 +1,5 @@ +{ + "filename": "tL-manager-AWAL-2018-ULTIMATE-RELEASE-GUIDE-pdf", + "department": "Manager", + "cleaned_text": "ultimate release guide ultimate release guide ultimate release guide times changed independent artists today success isnt making great music understanding fundamentals marketing release planning get music find right audiences said still see artists making mistake devoting time energy creating music thats fun part rush release thats created ultimate release guide introduction bestpractice guide keep organized help focus matters give industry tips artist marketing team years experience releasing music weve also included real case studies awal artists approach release process guide breaks release process three stages prerelease release daypostreleaseto really get best results guide need start planning early running time one common mistakes see artists make start planning least two months release day make sure youre covered prerelease planning prerelease planning prerelease planning said start journey organization key million things keep track start anything begin making clean easytofollow timeline guide entire release process highlighting major milestones important dates organize timeline three major buckets prerelease release daypostrelease make release timeline pro tip keep mind personal timeline might include completely different set milestones customize plans release timeline prerelease planning break three specific events use earmark goals work towards backwards also use planning strategizing might include single andor album release date live show dates release partiesvideo premieres teaser releasesstreaming sessions press release servicing date timeline prerelease planning make major decisions release plans make sure budget cover expenses including cushion unforeseen charges lastminute opportunities depending particular strategy responsibilities team may need pay social media promotion digital advertisingpublicity including hiring publicistshowrelease partypromotional materials pro tip always realistic much even youre currently handling marketing promotion feasibly able maintain social media prepping promoting release though hiring someone help might require spending bit money benefit able properly spread word music focusing bigpicture release execution might worth set budget budget prerelease planning stream mp great obviously way share music depending works best brand budget could consider releasing music video lyric video even live video playing song venue postrelease strategy reason mentioning prerelease plan time think creating kind visual content well music ever comes cases elaborate videos may take weeks months finish get plans arena rolling well release happens plan create music videos lyric videos videos prerelease planning visuals everything need make sure youve got visuals compelling really grab onlookers attention make sure youre planning preparing photo video content well beyond release date extremely useful create downloadable folder make easy industry contacts publicist andor team help lock premieres shows partnerships digital assets youll want hand release artist bio album liner noteshires press photostrack album artworkaudiovisual teasers music lyric videosanimated gifs organize creative assets creative assets prerelease planning depending budget build ideas marketing promotion might effective new release would local radio logical vehicle music interview premiere small niche blog pretend social media doesnt exist hot second difficult know think youd spread word beforetimes social media however exist know dont neglect youre thinking marketing promotion platforms like facebook twitter instagram youtube tumblr direct channels engage communicate fans share music build loyalty even youre deep throes promoting latest release make sure keep posts personal less ideally salesy pushes music digitally advertising sponsoring posts social media make sure check native analytics tools like facebook twitter insights help better target whatever ads decide run also use trackable links linkfire smarturl point music dsps ie apple music spotify etc use links social media also tracking clicks music mailing list pro tip dont forget social media keep track organized creating comprehensive social media calendar plan posts across twitter facebook instagram platforms create marketing promotion strategy marketing promotion strategy prerelease planning weve mentioned website central hub big news many existing prospective fans looking new releases important plan ahead mind new release want make sure website looking best create one dont already one make easy people learn ensure fans get key info one place including tour dates storecontactsbiosocialslistening links create update website website prerelease planning importantly make sure news upcoming release front center preorder call actions taking precedence beyond think matching aesthetics website upcoming release updating hero visuals across digital channels artwork information arriving music definitely good idea see awal artist tom misch updated aesthetics website highlight upcoming album release tour website prerelease planning website isnt digital real estate want update advance release consider updating social media headers profile images release information something may want plan pre postlaunch additionally finesse biography contact information work date release wikipedia page make sure thats current also update social media pages social media tom misch also updated heroe images social pages help promote news geographys arrival prerelease planning maintenance half battle think creating content plan teaser campaigns great way build hype around release release images studio promo shots video clips tracklists gifs etc throughout release cycle tag partners people involved social media release campaign rolls youll able see channels growing faster others really help decide spend marketing budget awal artist emma mcgann gets extra social engagement tagging involved release social media prerelease planning first put effort mailing list want make easy possible sign consider putting email captures digital real estate like website social pages even physical mailing list shows people sign also good idea include kind incentive like sending free mp ticket giveaway exchange email addresses v\u00e9rit\u00e9 added subscribe option website start capturing fans email addresses stay contact work mailing list mailing list prerelease planning second upcoming release build flow comms send list keep know important details email bit invasive means communication cautious frequency contact fanbase want keep people engaged dont want annoying theres balance maintain anyone tell owning audience extremely important beneficial audience comms around release best practice overall mailing list prerelease planning influencer marketing huge aspect start thinking release think key people involve ahead time might share music news consider press industry contacts even peers fans andor partners ideally want shoot individuals andor organizations substantial following best approach advance onboard within timeline way benefit following think socialinfluencers pro tip consider partnering music companies distribute music promote success followers well influences prerelease planning decide radio part release strategy start approaching stations hosts shows release street date common collabs radio include pre postrelease interviews airplay dayof premieres even live instudio acoustic performances regardless ideal radio situation looks like another element requires thought planning far possible maximize time make happen hit local radio shows local radio prerelease planning getting music major services tons music distributors take burden shoulders really maximize exposure example awal distributes different stores services covering territories across world spotify apple music amazon youtube red due curated roster awal formed strong relationships dsps getting artists popular playlists frequently partner music distributor newly welcomed singersongwriter rupert stroud knew time find partner preparation big release music distributors pro tip need help finding best digital music distribution service music major considerations evaluate coming final decision including right time start looking one qualifications really matter prerelease planning like websites social pages streaming profiles reflect champion upcoming music well two biggest absolutely want prepare spotify apple music profiles make sure hero profile images updated reflect song art bio release info updated youre posting content apple music connect profile news teaser content prep digital services digital services pro tip youre looking tips get spotify apple music profile preparation release weve got covered everything need know update profiles get noticed crucial platforms prerelease planning selling merch great way generate extra buzz around release think hats shirts backpacks whatever seems reasonable within budget regardless end going make sure accentuates aesthetic new releaseyou need contemplate inventory also important plan youre going sell everything easy solution use platform like music glue theyre specialist ecommerce platform specifically artists create free website store sell merchandise experiences tickets music direct fans one simple transaction budget limited printondemand tshirt feature easy way stock store free money pocket make sale create custom merch awal artists sea girls know showcase sell customized merch website music distributors prerelease planning part promotional strategy part rallying cry new music live shows great way premiere new tracks also generate buzz around upcoming releases get creative shows whether means playing entire album start finish bookending songs fans love sing along course creating custom takeaway item every person audience even giving free download music officially unleashed use live shows create buzz digital services prerelease planning release day think release day like birthday want success youve got big tons fun creative ways capture much attention possible around release big day plan something special release day release day release day release day contests great way drive organic engagement draw attention new release simple elaborate want know fanbase better anyone make sure tailor strategy specifically think theyd interact starting early day post across every channel encouraging fans share favorite tracks new release specific hashtag tag posts custom hashtag relate directly back new album single try keeping simple transforming release title easytoremember tag alternatively create promotional post encourage followers share profiles along custom hashtag throw social media contest social media contest release day dont afraid think outside box brainstorming contest ideas example band rocking guitarheavy sound invite fans record share videos jamming airguitar style anything fun engaging capture fans imaginations get excited participating new record like contest concepts prizes really run gamut something simple retweet follow direct message probably enough motivate fans share giving away signed cds concert tickets merch isnt bad idea either whatever make sure clearly indicate stakes beginning contest theres disagreement later pro tip wondering social media platform right releaseday contest important factors consider general choosing spend time place importance comes socials use evaluation help determine fans likely flock contest social media contest awal artist grabbitz promoted release single things changed launching official hashtag social contest complement release day release day brainstorm releaseday marketing tactics may well center social media make sure youre also thinking ways make sure people actually see posts promotions consider methods come notification friends followers real time like livestreaming facebook instagram otherwise create specific budget promote posts ensure theyll escape algorithmic traps plague artists every level diy megasuperstar set realtime notifications fans realtime notifications release day chances youve got friends similarsounding bands within particular genre scene might even share pockets fans artists give fellow musicians heads release day approaching ask theyd willing share link andor track fans followers via social media bonus offer release new music sometimes really easy ask release day shoot dm link album lead track even draft line two suggested text post make sure switch bit person youre tweeting fans arent seeing exact post multiple bands think asking friend tag posts share retweet likewise youre probably member least one two genrerelated groups facebook via forums independent mailing lists etc make sure share link folks release day encourage pass along listeners followers sure group applies music metal artist pops folkmusic group posts link new screamo ep probably wont gain traction probably deleted group catering metalheads however probably run help increase exposure ask support friends support friends release day youre working publicist may already press strategy place release try secure exclusive premiere music blog release day contacting directly public premiere help attract blogs readers tunes itll also give release bit media cred youll kind big deal lead single warrants writeup earns respect hip blog manage wrangle premiere make sure parcel promotional efforts outlet true exclusive set amount time also remember share writeup multiple times across various channels including via website remind followers youve got new release maximize reach ie someone missed first post theyll see second time share extra promotion also ingratiate publication maximize exposure blog media outlets media exposure release day awal artists received great publicity npr music around latest release made sure pin top social channels maximum exposure pro tip reaching press reason make sure include everything might need review feature including current bio onesheet hires photos streaming links andor downloadable tracks try sending everything together via virtual epk even dropbox folder media exposure release day release day thats reason enough celebrate right consider giving music love planning special release show event promote new music many artists opt throw release bash complete live set venue theyve frequented past one served home base early days jump bill friends keep party rolling night youre playing live especially youre performing acts great opportunity earn new listeners move copies chances youre going pretty stoked anyway wouldnt sure shake hands sets let everyone know big release day personally invite hear new release take selfies ask fans post photos releases custom hashtag even better consider sending attendees home free custom merchandise promoting album attempt theme merch title album single jog memories later plan special release show party awal artists glassio threw epic release party celebrate release summer hit papaya release party release day bulk fanbase elsewhere example moved los angeles new york city arent able travel back release day type music make isnt exactly conducive playing live hold virtual release party via one platforms google hangouts concert windowstageitdacastsharkstreamibm cloud video formerly ustream livestreamgigee currently process relaunchingalso consider simply going live facebook instagram twitter via periscope youtube channel anyone purchases album party may may able see depending platforms youre using distribution make sure thank added bonus even think telling anyone buys song full album youll make tune using name live party get fun get creative incentive engage audience help achieve ultimate releaseday goals livestream release party live set livestream set release day even youre also planning show real life invite hardcore listeners friends family fellow artists join comfort living rooms earlier day via facebook live twitter chat shake traditional releaseparty format consider holding qa session share stories behind songs album believe might little intimidated showing goofy side youll put ease theyre still radiosilent go shift concert mode playing acoustic versions tunes bringing people love music world intimate way opposed straightup concert experience youre deepening already existing bond breaking walls youre also creating connection listeners new material theyre getting know heart soul behind album forge relationship first time hear even virtual arena direct conversation fans music means intention behind adds gravitas efforts makes resonate okay youve successfully put album killer release day congrats hard work right quite youve put something world want remain relevant fresh long possible itd tragedy share something youve worked hard forgotten course week thats artists work never really done important keep engagement listeners alive well past actual release day best ways hold realtime qa pro tip youre feeling ambitious want turn release day online marathon consider combining full live set qa session ultimate virtual bash qa postrelease day postrelease day postrelease day previous section mentioned importance paid ads surefire way make sure fans realize youll releasing new track album course theres chance theyve seen ad forgotten actually stream music changing paid advertisements share different content surrounding release gentle way remind fans listen music example could throw advertising dollars behind link great press like review make sure share gets noticed postrelease day timeline content plan important prerelease plan change ad content pro tip ensure youre wasting advertising dollars creating ads speak people matter likely engage ads follow tips ads connect fans facebook instagram ad content postrelease day awal members coasts fantastic job putting little promotional backing behind release summer album life grab extra listeners ad content postrelease day planned elements prerelease strategy nows time unveil world videos great way essentially reintroduce music world already released gives music may released two weeks ago fresh new feel could also try sharing people playing track whether cover played dj club covers remixes another great way resurface music already released post promote video content awal member madison beer released audio newest release nov dropped official music video two weeks later nov keeping track fresh longer posting video content postrelease day recommended social media contest encouraging users share feedback song release via custom hashtag could also encourage followers share personal covers edits remixes song exchange retweets support end way garner support lesser known artists encourage fans share covers remixes fan covers remixes postrelease day cant say enough important thank everyone supports every step along way shoutout publications writers photographers diehard fans anyone else feel seriously backing throughout career shows humility gratitude fans notice also works excuse bring good news surface say thanks press thank press awal artists aly aj spectacular job thanking nylon magazine press coverage release latest ep ten years postrelease day new release hopefully getting tons attention time right pitch talent bookers promoters agents bands showcase talent live space doesnt matter youre playing music large venue coffee shop art show music festival local subway station youre still getting noticed reason promote newest release weve said performing live shows great way bring music already released back forefront everyones mind release plan doesnt stop new release important part catalogue story foreseeable future youll still promoting latest music keep brainstorming new exciting ways promote using tips techniques use spotlight book shows booking shows ps awal p awal ps awal youre releasing new music next months use comprehensive plan start preparing action items lead time key especially things like press booking release show venue dont delay least making timeline need accomplished best bet staying far ahead timeline possibly fun super exciting time make time simply enjoy sharing music world youve recorded sure great new music follow steps guide youll also ready thoroughly plan campaigns leading release conquer actual big day keep momentum moving long afterwards apply awal today see help better release music new year apply" +} diff --git a/tL-manager-BMI-Royalty-Information.json b/tL-manager-BMI-Royalty-Information.json new file mode 100644 index 0000000000000000000000000000000000000000..13010c18ba538a39e6b68b40436f651caa500707 --- /dev/null +++ b/tL-manager-BMI-Royalty-Information.json @@ -0,0 +1,5 @@ +{ + "filename": "tL-manager-BMI-Royalty-Information", + "department": "Manager", + "cleaned_text": "bmi royalty information editors note following document taken bmi web site march information updated periodically sure latest updates consult online version wwwbmicomiamasongwriterroyaltyindexasp content broadcast music inc rights reserved used permission table contents general information us radio royalties us television royalties foreign royalties compulsory license fees payperview services internetcommercial music services live concert royalties miscellaneous royalty rules affiliate services contact informationall content broadcast music inc rights reserved used permissiongeneral information registering works bmi enters work registrations databases one two sources bmi song registration form formerly known clearance form provided either electronically paper cue sheet details music written specifically film television show audiovisual work typically prepared production company songs must submitted bmi via bmi registration form order receive credit certain types performances eg radio commercial music services commercial jingles promotional announcements live pop classical concerts internet separate registrations need supplied bmi individual music cues dramatic underscore used audiovisual programs automatically registered cue sheet received processed bmi agree notify bmi promptly errors omissions contained registration information works information set forth bmicom website way inaccurate registration received songwriter composer publisher work suffice credit participants publisher submits registration writer submit one well viceversa however strongly encourage copublisher work submit song registration form order assure work entered publishers correct bmi account bmi enter work database shares participants indicated first registration received later registration received work conflicts earlier registration notify party submitting later registration request documentation written confirmation affected participants changing records reflect different information indicated later registration order bmi make payment time public performance music imperative registrations songs cue sheets received close performance date possible essential register works order bmi provide information entire catalogue foreign performing rights organizations bmi may quickly easily identify foreign royalties received behalf late registrations cue sheets may cause royalties delayed andor lost ultimate responsibility make sure works registrations cue sheets delivered bmi timely fashion even though may rely upon others provide bmi normal course business also must affiliate bmi prior time performance music order receive royalties late affiliations cause royalties paidall content broadcast music inc used permissionsamples medleys bmi accepts registration works sample works provided parties agreed share percentages new work shares cannot exceed see royalties divided percentages must noted bmi registration form work copy sample license agreement must provided bmi upon request standard rates popular song paid rules apply two works utilized single recording medley assignment works bmi publisher may assign work another bmi publisher calendar quarter bmi receives notice assignment however bmi accept assignment outstanding financial obligations liabilities bmi assigning publisher adjusted appropriately assignment transfer control entire catalogue works one bmi publisher another connection sale merger otherwise subject terms conditions agreement bmi publisher whose works sought assigned transferred withdrawal works publisher seeks withdraw works bmi catalogue account assignment another bmi publisher see assignment works may end current term agreement bmi upon notice bmi registered certified mail six months less three months prior end current term however withdrawal accepted outstanding financial obligations liabilities bmi publisher adjusted appropriately addition withdrawal work publisher affect right bmi continue license interest participants work instrumental lyric versions work bmi cannot undertake distinguish lyric instrumental performances work unless two versions bear different titles lyric instrumental versions known different titles performances instrumental version credited solely songwriter composer publisher instrumental version unless bmi notified parties involved agreement lyricist publisher lyric version entitled share performance royalties instrumental version lyric instrumental versions known title lyricist publisher lyric version credited respectively applicable writer publisher shares performances unless bmi notified participants agreementall content broadcast music inc used permissionbetween lyricist publisher lyric version credited stated percentage performances royalities divided bmi considers payments songwriters composers publishers single unit equal usual division performance royalties songwriters composers publishers total writers shares half available total publishers shares remaining please note following rules respect division royalty total publishers shares may exceed agreement publishers songwriters composers provides songwriters composers receive work registered bmi indicating percentages allocable songwriters composers publishers total performing rights partial performing rights assigned publisher songwriters composers receive entire balance entire ratio respective writer shares however songwriter composer assigned publisher part proportionate rights publishers share shall entitled receive portion remainder publishers share allocable co writers bmi notified subsequent initial registration rights assigned publisher bmi credit publisher appropriate share performances beginning quarter notice received retroactive adjustments made example john mary wrote song together john signed songwriter agreement music publisher mary work registered bmi john list writer share mary list writer share cowriter interest unassigned publisher interest music publisher list publisher share publishers interest obtained john mary later assigns publisher interest music publisher mary notify bmi writer share reduced music publisher paid effective quarter bmi received marys notice wherever royalty rates indicated booklet amount shown royalty typical case songwriters composersall content broadcast music inc used permissionhave assigned copyright work publishers half amount listed paid songwriters composers half publishers bmi operates nonprofit basis available income distributed except modest reserve bmi may time time voluntarily increase royalty rates arrangements public domain works copyrighted arrangements works public domain classical popular credited otherwise applicable rate payment popular songs performances exception live classical concert distribution payment made performances arrangements public domain works payment uses unmonitored areas bmi collects license fees thousands music users addition listed booklet general licensing music users include limited hotels restaurants nightclubs sports arenas theme parks airlines jukeboxes retail stores administrative cost involved collecting performance data music used licensees economically feasible bmi may choose appropriate surrogate radio television performances distribution fees case general licensing revenue serves increase rates payable performance types determine representative universe performances music used general licensing categories bmi also reserves right use surrogates accurate distribution data unavailable however strive distribute license fees derived specific users music songwriters composers publishers whose music performed users time may add distribution source previously unmonitored accurate distribution data subsequently becomes practically available nonpayment sources payment currently made following types performances electronic media cue bridge background music radio partial performances popular songs radio station ids medium promotional announcements radio local broadcast cable satellite tv however bmi may voluntarily introduce payments categories time rates determined bmi also note due cost ofall content broadcast music inc used permissiondistributing negligible royalties total amount royalties earned sources distribution less payment made royalty statement rendered distribution frequency royalty payments bmi makes royalty distributions quarterly january april july october sources discussed booklet exception live concerts royalties distributed semiannually april october pop concerts annually july classical concerts also may time time make special distributions circumstances warrant distribution schedule subject change bmis discretion us radio feature performances bmi considers radio feature performance popular song one lasts seconds sole sound broadcast time performance bmi makes separate payment four categories radio feature performances based upon sampling stations licensed bmi commercial radio classical radio college radio national public radio commercial radio payment made local commercial radio performance based upon license fee paid bmi station broadcasting performance stations bmi license fee among top license fees paid radio stations previous year performance popular song station paid less cents total participants example two songwriters composers one publisher songwriter composer paid least cents per performance publisher paid minimum cents per performance stations bmi license fee among bottom license fees paid radio stations previous year performance popular song station paid rate least cents total participants extended works work classical work exceeds minutes commercially recorded receive double credit full radio broadcast performance theall content broadcast music inc used permissionregistration form submitted bmi work accompanied letter noting length recording requesting higher rate payment classical radio local commercial radio feature performance classical work performance paid minimum rate cents per minute total participants stations top license fees less cents per minute total participants stations whose fees bottom classical work defined symphonic chamber music solo work originally written classical concert opera performance college radio payment made feature performances song radio stations affiliated colleges universities minimum rate cents total participants national public radio royalty rate paid performances national public radio npr based upon amount license fees received bmi corporation public broadcasting cpb compared total number monitored performances bmi works npr stations result royalty rate changes quarter different number performances paid amount fees received radio feature performance bonus payment rates work reflected bmis records logged us feature broadcast radio performances us feature television performances broadcast cable networks pbs certain distantsignal local television stations carried cable systems superstations paid bonus payment rates described subsequent us feature broadcast performances radio except college radio bonus payment rates used instead addition minimum base payment rates previously indicated bonus payment rates available songwriter composer publisher whose interest work licensed bmi period bonus rate applicable bonus payment rate work determined quarter analyzing historical cumulative feature performances work cumulative history feature performances works performed quarter feature performances work monitored bmi since january included cumulative history include performances quarter bonus payment rate usedall content broadcast music inc used permissionthere four levels work paid bonus rates super bonus payment rates times base rate works highest cumulative history whose current quarters performances together constitute approximately current quarters radio feature performances bmi works upper level u bonus payment rate times base rate works next lower cumulative history whose current quarters performances together constitute approximately current quarters radio feature performances bmi works midlevel bonus payment rate times base rate works next lower cumulative history whose current quarters performances together constitute approximately current quarters radio feature performances bmi works entrylevel e bonus payment rate times base rate works cumulative history performances us television royalties types performances bmi categorizes broadcast television cable television performances listed derives usage information music cue sheets performance information provided bmi bmi television licensees tv data corporation qualified sources feature performance performance work focus audience attention time broadcast works properly noted music cue sheet one following codes visual vocal vv used vocalist camera singing song visual instrumental vi used instrumentalist camera performing songall content broadcast music inc used permission background vocal bv song audible listening audience even though may dialogue foreground scene background performance performance work works used dramatic underscore scene music focus audience attention yet nonetheless used set mood scene usually works commissioned especially tv program motion picture library works selected program producer lieu specially commissioned music works generally background instrumental nature properly noted cue sheets use code bi theme performance performance work regularly associated television program identifies program viewer used opening andor closing music theme credit given work used multiple episodes television program works theme described used opening andor closing individual episode series credited accordance actual use feature background logo performance performance music regularly accompanying visual identification production company program distributor infomercial performance music performed shortform longform advertisement content often includes product demonstration invites direct consumer response rates feature background theme logo performances indicated network television local television rate tables music performed within infomercials paid onethird otherwise applicable rate listed promotional announcement commercial jingle performance promotional announcement promo announcement advertises upcoming program television radio programming promoted must aired network station promo bmi pays music used promotional announcements aired abc cbs fox nbc television networks payments calculated based upon time day performance rate payment varies quarter quarter depending upon number promotional announcements aired aall content broadcast music inc used permissiongiven quarter time payment made promotional announcements medium commercial jingle work either preexisting specifically written advertiser used advertise products andor services sale television radio payment made feature performances commercial jingles broadcast cable networks local television radio royalties paid background performances abc cbs fox nbc television networks cases rates vary quarter quarter depending number commercials aired given quarter information rates documentation required become eligible payment promo commercial jingle royalties please contact bmis commercial jingle promo department new york mail telephone promos jingles facsimile network television bmi currently licenses abc cbs nbc television networks agreements fee cover music used network originating programming paid network instead local tv station carrying program performances music networks listed separately royalty statements television networks fox united paramount network upn warner brothers wb currently licensed bmi networks license fees associated performances music programming carried networks paid individual local stations broadcasting programs purposes distinguishing programs local syndicated programs bmi indicates network origination royalty statements rates paid lower rates paid abc cbs nbc performances following page gives applicable rates performances licensed networks abc cbs nbc fox upn wb bmi computes royalties earned single performance multiply indicated rates number local stations carrying network broadcastall content broadcast music inc used permissionabc cbs nbc network television rates perform ance typeprime time pm pmlate night pm amover night ammorning daytime pm full feature seconds theme per show background per minute logo per show performances less seconds paid prorata basis payments performances fox upn wb paid applicable rate local television currently bmi licenses local television stations blanket perprogram basis blanket licensee pays single fee covers performance bmilicensed work licensees syndicated locally originated programs including carrying fox upn wb programming perprogram licensee pays fee bmi bmi music used films audiovisual works syndicated locally originating program broadcast station well certain incidental ambient uses music distribution purposes bmi separates fees derived blanket licensees perprogram licensees performances occurring stations choosing blanket license paid accordance local television rate table performances music stations opting perprogram license credited calculating fee associated individual program applying relationships various use types ie feature theme background etc fees collected perprogram stations distributed songwriters composers publishers whose music used programs fees paid less administrative chargeall content broadcast music inc used permissionlocal television rates performance typedaypart pm pmdaypart b times full feature seconds theme per show background per minute logo per show performances less seconds paid prorata basis public television pbs bmi receives compulsory license fees performances music public broadcasting stations distributes fees derived source songwriters composers publishers whose music broadcast public tv stations rates vary quarter quarter depending amount license fee collected base value bmi performances tabulated quarter value performance pbs station could higher lower local television daypart rates depending factors noted methodology relative weightings local television rates used begin calculation cable television bmi collects license fees pay cable networks eg hbo cinemax showtime etc basic cable networks eg mtv usa network lifetime discovery network vh tnn etc list cable licensees changes quarter quarter included booklet please contact local writerpublisher relations office question licensing status particular cable network census programming information cable tv provided bmi outside sources tv data corporation cue sheets programs collected many sources including limited cable networks program producers distributors royalty rates determined quarter applying amount license fees collected cable network less administrative fee payable performances occurring network using methodology relative weightings local television daypart rates starting pointall content broadcast music inc used permissionforeign royalties bmi reciprocal agreements performing rights organizations pros throughout world allow pros license works collect fees behalf music performed outside united states foreign pros calculate payments bmi composers songwriters publishers accordance distribution rules remit royalty payments bmi songwriters composers publishers listed international index affiliated bmi whose works reported bmi pros foreign royalties distributed quarterly bmi deduction administrative handling fee october subject change time royalty payment foreign pro designated specific bmi songwriter composer publisher bmi pays affiliate directly bmis records confirm entitlement payment however instances instead affiliates name song title film title tv show name provided foreign pro conjunction lump sum royalty payment bmi instances must extensive research determine entitled parties percentage splits make allocation accordance data contained bmis records sometimes causes minor delay distributing royalties although bmi extensive foreign royalty tracking system always welcome information regarding foreign translations song titles film tv show titles details regarding foreign subpublishing agreements send information bmi international administration new york information noted database tracking purposes compulsory license fees approximately year bmi receives royalties us copyright office bmi music performed distant signal broadcast television stations carried cable television systems eg superstation wgnchicago music performed broadcast television signals retransmitted satellite carriers bmi distributes money songwriters composers publishers whose music contained broadcast signals bmi additionally receives modest amount royalties compulsory copyright royalty paid manufacturers distributors audio home recording devices media bmi distributes royalties using combination performance information recorded music sales data information compulsory license fees received national public radio public television please refer sections bookletall content broadcast music inc used permissionpayperview services given time bmi may license agreement one pay perview services license agreement effect bmi receives payment payperview licensee royalty payments distributed songwriters composers music publishers whose music aired individual service using formula described cable television section booklet internet bmi licenses certain internet sites seeking license many new medium licensing distribution policies still established performances tabulated royalties distributed extent music usage information submitted us distributed continue distribute royalties performances music internet sites licensed bmi developments area please contact local writerpublisher relations office commercial music services bmi distributes license fees collected digitalcable music suppliers background music suppliers eg aei muzak musical works used services bmi uses performance information provided audio services create database bmilicensed works eligible receive royalty payment since number bmilicensed works well amount license fees collected bmi changes one distribution another royalty rate works performed services likewise varies distribution live concert royalties pop concerts bmi uses independent source pop concert information create database used solicit concert set lists compile responses determine semiannually musical acts among topgrossing tours royalty payment calculated bmilicensed work used headliners act top musical tour set lists since number bmilicensed works changes one semiannual period next license fees collected bmi concert promoters venues royalty rate works performed live pop concerts also changes periodall content broadcast music inc used permissionclassical concerts bmi pays royalties original classical works performed live classical concerts us presented entities licensed bmi classical symphonic licenses payment based upon census eligible concert programs received licensees rates determined annually based upon fees received classical licensing total number bmi works performed miscellaneous royalty rules direct licensing works songwriter composer publisher directly licenses user source licenses production company right perform one works bmi must notified writing within ten days issuance license within three months performance whichever comes first event notice timely given bmi direct license shall deemed null void copy license attached notification amount paid license deleted desired license fees direct source licensed performances cannot collected bmi royalties paid bmi performances direct source license includes performances periods bmi already paid royalties unaware license issued debit made songwriters composers publishers accounts respect performances royalty adjustments claims adjustments royalty distributions must made writing local writerpublisher relations office within nine months date distribution seeking adjusted adjustments royalties paid nine months notice claim received bmi considered bmi prepare timelyrequested adjustments us royalty distributions situations royalties paid incorrectly long total amount adjustment likely exceed payment made missinglate cue sheets work registrations royalties paid beginning first possible distribution documents received processed provided received within nine months distribution royalties otherwise would paid necessary documents submitted bmi timely fashionall content broadcast music inc used permissionbecause many foreign pros strict cutoff dates beyond consider adjustment requests claims foreign adjustments submitted writing within nine months date foreign distribution royalties incorrectly paid expected royalties missing along detailed information incorrect missing payments bmi research matter request adjustment appropriate foreign pro provided amount expected received foreign pro exceed additional royalties received foreign pro result bmis adjustment request remitted part next possible distribution following receipt royalties bmi payment another organization event bmi reason believe receive receiving payment performing rights organization bmi based upon united states performances one works period works licensed bmi bmi shall right withhold payment performances bmi receives satisfactory evidence paid paid organization event paid supply evidence within months date bmis request bmi shall obligation make payment performances works period assignments royalties repay loans bmi recognize assignment royalties lending institution person entity makes bona fide loan specific sum money intended repaid whole part bmi royalties must affiliated bmi time assignment made addition special loan assignment form executed lender acknowledged bmi must completed signed bmi pay royalties lender please contact local writerpublisher relations office loan assignment form royalties withheld due litigation bmis policy withhold royalties earned works subject litigation upon written request affiliate whose royalties withheld accumulated royalties exceed royalties transferred interestbearing bank account moneymarket rates principal interest remitted writers andor publishers determined final unappealable decision settlement litigants entitled funds upon submission bmi copy final court order settlement documentsall content broadcast music inc used permissionin lieu withholding royalties litigation bmi accept letter direction signed parties lawsuit pay royalties third party escrow agent become payable case royalties generate interest bmi legal process administration charge due bmis increased costs handling legal process received certain affiliates become necessary institute administration fee matters effective january bmi served state federal tax levy restraining notice order withhold judgment child support order divorce decree subpoena like requires bmi hold pay royalties another party legal entitlement provide information documents regarding account assessed handling fee lesser amount may required authority issuing process fee deducted next royalty distribution affected account following adjustment bmis records reflect process following transmittal information documents handling fee assessed new process received except charged additional fee bmi receives updated process previous process obligation still force according bmis records stop payments reissuance royalty checks oral request bmi stop payment reissue royalty check accepted request must confirmed writing received bmi within two days oral request administrative charge deducted amount reissued check stop payment orders cannot accepted however royalties directly deposited payees bank account affiliate services direct deposit royalties royalty payments deposited directly checking savings account contact local writerpublisher relations office necessary authorization form download form bmis web site httpbmicom bank america bmi loan program many years bmi accepted loan assignments bank choice able borrow money future bmi royalties continue accept loan assignments chosen lender see assignments royalties repay loans however affiliates established banking relationship wish continue bmi arranged bank america one countrys leading financial institutions make loans bmi royalties loans made aall content broadcast music inc used permissionfavorable rate one percent prime rate application fee also processing loans given priority bank america bmi order able participate program must affliliated songwriter composer sole proprietorship sole stockholder publisher also average annual bmi royalty earnings past three years must current royalties must clear liens qualify bank america lend amount bmi projects earn following two years minimum loan amount find qualify program contact local writerpublisher relations office details loan procedures requirements obtain loan application contact bank america loan applications also downloaded bmicom electronic transfer information bmi encourages use electronic transfer information related work registrations cue sheets affiliate receipt royalty statements exchange electronic information based established industry specific bmi standards please contact local writerpublisher relations office information participate services check bmicom future developments bmicom bmis website bmicom contains many features keep posted happenings music business new bmi services legislation affects royalties copyrights useful information also review song registrations bmi websites hyperrepertoire section visit site bookmark future use youll glad didall content broadcast music inc used permissioncontact information questions information booklet please contact bmi office listed covers state location residence business writerpublisher relations executive happy assist bmi london harley house marylebone rd london nw hn england fax bmi miami blue lagoon dr suite miami fl fax bmi miami gladly assist spanishspeaking affiliates wherever resident bmi new york w th street new york ny fax alaska american samoa connecticut delaware district columbia guam hawaii illinois indiana iowa kansas maine maryland massachusetts michigan minnesota nebraska new hampshire new jersey new york north dakota ohio pennsylvania puerto rico rhode island south dakota vermont virgin islands wisconsinbmi los angeles sunset blvd rd floor west los angeles ca fax arizona california colorado idaho montana nevada new mexico oregon utah washington wyoming bmi nashville music square e nashville tn fax alabama arkansas florida georgia kentucky louisiana mississippi missouri north carolina oklahoma south carolina tennessee texas virginia west virginia" +} diff --git a/tL-manager-training.json b/tL-manager-training.json new file mode 100644 index 0000000000000000000000000000000000000000..b4c91333680f3146afd10f56f38b6ab2179bc24e --- /dev/null +++ b/tL-manager-training.json @@ -0,0 +1,5 @@ +{ + "filename": "tL-manager-training", + "department": "Manager", + "cleaned_text": "international journal music business research october vol regulating artist managers insider perspective guy morrow abstract problematic artist managers international popular music industry currently subject consistent regulatory frameworks particularly given increasing centralisation responsibility role article examines following research question artist management practices consistently reg u lated addition address following sub research questions pitfalls belie attempts regulate betterment musicians music industry self regulation viable alternative keywords artist management regulation code conduct acknowledgement many individuals assisted encouraged throughout research work artist management gratefully acknowledge assistance co manager rowan brand well boy bear band members killian gavin j cob tarasenko david hosking jon hart tim hart without support co pletion article would possible dr catherine moore new york university michael mcmartin melody management also provided val u able advice feed bac k furthermore received macquarie university new staff grant enabled travel conduct research interviews new york university graciously hosted visiting scholar guy morrow visiting scholar new york university studied artist management practices global economy international music managers forum currently macquarie university research development grant resear ch career development strategies within new music industries also manages several australian bands austral ian recording industry association aria awards boy bears november guymorrowmqeduau regulating artist managers introduction problematic artist nagers international popular music industry currently subject consistent regulatory frameworks particularly given increasing centralisation responsibility role article examines following research question artist management practices consistently regulated addition address following sub research questions pitfalls belie attempts regulate betterment musicians u sic industry self regulation via ble alternative article four parts first addresses research questions use participant observer methodology feature case study australian band boy bear boy bear chosen case study band co managed boy bear rowan brand september december therefore first hand knowledge regulatory frameworks impacted impact development project b becau se band australian recording industry association aria awards n vember including album year best group breakthrough artist album breakthrough artist single best adult alternative album therefore ba nd granted position centre australian music business second part makes use qualitative research interviews managers comparative study third fourth sections offer solutions issue la ck artist manag ement regulation study concerning whether artist managers consistently regulated significant amount artist management rela ed entrepreneurship innovation new music industries increased dramat ically due abundance distribution outlets music peltz scope artist entrepreneurshipself agement also increased management role becomes even central ibid due impact new technologies hav e music business without artist management self manage international journal music business research october vol ment included music industry could function however could function without record companies due substantial number altern ative revenue streams distribution outle ts content fur thermore artist manager individual besides artist gets see touch jigsaw puzzle pieces fit gether create artist career therefore immense influence every spect artist career therefore important r esearch regulation artist managers conducted also considering following question pitfalls belie attempts regulate betterment musicians music industry article therefore provide overview regulatory frameworks artist management practices new music industries subject offer sustained focus understan ing processes driven continue drive develo p ment regulation artist managers music industries background sydney based artist managers brand subject ente r tainment industry act act legislation exi sts australian state new south wales nsw regulation useful starting point forms background study form governmental regulation entertainment industry unique exist australian states equivalent uk canada us extent hertz act provides suite laws aimed protecting performers dealings agents managers venue consultants co monly known booking agents therefore locates artist man gers within broader industrial context better regulation office bro nsw argues act introduced performers often poor bargaining position regard c ommercial entertainment industry act accessible via following url httpwwwlegislationnswgovaufullhtmlinforceactfirs tn regulating artist managers relationships agents managers venue consultants theref protected unfair practices key feature act agents managers venue co n sultants must obtain license office industrial lations oir work state nsw license requires compliance set laws governing operations including maximum fees charged money held behalf performers must han led artist manager money n trust behalf artist pay bond period one year office industrial relations oir provisional license trust account audited accountant end period nsw state australia specifically license entertai n ment industry representatives although western australia perth australian capital territory canberra require employment agents includes operating entertainment indust ry licensed south australia adelaide requires representatives registered bro nsw completed review range occ u pational licensing including entertainment industry licenses april response final r eport review produced nsw government conceded licensing scheme protecting performers effectively removed however stage recommendation needs enacted legislation licensin g requir ements artist managers operating nsw still apply october better regulation office part office industrial relations nsw produced final report outlining review entertainment industry act article specif cally concerns recommendation code conduct states entertainment industry act review located following url entertainment industry act review located following url httpwwwdpcnswgo international journal music business research october vol code conduct developed covers ethical beh viour minimum competency requirements person operating performer representative shou ld required comply code penalties misconduct code easy understand targeted particular risks consistent existing common law obligations results comparative study concerni ng issue pr vided part two literature review methodology watson offers definition artist management manager person earns living helping artists build maximise musical careers woodruff states manager job create perception band successful also ev dent thing manager complicates tempts regulate profession watson rogan order illustrate point watson notes managers wear many different hats order build maximise careers artists man gers organisers negotiators motivators counsellors ed itors designers manipulators strategists much watson argument every manager combines different hats different co binations thus creating unique complex style watson rogan argues since management question personality th policy anything else defines perfect n agement candidate inevitably remains elusive ambivalent ideal candidate must cautious yet innovative intuitive yet empirical forc e ful sensitive artists feelings aggressive ba ttle reflective victory wise intellectually ntimidating must also sympathetic listener rogan claims mythical perfect artist manager lies som e hard businessperson medical doctor dedi cated schoolteacher ibid notion one could develop regulating artist managers framework best practice artist management challenging cause various ways managers operate depend ent individual manager personality met hodologies artist managers employ need analysed within specific contexts dis tinct se ctions music industry individual managers oper ate const itute contexts every artist different therefore individual managers differ one anot watson notes understand manager first unde rstand artist managing therefore artist manager behaviour somewhat dictated decision making process artist manage dynamics artist manager form basis study artist management managerial role intricately connected artist work manager fully understood context heshe artists operate contrast common argument strong artist manager relationship analogous good marriage personal n ager th e alter ego artist ibid evident dynamic fact quite different stereotypical good marriage strong ar istmanager relationship unbalanced personal manager ne c essarily function artist unique combin ation needs necessarily vice versa therefore manager alter ego alter ego necessarily subservient power ba lance shifts success relationship become abusive one mandat ry code conduct established artist managers face risk clients could use code power ba l ance shifted favour peter jenner notes nothing forever business relationship marriage see losing act part development nager although another business relationship artist may form frascogna hetherington note person full service personal manager influential force behind artist career effort often critical international journal music business research october vol artist ultimate level success failure assert given critical role manager plays planning execution day today career control essential artist manager waveleng th per sonally professionally therefore need consider artist managers interests examining regulatory options rather focusing needs artist analytical approach needed addition body literature concerns artist manag e ment number researchers examined artist management reg u lation specifically researchers include gilenson hertz obrien frith gilenson examined artist p ersonal manager conflicts interest music industry hertz examined regulation artist representation ente r tainment industry obrien specifically examined regulat attorneys californias talent agencies act presented tautological approach protecting artists work authors informed study frith provides broader analysis p pular music entertainment industry work concerning industrial process pr ovides theoretical framework article frith argues music industry operates reverse direction articulated colonisation argument notes argument co ncerning music making ess ential human activity colonised commerce flawed n volves suggestion music starting point industrial process raw material everyone fights fact final product popular music often located end industrial process attempts regulate affect musicians artistic processes output therefore regulation negative positive impact artists career development reason study code conduct artist managers intern tional pop ular music industry involve case study australian band boy bear addition ethnographic interviews conducted artist managers approached via th e international music managers forum immf september november regulating artist managers total artist managers interviewed study however due scope article material utilised comanaged b oy bear rowan brand septe ber december therefore article uses partic pant observer method research tradition well established qual itative research practices boy bear chosen award wi nning band allocated position centre australian music business co manager unique perspective career development artist manager individual besides artis gets see touch jigsaw puzzle pieces fit together create artist career frascogna hetherington terms participant observ tion artist manager therefore useful position acquiring depth knowledge dynamics texture artists career deve l opment case studies provide ability deal wide variety ev dence within real life contemporary context opportunity gain access explan ation causal links complex survey eisenhardt mitchell walton yin therefore case study artist manager observed broa er interactions regulatory bodies artist managers subject additi interviewing artists managers au tralia canada uk us members immf must noted terms discussion broader regulatory frameworks subject manager boy bear bi ased toward mana gers point view case study managing boy bear boy bear album moonfire released australia via universal music australia island records imprint august boy bear consists band members david hosking lead vocals guitar tim hart drums banjo guitars backing vocals jacob tarasenko bass gu itar backing vocals killian gavin lead guitar backing vocals jonathan hart keys backing vocals international journal music business research october vol reached gold sales status within weeks achieved platinum sales status december released uk via co opv january album released digitally us via universal republic august yet released physically boy bear australian recording industry assoc ation aria awards november including album year best group breakthrough artist album breakthrough artist si ngle best adult alternative album numbe r regul atory frameworks brand band managers nav igate could help band achieve results stated previously artist manager money trust b e half artist pay bo nd period one year office industrial relations oir provisional license trust ccount audited accountant end period audit positive bond returned mana g er issued license went process issued license prior commencement relatio nship boy bear set co management agreement brand brand years old time could afford p ut forth bond band accounting signat ry band partnership account money trust behalf band start phase australian artist business common rtist manager also business manager band becomes established afford business management se r vices artist manager often reli nquish business management responsibilities professional music business manager ar tist manager focuses core areas touring marketing production recordings case boy bear one issue requirement paying bond provisional license done co management agreement brand would technically able work artist manager b e cause could afford pay bond regulating artist managers however many australian artist managers practice without l cense partic ularly based state othe r nsw form licensing requirement may artist managers aware licensing requirement nsw b e cause perception r equirement enforceable meaningful way license perception entertainment industry act much influence artist managers operate brand members association artist managers aam australia ber orga nization immf membership organization curren tly require adherence code conduct comparative study research interviews order examine question artist management practices regulated work boy bear l cated broader context includes perspectives artist managers operate internationally quotations research participants taken interview transcripts much debate amongst members immf concerning establishment code conduct artist managers interviewees argued necessary membe r ship immf tied others argued looser set guid elines woul suitableappropriate one canadian artist manager brian hetherman commented association artist managers australia mmf australia also member organiz ation immf membership mmf australia require dherence code co nduct number years canadian indie label duke street records mca records brian hetherman became youngest director ar artist repertoire mca cords head mca music publishing brian ffered inaugural position executive director radio starmaker fund helming radio starmaker first cou ple years opportunity presented brian make plann ed moved artist management indie label owner shortly thereafter brian started cerberus artist management affiliated label curve music representing artists years garth hudson band holly mcnarland suzie mcneil wide mo uth mason andy stochansky derek miller peter katz brian also president music managers f orum canada vice chair immf board international journal music business research october vol came board heading mmf canada code conduct would make people sign short form agreement stating embers would operate part cular guise think problem sticking people certain position particular way business think particular cases necessarily fair general consensus definitely needs tempt made artist managers increase level professionalism level accoun tability responsibility quite word would enforce challenging experience managing boy bear became evident lawyers often make refe r ence industry standards negotiating behalf clients though became clear study standards exist number artist manager interviewed said felt threa ened idea establishing standards believed la w yers would use st unwarranted way another point made multiple interviewees fiscal responsi bility manager occurring time industry transfo r mation increases need solution regarding regulatory framework also ramifications way indus ry theorized frith argues artist managers largely su b ordinate demands record companies though cha n ging frith traces changes nagerial role argues record companies central ingredient wi thin mix entities needed pop ular music act successful states show biz recipe rock success sufficient talent efficient management enterprising record company central n gredient recipe inde ed company frith frith asserts record companies legal owners master copyright within finished recorded product expect well consultant canadian music week gibson addition brian sits board dire c tors factor wwwcimamusicca accessed august regulating artist managers exercise rights ownership artists artist mana gers subordinate demands however changing organizations featured artists coalition fac encou r aging artists license master copyright recordings record labels rather assigning master copyright addition notion collapsed copyright challenges definitions copyright asserting different copyrights longer make se n se music consumed online song streamed online loaded copy song generated performance copyright song mechanical copyrig ht one morrow online use also involves c pyright actual recording well collapsed copyright therefore includes performance copyright mechanical copyright copyright actual recording merging one creator right ibid centralisation copyrights realised important ramifications structure mu sic industry would involve royalty collecting societies song publishing companies record co panies merging one however issue arising concerns increased workload surrounds creator right functions aforementioned entities rolled one manager creator right would regulated one reasons theorists williamson cloonan frith reconceptualised music industry shifting emph asis away record companies toward holistic view industry considers five key income stream groups live performance song publishing record sales r chandise sponsorship one british artist manager tim prior noted tim prior entertainment industry years former director arista records bertelsmann group company arti st rights manager worked alongside many major artists nagers helping redefine develop international entertainment industry constantly evolving business models tim also chairman uk ticket comparison site tixdaq com music consultant peter gabriel digital streaming service wecom european quarterback us based redlight management board member mmf music managers f orum wwwqmusic comaubigsound accessed august international journal music business research october vol rules engagement changed continue cha n ge dramatically quickly need code think central community people fast becoming gateke e pers relationship would call creat creative client prior noted uk artist managers often discouraged forming agreements clients deeper straight service prov isioncommission generating relationship chang ed artist management involves building systems co n texts environments artistic creativity emerges music business experiencing fundamental change analyt cal reconceptualization possibilities artist mana gement agreements needs take place example manager invested heavily cash well time put proposal together put client become publisher record label lot mistrust frankly th ink stirred inappropriately professional advisors meaning lawyers according prior mistrust subsiding need innov tive management solutions increases allowing artist managers ximum possibilities deal making questioning divisions traditionally exist record labels song publishers artist nagers innovative artist management solutions achieved commerce versus creativity dichotomy informed number music indu stry studies needs reconceptualized context frith negus commented colon sation argument frith noting music located end point industrial process negus positing c reativity r sus commerce dichotomy may clich\u00e9d still one ways musicians make sense happening arg u ments form part established debate popular music studies canon concerning rock genre struggle authentic ity relation commodity form see frith adorno pop ular music regulating artist managers often considered unique extent makers form art struggle role commodity producers ho wever radi ohead epitome postmodern art rock band portant release album rai nbows brought artistic sensibility organization commodification morrow assuming oth er artists fo llow lead arguably less perceived tension creati v ity commerce artists managers increasingly organise commodification research interviews statements outlining need code co nduct would enable immf become self regulating body often accompanied arguments one co n cerning centralisation responsibil ities artist artist manager though statements often qualifi ed n agers saying mandatory code would impossible enforce general comments supporting establishment mandatory code conduct follows british artist manager dan dland noted yes definitely mean ive industry six years guess seen many different incarnations managers horror stories occurred actually think probably becoming less professional business becomes ca nadian artist manager rob lanni stated think necessary hoping would never refer people know outset things like see peers adhere profession beca use historically rules managers immf dan medland works global artist management firm iemusic recently moved australia uk manage ladyhawke passenger medland also overseeing new full service artist management venture leading australian music sales marketing comp ny inertia iemusic addition role ieinertia dan continues work existing iemusic ro ster wwwinertia music com accessed august rob lanni co founder toronto based full service artist management co mpany coalition music coalition music manage artists lady peace finger eleven simple plan international journal music business research october vol mmf came existence managers came forms things way familiar rest world us particular b een shady individuals years diversity opinions regarding artist management practices lead novel solutions sawyer therefore interviewees commonly agreed code conduct another c ommonality respondents would pro b lematic enforce mandatory code conduct artist n agement services encompass increasingly diverse range economic activities difficult impossible develop un iform method regulation within territories concerned could lead esta b lishment one consistent international code johnson turner mmf uk attempted establish mandatory code conduct past according one british interviewee keith ha r ris keith harris began work rec ord industry first record company worked small independent uk label called transatlantic records label represented mainly british folk musicians also distributed blue note mil estone jazz labels joined emi records initially worked several house emi labels promotions department labels included rocket worked elton john album blue moves fantasy ariola emi intern ational joined motown emi licensed label worked motown two years ending general nager label period label worked artists marvin gaye diana ross smokey robinson comm dores rick james supremes helma houston stevie wonder left motown moved los angeles work stevie wonder became operations manager st evies companies return uk formed management company involved manag ement various uk based artists since managed junior giscombe junior tucker paul johnson omar keith managed lynden david hall recent death still represents stevie wonder senior fellow university stminster school music film fashion former chairman mmf chairman musictank also chairman african caribbean music circuit music touring organis ation funded arts council england also fellow royal society encouragement arts frsa keith director performer affairs ppl source httpswwwmusictankcoukresourcesspeaker biographieskeith harris keith harris music ltd musictank chairman ppldirector regulating artist managers one things came closest splitting general co n sensus managers different ways managers operate coming marketplace difficult develop mandatory code conduct managers looking diff e rent business models brand managed boy bear traditional way managers service provision agreement band organised band license master recordings universal music au tralia australia new zealand assign copyright master recor dings universal republic new york rest world signed song writing mbers song publish ing sonyatv world engaged separate booking agents australia uk us conflict interest clause code co nduct could arguably applied way working different roles copyrigh ts trea ed separately therefore interests confli cted would difficult code conduct going specif ically cover different business models available artist managers harris ed still people using traditional manag e ment model others effectively going bus ness angels get money effectively act record label people assuming ro le record company behalf artist without going third party investor instead growing business way perfo r ming record company functions without private investor without priva te equity stake holder given three different scenarios difficult mandatory regulation according harris people say differs much therefore code conduct com partmenta lizes profession much may discourage innovation may undermine attempts unify artist n agers canadian artist manager brian hetherman put international journal music business research october vol situation stipulations put something harder group unison less code conduct common sense outline business operate treat artists response question concerning broad code could enforce able hetherman noted thi nk socially enforceable sure honest respects bite legal one know mean even though laws need followed laws business less yea rs kinds shady managers open share stories experiences manager managers peo p le advise may want avoid person dont sign agreement tha looks like dont fall trap think really empowers artist empowers good managers experience managing boy bear however led conclude perceptions good bad managers often subjective managers commission net profits others adjusted gross structures obviou sly artists often argue managers commission net profits agreement sustainable managers ot herwise able provide service artist career suffer solutions guidelines addition socially enforceable broad code conduct com mon su ggestion made interview respondents concerned esta b lishment set guidelines artist management handbooks produced uk australia provided extracts management contracts examples best practice could expanded upon british artist nager keith harri noted regulating artist managers say well standard management contract lot senior managers never done contract artists verbal agreement immf set range guidelines key pointers dos ts artist basically understand various options options mean instance talking splits make sure understand gross profits commissionable expenses management going pay kind stuff like way allows flexibility order addendums new business mode ls come stream common point made interview respondents mand tory code conduct would impossible enforce solution issue involves education solutions education proposed solution put forth harris inv olves publishing clea r ly exac tly guidelines mean allowing artist make decisions want enter artists would also encouraged guided advice lawyers co nsultants previousl discussed rock music often considered unique extent makers form art struggle role commodity producers different industries product artists sometimes actively resist thei r commercialis tion case boy bear example want think business side music money flowing business lead rifts artists service pr oviders helped achieve success later frith notes terms colonisation argument songs singers fetishized made magical reclaim possession via cash transaction market place language rock criticism stake truth international journal music business research october vol music flaw argument suggestion music starting point industrial process raw material everyone fights fact f inal product industrialisat music cannot understood something happens music since describes process music made therefore education needed throughout process order counteract effect commerce versus creativity dichotomy colonisation argument psyche artists set guidelines could also used educate artist managers well ar ists often managed friend rel ative difficul ask new manager comply code conduct set guidelines manager themself may understand british artist manager dan medland put turned industry said right well sort booked tours really management one could really tell largely case learning feet think would massively helped certain guidelines take young manager pr ocess little bit depends acts got rb act rock act co pletely depends artist artist manager relationship commonly pe r sonal one often artist managers come program education first get management artist managers resistant notion code conduct would force operate certain way subject qualifying process therefore n issue buyin n agers within field artist management medland noted id certainly happy go code conduct sign something industry scare know general areas responsibility whereas new managers may case unless embedded curric u lum studied coming non educational bac k ground might quite difficult take maybe two things yregulating artist managers yo u call code conduct educational purposes set guidelines people outside educational institutions p tentially rather letting clich\u00e9s stereotypes inform n dustrial process operate nu mber british artist managers noted solution would set guidelines produced immf artist managers linked featured artistes coalition fac regard fac harris noted basically good idea actually artist voice th e always problem immf speak former chai r man insomuch time artists rights managers rights co align time need addressed featured artistes coalition kind address therefore harris argued solution would immf another similar body put guidelines agre e ments mean website actually might appropriate featured artistes coalition interpreting guidelines mean artist featured artist coalition organization formed uk constituted artists produce origina l music therefore copyrights license assign manife fair play digital age states music artists control destiny ultimately art endeavours create pleasure emotion enjoyed many believe artist always retain ultimate ownership music agreements conducted fair transparent manner rights holders fiduciary duty care originator f rights consult accurately report creators agreements affect work exploited fac attempting achieve changing artistes approach agreements changing music technology companies treatment artistes changing law administration therefore fac campaigning laws regulations business practices pol icies protect artistes rights note together stand artistes engaging gover n ment music technology companies colle ction societies arguing fair play necessary exposing unfair practices international journal music business research october vol incumbent artists go fac get artists point view managers go immf get managers viewpoint independent advisors actually negotiate pick suitable model got important role play good thing fac encourages artists feel need know new environment exactly business side means longer attitude ok leave nager therefore rather becoming regulatory body immf could work fac fulfil educational role stereotype artist manager although rogan morrow attempted deco n struct prevalent stereotype artist manager familiar caricature c igarsmoking hustler takes advantage star struck adolescents stereotype still existence furthermore stron g ly affects governmental policy discussions concerning establis h ment code conduct andor set guidelines artist managers need critically analytically e ngage stereotype negus couches analysis follo wing terms idea conflict creativity commerce also used illustrate power music industry informed numerous everyday claim musicians sell system one side heroes musicians producers performers creative artists opposing villains record companies entertainment corporations commercial corrupters man ipu lators negus argues opposition implicit many music industry studies problem studies inform legislation based erron eous stereotypes british artist manager keith harris noted regulating artist managers one thi ngs always bothered l ways assumption manager rips artist happens equally well way around unusual artist rip manager going enter working relat ionship whereby agreed things split profits kind stuff artist suddenly realises well actually claim conflicts interest get manager back ge necessarily original agreement harris argued artists smart people gen e rally dummies especially comes getting share money artists problems u n derstand business outset also large number artists opposite end spectrum artists quite successful well financed well resourced terms legal advice rigid rules put place artists actua lly use rules manager unwarranted way however relationship complex balance power relationship artist manager unique artist manager work artist time artist fo l lows manager lead throughout artist career trajectory balance power tends shift success creative comme r cial accumulates rise level success see power ba l ance shift artist favour however period peaks success power balance artist manager favour morrow power balance constantly evolving differs across genres must therefore considered case bycase basis ibid irony artist manager position business better fulfilling role increasing artist commercial success worse bargaining position mselves end certainly brand experienced relationship boy bear means built disincentive artist managers service providers part explains artist mana g international journal music business research october vol ers common desir e control artists assetscopyrights r e garding nsw government engagement afor ementioned stereotype keith harris argued first say weak bargaining position would argue necess arily case usually artists get management commensurate level standing starting offered deal big manag e ment company yes say got lower barga ning pow er however influence management company exert career also disproportionate current achiev e ments like yes lower bargaining power effects management going disproportionatel great furthermore management contract actually management service agreement means artists always able fire manager despite term agreement happen courts decree level f compensation nagement get fired means artist manager effectively end adjudication process anyway artist manag e ment service agreements commonly feature sunset clauses outline post term commission clauses built management agreements protect manager artist management agreement different agreement b e tween artist record company agreement b e tween artist cord company commercial agreement opposed service agreement harris noted commercial agreement enforceable law walk away artist whereas effectively walk away service agreement happen courts dete r mine compensation artist pay comes situation artist highly successful bargaining power completely reversed end management companies working virtual ly nothing regulating artist managers external regulators become involved need careful regard problematic preconceptions harris argued driven television movies manager always bad guy necessarily always case particularly starting level young manager get artist far record deal record company encourages artist take experienced manager young manager done hard graft nd left nothing one reasons according harris shor age entry level managers industry furthermore government attempts regulate industry also gravitate entry level managers n oted state nsw australia legi lation requires artist managers licensed artist n ager money trust behalf artist paid bond office industrial relations oir trust account audited accountant bond returned ho wever brand entry level co manager could afford adhere requirements co management agreement provided solution ssue austra lian artist managers get around setting account artist name become signatories accounts technically trust accounts r e gard legislation harris argued fine ten gravitate entry level nager afford put bond start something see countries well france similar kind system managing two artists commission soon sign third allowed commission regulation obviously put place attempt pr tect artist shortage good entry level managers problem industry harris continued international journal music business research october vol end situation half dozen po w erful senior managers extent tends gravitate artists saying managers going work artists best interests saying much harder artists get managers give attention b e cause bigger management company bigger clients new artist always going bottom pecking order whereas new manager new artist tends work much harder order get first base theoretical perspective legislation may valid detrimental effect artists positive one theory great understand trying protect artist people stealing money forth careful putting entry level high new managers conclusions problematic artist managers international popular music industry currently subject consistent regulatory fram e works particula rly given increasing centralisation res ponsibility role governmental regulation would potentially restrict inn vation times would harm good article exa ined following research question artist management practices consistently regulated swer question artist management cannot regulated uniform way addition article addressed following sub research questions pitfalls belie attempts regulate betterment musicians usic industry self regulation viable alternative number pitfalls belie attempts regulate betterment musicians industry outlined self regulation viable alternative perhaps unsurpris ingly interviews revealed regulation positive negative impact artist career development music located regulating artist managers end point industrial process therefore attempts reg ulate affect musicians artistic processes output task therefore find balance artists position managers posi tion education guidelines would help establish middle ground therefore major part solution fo rming core attempt self regulate regulatory attempts informed assumption ar tists always poor bargaining position one dimensional consider fact managers often put poor bargaining position cl ich\u00e9s stereotypes artist managers often informed music industry operate negative effect industry pa rticularly extent decreases amount artist management service prov ision available popular music raw material colonized stere otypical villains rather form art often nurtured industrial process passionate practitioners deserve trea ted fa irly references adorno jazz discourse vol eisenhardt k building theories case study research acade management review vol pp frascogna x hetherington l bu siness artist management practical guide successful strategies career development music business mus cians managers music publishers record companies rd edition new york bil l board books frith sound effects yo uth leisure politics rock n roll london constable music pleasure cambridge polity press performing rites value popular music oxford new york oxford university press popular music industry cambridge guide rock pop eds frith w straw p street cambridge un iversi ty press cambridge pp international journal music business research october vol gilenson h badlands artist personal manage r conflicts interest music indu stry c ardozo arts entertainment law journal vol p hertz b w regulation artist representation entertainment industry loyola entertainment law journal vol p jenner p artist manager music nager manual eds mcmartin c eliezer quintrell music manager forum sydney austra lia johnson turner c international busi ness themes issues mod ern global economy nd edition routledge new york mitchell j case situation analysis sociological review vol pp morrow g managerial creativity study artist management pra ctices australian popular music industry macquarie university sydney ph thesis awar ded morrow g radiohead managerial creativity convergence interna tional journal research new media technologies vol pp sync agents artist managers scarcity atten tion abundance onscreen distribution screen sound journal pp negus k popular music theory polity pressblackwell publishers cambridge new south wales entertainment industry act n obrien j regulation attorneys californias talent age ncies act tautological approach protecting artists california law r eview vol vol peltz p scope artist entrepreneurship instruments change iaspm australia new zealan conference proceedings november monash unive r sity melbourne rogan j starmakers svengalis futura london sydney sawyer k group genius creative power collaboration basic books new york walton r advantages attributes case study journal applied behavioural science vol pp watson j manager music manager manual eds mcma r tin quintrell music manager forum sydney australia regulating artist managers williamson j cloonan frith impact academ ics music indust ries problem knowledge international journal cultural policy vol pp woodruff j unpublished untitled paper concerning music nagement presented australian branch music manager forums annu al conference sydney novetel hotel yin r k case study research design methods sage beverly hills ca" +} diff --git a/tL-manager.json b/tL-manager.json new file mode 100644 index 0000000000000000000000000000000000000000..3a9b699422f0ac39eb659fcc371454a7aa3efd1c --- /dev/null +++ b/tL-manager.json @@ -0,0 +1,5 @@ +{ + "filename": "tL-manager", + "department": "Manager", + "cleaned_text": "case studies media entertainment industry vol ii icfai bookstm nagarjuna hills punjagutta hyderabad edited saradhi kumar gonela icfai business school case development centre icfai bookstm nagarjuna hills punjagutta hyderabad andhra pradesh india phone fax email icfaibooksicfaiorg ibscdcicfaiorgwebsite wwwbooksiupindiaorg wwwibscdcorg institute chartered financial analysts india rights reserved part publication may reproduced stored retrieval system transmitted form means electronic mechanical photocopying otherwise withoutprior permission writing icfai university press every care taken avoid errors omissions publication 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universal inc managing troubled times making da vinci code recipe blockbuster media specialists transforming global ad industrys business model music piracy itunes entertainment media outsourcing india music industry battling online piracy technology changing shapes music new york times balancing profitability traditional journalism innovation pixar key sustainable profitability oscars brand equity crossroads blockbuster corp mature videostore industry options strategies netflix us dvd rental companys competitive strategies bskyb troubled times snocap shawn fannings new venture replicate napsters success bbc vs emap commercial radio battle case title page nooverview right days primitive human beings quelled nomadic life settlements indulged variousafterworkactivities relinquish hardships days work reenergise following day activities entered commonlexicon entertainment human activity activities also evolved times preelectricity days people relied majorly human performers circus drama related events entertainment another popular entertainmentformat stories form books radio took mantle movies caught imagination populace invention television changed entire gamut capturing single contraption called idiotbox beenchanged invention dvds somewhere journey transition entertainment bitten bug big buck modern entrepreneur created industry around peoples pastimes named media entertainment industry entertainment habits prehistoric man appropriately documented widely believed sect people usually limited one place used sing dance groups part passing traditions customs younger generationthese art forms varied region region depending lifestyles habits even today popular art formats available classical dance forms various parts world salsa belly dance latin america bharatanatyam kuchipudietc india royal court dances semidivine cultures zhou tang song dynasties china ballet continental europe russia among chief ancient dance forms entertain world even today apart enactment popular plays great authors mobile drama companies stagedepiction overly religiousbased folklores circulation fiction nonfiction novels much accounted pastimes medieval manreading became informative research activity mere entertainment renaissance europe putforth wisdom great people common public restricted church till renaissance profound effect onevery walk human life also affected entertainment turning music also art forms like painting mainstream medium public entertainment till time religious tunes composed music restricted prayersselfexpression became major theme times great musicians born unleashing potential music entertainment medium musics place popular entertainment strengthened marconi invention radio th th century whole world underwent seachange developments science technology art forms art much influenced technological developments imagining art without iiiscience almost impossible modern man art challenged science science inspired art many new stream technology developed better depiction art forms many new art form nurtured using technological marvels significant among developments printing sides paper around radio transmission developed feature films first made tape recorder developed late early television developed computer integrated circuit late compact disks early innovations altered beyond recognition art forms way made available general public media entertainment industry know today includes wide variety products services entertain everyday consumer used informative tools industry categorised number segments provides adifferent entertainment form piece information around world segments include traditional print media television radio broadcasting film entertainment video games perhaps importantly music videos importance technologydevelopers segments cannot overlooked looking industry whole none segments would popular deeply intertwined life consumers without reliable technology due thisdependency technological developments industry always disruptive new segments constantly coming topping internet become significant technological development recent years redefined way many segments function industry especially print media helped evolution segments industry whole technology alone responsible way media productsand services consumed creating entirely new sectors platforms mainstream entertainment though new formats still early stages development potency define future industry next generationaudience cannot imagine life without internet" +} diff --git a/tL-managerDirectory_Managers_Booking Agents_2019.json b/tL-managerDirectory_Managers_Booking Agents_2019.json new file mode 100644 index 0000000000000000000000000000000000000000..6aad4a3ab082bfe06cd005e20f9de03a82276d48 --- /dev/null +++ b/tL-managerDirectory_Managers_Booking Agents_2019.json @@ -0,0 +1,5 @@ +{ + "filename": "tL-managerDirectory_Managers_Booking Agents_2019", + "department": "Manager", + "cleaned_text": "musicmakers tap directory connect indie labels marketing promo 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rock folk acoustic experimental popclients info upon requestno unsolicited materialsmc artists aviation blvd ste redondo beach ca email ovavrinsmcartistscomweb smcartistscom contact otto vavrin iistyles film tv composersclients info upon requestno unsolicited materialsparks entertainment llcp box tampa fl email sparksentertainmentgmailcomweb bsparksentcomcontact garystyles hiphop rb country rock acting modelingservices talent management career development booking promoting networkingspectrum talent agency fax email marcspectrumtalentagencycomweb spectrumtalentagencycomcontact marc katzstyles pop rb dance hiphop theatricalclients info upon requestno unsolicited materialthird coast talentp boxchapmansboro tn email carriethirdcoasttalentcomweb thirdcoasttalentcomstyles countryclients see website complete rosterno unsolicited materialunited talent agency civic center drbeverly hills ca web theagencygroupcomclients see site listno unsolicited materialadditional locationsnew york ny th ave seventh flnew ork ny nashville tn th ave ste nashville tn miami fl brickell avesouth tower fl miami fl uk city rdlondon ecv pqunited kingdomswedennorra vallgatan malmo swedenuncle booking winding way drhouston tx email erikunclebookingcomweb unclebookingcomclients kevin barnes bottomless pit cex citay coke dares danielson deerhoof southeast engine trans etcno unsolicited materialuniversal attractions agency w th st th fl new ork ny ny fax additional location ventura boulevard los angeles ca la email infouniversalattractionscom web universalattractionscom styles clients info upon request accepts unsolicited material demouniversalattractionscomvariety artists international spring stpaso robles ca fax email johnvarietyartcom bobvarietyartcom lloydvarietyartcom zachvarietyartcom web varietyartcomcontact bob engel john harrington lloyd st martin zach mullinax styles rock folk pop rap jazz oldiesclients info upon requestno unsolicited materialwalker entertainment group p box houston tx email infowalkerentertainmentcomweb walkerentertainmentgroupcomcontact ernest walker presidentceo unsolicited materialwilliam morris agency wilshire blvdbeverly hills ca web wmacomstyles allno unsolicited material phone callsadditional locations rodeo dr nd flbeverly hills ca madison avenew ork ny douglas rd ste coral gables fl demonbreunnashville tn new oxford stlondon wca hb mlc centre level martin placesydney nsw hundreds contacts music connections directories ar music attorneys producers engineers video production video gear rental vocal coaches music schools recording studios everything indie promotion publicity rehearsal studios audio gear rental filmtv mastering studios music publishers college radio visit musicconnectioncomindustrycontacts" +} diff --git a/tL-mark:pr:managemtn:ar.json b/tL-mark:pr:managemtn:ar.json new file mode 100644 index 0000000000000000000000000000000000000000..e89150607c62a031579c7ec057109506ad28bb36 --- /dev/null +++ b/tL-mark:pr:managemtn:ar.json @@ -0,0 +1,5 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operating new world whether youre musician songwriter agent manager essential guide everything need know music business isbn need know music business donald passman chris organ pages copyrighted materialall need know music business tenth edition donald passman illustrations randy glass copyrighted materialalso donald passman amazing harvey visionary mirageall need know music business tenth edition donald passman illustrations randy glassall need know music business tenth edition donald passman illustrations randy glass copyrighted materialrevised updatedall need know music business tenth edition donald passman illustrations randy glass penguin bookswith chris organall need know music business tenth edition donald passman illustrations randy glass copyrighted materialpenguin books uk usa canada ireland australia india new zealand south africa penguin books part penguin random house group companies whose addresses found globalpenguinrandomhousecom first published united states america simon schuster uk edition first published penguin books revised editions published revised updated tenth edition first published uk penguin books copyright donald passman moral right author asserted set pt itc galliard typeset jouve uk milton keynes printed bound great britain clays ltd elcograf spa authorized representative eea penguin random house ireland morrison chambers nassau street dublin yh cip catalogue record book available british library isbn www greenpenguincouk penguin random hous e commi tted sustainable futu business aders planet book made fr om fo rest stewardship council cer ti\ufb01ed pa per copyrighted materialdid know record deals dont require record company even make record much less release dont register washington get copyright write song together write lyrics write music us owns piece music us owns piece lyrics neither us use music lyrics without paying prior united states copyright law prohibit ing unauthorized reproduction records film music composers cant even write music much less create arrangements instrument orchestra brain surgeon rock star something common copyrighted materialcopyrighted materialto precious shana growing family danny soundis david rona josh lindsey jordan dorianne benjamin talia billy noa leo helen copyrighted materialcopyrighted materialacknowledgments please read thank yous know bunch people youve probably never heard think much youd want people read name creative work ever product one person alone matter tempting believe hype want acknowledge thank following people inspiration help payson wolff bruce ramer mentors spiritual brothers bea shaw mommy helped edit first edition paid first soft drink stand snuff garrett believing early mike gorfaine r diane mckain invaluable advice film tv music gene salomon invaluable input strategic thinking always study endgame ethan schiffres rock star lawyer rob light help touring section ed ritvo confidence sorts things larry apolzon steve bigger help protecting rights names peter anderson copyright infringement section dave dunton beginning stephanie frerich getting book hands readers alan garner extraordinary communication skills advice con versation books salesmanship kim mitchell incredibly indispensable assistant jules levine corky bulldogs michael cannon jr cleverness updating royalty chart addition following people alphabetical order generously shared expertise david altschul jill berliner biederman kevin breen nancy chapman david cohen gary cohen glenn del gado bruce eisenberg steven fabrizio gary ford russell frackman dell furano steve gawley neil gillis mark goldstein lauren gor trudy green jeff hill zach horowitz cathy jacobson howard kaufman larry kenswil steve lyon jay morgenstern jay murray michael ostroff ed pierson peter reichardt bruce resnikoff jack rosner tom ross joe salvo rose schwartz joel sill patricia smith lon sobel mike steinberg sandy tanaka lance tendler ray tisdale tracie verlinde wayne volat lenny waronker ron wilcox tenth edition special thanks alphabetic ally olivia barton lenny beer ken bunt tom cavanaugh gary copyrighted materialx acknowledgments cohen patti coleman peter edge paula erickson richard feld stein marc geiger lee goforth wendy goldstein david israelite joe kluger albrecht klutmann david kokakis dennis kooker mi chael kushner tom macdougall alli macgregor brian meath john meglen irwin nachimson brad prendergast bobby rosenbloum andrew ross steve schnur sarah scott cary sherman mike steinberg helen stotler scott swift lisa thomas jake udell mat vlasic emily white ron wilcox pat woods simon woods matt young uk edition thanks enormously chris organ colleagues project sam willmott mark walker alex cole lewis lawrence steven tregear jo brittain sarah mcintosh liam alt bina mistry extraordinary work substantial revision lot made chris look even brilliant prior uk editions still form chunk edition thanks james ware rupert sprawson joanna stephenson gillian baxter extensive help well alphabetically tim allen ed bic k nell michelle brown steve cooke terry foster key david gore john kennedy bill ladas roger la haye craig logan michael smith stuart souter copyrighted materialimportant materials book represent opinions author may applicable situations many circumstances appear similar differ respects may legally significant add ition laws customs change time necessity lapse time writing printing book aspects may date even upon first publication accordingly author publisher assume responsibility actions taken readers based upon advice offered book reader use caution applying material contained book specific circumstance seek advice appropriate professional authors note use common sense careful copyrighted materialcopyrighted materialcontents first steps state union open say ahhh got started brain surgery jungle maps details results staple spindle mutilate choose adventure part eam advisors pick team getting eam ogether business philosophy hiring eam changing eam member cocktail party talk personal managers role commission overview negotiating managers deal picking right manager copyrighted materialxiv contents business managers role pick business manager business manager checklist fees half job attorneys picking lawyer fees conflicts interest attorney checklist agents role fees deal points picking agent part ii record deals broad strokes overview record business industry structure word retailers ou need record label whats record masters royalty computation advances recoupment advances basic concept goodies cross collateralization real life numbers overview royalties advances rights copyrighted material contents xv major deal points amount product long delivery requirements guaranteed release controlled compositions greatest hits live albums independents day producer mixer deals whats producer royalties advances royalty computations hires producer mixers advanced royalty computations royalties united states foreign royalties electronic transmissions demand streaming downloads non interactive streaming satellite radio streaming master licenses samples guest artists featured artists joint recordings apps ringtones ringbacks video games bundles elevision advertising podcasts multiple albumsbox sets dearly departing contract clauses dvds accounting copyrighted materialxvi contents advanced record deal points exclusivity websites single song videos independent promotion radio concerts merchandising rights support erritory creative marketing controls artwork union exploitation charges loan independent production label distribution deals loan deals independent production agreements joint venturesprofit share distribution deals upstream deals part iii songwriting music publishing copyright basics basic copyright concepts rights ou get exceptions copyright monopoly compulsory mechanical licenses publishing companies major income sources publishing overview sources income public performance royalties mechanical royalties streaming downloads music modernization act even publishing income synchronization transcription licenses copyrighted material contents xvii samples foreign subpublishing printed music controlled composition clauses maximum rate per song maximum rate per album ep single bonus section set publishing company songwriter co publishing administration deals songwriter agreements whats pot charges royalties op charges copyright ownership single song contracts erm songwriter agreements pop quiz co writes songs written wo writers creative control reversion copyright administration agreements co administration agreements writing eams look ou advanced copyright concepts owns copyright works hire duration copyright right ermination public performance masters happens someone rips copyright even advanced copyright concepts sound recording copyrights erminate copyright transfer spare time fun profit extension rights copyright notice registration deposit moral rights copyrighted materialxviii contents part iv group issues groups group provisions record deals trivia quiz internal group deals whats name rights name part v ouring personal appearances touring roles eam members marketing personal appearance deals new artists midlevel artists heritage acts superstar ouring vip ticketing sponsorship hall fees riders ill take whole thing multi show deals lining pockets gold part vi merchandising tour merchandising merchandisers royalties hall fees copyrighted material contents xix advances erm advance repayment exclusivity creative control sell rights bootleggers retail direct consumer dc merchandising fan clubs retail merchandising royalties deal points direct consumer dc e commerceinternet sales fan clubs caution part vii classical music classical music erm product royalties advances mechanical royalties marketing tie ins part viii motion picture music overview motion picture music introduction one song eight deals rights involved copyrighted materialxx contents performer deals overview rights granted performance film record rights record rights film performances film songwriter deals erminology deal points composer agreements deal points package deals creative financing elevision composers video game composers licensing existing recordings existing songs motion pictures master licenses licensing existing musical compositions films film music quiz music supervisors role motion picture supervisor fees royalties elevision supervisors soundtrack record deals score albums song albums issues appendix ye olde royalty calculations phony free goods net sales conclusion index copyrighted material first steps state union tenth edition extensive rewrite book since first edition thats music industry changed radically last years time history let explain since music monetized selling something wax cylinders piano rolls shellac records vinyl records cassettes cds cheesy merchandise well guess still business longer based primarily sales spotify apple music amazon music youtube similar services revolu tionized people consume music streaming dominant revenue source recorded music change way drastic might think consider past record sales mainstay recorded music business could go record store buy two three records time today stream one song time may seem like big deal days sales artist paid money record sold regardless whether buyer listened thou sand times never took shrink wrap used doorstop today listens money make however old days records sold big numbers didnt make difference number sales fans would buy albums fans would buy mine fact big seller would bring lot people record stores increased chances selling records copyrighted material need know music business streaming world thats longer true reasons well discuss later listens get less money make truly radical change good news fifteen years music revenue falling like buckets rocks first earnings increase every year weve double digit growth streaming still way go time writing recorded music business little peak predict going bigger ever history historical peak music biz average cd buyer spent per year cds lets call today subscriptions priced per month average per subscriber fee student family discounts lets use per month means music fan spends per year thats almost double cd purchases got fan good ol days top number subscribers growing world wait theres heyday music biz aver age cd buyer stopped going record stores even listening much music early twenties today people ages sub scribe streaming services oldsters listen lawrence welk youngsters want stuff like baby shark song mercilessly eat brain means streaming generating money per user vs example also bringing wider range consumers ever industry bigger ever another radical shift last years concept album challenged album mean streaming age listen tracks like artists even bother make albums release individual songs soon theyre ready albums go away mean recording contracts always based delivery release albums example contract requires deliver three albums nobody wants albums anymore ever finish deal thats taste whats new edition theres also update current industry figures new section recent copyright infringement cases overview music modernization act updated sections much much waiting inside tent copyrighted material first steps step right folks lemme show music busi ness shifting around like rubiks cube open say ahhh many years taught class music business university southern california law schools advanced professional program class lawyers accountants record film company ex ecutives managers agents bartenders wanted manage groups anyway beginning one courses friend mine came executive film studio taking class understand music biz relates films said im open top head pour music business loved mental picture theres lot stuff id love absorb way spurred develop pain less way infusing extensive materials book youll sit back relax open mind ill pour need know music business little good measure got started really love ive practicing music law thirty years represent recording artists songwriters producers music publishers film music composers industry executives record compa nies film companies managers agents business managers assorted mutants populate biz got gig purpose ive always loved creative arts first showbiz experience grade school performing magic tricks assemblies also started playing accordion grade school used play mean accordion everyone applauded shook bellows lady spain gave found impossible romance girl wearing accordion high school graduated accordion guitar college university texas played lead guitar band called oedipus mothers oedipus recorded demo tried sell family friend snuff garrett later snuff powerful record producer kindly took time meet meeting major turning point life copyrighted material need know music business snuff listened record smiled said go law school took snuffs advice went harvard law school played lead guitar band called rhythm method quickly becoming clear ability music business eat regularly lay along business path graduated first tax planning entertainers tax law like intricate puzzles lot fun discovered thing music law electricity really turned fact took usc class later taught got excited left tax practice current firm music law much fun wasnt even like working im still feeling enjoyed much felt guilty getting paid got first entertainment law experience representing gorgeous six foot model referred dentist promised would return favor since clients teeth model pursued suspect every way manager wanted contract gross earnings ten years youll see absurd get chapter even knew wasnt right nervously called guy negotiate still member voice cracking said proposal industry standard since managers took true retorted oh yeah well wasnt really sure managers much less learned first lesson art humility began really understand music business worked found love creative arts business allowed move two worlds help relate marriage art commerce always fascinated cant exist without yet concept creative freedom need control costs order business eternally locked vulcan death match means music business always need lawyers anyway channel creative energies innovative busi ness deals satisfy need perform teaching lecturing playing guitar sure dont get straight however cycle weird assortment hobbies magic ham radio weight lifting guitar dog training five string banjo karate chess poker backgammon real estate investment also write novels required buy copyrighted material first steps brain surgery speaking marrying creativity business ive discovered rock star brain surgeon something common either one would particularly good others job im sure crossover would produce disastrous results rather one capable performing craft brilliantly generating huge sums money without need financial skills businesses start earning big bucks pretty well schooled business works example open shoe store work budget ne gotiate lease bargain price shoes forth smell first foot entertainment surgery soar top without business expertise making living business dont understand risky yet large number artists including major ones never learned basics record royalties computed copyright music publishing works number things directly affect lives dont know stuff time better spent making music b werent interested c sounded complicated andor learning much like school without knowing basics impossible understand different aspects professional lives success grows lives get complex get even lost true artists refuse even listen business talk ive watched go sensory shutdown much men tion topic others get interested study every detail business lives vast majority however somewhere middle dont really enjoy business want participate intelligently career decisions artists smart enough know one simple thing one ever takes good care business moderately seriously interested clients devel oped way explain basics simple everyday language small investment time clients understood essential concepts everyone enjoyed process including also made enormous difference artists self confidence business life allowed make valuable contributions process results learning sessions positive copyrighted material need know music business several clients asked could explore subjects deeply thus conception book finished teaching class music biz usc realized class notes outline book research flesh sat knocked first edition book designed give general overview music industry read casually intensely suits interest level attention span pain tolerance written lawyers technicians doesnt include minutiae youll find textbook professionals instead gives broad overview seg ment industry goes enough detail stand major issues youre likely confront jungle maps high school policeman named officer sparks spoke assembly mr sparks hyped us life crime fighter seeming sure secretly wanted cops process showed us something ill never forget officer sparks ran film camera moved street grainy black white movie thirty seconds long filmed camera bobbing along sidewalk finished asked wed seen anything unusual one apart couple people bouncing doorways looked pretty much like pictures taken camera walking past row boring shops mr sparks said trained observer watched film could spot six crimes committed showed film pointed incidents quiet exchange drugs pickpocket etc time crimes obvious felt like doofus missing time learn new skill go similar process first things either look deceptively simple like bewildering blur chaos learn look see world never knew experience best way become trained observer guide basics framework organize bits pieces thats purpose book map jungle show crimes officer sparks youre somewhere hope youre proud copyrighted material first steps details way one book even one filling several volumes could poke every nook cranny business complicated music business purpose give big picture details besides details charge serious money also even tried lay little pieces fast everything moves biz would obsolete within months goal give broad overview doesnt change nearly quickly least didnt edition idea give bare tree hang leaves experience oddly easier pick details internet gossip cocktail par ties etc learn structural overview people time patience sit give fact giving overall view turned much bigger job thought started youre worth results since tenth edition feedback experiments using book actual human subjects responses got thought might enjoy hearing two particular first received irate call music lawyer upset charged thousands dollars give clients advice put book second received equally irate call manager said artists hed approached kept pushing book face way go keep shovingand youll permit momentary lapse modesty favorite compliment someone said first book hed ever finished life staple spindle mutilate go book forget everything learned kid taking good care books treating sacred works art read book pencil highlighter hand circle star passages think youll need fold pages mark copyrighted material need know music business post paper clips bong water whatever helps unless youre read ing electronic edition case might want lose bong water action book set directions jog music biz without getting mugged treat like comfortable old pair shoes dont mind getting dirty doesnt matter look like long get youre going hello uk chaps thats like call right united kingdom version book number practices customs different united states example know drive right side road us keep books flow ive added sections point differences us uk industry practices laws way get depth understanding works united states still accounts nice chunk worlds music sales important even youre signing uk based record company time ill go uk scene works best worlds make easy particularly attention span somewhere near mine ive asked publisher put snappy little union jack margin next section deals specifically uk concept way bounce book find easily years across pond lot help uk folks ive forged alliance pal chris organ whos tak en laboring labouring oar uk side things even though weve written uk sections ive kept sounds bit royal joke funny wrote chris one thing ive taken liberty rewriting chriss language sound little american youre welcome chris chris introduce folks turned offices wea records broadwick street soho london april interview job articled clerk russells solicitors thought nascent career solicitor ended right could stupid get address wrong especially exactly inundated offers point pre internetmobile phone days way check ing luck would brought letter inviting interview sure enough address broadwick street noticed name plate side en trance russells solicitors copyrighted material first steps entered reception hung gold platinum discs artists many featured record collection even made way whatever floor russells located still didnt occur lawyers might specialize music industry would much luck anyway soon found russells time specialize almost exclusively music industry con sidered one leading practitioners decided wanted would paid chance show could come think practically started work august one two articled clerks three partner firm located weas building one main clients time nearly forty years later still senior partner thirteen partner firm three consultants six senior associates thirteen solicitors four trainee solicitors two paralegals fourteen members staff still located central london although wea building russells still regarded one leading firms entertainment lawyers expanded many areas entertainment business well providing legal services clients require house purchasing prenups buying selling companies dealing privacy issues claims shameless plug department feel free look us wwwrussellscouk continue blast lucky enough represent finest artists executives gener ation well sportsmen sportswomen managers authors labels publishing companies companies entities within entertainment business helped uk edition book number years chuffed asked co author tenth edi tion pleased greatly doesnt know chuff means truth book essentially humorous slant uniquely firm instructions leave snark proud associated believe accessible introduction business given best career could wished also complements related activities also involved young vic music industry charity nordoff robbins signing would like thank colleagues russells helped compile check uk insertions copyrighted material need know music business choose adventure sons david josh jordan little favorite books series called choose adventure work like start reading book page one pages author gives choice example want pinocchio go alley turn page fourteen want go school turn page nineteen boys never picked school every pages choices several different endings book boys liked ending everyone gets killed thats another story books meant read straight tried youd find crashing different plots stories instead youre supposed skip around following new path time concept gave idea organize book choice reading broad overview reading depth book tells skip ahead want however unlike choose adventure books read straight little damage central nervous system heres organized part deals put together team guide career consisting personal manager business manager agent attorney part ii looks record deals including concepts royalties advances deal points part iii talks songwriting publishing including copy rights structure publishing industry well section protecting name people want pirate part iv explores things youll need know youre group part v deals concerts touring including agreements personal appearances role various team members process part vi merchandising tells profit plastering face posters shirts junk parts vii viii explore classical music motion pictures theyre last sections need understand concepts tackle copyrighted material first steps choosing adventure four mouth watering ways go book extremely fast track really want quick trip read part pick team advisors b get people know theyre doingc let itd put book shelf impress friends e say hi backstage one concerts fast track short radical approach want broad strokes view business without much detail skip ahead time see fast track directions advanced overview want depth look less full shot follow advanced overview directions give solid overview plus detail topic expert track high achievers want depth discussion simp ly read straight feel free mix match tracks particular topic grabs interest keep reading check details amazingly topics grab interest tend things currently happening life another topic yawn fast track lets get going everybody starts part copyrighted materialcopyrighted materialpart eam advisors copyrighted materialcopyrighted material pick team getting team together lets talk professionals youll need maximize career net worth main players personal manager attorney business manager agency groupies respect number youre pretty much others lets take look well discuss later uk lawyers come two flavors solicitors transactional lawyers barristers take people court serve coffee starbucks see solicitor used uk portions doesnt mean people standing street corners hopefully youll never need barrister ignoring part well also discuss later business managers common uk except handle kinds solicitors street corners business philosophy talk specific players let share bit personal philosophy share california try let tell personal philosophy new york equivalent yo listen im talkin copyrighted material need know music business take hard look facts business even though skills creative youre capable generating multimillions dollars think business artists dont like business say arent good artists unbelievably astute business ever folks minority whatever love skill business love skill creating performing much bigger even youve got chops handle business best use time success hides multitude sins true business making widgets making music youre successful get away sloppy operations would bankrupt times bad example putting pals payroll buying lots non income producing assets houses jets things cost money maintain well overindulgence various legal illegal goodies easily result crash burn income takes even small dip much less nosedive make money cutting costs earning income see page proof time operate efficiently later career going limited run dont take fense thislimited mean anything year fifty years going limited careers expect professional life forty years plus entertainer music business rarely happens road strewn carcasses aging rock stars work rent money nostalgia tours take concentrated earnings years spread forty year peri od youll find two things happen earnings dont look quite impressive b money may last rest life certainly possible long healthy career extent need caution diminishes radically however even best entertainers slumps really long careers best plan career isnt going last pleasantly surprised setting never work doesnt stop working like becomes option obligation copyrighted material pick team hiring team way pick professional team either set career finances life assure place next electric prunes tour careful pay attention personally process assembling know dont like deal stuff career money every pick right people set life automatic pilot check periodically pick wrong people set automatic pilot youll smash mountain know happened pre team strategies since wouldnt open store without something sell start assembling team want sure music ready big time know ready ask tummy believe gut music matured point youre ready professional career answer yes youre ready tummies reliable indicators learn listen dismiss goblins yell youre phony nobody wants even superstars goblins theyve learned ignore first thing record music recording doesnt expensive elaborate advent relatively inexpensive computer software get professional sound bedroom important thing capture energy enthusiasm drive know mean word kind music make simple make music moves soul one ever serious career imitating others trying guess public wants ill tell secret public wants someone whose music resonates heart doesnt matter whether youre commer cial flavor month obscure blend reggae buddhist chants superstars ive known clear vision music okay got music get fan base besides mom lot artists start playing whatever local gigs get attract fans also tighten musical chops get experience playing live get fans copyrighted material need know music business sign email list every show crucial build database well discuss minute lot artists give away something incentive build one example everyone signs gets pin sticker even add new folks gig eventually build following helps spread word music grow virally assuming music doesnt suck organize list using fanbridge mailchimp similar service another way add database giving free song anyone signs email list first time theres software capture email addresses exchange songs places like cash music wwwcashmusicorg fanbridge wwwfanbridgecom bandcamp httpsbandcampcom three cash music advantage open source free based principle everyone donates resources uses platform help artists also offer song exchange fan post twitter using tweet track wwwtweetforatrackcom check blogs like hypebot latest greatest diy marketing promotional tools real time idea build fan list lists fans follow facebook twitter instagram etc owned controlled silicon valley folks means control reach list stay touch fans regular basis direct sites youtube facebook twitter sound cloud medium bandcamp instagram etc well web site promote email texting im told services manage mass texting though dont experience contact fans something interesting say personal make better would hit harder playing schenectady tonight hey clarence know town tonight come see us assuming name clarence live sche nectady otherwise quite effective another way artists engage fans run contest exam ple fans tweet share post one shows copyrighted material pick team enter drawing free tickets makes promotion easily shareable viral nature technically could issues laws govern sweepstakes lotteries things like artists quite lot im aware anyone getting hassled small scale stuff note key word prior sentence aware sweepstake laws way outside wheelhouse dont take word talk lawyer youre going im told patreon httpswwwpatreoncom useful cre ating relationship hard core fans developing revenue opportunities folks key create unique opportunities fans maybe get free ticket buy one chance meet gig volunteer help clean garage well maybe last one b create unique content exclusive video chats access new recordings exclusive videos studio however handle make sure youre giving much youre getting fans dont feel ripped also important give away sell consistent image dont come like chuck e cheese send blasts database dont afraid tell fans want example tell come show friend ask fans tweet clubs saying want see encourage fans listen spotify increase play count numbers ask tell friends music write bloggers spotify playlist curators offer ex clusive premiere unreleased track speaking bloggers important personally write lot bloggers love hear artists genuinely like blog insincere kissing doesnt work unless youre really good connect try cultivate genuine relationship send music early offer put guest list shows help clean garage still kidding one ive told experience submithub wwwsubmithubcom another way get music bloggers though theres charge youre big enough publicist sometimes help bloggers tastemakers usually know folks getting paid pitch music blogs might bit less relevant years ago fans looking playlists find new music copyrighted material need know music business blogs still important youre featured one add press kit send promoters people book live gigs streaming services record companies garage cleaners forth get free basic data facebook insights google ana lytics spotify artist insights get data put booking strategy steroids example youll able see fans clustered strategically target markets rather booking gigs east bumbleton hoping farmers show another great way build visibility getting songs placed tv shows commercials sites like music dealers wwwmusic dealerscom pump audio wwwpumpaudiocom jingle punks wwwjinglepunkscom secret road wwwsecretroadcom zync wwwzyncmusiccom help sincere email folks great way start worth homework find whos key person organization since get lot emails try differentiate masses pointing something youve got going ive got followers instagram isnt much happening mention thing person youre writing saw recently got award sponge collection congrats bite wont likely get much money use recording youll spread music wider base fluke land really big use still may get much money front earn decent songwriter monies airplay tv show com mercial called performance royalties well discuss page youre writer kind activity also get noticed music publisher may give money songs well talk publishers chapter essentially handle busi ness songwriters opposed business recording artists meantime sign organization like songtrust collect music publishing income behalf critical place land placements youll also need affiliate performing rights organization well talk page get noticed tastemaker important blogger jour nalist radio station etc sure say thanks social media try something else make thanks unique example instead email call phone thats people copyrighted material pick team old days texting send handwritten card mail piece tupperware word thanks written lid kind follow builds goodwill tas temaker hopefully also spreads name audience keep tastemakers info file future use let know youre similarly help expand base youre able connect artists instagram twitter start tweety love fest fans love eavesdrop artists talking shop also get exposed fans similarly get support videos music via chan nels large followings youtube soundcloud youll ex pose music even wider audience handpicked channel reach channels try start relation ships offer premieres exclusive content clean garage youre established give database fans chance hear music ahead everyone else tell secret show webcast let first crack tickets bands lifecasting communicate fans number times day example might get facebook live headed gig blast backstage updates instagram twitter send pictures video teasers onstage instagram forward videos bathtub rubber duckies etc great post every day social media primarily facebook twitter instagram plus snapchat fans mix posts dont use auto share posting pro grams put content everywhere want engage fans spam exact posts networks obviously tons additional ways market let imagination take flight go number websites help marketing terms specific tools general advice dont use cant really recommend particular one friends suggested cash music bandpage bandcamp hypebot digital music news midems blog course techniques sure stay right side line keeping people intrigued becoming pushy egomaniac party back forty thousand foot view make sure stay focused copyrighted material need know music business creating music first priority marketing second people recommend spend hour day social networkingpromotion dont use creativity none left music others prefer going streaks posting holing studio need create mix match okay youve got killer recording youre ready boogie next question whether want sign record company well discuss later page whether actually want sign lets assume day age label sign expect decent size fan base hopefully one two goodies story like high streaming numbers soundcloud spotify apple music youtube low skip rate meaning people dont move next song seconds starts positive words important tastemaker even youve done even though labels scouts monitoring internet hot new artists unless lot people going nuts likely anyone call blue things life gotta make happen ladies gentlemen bit bummer major cord companies much independents dont listen new artists material unless theyre submitted someone business usually manager attorney though could agent respected tastemaker hate delivering bad news look bright side saved two months waiting form email says wont consider stuff didnt come someone biz reason record companies get thousand submissions per week restricting send material one way regulate floodgates however also catch get music heard youre al ready connected business get connected business cant get heard dont despair im going give key door namely key get lawyer manager shop music leads nicely next topic whos first first person team almost always manager lawyer baby stages manager likely someone busi copyrighted material pick team ness likely friend relative lot enthusiasm major plus well discuss detail talk managers page may may get music record companies inexperienced manager manager music industry lawyer really help record companies prefer deal people know meaning music get heard much faster important people submitted industry lawyer much easier get music lawyer manager time required lawyer minimal compared time manager devote manager expected help songs image bookings babysitting kiddies etc law yer spend hours getting people check music lawyers relationships time count word caution hiring lawyer shop music lawyers consider important maintain credibility record companies theyll shop artists really believe unfortunately shop anything walks door long get paid fee shopped one slimebags better sending music maybe worse record companies know lawyers dont screen garbage clients music goes bottom pile prevent music thrown tuna cans carefully check references lawyer youre considering ask names people whose music theyve shopped successfully unsuccessfully dont give success stories slipped cracks con tact references find went also check around industry sources see whos legit well talk checking references later uk solicitors lawyers rarely submit material record com panies apparently uk companies dont think much solicitors taste often shopping done manager hype one particularly wants hear lawyer tell great music going lithuania youll course need lawyer manager even dont go record company route criteria hiring well discuss next chapters exactly copyrighted material need know music business business manager person collects money writes checks oversees investments etc usually last board opposite reason lawyer first expensive terms staffing labor business manager take new artists need lot work keep financially afloat another reason come last business managers willing take flyer totally unproven unsigned artist business managers potential upside nearly great personal managers agents run substantial expenses beginning youll see chapter business managers arent paid much agents personal managers dont sweat decent money coming dont need full fledged business manager good accountant take care tax returns answer basic questions well discuss business management chapter concept business manager nowhere near common uk artists often use specialist accountants music industry experience search find warm bodies begin assembling team well start age old ploy asking every human know recommendation talk people involved music even high school choirs piano accompanist lead unknown area diligently following nose music business exception youll amazed many things fall life open possibilities frustrating part people really want dont time beginning assured soon youre successful theyll fall say knew along major players almost los angeles new york good number nashville though course leans heavily country dont mean say arent qualified people places certainly music industry centered three towns people live usually experience hand major managers increasingly popping places example ive dealt managers world class artists live atlanta austin vancouver copyrighted material pick team philadelphia boston however better ones spend lot time airplanes visiting los angeles new york andor nashville uk managers london scattered around manchester leeds liverpool chipping sodbury kidding last one though pub amazing jukebox specific suggestions building list allaccess theres website called wwwallaccesscom pretty comprehensive online directory people music biz im told updated often major advantage free youll need register site dont timidated radio station questions anybody regis ter click industry directory hits magazine hits mad magazine music biz full current news gossip reported college humor magazine style funny reading wwwhitsdai lydoublecom billboard magazine billboard industry trade magazine lots news interviews charts goodies www billboardbiz note biz ending billboardcom consum er oriented biz industry means three exhaustive list sources happened ones first came mind frankly ive long enough know everybody need get dont use references routine basis dont take suggestions gospel check internet sources ideas developing list potential team members read interviews industry figures online music publications note names addition industry sources major consumer publications meaning theyre geared fans opposed trade publications geared business people alphabetical order music connection wwwmusicconnectioncom copyrighted material need know music business b spin wwwspincom c pitchfork wwwpitchforkcomd rolling stone wwwrollingstonecom e vibe wwwvibecom watch quotes stories blurbs music industry people online radio tv try online places taxi wwwtaxicom music busi ness registry wwwmusicregistrycom recordxpress www recordxpressnet songwriter wwwsongwriter com artists list names professionals together jobs websites info page facebook tour programs simply google artists respect together manager agent find whos behind magic uk publications music week co future publishing limited praed mews paddington london w qy wwwmusicweekcom pr week via email wwwprweekcommusic business uk old gloucester road london wcn ax enquiriesmusicbizworldwidecom looking lawyers look legal https wwwlegalcomclondon tmt technology media telecoms media entertainment including media well respected known publication legal industry cham berscom also good respected website using anything else think write names develop hit list keep moving forward follow lead seems promising assemble bunch names prioritize want contact first youve heard names two sources odds person somebody move priority also look professionals surrounding people whose music admire whose style similar less critical lawyers business managers important make sure agencies especially personal managers handle kind music example agent books wayne copyrighted material pick team newton likely book lil wayne guarantee different managers hand may surprised find acts diverse represented agency different individual agents legal business management lives different artists lot alike rock n rollers like green day rolling stones etc rappers like kanye jay z kendrick lamar etc divas like adele beyonc\u00e9 barbra streisand etc similar needs music publishing record royalties touring merchandising sponsorship etc youve prioritized list start trying contact people always better come recommendation friend family etc even persons dry cleaner cant find contact start cold try calling people phone expect lot unreturned phone calls best shuffled underling thats okay talk underling get someone phone brief point folks always hurry good idea rehearse rap friend advance try emailing folks story link music maybe attach mp file short straightforward good people always busy youll lucky get five seconds attention cant grab em fast youre digital trash bin repeated emails person help get attention may even subliminal effect making name sound familiar anyone ever asks also annoy ing get name spam filter dont overdo could also use old fashioned thing may remember us mail since people anymore physical letter might even get attention case include cd usb stick pictures hundred dollar bills anything else distinguish someone send recording stuffed inside rubber chicken real youve gotten local press thats good thing add use yellow highlighter dont search page like emails short sweet youre round file however approach expect lot unanswered emails unacknowledged letters dont get discouraged successfully snag someones attention politely politely blow ask would recommend valuable two reasons first youve got lead someone whos actually industry second reach copyrighted material need know music business recommended person tell told con tact big enough name least get email phone call returned maybe someone somewhere nibble parlay real interest persistent superstars ive known heap ing helpings drive theyll continually hound people careers hang keep following despite discouragements thrown front virtually every record company america passed taylor swift beatles elton john dont expect people smarter music dont get discouraged takes one enthusiastic person get ball rolling screening sharks youve honed list run hours chasing people hope fully found two three nibbles line point fly drive bus hitchhike meet people natural habi tat cant tell everything phone call want see body language meet associates see work dog kennel etc basically use instincts feel vibe dont afraid trust gut think youre meeting piece slime probably dazzle even cautious charming crooks dangerous fact someone works lot big names helpful final determination lot big names associated disasters years heres bit personal history illustrate first got married wife decided buy vacuum cleaner reasons still dont understand called door door salesman buzz cut square jawed man bounced house showed us vacuums suction could pick seven pound metal ball buzz poured blue gunk carpet used vacuum nozzle slurp finally started bragging hed sold vacuum cleaners wives several celebrities started rattling list big names point said excuse people know anything vacuum cleaners point im sure see big name celebrity isnt nec essarily good recommendation may mean celebrity pays attention business celebrity imbecile copyrighted material pick team protect like references potential team member give references check carefully asking references important get people level success fact someone takes good care biggest client doesnt mean give attention even time take care odd seems people dont even pay much attention big name clients usually cause theyre busy theres old joke based truth major artist couldnt get lawyer phone fire also try get reference someone whos using professional dont get report honeymoon period although may seem obvious sure professionals expertise music brilliant real estate accountants would lost music business opposite true fact even people extensive film television book expertise may understand music sure youre talking someone use team members consult members team anytime hire someone first want input suggestions second people work together want sure youre hiring someone get along team beware benjamin franklin said im lazy look exact quote ill paraphrase gather group people collective wisdom also gather collective prejudices hidden agendas words almost always political reason team members want something may may coincide best interests example business manager may referred important client personal manager per sonal manager may therefore pushing toward particular business manager order pay back favor regardless whether business manager right situation dont mean make paranoid people ethical wont recommend someone unless genuinely believe would best person job even payback great deal politicking goes music business like business aware particularly small business deal much always ask people theyre copyrighted material need know music business making recommendation rather bottom line use make give specific factual reasons facts something evaluate make final decision look beyond sales pitch everybody looks great theyre selling interview someone sellers attention fo cused absolutely important creature planet thats almost never case actually get business realities peoples needs take toll extremely difficult know first meeting giving good interview take people far professions protect check references carefully ask references experience working person whether quickly return phone calls emails fast gets work done whats zodiac sign etc good idea make list questions advance dont forget anything dont lulled promises sound unbelievably fantastic sound good true probably people promise things cant possibly deliver get job figure wont fire dont come know artists dont like make changes lives people stop returning calls star fades also figure lie ace next guy assume also lying truth real miracle workers secret success music business different business intelligent planning hard work promises short cuts usually dont come work ask exactly going involved day day work may person youre meeting isnt necessarily bad aware start meet people involved professionals use staff people greater degree others firms staff people divide multiply like paramecia people youre meeting today may gone six months places stable ask also ask references youre starting sometimes get first meeting copyrighted material pick team senior person get quickly shuffled youngun common likely better senior person wont much time theyre done selling whereas youll big fish junior also younguns also likely clued new artist scene hot dont put rather pretend thats happening ask meet younger person get go make sure like theyll able call big person needed fees never hesitate ask someone going charge know uncomfortable subject bring anyway seriously rude surprise dont raise topic wary someone gives vague answer really cant stomach fee discussion another team member uk lawyers required tell charge ratesfees front keep regularly informed make sure personality myth think one personality style effective assuming dont hire wimp screamers table pounders theyre smart knowledgeable get lot deal speak quietly theyre smart knowledgeable people work foil sabre styles effective remember youre hiring people guide professional life hang tour bus nice strike friendship professionals essential however person al manager think need least solid rapport true friendship im suggesting hire someone really dislike someone personality salamander saying folks dont pals fact amount distance often helpful doctors cant operate relatives one main things professional bring objectivity life wonderful story genghis khan great warrior midst pivotal battle empire involving thousands troops sides aide went ghengiss tent sur prised find genghis sitting aide said tent battle critical point troops need command ghengis replied found getting angry copyrighted material need know music business turn battle cant think straight im angry came cool deciding next move think even ol genghis detach emo tions best job better legal problems hire lawyer may sound strange get emotional problems dont trust judgment im close situation hire someone isnt sum bit distance professionals concern feel comfortable enough easy communication team think youll dread talking one look someone else decide confirm later make decision reasonably quickly confirm slowly words youve hired somebody continue watch carefully extent stand fact someone came rave reviews doesnt mean theyll right consider probation youve seen enough merit trust dont take another team members word working force follow moves beginning youll earn right relax later remember one pays good attention business changing team member heres something goes wrong team even never pay much attention business ive never met artist doesnt built radar tells thing wrong youre feeling weird houston problem may things arent handled right maybe dont feel comfortable talking one team members ignoring issue doesnt help turning car radio drown rattle engine like quote heard attributed dick gregory read much bad effects smoking got scared gave reading deal problems head copyrighted material pick team alk problems know confrontation difficult never known artist one else matter ornery jerks whove divorced five times enjoys confrontation team members effective job must open communica tion cant bring talk directly person bugging talk another team member make sure carry message fast nothing worse letting small things snowball point build major drama discuss theyre small usually stay small often theyre innocent misunderstandings talk frankly problems still arent getting solved make change one right expect lifetime contract people circumstances change years spectacular one point life may longer interested example theyve lost interest job career taken nosedive etc may longer capable handling example unable grow career soaring youve changed careers expertise wrong area etc respect admire loyalty blind loyalty one favor loyalty means dont turn head run every pretty face walks get successful pretty faces come woodwork try seduce literally figuratively loyalty two way street meaning youre entitled commitment profes sionals youre obligated stick someone long theyre good job youre getting service want loyalty means discuss tell needs changed dont want directly another team member things still arent done right youre sure complaints clearly communicated make change right reasons wrong ones lost confidence pains bit give next piece advice youve lost confidence someone almost impossible continue like falling love isnt easy fall say sadly many times lose confidence people wrong reasons may someone political copyrighted material need know music business ax buried unjustly may theyre terrific job personality stop sign treat rudely bore death may delivered bad news firing person known shooting messenger ancient greek times messenger bringing bad news killed may theyve done terrific job everything important life screwed paying bills one month electricity spouse refuses ever see face may uneasy feeling stomach dont trust find situation urge talk person openly directly another team member tell feel know easy say admit difficult well force time find problem simple mistake thats easily fixed even isnt always feel better processing talk things situ ation doesnt get better split cocktail party talk let say word cocktail party talk college used play kind poker called roll game get five cards draw additional cards like regular five card draw finally arrange cards order want flipping one time betting card flipping first three cards everybody table looks like spectacular hand appear straights flushes straight flushes three kind high pairs every imaginable configuration make want drop give pot however comes flipping last couple cards hands mediocre ive always thought cocktail party talk flipping first three cards everyone sounds like genius everyone pulled greatest deal since louisiana purchase truth however last two cards never see million dollar deal turns hundred thousand dollar deal nine hundred thousand artist achieves massive success hundred thousand isnt decent amount money aint million nobody talks screwups self aggrandizement part hollywood dance sand crabs whole point say shouldnt take casual talk copyrighted material pick team face value especially someone editorial point view like manager trying convince leave current manager terrific things lawyers course would never thing buy land flori da would perfect make evaluations realistic light day copyrighted material personal managers role personal manager single important person pro fessional life good personal manager expand career maximum potential bad one rocket oblivion job done properly personal manager general manager chief operating officer enterprise course artists without managers much exception usually one team members filling role important aspects managers job helping major business decisions deciding whether record deal record company sign deciding whether make publishing deal well talk page figuring much ask etc helping creative process deciding songs record selecting producer well talk producers page hiring band members selecting photographers etc promoting career managing social media coordinating marketing publicity otherwise hyping everyone manager meets assembling professional team introducing law yers business managers agents overseeing peoples work coordinating concert tours working agent make best deals promoters routing tour working business manager develop budget assem copyrighted material personal managers bling road crew supervising tour personnel make sure everything runs smoothly etc pounding record company maximize advertising marketing campaigns records making sure records treated priorities screaming wrong praising right etc generally buffer outside world fielding inquiries commercial endorsements personal appearances charitable requests money smiling face taking rap tough decisions make dont want anyone think etc lets first take look structure deal personal manager well talk picking one long time unusual split management uk doesnt mean manager disappears first sign trouble though sometimes split management mean artists main manager uk covered world excluding us us manager cover us may also canada however dropped typical uk manager handle world us manager world think healthy frankly ive never seen split management work well two managers end squabbling control something goes wrong point finger one still us pe culiar market uk managers get us consultant co manager usually agree split commission north america commission overview managers typically get earnings new artists established artists sometimes knock lower well discuss minute percentages generally applied gross earn ings meaning earnings deducting expenses means youre individual artist fee pretty much sounds like songwriting publishing records etc well discuss finer points later basically managers copyrighted material need know music business deal get take home however comes touring means much might think youll learn discuss concert appearances page youre lucky take home gross income means managers gross take big bite net example earn net manager gets gross since youre taking home managers one third money good youre artist though awesome youre manager youre group five members gross equals almost one earns assuming youre dividing equally example seven everybody gets one seventh thats less managers fact since managers percentage comes top divide monies get one seventh left managers touring monies managers gross many times individual share net artists found shall say uncomfortable pay managers artist makes classic gross softened last years heres whats going good news brits managers uk usually paid net rather gross meaning artists deduct expenses applying management percentage words get piece artist puts pocket well talk net means minute negotiating managers deal despite powerful personality many managers carefully designed keep place possible negotiate manager however like negotiation result depends bargaining power youre major artist bringing million plus per year managers follow like floppy eared puppies de lighted take whatever treats care drop front hand youre brand new band negotiating power ful manager youre doggy copyrighted material" +} diff --git a/tL-mrk-pr-mngmnt:arCourse guide Music Marketing and Management.json b/tL-mrk-pr-mngmnt:arCourse guide Music Marketing and Management.json new file mode 100644 index 0000000000000000000000000000000000000000..7f702b4a40054c163108dc72d82a9944abe5b3cc --- /dev/null +++ b/tL-mrk-pr-mngmnt:arCourse guide Music Marketing and Management.json @@ -0,0 +1,5 @@ +{ + "filename": "tL-mrk-pr-mngmnt:arCourse guide Music Marketing and Management", + "department": "Marketing", "Manager", "PR", "Ar", + "cleaned_text": "music marketing management hu driven globally minded student deep passion music artists business side music industry perfect candidate minor program music marketing management university applied sciences utrecht netherlands hogeschool utrecht crafted collaboration industry experts program specifically designed equip skills knowledge needed junior roles music business companies program proven track record success past students securing internships trainee positions companies universal music double v bookings buma stemra warner music ctm publishing downton publishing peer music ampamsterdam cloud armada music among others minor gateway vibrant exciting career music industry admission admission program background introductory marketing andor communication courses beneficial mandatory additionally proficiency english cefr level b required rest assured essential theoretical foundations thoroughly covered tailored needs programs kickoff throughout lectures part time students also welcome join minor information discuss specific circumstances please contact minors representative content upon successful completion minor program students gained comprehensive array skills knowledge positioning exciting opportunities music business industry program tailored equip practical insights hands experience ensuring wellprepared dynamic evolving world music business whether aspire innovate music marketing excel music rights management launch music related venture minor provides foundational expertise industry connections need turn passion thriving career enrolling minor program participants take first step towards making significant impact music business landscape learning objectives upon completion minor program students participants capable among things analyze critically examine case studies successful music business models identify key factors contribute commercial success sustainability analyze impact digital media music marketing distribution comparing traditional modern strategies evaluate appraise ethical implications various music rights management scenarios using principles copyright law evaluate effectiveness different music promotion techniques reaching engaging target audiences create develop comprehensive business plan startup label music related enterprise incorporating market analysis financial planning strategic marketing design marketing campaign music release integrating digital traditional media based consumer insights apply apply knowledge music publishing rights management simulate contract negotiations royalty distribution scenarios utilize statistical tools interpret market data forecast music industry trends synthesize synthesize various elements propose innovative approaches music business challenges combine theoretical knowledge practical skills produce portfolio music business projects including event planning artist management music copyright artist branding promotion marketing objectives ensure students engaging activities promote critical thinking problem solving creativity crucial skills success music business industry courses program spans one semester includes following courses course title ects music marketing management mmm music marketing management mmm please aware program designed cohesive package coursessubjects typically intended completed format combining multiple programs within single period feasible assessment mmm mid term individual portfolio assessment mmm final individual portfolio assessment minor program student evaluations centered around individual portfolio assessments week program create maintain personal portfolio website online portfolio comprehensive showcase work com pleted program including limited learning objectives evidence learning journey variety content documents created videos presentations podcasts youve produced chapters books youve contributed reflective reports portfolio serve living document progress encapsulating knowledge skills youve acquired program structured support formative evaluations promoting iterative learning encouraging growth towards independent work complex environments approach designed prepare successful professional career conduct two individual assessments mid term assessment final assessment assessments utilize portfolio primary resource providing tangible proof learning development process aim engage reflective practices allowing critically analyze work relation learning objectives set programs outset portfolio based evaluation assessment tool opportunity build professional body work demonstrates capabilities growth making valuable asset future career endeavors literature literature covered minor outlined finalized reading list provided prior commencement minor mandatory need know music business th edition donald passman publisher simon schuster mandatory bargfrede music law digital age copyright essentials todays music business hal leonard corporation recommended live music businessmanagement production concerts festivals author andy reynolds rd edition routledge schedule minor program takes place autumn september january spring february july schedule teaching days program finalized exact days mandatory person attendance yet determined established two full days week dedicated physical classroom interacti additionally students expected engage weekly coaches critical friends online setting furthermore students required complete two volunteer shifts amsterdam dance event october attend eurosonic noorderslag conference january also possibility participating international trip lasting days additional costs na" +} diff --git a/tL-mrk:pr-mngmentaudio-market-update-fall-2023.json b/tL-mrk:pr-mngmentaudio-market-update-fall-2023.json new file mode 100644 index 0000000000000000000000000000000000000000..52257800676d0cbac5419109980b3f7ee9b0d7ee --- /dev/null +++ b/tL-mrk:pr-mngmentaudio-market-update-fall-2023.json @@ -0,0 +1,5 @@ +{ + "filename": "tL-mrk:pr-mngmentaudio-market-update-fall-2023", + "department": "Marketing", "Manager", "PR", + "cleaned_text": "future audio audio market update fall september audio market updatefall recent midsummer music tech dinner new york joined midia researchs tatiana cirisano shared firms perspectives three industry themes music industry forecasts recorded musics staying power streaming subscription business model reaching saturation time start considering next phase growth industry music creation trends growing base consumers empowered make music creator tool industry establishing central part music business ai takeaways ai challenge labels artists remix culture offers opportunity new revenue streams around music music world increasingly center around fandom identity creativity please reach us midia tatianamidiaresearchcom directly insight topics industry continues highly active attracting investment top tier pe funds underscoring importance creator tool component broader music industry avid antares encouraged momentum market global tech conference new york october well panel discussion titled future creator tools heads image line soundcloud vidmob storyblocks hope see click register event topics covered report music industry updated sector tam estimates streaming subscribersarpu monetization streaming impact emerging platforms music catalog valuation environment generative ai creator economy podcast engagement digital transformation radio sector valuation environment recent sector financing transactions public market performancejonathan norman managing director london dc audio creator tools live events ipbrian marler director los angeleshoulihan lokeys leading digital audio franchise completed financing consisting series convertible preferred stock placement agent completed financing transaction connection acquisition fairness opinion melody holdings lp parent sesac music group portfolio company completed million debt recapitalization financial opinion confirmed chapter plan reorganization restructuring approximately million debt second lien noteholder advisor acquired ev events center llc joint venture brooklyn sports entertainment aeg presents regional partner bowery presents sellside advisor merged merger advisor acquired financial advisor received strategic investment sellside advisor acquired sellside advisor completed sharewarrant repurchase representing outstanding securities financial advisor acquired sellside advisor acquired portfolio company sellside advisor acquired buyside advisor acquired buyside advisor financing financial advisor jared shaber vice president new yorkdaniel gossels managing director new yorkjohn lambros managing director cohead us technology new york sameer jindal managing director mumbaidigital audio team conrad kolasa vice president los angelesjohn focosi associate los angeles ishan pinto financial analyst new yorkrahul amin financial analyst new york selected transactions executed houlihan lokey professionals firms acquired houlihan lokey pr ofessionals houlihan lokey joint venture company highly relevant sector experience sold majority stake sellside advisor parent company received financing coran capshaw founder sellside advisor global leader technology advisory notes ranking based data provided refinitiv excludes accounting firms brokers june excludes corporate mds august ltm ended june advisory rankings global technology transactions advisor deals houlihan lokey goldman sachs morgan stanley rothschild jp morgan expertise high growth technology sectors significant experience expertise across vertical horizontal business management software hcm property tech tech enabled services ucaas industrial tech data analytics fintech adtech cyber digital audioglobal tech coverage knowledge global footprint offices key markets americas asia europe gives us integrated coverage local roots mean strong understanding markets cover technology offices globally technology focused bankers technology focused managing directorsbroad deep investor coverage senior officers dedicated sponsor community americas europe coverage private equity firms credit funds family offices catalog deal experience financial sponsor preferences behaviors houlihan lokeys capital markets group comprises dedicated professionals across offices five countries raised billion advised additional billion across transactions past two fiscal yearskey facts figures clients served annually managing directors total financial professionals locations worldwideb revenueb market capitalizationpartner led approach providing unbiased insightful advice best interest clients houlihan lokey dedicates significant senior resources guiding clients locations worldwide technology bankers tech managing directors technology deals cy tech advisor local technology teamamericas atlanta baltimorebostonchicagodallas houston los angelesmiamiminneapolisnew yorksan franciscos\u00e3o paulo washington dc asiapacific beijingfukuokagurugramhong kong sarmumbainagoyashanghaisingaporesydneytokyo europe middle east amsterdamantwerpdubaifrankfurtlondon madrid manchestermilan munich parisstockholmtel aviv zurich source refinitiv excludes accounting firms brokersour tech team globally unrivaled reach houlihan lokey global tech conference marketingcrm houlihan lokey global tech conference october lotte new york palace hotel expect event panel discussions ceos high growth companies wide range speakers share insights navigating current market conditions positioning companies future success across variety technology sectors featured speakers conference feature high profile speakers candid panel discussions distinguished tech thought leaders covering variety topical themes targeted one onone meetings houlihan lokey arrange targeted one onone meetings presenting companies course conference advising prospects meeting structure materials coordinating follow networking opportunities join audience strategic financial institutional investors well capital providers lunch end ofday cocktailsoctober evening pre conference vip reception october conference panels xsagenda interested presenting company gtc email gtconferencehlcom participating companies targeted oneonone meetings investors strategic partners conference attendees music industry outlook remains robust sector exhibited resolve throughout recent analyst growth forecasts remained materially unchanged prior estimates goldman sachs music air e e e e e e e erecorded music music publishing live music ee cagr live music music publishing recorded music believe growth outlook remains strong broad based forecast global music industry revenues grow yoy prior cagr slightly upgraded prior within streaming growth forecasts unchanged total global industry revenues segment billionsstreaming rebuilt music industry total physical total streaming downloads digital performance rights synchronization source ifpi global music report global recorded music revenue surpassed previous high reached driven rapid growth streaming billionsglobal recorded music historical revenue powerful tailwinds driving music industry growth music streaming expansion new digital media platforms non dsps growth independent artists music consumption rapidly increasing global demand song streams trillions midia research global music forecasts non dsp platforms include tiktok meta snap twitch peloton roblox apple fitness goldman sachs music air houlihan lokey estimates emerging platforms include revenues social media platfor ms podcasts gaming etc luminate global music streaming subscribers millionsglobal music streaming revenue nondsp platforms billions global streaming market share umg sony wmg independent artists growth e e e e e e e e e e e e e e e e e e e e e e e easiapacific north america europe latin america rest worldmusic subscriber expansion expected continue across regions midia research global music forecastsin millionsaudio subscribers region row apac europe latam north america ee cagrapac expected account half net adds monetization music streaming increasingly apparent midia research global music forecasts goldman sachs music airmonthly music subscriber blended arpu retailarpu growth anemic revenue per stream continues slip music undervalued compared video global revenue per streamprice per hour consumption music hulu netflix disney max music streaming ee cagr row apac europe latam n america e e e e e e e easiapacific north america europe latin america rest world blended global arpu global increases expected monthly price music subscription gone proportion video streaming would increased today believe market bear price increases future expecting theyll arrive regular cadence pastthe industry attempting address monetization major streamers implemented long awaited price hikes platform date planchange region july premium global july premium global july base individual familyus january unlimited usuk october premier familyglobal spotify based streaming activity february march l uminatethe superfan model presents new monetization opportunityrobert kyncl ceo wmg q earnings believe breaking barrier music streaming services watershed moment platforms likely follow suit regular price increases become norm audio streaming industry video streaming industry pershing square letter shareholders super listeners comprise artists monthly listenership account monthly streams music listeners us categorized superfans superfans spend average per month relative non superfans superfans likely first among friends discover new music artistssuperfans highly engaged music listeners willing spend music merchandise artist content superfan model involves segmenting population offering exclusive premium content allowing increased subscription arpu enhanced monetizationdsp sub growth continuesamazon youtube tencent gaining share global paid subs platform wells fargo equity research music business worldwide midia e e espotify apple music tencent music amazon music youtube music otheremerging platforms source new subscriber growth millions youtube music spotify tencent music amazon music apple music ae cagr creator economy potential transform industry music professionals aspiring professionalsglobal creator economy music enthusiasts beginners b mb b creatorsb b creators b creatorsae ae ae sources midia research adobe research new creator manifesto cagr applied calculate e market size figures based forecasted creator count growth million llion overall creator economy massive within music industry market enthusiasts twice size marke professionals expected grow significantlymarket leaders vocal creator economy soundcloud driving equitable exciting future artists soundcloud continues creator first company focusing artists need build careers thrive artists producers songwriters driving force continues push whats nexttracy chan svp soundcloud foundational audio technologies essential ecosystem entertainment audio theyre delivered across broad range consumer entertainment devices continue focused opportunity bring dolby experience even wider range use cases kevin yeaman ceo dolby labs creators happy creators engaging theyre adding content spotify spotify becomes better real goal understand help creators really reach fans really gain new audiences really monetize best paul vogel cfo spotify heading towards future people creative work enjoy want platforms like play role making happen mark zuckerberg ceo meta saw much organic growth software tools side among creators became brainer focus anjali sudceo vimeo creator economy birth know hundreds millions people taking advantage wonderful creation tools available many people jack conte ceo patreon competitive landscape creators certainly go places end da offer amount reach amount dollars financial success creators come us susan wojcicki ceo youtube unprecedented growth creator economy provides platform everyone creator individuals solopreneurs small business owners content creators express explore creative artistic pursuits new waysscott belsky cpo adobe non professional music creators transforming music industry goldman sachs music air selected creator tool platforms company founded website mission beatportcombeatport provides world class products services help djs producers stages careers elevate cra ft indefinite pursuit innovation inspiration helps lead category define progression dj culture around world image linecomimage line company behind fl studio worlds leading music production platform fl studios iconic user friendly inte rface expansive capabilities extensive library plugins effects made favorite producers around globefrom passionate beatmakers biggest producers generation steady stream relevant updates improvements fl studi cemented firstchoice digital audio workstation daw music producers spawned passionate community f millions music makers around globe outputcomoutputs core mission centered around revolutionizing music creation process providing innovative tools technology musicians producers composers primary objective empower artists unleash creativity bring unique visions life cutting edge software instruments pexcompex specializes digital rights technology ensures transparency accuracy attribution bringing together stakeholders industries license manage content advanced licensing infrastructure allows platforms manage license content b efore published empowering creators upload freely respecting copyright soundcloudcomsoundcloud nextgeneration music entertainment company offers innovative products tools services empower ar tists build grow careers allowing young influential audience discover whats new next music splicecomsplice seeks empower musicians realize creative potential share world cloud based musi c creation platform helps music creators bring ideas life vast industry leading catalog high quality licensed amples paired powerful ai splices creative ecosystem accelerates deep sound discovery inspiration k songs uploaded daily spotify number songs uploaded spotify daily thousands apr apr apr apr apr apr coming nonprofessional creators new tracks uploaded majors professionals nonprofessionalsif harnessed effectively generative ai productive creator tool proper framework likely determined rightsholders artists labels generative ai could boon indu stry songs dsps boom ai left unregulated total songs dsps millions potentially diminishing position labels majors illustrative share songs streams subscription revenuesconsumerization musicmaking non professionals creating music monetization opportunities creator tools companies rightsholders consumergeared musicmaking tools games social media integration artists selling stem packs fans vast increase scale music creation high volume songs released dsps choose poison scenario majors eg wmg umg sme ai music stays dsps ai music overtakes background music dsps internally generate ai music lower royalties majors due dilution majors force dsps strike ai music growth social user generated content platforms increases cultural capital lowers royalties majors due dsps smaller user basespotential implications ai discussion conversation ai houlihan lokeys midsummer music tech dinner july j p morgan research e e e e e e e edistro share songs share streams share revenues e e e e e e e espotlight new player aimi leverages generative ai rights cleared music enhance music creation process aimi offers interactive music experiences aimi player live channels youtubecompany overview headquarters austin texas founded ceo edward balassanian descriptionaimi operates software platform lowers barriers music creation allows fans enthusiasts creators interact music creation process leveraging rightscleared music generative ai aimi enhances ability artists create great unique music new way recent financingin november aimi raised million series b led great mountain partners founded aimi simple vision enable human artistry guide ai creation beautiful music generative music platform use ai weve always artist front edward balassanian founder ceo sxsw presentationselected commentary generative ai music stations consumers listening pleasure live channels pre recorded generated live aimis ai running web servers serenity trap flow electronica chill deep house organica lounge amapiano aimi leverages ai enhance music creation aimi sonic vault ai technology inputs solutions tops harmony fx pads bass beatsaimi live aimi playeraimi studiovideo syncalbum makerbb sources company website pitchbook sp capital iqmelody featured recent transactions generative ai ann date type company investoracquirerinvestmentpurchase price mcompany description june financing wavs ais music streaming platform uses ai analyze samples users hard drive categorize tag may financing boombox designs software empower modern remote musician offers tools collaborate songwriting remotely manage song splits may financing operator music stems creation platform intended artists make money music audioshakes platform separates recordings different component parts october acquisition supertone offers voice synthesis cloning singing speaking enabling users create artificial voices sound like real humans october financing stability ai community driven open source ai company imagery language audio video etc june financing naauthentic artists makes interactive virtual artists using deep learning technologies june financing boomy generative ai company enables anyone smartphone produce monetize original songs april financing endels app creates individually tailored soundscapes designed help people relax focus sleep march financing using ai building blocks supplied real world musicians lifescore delivers ever evolving composition sources sp capital iq pitchbook research mergermarket music business worldwide wall street research musically e e e e ea new era live music since us concert attendance average ticket resale prices doubled segment revenue well prepandemic levels tremendous start first time three years markets fully opened clear look results operating metrics global demand live events continues reach new heights michael rapino president ceo director live nation eras tour started march ends us august track become biggest concert history potentially grossing billion felt like las vegas swift performed march tourism authority vegas credited superstars concerts boosting visitor numbers nearly prepandemic levels july ticket prices doubled since average resale price concert tickets seatgeek live music recession proof amid inflation impending recession major artists popular festivals continue capture largest share consumers spending live entertainment attending concerts friends worth cost music enthusiasts continue perform better types entertainment fabrice sergent managing partner bandsintownglobal concert ticketing revenue billions live nation pollstar pwc seaport research partners w sj year concert ticketlive nation entertainment q earnings call edmidentity bandsintown managing partner fabrice sergent talks trendsradio remains critical component audio radios signal still reaches massive engaged audience radio fundamentals endure radios share ad supported audio listening radios share ad supported listening car adults listen radio weekly hours average amount time listeners tuning weekly q q q q q q q overtheair amfm radio amfm via streaming beyond words spoken word audio statistics listener habits demographics edison research share ear q statista activate consulting activate technology media outlook digital audio includes audio streamed via mobile desktoplaptop radio excludes digital radioengagement streaming platforms surpassed radio edigital audio radio total audio timeaverage daily audio time per adult aged typestreaming growing percent total amfm listening share audio time spent theair amfm listening digital streaming amfm radio persons aged supporting steady outlook global radio revenues billions e e e e e e e epodcast engagement monetization risen sharply us podcast revenue booming since average time weekly podcast listeners spend podcasts doubledus podcast revenues billions eaverage us weekly podcast time hoursminutes market share podcast streamsspotify apple dominate podcast streams e monthly us podcast listenership reached million otherpeople listened podcast past monthus population millions variety talking audio report podcast consumer infinite dial report edison researchus census bureau demandsage total may sum due rounding music streaming revitalized music catalog valuations peak demand forphysical digital disruption yet tooccurhigh teens streaming solidifies new models emergex x decline physical emergence piracy andcreation digital ecosystemx nps valuationenvironment macro trends today sas industry evolved music catalog valuation multiples measured net publishers share nps returned levels seen prior disruption technological change early sdemand music assets increased market entrants music catalog demand increased recent years due uncorrelated features asset annuitylike earnings stream sources shot tower capital musonomics larry miller barclays research solomon partners investment music rights companies catalog acquisition funds music catalog xxxxxxx nps multiples catalogs ebitda multiples publishers xxxxxxx nls multiples catalogs ebitda multiples labelsglobal investment music royalties recorded music music publishing billionsthe song asset class sept blackx music fund launched initial raise million aug concord raises billion debt financingmar influence media partners launches million catalog fundjuly sesac closes million bond transaction dec northleaf raises million securities backed music rights oct kkr acquires kobalt kmr music royalties portfolio billion aug carlyle invests million newly launched litmus music oct blackstone invests billion music rights via hipgnosis dec apollo priced billion bond backed concords music rights reflects music abs transactionfeb iconoclast launches backing pimco aug litmus launches million backing carlyleoct harbourview launches billion capital apollo oct lyric launches million backed spirit music groupsept hipgnosis raises million stock offering apr reservoir spacs acquire catalogsfeb kkr sold million securities supported publishing sound securities aug hipgnosis raises million abs nov round hill raises million fund ipomar kobalt raises million catalogacquisitions oct brookfield commits billion primary wave sources company announcements musicbusinessworldwidecom digitalmusicnewscom bloombergcom billboardcom varietycom pitchbook sp capital iq publicly available informationmusic catalog funds continued raise significant capital throughout feb shamrockcapital content fund iii raises million feb lyric closes music royalty fund million total commitments mar multimediamusic raises million developmentcapital may duetti raises million venture funding june beyond music completes million strategic fundraising round june hybe seeks million raise fund us acquisitions select recent music catalog acquisitions q bmg acquires jean michel jarre catalog july value na reach music acquires chuck catalog sept value na concord acquires phil collins catalog sept value harbourview acquires stake brad paisley catalog july value na influence media partners acquires future catalog sept value harbourview acquires stake lady catalog july value na q bmg acquires haddaway catalog nov value na domain capital acquires iggy azalea catalog nov value na primary wave acquires huey lewis catalog nov value na primary wave acquires whitney houston catalog nov value bmg acquires peter frampton catalog dec value na bmg acquires chris rea catalog dec value na litmus acquires keith urban catalog dec value na q shamrockuniversal acquires dr dre catalog jan value primary wave acquires manzarek krieger rights doors catalog jan value na wmg acquires yes catalog jan value na hipgnosis acquires justin bieber catalog jan value mojo music media acquires several catalogs mar value na q primary wave acquires stake sarah mclachlan catalog apr value na reach music acquires rights two judas priest albums apr value na anthem acquires additional interest timbaland catalog june value na bmg acquires paul simon catalog june value na bmg acquires hollies catalog june value na primary wave acquires joey tempest catalog june value na q harbourview acquires selected nelly assets july value despite rising interest rate envi ronment music catalogs continued trade robust valuations multiples trading approximately xx nps iconic artist catalogs transacting x nps factors potentially supporting sustained valuation levels influx capital recent years earmarked catalog acquisitions continued strong industry growth supported healthy expected subgrowth new monetization channels eg tiktok peloton metaverse indexing catalogs streaming concerns biden administration would amend treatment capital gains postmidterm divided government revision capital gains tax treatment seems less likely sources company announcements musicbusinessworldwidecom digitalmusicnewscom bloombergcom billboardcom varietycom oth er publicly available informationspotlight new player duetti raises million expand microfinancing efforts microfinancing artists catalog works independent artists popularity growthindependent artists sell catalogs microfinancing companies microfinancing companies help optimize songs popularity receive licensing feesincreased song popularity helps grow art ists brands reputationscompany overview headquarters new york new york founded descriptionduetti microfinancing platform provides cash artists music catalogs allowing artists receive transparent datadriven offersannounced roc nation presight capital viola ventures participated round investment used scale business match growing demand expanding team partnering new artists implementing financial optimization opportunities acquired catalogs duetti marks first major investment artist microfinancing space quickly scaled tool independent artists partnered deals across tracks artists receiving per deal recent years trend legacy alist musicians selling entire catalogs left independent artists equation artists stages careers easily capture potential tracks catalogs help reach next step journeyselected commentary lior tibon ceo duettiduetti receives million early stage funding transaction highlights new wave artist catalog microfinancing industry sources company website pitchbook sp capital iq microfinancing companiesrecent sector transactions pppcompany overview selected commentaryheadquarters santa cruz california founded description audio based software products intended serve music industry companys software offers algorithm vocal instrumental processing pitch correction enhancement special effects thereby enabling clients enhance manipulate voicesannounced august atairos makes minority investment antares audio creator auto tune joining existing investors ulysses management orkila capital auto tune become one largest fastest growing creator tools companies world partnership provide auto tune financial strategic resources company continues expand investment amount million since first invented dr andy hildebrand auto tune revolutionized music industry indisputably become sound st century proud world class investor atairos sees massive untapped potential using technology enhance creativ ityantares receives significant investment atairos landmark transaction super charges auto tunes next phase growth steve berkley ceo auto tunetransaction highlights sources company website pitchbook sp capital iq company overview headquarters aukland new zealand founded descriptionserato developer software music production company different products target professional studios djs producers recreational music creatorsannounced ju ly alphatheta parent company pioneer dj via financial sponsor kkr acquired serato acquisition advances kkrs effort music creator spa ce particularly targeting djs serato alphatheta w ill continue operate stand alone brands deal value million billion delighted announce acquisition serato extensive discussions within company seratos management team exploring new ways contribute industry bringing serato alphatheta group lead new synergies significant technological innovations adding continued value communityselected commentary yoshinori kataoka ceo alphathetaserato acquired pioneer dj alphatheta transaction highlights expansion efforts creator tools pioneer dj platformtransaction highlights recent sector transactions cont pppcompany overview selected commentaryheadquarters landover maryland founded description rbmedia largest publisher audiobooks world rbmedia published titles broadest distribution network reaching millions listeners worldwideannounced july hig capital acquired rbmedia kkr undisclosed sum since kkrs investment rbmedia doubled size catalog expanded distribution channels transaction arks hig capitals entrance audiobook space represents one largest audiobook transactions date audiobook market set significant growth investment coming years thrilled partner rbmedias world class management team help build success date continue shape digital media landscape aaron tolson managing directo r hig capitaltransaction highlights rbmedia acquired hig capital rbmedia acquisition represents financial sponsors value audiobook industry sources company website pitchbook sp capital iq company overview headquarters bologna italy founded descriptionmusixmatch developer global music data platform intended change way people experience music lyrics companys platform offers catalog song lyrics translations synchronized word bywordannounced ju ly tpgt hrough middle market growth equity platform tpg growthmade significant strategic investment musixmatch partnership advances musixmatchs mission provide ly rical content tools enriched metadata services growing community musixmatch joins tpgs extensive portfolio music broa der media investments including calm creative artists agency caa long admired impressive platform max team built believe musixmatchs unparalleled metadata catalog proprietary lyrics sourcing engine extensive relationships streaming platforms ip owners continue position company success large growing marketselected commentary jacqui hawwa business unit partner tpg growthmusixmatch receives significant investment tpg transaction highlights musixmatchs aim expand internationally new verticalstransaction highlights avid technology acquired stg billion avid financial profile q business highlights august avid leading provider software integrated solutions media entertainment industry announced entered definitive agreement acquired affiliate stg leading private equity firm allcash transaction valuing avid approximately billion inclusive avids net debt terms agreement avid shareholders receive cash share avid common stock purchase price represents premium companys unaffected closing share price may transaction expected close q sources press releases sec filings company website ltm refers months ending june includes professional services training revenue transaction overview entered definitive agreement acquired avid platform overview selected deal commentary stg admired avids heritage category creator pioneer media entertainment software market many years excited partner jeff management team build companys history delivering differentiated innovative content creation management software solutions william chisholm stg partneravid delivered technology enables individuals enterprises create media living make manage monetize todays celebrated video audio content across globe pleased announce transaction stg share conviction excitement jeff rosica avid ceo digital media compositionrobust editing softwaresophisticated digital production shared storage systemslive sound console systemsvideo servers broadcastingintegrated solutionsmedia production suitepostproduction environmentseditorial workflow modulesenterprise software solutionsx evltm revenuex evltm ebitdaltm revenue breakdownpaid cloudenabled software sub scriptions reached june yoy subscription arr million june yoy total arr million june yoy ltm recurring revenue percent companys revenue months ending june months ending june implied transaction multiples subscription maintenance integrated solutions creative software solutionsthe music landscape evolving digital replatforming music value chainlabels publishing distribution artist services rights management production engagement tools live concert streaming artist label services artist platforms ai tools analytics rights managementdiy distribution distributors dspsindie labels large scale publishers major labels live event mgmt fan engagement daws creator platforms services generative ai video creativeto view full market map please contact johnlambroshlcom dgosselshlcomfeatured audio transactions date company investorsinvestment size aug aug jul jul jun jun may may mar mar feb feb featured audio transactions sources company website pitchbook sp capital iq houlihan lokey estimate million credit facility victory park capital enable stem provide artists advance checks date acquirer targetenterprise value aug jul jul may may may mar mar feb feb feb featured audio private placement transactions ahdritz holding dtc audio streaming labels publishers radio events creator tools sp radio creator toolspublic market performance labels publishers dtc audio streaming events source sp capital iq september ltm share price performance x x x x xx xx x x x xpublic market performance dtc audio streaming source sp capital iq september note tevforward revenue chart excludes apple amazon alphabet tevcy e revenue na tevntm revenuemedian x x xxxxxxxxxx x x xxx x xpublic market performance labels publishers source sp capital iq september note tevforward ebitda chart excludes round hill musicna tevcy e ebitda tevntm ebitdamedian x x xxxxxpublic market performance radio source sp capital iq september tevcy e ebitda tevntm ebitdamedian xx x xxxx x x x xxxxxxxxpublic market performance events ticketing source sp capital iq september tevcy e ebitda tevntm ebitdamedian x x x xx x x x xxxxxxxx xx x xx xx x xpublic market performance creator tools source sp capital iq september tevcy e revenue tevntm revenuemedian x x xxxxxxxrecent sector detail sources sp capital iq pitchbook research mergermarket music business worldwideaug avid technology stg partnersdeveloper open integrated technology platform designed digital media content production management secured content storage distribution aug belift lab hybelaunched korean based joint venture hybe cj enm belift lab established manufacture promote idol groups november belift launched enhypen seven member boy band emerged reality tv show land since enjoyed three million selling albums jul rbmedia hig capitalprovider audiobooks digital media intended consumer retail professional school library infotainment markets jul absolute label services management buyout provider music label services intended help artists take music market jul nelly selected recorded assets harbourview equity partners recording artist music catalog jul serato audio research ltdalphatheta corp parent pioneer djdj musician software creator tools novice professional musicians software sold primarily monthly subscription basis serato founded based auckland new zealand jun logic influence media partners recording artist music catalog jun paul simon catalog bmg recording artist music catalog jun joey tempest catalog primary wave music publishing catalog jun hollies catalog bmg recording artist music catalog jun royal streaming pamir partnersdeveloper exclusive sounds music concepts intended serve local global brands swedish company offers branded music handles everything streaming managing rights provides complete solutions stores large international chain individual hotels may listen entertainment podx groupoperator radio podcast production company based shirley united kingdom company creates podcasts radio shows social first content well distributes various podcast apps may proactiv sony music masterworksoperator event management firm intended produce promote large scale shows international exhibitions music concerts company offers production promotion organization communication show event among services may callin rumbleoperator social podcasting platform intended create discover consume live recorded audio content one place companys platform provides users quality audio podcasts combine social audio podcasting seamless fashion may comhear wisa technologiesoperator audio technology company intended bring people close together pristine communication companys technology offers patented audio enhancement software beamforming technology enhances immersive entertainment physical sensation sound millions target announced target acquirer target description tevrecent sector detail cont sources sp capital iq pitchbook research mergermarket music business worldwidemay blinkist gooperator app based book summarizing platform intended gather key insights nonfiction books read listen short explanations apr red music endeavoroperator talent booking agency based austin texas company specializes booking live performances clients venues across united states apr bose professional division transom capital groupdeveloper audio systems easy design install operate performance commercial conferencing applications worked av integrators system designers installers consultants deliver audio experiences mar sentric believedeveloper online music publishing platform designed empower artists songwriters collect royalties theyre owed add creative value songs mar clockenflap live nation entertainmentoperator event organizing company based hong kong china company specializes hosting music arts festivals events mar audiosalad sesac music groupplatform provides artist metadata media asset management services well delivery distribution services feb hyperion records universal music groupoperator music company intended provide recordings music styles periods twelfth century st companys specialties include classical music recording production download distribution feb digital group plc songtradr digital group plc business tobusiness digital music radio services company feb qc media hybeprovider label management services based atlanta georgia company specializes creating music several artists producing music online audio video series catering music enthusiasts businesses individuals jan justin bieber catalog hipgnosis recording artist music catalog jan soundmouse orfiumsoundmouse provides music cue sheet reporting monitoring broadcast entertainment production spaces jan dr dre shamrock capital recording artist music catalog dec ami entertainment coral tree partnersprovides music music video entertainment well advanced digital advertising capabilities bars restaurants digital jukebox offering dec greg wells beyond music producersongwriter greg wells music catalog dec keith urban litmus recording artist music catalog millions target announced target acquirer target description tevrecent sector private placement detail sources sp capital iq pitchbook research mergermarket music business worldwideaug dicemusic ahdritz holding structural capital exor ventures mirabaud lifestyle funda ukbased mobile ticketing platform live music events aug antares audio technologies atairosleading software vocal production product revolutionized music industry used vast majority billboard hot tracks jul soundxyzandreessen horowitz snoop dogg ryan tedder othersallows artists mint songs chain nonfungible token nft sell directly fans helped music creators generate million music sales since beta launch raised million seed round december jun xposure music lalotte venturesdeveloper artist development music discovery platform intended easily submit music array industry insiders companys platform helps connect directly recognized marketers producers managers labels companies jun soundtrack brand musicsubscription based music streaming service targeting smbs helping smbs play music fits brand managing commer cial licensing jun wavs ai regal investments generative ai music creation platform jun beatclub anthem entertainment operator digital global marketplace intended connect music creator community record labels jun jkbxmaywic select investments valor equity partnersoperator music investment platform intended democratize ownership music royalties using blockchain securitization company offers fans retail investors music lovers opportunity invest music royalties scale jun beyond music praxis capitalsouth korea based music catalog acquisition company made catalog acquisitions june firm says manages nearly million aum rights songs mayplaylist movies music entertainmentaltos ventures hana securitiesoperator digital platform intended enjoy drama music content playlists companys platform specializes n producing creating web drama content focused adult segment across variety genres enjoyable content may kuku fm international finance corporationkuku fm indias leading audio content platform creates produces markets distributes exclusive premium audio co ntent form audiobooks stories summaries courses categories via mobile app website available android ios may bandlabcercano management formerly vulcan captial developer social musicmaking platform designed make music share creative process musicians fans may elevenlabs andreessen horowitz developer voice dubbing tools designed automatically dub videos podcasts languages may duettipresight capital roc nation viola venturesoperator music licensing platform intended provide new empowering financial prospects companys platform engage buy catalog rights independent musicians monetize data social media marketing apr fireside chatred beard capital paris hilton othersdeveloper next generation podcast platform intended creators bring audience story live interac tive virtual shows companys platform made podcasting conversing listeners said podcasts mar times music pr imary wave musica subsidiary media giant times india group times music indian record label music publisher whose library represents bollywood indie pop rock regional spiritual nonfilm music genres mar multimedia musicbardin hill investment partners metropolitan partners pinnacle bankoperator music group company focused acquiring managing music rights commercially proven films television eries mar trala seven seven sixdeveloper music education application designed teach users play violin companys application offers tutor ials daily lessons real time feedback mistakes mar nettwerk music groupbeedie capital flexpoint ford vistara growthoperator record label artist management company located vancouver canada company specializes publishing dis tributing music recordings rosters millions investment premoney announced target investor target description amount valuationrecent sector private placement detail cont sources sp capital iq pitchbook research mergermarket music business worldwidefeb cutting edge media music pinnacle financial partnersfinancing investment company operating units provide music publishing record label music services feature films tv shows musical theatre productions video games feb beatclub hipgnosis songs operator digital global marketplace intended connect music creator community record labels feb fever goldman sachslive entertainment tech company runs exclusive events directs users restaurants concerts night life sports events fashion shows pop ups jan yuehua entertainment hengten networks group maoyanyh entertainment group artist management company china company grown cultural entertainment platfor comprising three complementary business segments artist management music ip production operation panentertainment business dec audio ben lurie others podcast content creator focused development ownership premium audio ip nov vampr downtown music vampr launched dubbed linkedin creatives nov orfium big pi venturesorfium amusic management platform identifies online copyright violations monetizes content producers publishers rec ord companies ip owners nov wonder inventions ivpthe companys platform automatically composes tracks synchronize precisely source video allowing creators forego stock music oct stability aicoatue lightspeed oshaughnessy venturesdeveloper open ai tool allows users create images audio based text inputs oct primary wavebrookfield asset management caaan independent music publisher portfolio includes songs stevie nicks whitney houston etc primary wave also raises manages funds used acquire music rights sep kuku fmfundamentum paramark existing investorskuku fm indias leading audio content platform creates produces markets distributes exclusive premium audio co ntent form audiobooks stories summaries courses categories via mobile app website available android ios sep podimonorth headline heartcore highland europe saban otherspodimo podcast short form audio platform offers personalized recommendations users supports podcast creators revenue share model driven subscription based service aug proofandreessen horowitz br capital flamingo dao othersoperator media podcast person event company intended nft members aug songfinch valor equity partners developer online music platform intended let users buy personalized songs musicians jul musixmatch tpg growthmusixmatch italian music data company platform users search share song lyrics translations largest platform kind world million users million lyrics employees jul stationhead buttonwood group advisorsstationhead social music platform artists fans connect livestream create share curated playlists platform five million users k stations across countries jul assemblyaiinsight partners accel combinator othersdeveloper speech recognition system uses ai automate audio transcriptions jul blue wirepirate entrepreneurship fund dot capital east carolina angels blue wire sports podcasting network podcasts create high quality original audio content partnered world class athletes looking grow audio platform expand influence jun nextoryacacia asset management industrifonden lk finanssweden based subscription model audiobook platform allowing users download listen library books comics millions inv estment premoney announced target investor target description amount valuationfeatured audio market experience houlihan lokey professionals unparalleled experience advising audio companies across wide range transactions tombstones included herein represent transactions closed forward selected transactions executed houlihan lokey professionals firms acquired houlihan lokey pr ofessionals houlihan lokey joint venture companyhas acquired sellside advisor confirmed chapter plan reorganization restructuring approximately million debt second lien noteholder advisor received strategic investment sellside advisor acquired portfolio company sellside advisor parent company received financing coran capshaw founder sellside advisor acquired ev events center llc joint venture brooklyn sports entertainment aeg presents regional partner bowery presents sellside advisor completed financing consisting series convertible preferred stock placement agent completed financing transaction connection acquisition fairness opinion acquired sellside advisor merged merger advisor secured financing financial advisor divested equity stake financial advisor acquired financial advisor portfolio investment valuation opinion acquired financial advisor financing financial advisor investment financial advisor exchanged stations financial opinion acquired sellside advisor completed sharewarrant repurchase representing outstanding securities financial advisor sold majority stake sellside advisor acquired portfolio company sellside advisor made investment financial advisor acquired buyside advisor acquired sellside advisor acquired sellside advisor acquired financial advisor raised equity wood creek capital acquire financial advisor beats electronics llc licensed certain trademarks trade names daisy llc fairness opinion acquired financial advisor acquired financial advisor acquired sellside advisor preferred stock offering financial advisor acquired buyside advisor series e preferred stock financial advisor acquired buyside advisorhas successfully placed senior secured credit facility support acquisition placement agentfeatured audio market experience cont houlihan lokey leader providing valuation financial opinions media entertainment industry successfully completed financial restructuring bn credit facilities company advisor sony corporation america providence equity partnerstexas pacific groupdlj merchant banking partners comcast corporationthe consortium agreed acquire approximately billion financial opiniondreamworks animation inc separated dreamworks llc new publicly traded corporation financial opinionhob entertainment inc completed million recapitalization preferred common stock financial advisor fairness opinionhas acquired citadel limited partnership nbc universal inc financial opinionshas paid special dividend per share common stock approximately billion aggregate financial opinionprovidence equity partners investments plcand sparrowhawk mediathe consortium acquired international businesses approximately million financial opinionred envelope entertainment llc subsidiary netflix inc financial opinionvaluation opinion connection potential transaction financial opinion rendered valuation opinion corporate planning purposes image entertainment regarding film television library ip valuation completed recapitalization transaction financial advisor fairness opinionwe rendered valuation opinion financial reporting purposes yankee entertainment sports network financial opinion completed spin financial opinion acquired financial tax due diligence beats electronics llc licensed certain trademarks trade names daisy llc fairness opinion acquired rendered valuation opinion financial reporting purposes anthem sports entertainment regarding acquisition hdnet llc aka axs tv financial opinion rendered valuation opinion financial reporting purposes hasbro inc regarding feature film financial opinion completed financing consisting series convertible preferred stock placement agent completed financing transaction connection acquisition fairness opinion valuation film library collateral lending purposes connection sound point capital managements acquisition relativity media collateral valuation valuation film television library collateral lending purposes collateral valuation rendered valuation opinion tax financial reporting purposes topps company regarding sports entertainment business financial opinion rendered valuation opinion financial reporting purposes mgm regarding intangible assets including mgm film television library financial opinion completed special dividend recapitalization add existing term loan financial opinion acquired controlling interest kids station inc rendered valuation opinion financial reporting purposes sony pictures television inc regarding intangible assets kids station inc financial opinion successfully completed spinoff houlihan lokey provided financial opinions board directors twenty first century fox fox corporation financial opinion portfolio investment valuation opinion provided financial advisory services valuation opinion connection purchase tribune medias interest chicago entertainment ventures llc financial opinion accelerated global content llc valuation opinion connection strategic initiatives following agcs launch financial opinion acquired interest valuation specialist services formerly known completed restructuring billion debt financial opinion valuevision media inc entered agreement restructure extend series redeemable convertible preferred stock held ge capital equity investments inc series redeemable convertible preferred stock exchanged million shares series b redeemable preferred stock due warrants purchase million common shares per share million cash financial advisor fairness opinion iconoclast fund gp llc acquired certain music catalogs empire sun murder inc financial opinion axton copyrights llc dba concord music acquired certain assets downtown music holdings financial opinion alchemy copyrights llc dba concord music acquired axton copyrights llc rendered valuation opinion financial reporting purposes axton copyrights regarding acquisition concord music financial opinion axton copyrights llc dba concord music acquired certain assets downtown music holdings financial opinionalchemy copyrights llc dba concord music acquired certain music catalogs genesis phil collins michael rutherford anthony banks financial opinion tombstones included herein represent transactions closed forwarddisclaimer houlihan lokey rights reserved material may reproduced format means redistributed w ithout prior written consent houlihan lokey houlihan lokey trade name houlihan lokey inc subsidiaries affiliates include following licensed case singapore exempt entities united states houlihan lokey capital inc houlihan lokey advisors llc secregistered broker dealer mber finra wwwfinraorg sipc wwwsipcorg investment banking services ii europe houlihan lokey advisory limited houlihan lokey emea llp houlihan lokey corporate finance limited houlihan lokey uk limited authorized regulated uk financial conduct authority houlihan lokey europe gmbh authorized regulated german federal financial supervisory authority bundesanstalt f\u00fcr finanzdienstleistungsaufsicht iii united arab emirates dubai international financial centre dubai houlihan lokey mea financial advisory limited regulated dubai financial ser vices authority provision advising financial products arranging deals investments arranging credit advising credit professional clients ly iv singapore houlihan lokey singapore private limited houlihan lokey advisers singapore private limited exempt corporate finance adviser able provide exempt corporate finance advisory services accredited investors v hong kong sar houlihan lokey china limited licensed hong k ong securities futures commission conduct type regulated activities professional investors vi india houlihan lokey advisory india private limited registered investment adviser securities exchange board india registration number ina vii australia h oulihan lokey australia pty limited abn company incorporated australia licensed australian securities investments commission afsl number respect financial services provided wholesale clients united kingdom european economic area eea dubai singapore hong kong india australia communication directed intended recipients including actual potential professional clients uk eea dubai accre dited investors singapore professional investors hong kong wholesale clients australia respectively entity affiliated houlihan lokey inc provides banking securities brokerage services subject finma supervision switzerland similar regulatory authorities jurisdictions persons retail clients intended recipients communications services act upon communication houlihan lokey gathers data sources considers reliable however guarantee accuracy completene ss information provided within presentation material presented reflects information known authors time presentation written information subject change forward looking information statements contained herein subject various risks uncertainties many di fficult predict could cause actual results developments differ materially expressed implied projected forwardlooking formation statements addition past performance taken indication guarantee future performance information contained herein subject variation result currency fluctuations houlihan lokey makes representations warranties expressed implied regarding accuracy material views expressed material accurately reflect personal views authors regarding subject securities issuers necessarily coincide houlihan lokey officers directors partners houlihan lokey group companies may positions securities companies discussed presentation constitute advice recommendation offer solicitation respect securities company discussed herein intended provide information upon base investment decision construed houlihan lokey affiliates may tim e time provide financial related services companies like houlihan lokey employees authors presentation receive compensation affected overall firm profitabilitycorporate finance financial restructuring financial valuation advisory hlcom" +} diff --git a/tL-mrk:prBig_data_and_analytics__the_future_of_music_marketing.json b/tL-mrk:prBig_data_and_analytics__the_future_of_music_marketing.json new file mode 100644 index 0000000000000000000000000000000000000000..4359229ca5773c7f559751c2008c88c779e321e3 --- /dev/null +++ b/tL-mrk:prBig_data_and_analytics__the_future_of_music_marketing.json @@ -0,0 +1,5 @@ +{ + "filename": "tL-mrk:prBig_data_and_analytics__the_future_of_music_marketing", + "department": "Marketing", "Manager", + "cleaned_text": "big data analytics future music marketing daniella capodilupo thesis submitted faculty college business partial fulfillment requirements degree master science florida atlantic university boca raton fl may ii copyright daniella capodilupo iv acknowledgements first foremost would like express deepest appreciation committee chair dr ira abrams admirable mentor advisor friend graduate studies fau love music industry selflearning motivation always seek knowledge open different perspectives something take throughout rest life without guidance dedication thesis would possible would like thank committee members professor craig rinne professor alejandroz sanchez aiding studies fau always providing constructive feedback addition would like thank dr marc rhorer always available providing help regarding thesis graduation subjects would also like thank ms fookloy ford dedicated assistance students music program lastly would like thank amazing grandparents anthony sandra mother ann rest family biggest fans supporters dreams without grad school would never possible v abstractauthor daniella capodilupo title big data analytics future music marketing institution florida atlantic university thesis advisor dr ira abrams degree master science year comprehensive study big data analytics future music marketing recent trend able turn metrics quantifiable realword predictions increase online music consumption along use social media clearer view ever happen instead solely relying big record companies artist make big time plethora data analytics available small number big companies anyone order understand big data analytics work used strategically market artist band must first understand type process works exploring industries successfully excavated used data analytics target consumers show parallels also used music industry main areas covered big data propel music marketing giving hard facts numbers determine consumers like hear consumers vi willing spend money types media consumers prefer use hear music thesis also cover negative consequences may arise increase music distributed digital channels affect creators users music though discovering new music always challenge music data definitely aid players industry technological future long human interactions happening online big data analytics available use manipulate make marketing efforts targeted specific demographics dedication dedicated music business enthusiasts everyone believes technology continue change world live viii big data analytics future music marketing introduction background data excavated companies firstparty thirdparty cookies apple ecosystem important role alogrithms president obama election data collection creating new way life using big data determine consumers like wall streets impact music industry social media provides insight listening habits next big sound using big data determine consumers buy analytics used boost concertticket sales pay attention music charts big data promotes personalization quantcast eliminates shotgun marketing approach using big data determine medium consumers prefer ix traditional outlets digital music downloads youtube soundcloud diy musician rise streaming services consequences music creators users face users privacy issue users personalization digital royalty dilemma conclusion references introductionexponential growth technology brought new industry called database marketing simply put type industry collects aggregates brokers personal data information digital activities many millions people around world tracked variety new techniques ranging stores loyaltycredit cards targeted advertisements found social media platforms facebook twitter instagram others alike personal data including online offline behavior combined analyzed sold different types business corporationsi companies collect combine analyze type data known data brokers data brokers represent wave change deals personal information handled online offline dramatic shift created new movement towards known big data illustrative purposes big data simply made raw little data cases little data give deep personal insight consumers individual purchasing profile consumers habits doug laney tech analyst first defined big data highvolume velocity variety information assets demand costeffective innovative forms information processing enhanced insight decision makingii businesses across industry value types insights unavailable growth technology become interested analytics collected used goes without saying big data data analytics play huge role companys decisionmaking process though might little late party music industry shifting business practices towards big data big data demanding music industry change business model traditionally online streaming services spotify pandora iheartradio many others changed way music distributed discovered services able customize user experience based customers personal onplatform behavior music preferencesiii evolution music intelligence combines online offline user behavior determine consumers listening theyre willing spend money want see perform live keep coming back south southwest sxsw example company used big data target community audience also give audience exactly want customize audience experience way relevant interestsiv customization allowing music industry find new ways drive consumer loyalty assistance big data companies able easily match audiencerelevant artistsbrands targeted audience profiles databacked decisions instead decisions based mere guess feeling facts numbers available big data potential music marketing distribution colossal data generated collected realtime around clock seven days week music industry able see people buying downloading communicating music able overlay numerous amounts data sets concert dates television appearances social media posts money spent artist promotion etc music industry business see efforts effective effective quickly adjust marketing plans accordingly purpose study understand big data ultimately change landscape business transacted within music industry specifically future marketing artists brands consumers grounded data analytics main question discussed big data changing music industrys historical business model answer question necessary explore compare big data already affected industries essential explore opportunities challenges presented topic technology continues grow everincreasing exponential pace order find new outlets ways survive flourish business music industry including everything live performance recorded music merchandise licensing must able adapt backgroundto explore fully understand shift change happening currently music industry need explore several areas first area involves big data analytics enables companies make high probability predictions trends also allowing hone strategic targeted marketing happen data first must collected important understand data deeply mined daily basis described internet things connect everyone everything integrated worldwide network happen collecting linking every aspect economic social lifev imagine world people natural resources machines logistic networks consumption habits production recycling flows virtually every facet life linked interconnected software sensors feed internet things platform truly understand magnitude data generated gartner inc estimates twentysix billion internet devices interconnectedvi turn collecting linking data generate know big data realtime many companies google target automotive industry even political campaigns obama presidential campaign relied data analytics techniques market favorably public industries already mastered art scraping aggregating information multiple websites rise music consumption online clearer picture music consumption ever record labels always known crunching numbers big data opened floodgates providing lot numbers look one prominent data points analyzed explored music consumers users like consumer likes shares talks various social media outlets gives insight determines types artists acts worth watching persons opinion given sufficient number likes trends discerned instead traditional model music industry focused sales new technology analytics systems shifting focus listening habits digital downloads streaming services social media aiding change creating new data points consumers new insight used predict much potential success new artist may based similar artists success focus listening habits may fear quality music suffer due focus popular time generating music based majority users want hear however analytics big data still allow artists find niche markets appeal without put quality music risk example take american artist finds success first another country making big united states artist better predictor find audiences would classify receptive music could help aid musicians success without changing music fit mainstream radio instance understanding consumers like helps drive tailor artists record labels executives marketing efforts without knowing consumers willing buy spend money limits potential music industry make money music industry still business relies cash flow order continue create new works get products consumers many companies investing time money figuring get analyzing consumer behavior relating music recent trend entertainment companies universal next big sound sony become largest music dataset ever improve quality business practices help artists understand consumers better learning consumer behavior improve quality overall business also give us glimpse better predictions artists bands acts lookout public moved ownershippurchase model acquiring music music service based easy access demand analyzing preferred format consumers use hear actual music based data give clearer window truly satisfy musicians fans people turning online streaming services path improving music discovery full possibilities already happening curated services beats music spotify pandora etc using music intelligence takes account trillions data points offer new music discovery users new outlets getting music consumer creating sophisticated music applications make easy listeners hear want want analyzing consumer preference also aid artists prioritizing market choosing platforms higher probability successful many positive outcomes happen change music marketing important anticipate possible push back sides spectrum music users creators many internet users blind personal information excavated manipulated controlled maintaining privacy digital world nearly impossible practical matter consumers routinely agree privacy policies terms use every day without realizing theyre agreeing though may time see users resisting giving personal information recent study showed presently people concerned sharing shopping habits theyre friends personal views identity favored media lifestyle habits time paradoxically concerned sharing sensitive information social security numbers bank account information health care information personal email phone conversationsvii luckily music industry sensitive information consumers fear sharing relevant marketing music creators music big data analytics mean increase use streaming services potential new competitors enter landscape means outlets getting music customers digital online means biggest argument creators music artists songwriters record labels music publishers etc towards digital streaming services extremely low royalty rates paid cory doctrow however explains problem streaming isnt doesnt pay copyright holders adequately fact says streaming services pay per song terrestrial noninternet radio stations ever paidviii reality streaming services offer better much better deal terrestrial radio unlike terrestrial radio stations online streaming services pay composers performers furthermore radio reaches region city streaming services potential reach multimillion listener worldwide audience data excavated companies itthe views definitions revolving around big data vary depending company industry involved use data value data results gain generate data less big data looked collection data digital traditional sources outside inside company represents hub ongoing analysis innovation using data collected efficiently helps company better sell products services target marketing efforts improve services products overall big data analytics becoming essential industry enterprise growth recent forbes article said enterprises believe big data redefines competitive landscape many different industries within little three yearsix eightynine percent also believe companies adopt big data strategies risk losing momentum market sharex industrial internet insights report emphasized investments big data analytics becoming stronger ever found companies presently invest overall technology budget big data analytics also expect increase next yearxi many industries using analytics differentiate competitive strengths successfully therefore primary real risk implementing use big data missing opportunities overall growth market allowing competitors adopt analytic strategy upper hand technology increased use internetconnected devices created new position information put world tailor needs give exactly want short technology collects information daily activities interactions particular industries manipulate data benefit acxiom corporation secondlargest company database marketing industry excavates aggregates brokers personal data giant data collector said records hundreds millions people includes billion browser cookies data gets sent website tracks users activity million profiles mobile users estimated pieces data per consumer according new york timesxii firstparty thirdparty cookies data collected includes public records also cookies placed websites providing information online behavior example use computer first party cookie placed sites google save passwords information avoid users log every visit firstparty data personal information ranges behaviors interest actions taken websites visited also including crossplatform data access apps mobile webxiii addition third party cookies travel across sites tracking order sites visited third party data generates visited platforms often collects information websites wellxiv apple ecosystem apple one company made collecting data easier building world involves computer every single interaction possible users sync browsing histories across multiple devices combining behaviors laptop ipad iphone result better marketing efforts new ways deliver advertising consumers help behavioral insights apple brand created product pay purchases open hotel room door monitor movements control devices home track sleep patterns tell parked many calories burned recommend movies watch etc etc list goes apple ecosystem collecting data behavior every step way creating software products apple user wants intelligence collected devices small part interconnected world living take instance arriving hotel room temperature lights stereo mini bar even window shades controlled single device adjust preferences even arrive room one many ways data collected consumers put use give people exactly want data put collected easier create different types consumer profiles number people include information education level health profile type car drive many children race age recent purchases even stock portfolio important role alogrithms apple isnt one caught onto wave collecting personal information digital activities people across world creation use algorithms made possible companies collect analyze big data different data points algorithms consist mathematical equations create stepbystep instructions calculate different data points provide automated reasoning process dataxv klint finley states article wiredcom internet today ruled algorithms witness mathematical creations every day movies netflix recommends ads pop email users twitter recommends follow shows facebook feedxvi algorithms produce quantifiable results answers real value algorithms explained formula comes able examine many data points possible someone creating equations solely meant build accurate representation consumerxvii example google created algorithm knew user less likely purchase specific product online could change prices items like videos ebooks computers games etc tracking search history website activity google able use data produce automated response based calculationsxviii words google sell product price willing pay pandora radios success accredited algorithm online radio users send data pandora preferences signals liking disliking songs skip song requests inexplicit signals program still running users arent listening pandora included equation algorithm track user hasnt interacted program period time displays simple message staying still listening prompting responsexix pandora uses approximately data points related distinct musical characteristics algorithms calculate pick next song playxx president obama election algorithms importance big data also seen used obama campaign prior election strong analytics staff brought board study sort tons tons terabytes data help obama gain competitive edge looking upcoming election campaign manager jim messina known formerly mining data improve supermarket promotions credited approach jim messina knew order achieve results campaign needed smart direction campaign take could happen demanding data everything brilliant analysts used big data provide micro targeted demographics predicted precisely much money campaign would get back fundraising emails sent another thing discovered women thirty forty living east coast donate much expected came way build incentive offering chance dinner sarah jessica parkerxxi tactics used obamas campaign also included lots data mining purchasing data data brokers one scenario purchased televisionwatching habits people ohio allowed televise campaign ads exact times specific voters watching television found using big data airtime bought unconventional programming walking dead sons anarchy instead news programming would conventionally advisedxxii obama campaign illuminated important impact big data competitive strategic marketing success data collection creating new way life companies organizations using big data benefit use big data allowing treat customers individual basis building longterm loyal relationships big data allows companies predict exactly customers want cases even ask consciously cases subconsciously technological world live gotten us excited want see use data instance craze jawbones nike fueldband product tracks daily steps activity food diary app myfitness pal provided users data health eating activities ever possible big data becoming meaningful consumers become interested personal data turn leads continue logging using types data collecting products luke dormehl describes new wave individuals enthusiastically take part form selftracking called quantified self movementxxiii simply put quantified self devotees seek selfknowledge numbers different data points done within music industry example incentives offered get music users interested tracking music consumption habits take instance personalized tracker shows youve program track favoritemost listened song weekmonth someone could even track music perform best workout run measurable data music consumers generate used gear music marketing efforts strategically companies also using big data improve interactions consumers reason makes big data analysis key effective marketing development numerous brands able connect channels consumers improving maintain relationships essential across many industries presence big data use analytics successfully helping companies understand consumers target markets giving competitive marketing advantage using big data determine consumers likefor decades gatekeepers help make star music industry record labels goal make act success key factor records success getting radio airplay record labels efforts occurred radio promotion department making record hit radio record labels ensure content readily available consumers buy various outlets time limited interaction communication artist consumer even though wasnt needed much time didnt allow artist hone fans liked wanted hear less wall streets impact music industry cds released early music industry saw boost profits drew attention wall street multinational conglomerates stepped bought left six independently controlled major labels columbia records warner bros universal music emi polygram bmgxxiv business suits began controlling new music industry quick bottomline results became common goal wall street control labels began looking madison avenue bring big advertising dollars order make money stockholders catch soon became ad dollars came certain content conditions ie music programming whether heard radio television line target demographic advertiserxxv instead really finding different music consumers like listening wall street madison avenue redefined music massmarket product large amount consumers feel like newer recordings worth purchasing much recordings released years ago causing dilemma music industry product must sold order survive music industrys corporate entities looking going make money biggest market rather taking time analyze study data help tackle find smaller markets addition theyre missing ways discover multiple audiences like want hear cory doctorow makes strong claim consumers going support pay artists music actually like without labels force music personal artist consumer able determine like hear would make happy also turns paying customers end goal business taking one step analyzing big data allowing us make better predictions similar google able predict flu outbreaks faster specific us regions based public hospital admission records pinpointing certain search terms analyzexxvi social media provides insight listening habits luckily music industry record companies recently begun realize need rely information advertising dollars gut instinct intuition finding next big hit star within last years music industry started take active interest big data importantly use determine consumers like big data ability help music industry better identify new waves music trends discover new artists market artists strategically social media outlets played tremendous role continually creating gathering numerous data points consumers interests listening habits used analysis every time like share something use hash tag likeshare page stream music buy concert ticket comment music blog various social media outlets facebook twitter instagram youtube soundcloud tumblr etc creating data points music industry make better predictions whenever post video youtube use app share invite friends concert bought tickets share album bought youre creating profile types acts think worth watching one powerful sources collect big data information youtube popular online music discovery tool number one search engine music fans preferred platform listening music especially among younger demographic next big sound next big sound launched became one first providers online music analytics insights visionary company saw power influence big data fields sports supermarkets finance politics saw comparisons could also transform music industryxxvii next big sound tracks fan interaction every artist across world insights include social sales purchases plays internet reinvented way music consumed marketed music industry moving completely online allowed awareness engagement measured ultimately lead revenue realized next big sound provides free metrics member allows view metrics artists bands anyone welcomed become member signing creating free account website analytics measured collected current music trends compare changes metrics across artists page likes page views performance every member also access comprehensive overview tally music artists page views mentions followers likes official social accounts also provide detailed graph comparisons similar artists allow someone see one artists performance popular data points provided next big sound allowing artists labels anyone else invested music industry determine fans like want hear helping make smarter marketing decisions getting bang buck billboard even noticed importance social interaction increase internet consumption partnered next big sound create social next big sound chart weekly chart social lists popular artists online across music sites next big sound chart provides view fastest accelerating artists predicted achieve successxxviii new charts like ones found billboard never exist prior boom use internet one example online social rankings interactions something labels business executives look order make strategic marketing decisions comes finding new talent dropping unproductive artists labels roster big data providing results exciting able predict less tomorrows big music star safe say local notsofamous bands facebook page likes steadily increasing millions indie artist hundreds thousands twitter instagram soundcloud followers label execs managers publications fans start take notice shows importance researching new artists early stages music career studying different data next big sound credits power data able predict next breakout artists algorithm lists emerging artists high probability accuracy collection studying data next big sound contends pinpoint breakout artist times better random chancexxix wellknown circumstances next big sound analyzed predict new breakout stars based social media data kendrick lamer aap rocky released acclaimed mixtapes time studio albums billboard hit songs another indicator success billboards hot chart hot chart ranks popular songs united states based radio sales online streaming search next star next big sound identified artists made hot chart prior year examined breakout pattern consisted generated predictive model metrics included study artists total daily change rate growth views plays fans across different outlets twitter facebook youtube soundcloud combining big data analytics next big sounds algorithm predicted top artists six went billboard hot listxxx data collection analyzing also proved times better indicator artists success versus basing artists youtube viewsxxxi universal music group another big player taken heed importance mining collecting data provided consumer behavior social interactions two universal technology experts created artist portal five years ago motivated ability software aggregate information multiple websites goal create organize chunks raw data present userfriendly way would allow users compare track artists sales socialmedia buzz airplay streaming globally realtime similar next big sound createdxxxii artist portal also gives insight factors behind spikes dips within metric system created allows data sets overlaid example allows overlaying concert dates television appearances social media posts money spent promotion making easier universal music groups executives see quickly efforts need moved marketing plans need adjusted even though universal leading force among record labels catching big data wave sony music warner music recently launched created dashboards similar functionality mining examining studying big data shifting music industrys focus taking closer look consumers listening habits able determine consumers like want hear article hannah karp wall street journal mentions universal used analytics encourage promoters bring hiphop artists finland prior use universals artist portal persuading concert promoters would difficult due lack hiphop records sold finland past time universal data show hits acts kanye west streamed steady rate fans finland data used back reasoning use data opens gates helps encourage promoters bring market hiphop acts finland finding niche audiences audiences like similar music another artist helping music industry make better strategic decisions time based hard facts using big data determine consumers buystudying consumers purchasing habits provides important data points lead endless marketing possibilities music product listeners music consumers allows us analyze behaviors musicrelated purchase patterns analytics used boost concertticket sales social media analytics opened door record labels musicians others music industry collect different information determine consumers likely spend money facebook twitter allowed fans like follow talk comment freely peers favorite least favorite artists bands take example new band wanting find better ways promote next show performance initially would assume band following hype stir social media conversations page likes algorithm created sort conversations across facebook twitter mention band along data points consumers either talking positive negative specific song theyve recorded similar facebooks daily story feedback feature displays responses fans bands posts status updates however feature doesnt actively sort conversation based responses data collected songs ranked based fans favorite songs hear versus ones would least like hear band determine songs definitely want perform next show songs without using data track consumers want hear get hear live one simple way finding better ways market band artists upcoming show resulting ticket sales pay attention music charts researching consumer behavior big data analytics also help record labels find new ways market product different ways instance jam kotenko talks record labels paying attention data simple top selling album itunes indicator label gear marketing efforts towards singles albumxxxiii cases paying attention realtime data hottest selling album week month also lead releasing live acoustic spinoff versions understanding living world algorithms input data spit highly predicative results essential labels want save misspent promotional dollars big data promotes personalization big data allowing us better understanding world live deeper understanding consumers people billions continue use data collected determine consumers like ways manipulate data figure get buy like similarly online shoppers leave trail movements ip address opens targeted personalized offers ads emails later pop regarding either page visited purchase made music consumers enable personalized advertisement based purchases social interactions online offline luke dormehl gives example book formula something small mentioning words cape town email trigger airlines send email promotions cheap flights africa emails inboxxxxiv airlines travel companies algorithms place sort data indicate users higher probability interested traveling south africa future even though context email could irrelevant traveling big data allows efficient marketing promotions based better predictions quantcast eliminates shotgun marketing approach music industry opportunity use similar tactics ensure making improved decisions comes directing marketing efforts creating new ones quantcast one largest companies world measure consumer audiences use data algorithms cofounder konrad feldman came notion using data measure business campaign looking actually worked analyzed massive amount data determine characteristics consumer rather determining ideal consumer product hoping figure find consumersxxxv would away traditional shotgun approach marketing amazons user recommendations similar vision quantcast creating insights online retailers tailor promotions websites user ultimately generate formula depict describe specific users able use influence purchasing behavior able split audiences based granular categories lifestyle interests demographics geographic location psychographics made easier interpret read behavior patterns found data understanding music consumers behavior studying data see different types consumer profiles going getting aid influencing decisions pandora example company studied consumers listening habits determine likely want hear played next also found way use data target advertisements could taken one step integrate likes users expressed facebook generate personalized offers could lead music discovery specific artists bands based interests already conveyed online along promoting offers items albums concert tickets merchandise depending consumers profile characteristics personalized promotion higher probability said advertisement work big data allowing huge aggregation personal information youve ever put build precise representation ever moving forward continue important use data determine consumers want buy using big data determine medium consumers prefer one popular arguments among music industry insiders internet killed record music sales result decline sales since many new ideas brought try determine still enough paying customers ways reward creators music keep industry intact great thing big data given music world massive amount music data generated straight source music listeners aid us come new strategies satisfy music fans big data providing new inside look consumers would prefer listen acquire music medium traditional outlets record stores used everywhere across nation prior early many would initially guess decline record stores due decline record sales main reason consumers couldnt find product looking music states since music retailers closed doors leaving fewer devoted music retail outlets leftxxxvi music retail chains like tower sam goody virgin records took hit consumers realized could get product cheaper price chain store walmart target best buy addition megaretailers rise digital music files mps gave public option buying product lower price since wasnt requirement physical format longer broadcast radio also factor much establishing moderate airplay could almost always guarantee longterm success artist rise new music discovery platforms youtube altered impact broadcast radio music broadcasted radio local nature keyed particular area region broadcasted djs freedom play tunes liked soon fm radio started bring big advertising dollars local stations lost control bought station groups turn purchased conglomeratesxxxvii avid listener broadcast radio went personal music guide offered endless discovery stale homogenized experience causing market share loss internet satellite radio television also factor past helped increase album sales turned artists superstars isnt much case anymore featured latenight shows saturday night live used guarantee artist records would sell least units little week appearancexxxviii daytime tv helps music sales viewed narrow demographic although daytime tv cant utilized every artist artist finds show matches artists targeted audience daytime tv beats latenight television stimulating music sales research shown people likely interested buying music times latenight television airs disney nickelodeon arguably say starmaking venues tv today acts featured platforms must adhere networks specific demographic focuses cute appealing broad crosssection musical tastes digital music downloads unfortunately digital music downloads sell per single never enough offset industry made revenue selling physical albums soundscan reported digital download sales dropped percent total album sales fell percent previous yearxxxix digital album track downloads saw decline first time ever since shift consumers purchasing habits focus albums focus singles increase use internet streaming services however even though decrease reported numbers digital downloads billions digital single streams still generated youtube youtube become one biggest platforms music distribution music discovery making one used formats consumers listen music astounding facts youtubes press sectionxl billion unique users visit youtube month billion hours video watched month youtubethats almost hour every person earth hours video uploaded youtube every minute youtube traffic comes outside us youtube localized countries across languages according nielsen youtube reaches us adults ages cable network millions subscriptions happen day number people subscribing daily x since last year number daily subscriptions x since last year youtube become preferred way teens listen music teens using service source radio itunes cdsxli valuable data collected youtube illustrated potential artist reach people ever made necessary creators music youtube presence creating youtube channels instance consumer hears song artist first time goto find information music said artist search artists youtube page big data analytics accessible youtube allow artists use platform effective free marketing tool part google surprise youtube made search engine optimization seo techniques available users seo internet marketing strategy looks different data points keywords searched user audience example googled concerts weekend south florida search results list would contain list websites includes specific keywords containted search youtube allows artists customize name video add descriptions add keywords add tags order get videos viewed frequently databacked statistics prove youtube one preferred methods listening discovering new music making indispensable part music marketing soundcloud diy musician soundcloud stranger big data world must doityourself diy musician standing popular streaming services soundcloud allows anyone share upload music site platform available musicians led soundcloud becoming largest community music creators web uploading impressive hours content every minutexlii soundcloud created environment fans make meaningful connections artists similar social platforms like twitter facebook users like share download music soundcloud also comment directly artists song introducing twoway interaction audience musician rest assured soundcloud mobile app available apple android devices one biggest used platforms creators places users go listen music soundcloud able capture interactions providing analytics insights artists making essential tool diy musician soundcloud offers users insights song uploaded artists recent plays likes comments downloads repostsxliii also adjust time range compare data monthly weekly daily etc basis soundcloud recently included new feature allows users pro unlimited account see exactly cities listeners located inxliv soundclouds freemium service comes useful basic stats pro pro unlimited accounts well worth monthly fee include country city location audiences respectivelyxlv every artists goal find fans knowing location artists audience help save time money energy comes strategizing marketing promotional efforts soundclouds data helping make easier rise streaming services people days growing accustomed using new formats listen music like streaming services pandora spotify apple radio beats music consumers wanting access everything palm hand industries incorporate new platforms offer services products commonly come form apps allow users listen stream purchase etc mobile device tablet main reason growing popularity streaming services ease accessing vast music catalogs online charge subscription costs low month along eliminating requirement user computer memory space store songs internet making possible collect study data reveals changing buying habits music lovers streaming services thought new light potential transform music industrys financial model witnessing important shift consumers preference ownership accessibility pandora reportedly delivered billion hours music month million users roughly three million paid subscribersxlvi streaming market proving competitive landscape continue new major players enter playing field forcing companies constantly find ways set apart example spotify wanted gear marketing efforts attract new users spend time phones tablets versus desktop computer laptop spotify offered promotion allowed limited free access mobile devices data collected promotion showed spotifys new users signing mobile devicesxlvii impressively spotify reported currently million paying customers new consumer preferred medium listening music causing big names jayz enter growing streaming music industry late january jayzs shawn carter enterprises subsidiary project panther bidco made million dollar bid aspiro swedish streaming companyxlviii interest streaming growing exponentially offers increased entertainment consumption opportunity musicians promote music recent years come future popularity easy accessibility streaming services offer landed providers spotify pandora rdio deals auto manufacturers incar integration pandora currently recognized new type partnership already featured different automative brands bmw volvo nissan mercedesbenz much morexlix lot users listening time spent car commute surprise steaming services racing dominate incar integration market moving forward spotify decided take unexplored angle negotiated deal uber taxi car app service allow passengers play dj role use servicel uber updated drivers mobile app settings allow indicate whether aux input vehicles passenger picked control music ride new integration allow new personalized experience every user uses taxi service streaming services continue become preferred way consume music however method distributing calculating royalties also need addressed financial structure music industry changes growth technology services way money flows creative side must change apparent traditional method calculating royalties needs readjusted fit times live consequences music creators users face generating new consumer insights wouldnt possible without important role big data linking different datasets data streaming parts daily lives quantity data generated enormous comes disadvantages well advantages users privacy issue biggest issue consumers face increase internet consumption internetconnected devices loss privacy increasingly digital world sensitive information shared enormous rate people oblivious much information willfully putting types terms conditions agreeing world became digitized people associated word privacy personal tangible objects actual space mary maddens article public perceptions privacy security postsnowden era notes one study consumers believe control personal information gathered used companiesli study also found among various communication channels consumers use hasnt specific platform medium feel safest companies seek collect information means media viewed equal comes finding ways excavated user data interestingly study mentioned mary maddens article found consumers worried privacy comes lifestyle habits consumer behavior shopping habits friends favored media movies music like political views etc consumers found concerned keeping information private regarding social security numbers health care bank statements content personal email phone conversationslii music industry isnt interested kind consumers personal data much interested consumer spending behavior lifestyle habits many people fail realize data points ones used create intimate portraits individuals companies business specifically designed mine users data different sources create users profiles sell users data someone else utilize type customer market products services surprising often users agree companies privacy policies terms conditions without even reading submitting information website mobile device mobile app main reason information shared people take time sit read every provision terms conditions run across taking second open window searching content one would find majority data collectors explicitly state allowed sell share information thirdparty partners companies hard determine anyone able able remain anonymous digital world continue leave digital fingerprint every time use internetconnected device whether using real identity first last name social security number email etc ip address picks every time use internet computer accessibility internet given us one backtracks means moving forward conflict surrounding consumers privacy continuously need evaluated updated ensure people feel safe information well digital world needs regulated come time stricter privacy control people share information via internet users personalization big data allowed businesses personalize marketing efforts ever tracking analyzing consumers online offline habits created opportunity building deeper connections target consumers individually customers like data personalize advertisements marketing materials based consumers profile looks like hand ability predict show wouldnt work apply certain consumer instance big data cut junk email certain individual wouldnt want see consider buying making sure person receives emails containing relevant content would interested higher probability clicking make purchase use service however negative consequences come along big data allowing much personalization data discrimination order segment consumers companies organize users different demographic categories based data points interested apply service product companies like acxiom organize consumers different value segments basically ranks determines value consumer based online offline activity main issue consumers never know fall ranking scale depending consumer placed may unknowingly suffer price discrimination deprivation special offers poor service type discrimination underhanded entirely invisible take example time friend asks borrow computer asks sign certain website behalf enter personal information search new products services case might profiled certain demographic doesnt apply based friends online activity witness technology developing rapid pace consumer protection laws cases laws lag behind technology cant applied operate networked world moving forward consumers owe proactive regarding privacy insidious violations personal privacy educating different adblockers optout tools plugins available internetbased platforms consumers understand data collected used knowledgeable comes putting personal information digital royalty dilemma music creators biggest issue rise internet use revolved around royalty payments payable creative side laws currently place make difficult fairly balance needs main stakeholders creators argued rightfully streaming services paying fair market royalties licensed use works musicians first time ever currently receive percentage points pennies sometimes less per stream songs streaming service industry booming one would think companies pandora spotify beats music etc would interested creating sustaining mutual profits motivate creators content create better music without actual music digital streaming companies wouldnt business making music accessible consumers first place music industry continues morph mixed economy composed different consumer channels revenue streams new royalty regulations implemented rift currently concerning streaming service royalties cannot denied streaming services changed music industry one focused ownership one revolves around accessibility subscription services turning pirated users buying consumers turn looking paying music would monthly utility bill streaming services reality offering copyright holders better deal radio ever mainly paying performance royalties composers publishers song also performersliii advantage music creators offered streaming services ability reach millions potential listeners create repeat royalty payment example creators content earn royalty payment streaming services every time one songs streamed means could play song times time royalty payment would calculated versus sale album digital download would generates royalty payment time purchase streaming services allowing generation ongoing royalties accessibility potential lead higher payouts creators performers music however abysmally low royalty rates increased big data analytics effectively aid provide insight artists record labels publishers comes tracking royalties even though digital royalties still needs addressed finetuned data better track often songs played theyre played much song played capacity highly viewed rated publication tv show vs local minimum reach advertisement airs week ultimately making possible ensure correct payment copyright holders future regardless pitfalls role big data analytics offers music industry many opportunities profitable succeed technology driven world conclusion without doubt big data analytics changing landscape many industries technology created new digital world allows businesses track digital activities millions people variety different techniques allow companies personal look consumer behavior listening habits data collection propelled industries forward keeping abreast current times music data offer benefits aiding music business make better marketing decisions generating collecting big data realtime give insight people buying downloading communicating music data collected online offline combined better determine consumers like want hear consumers inclined buy media consumers prefer hear music consumer social interactions happening frequently online music industry see marketing efforts success adjust plans accordingly newer artists entering music scene better probability finding ways distinguish thanks big data coming artists always difficult job finding target audience use data analytics much easier pinpoint reach audiences ones avoid entirely effective route get big data provides similar advantages established artists importantly helps wellknown musicians stay relevant demographic possibly build new audiences would never aware rise big data analytics put magnify glass consequences come use internet digital age moving forward users creators legislators music industry need act cooperative way order generate fair equilibrium protects user privacy establishes fair market value digital royalties one also adapt technological advancements however comes advantage potential data provides would serious error incorporate big data analytics music business tool box big data created world allows everyone view different statistics data points big record companies know music data accessible realize opportunities limitless music industry take heed referencesbantick october 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httpwwwpewinternetorgpublicprivacyperceptions liii doctorow c information doesnt want free laws internet age san francisco mcsweeneys page" +} diff --git a/tL-pr-market-pmanager_Stage_Presence.json b/tL-pr-market-pmanager_Stage_Presence.json new file mode 100644 index 0000000000000000000000000000000000000000..7659bf8cf26cd94c2ee2c95922a9dfc78314f6e8 --- /dev/null +++ b/tL-pr-market-pmanager_Stage_Presence.json @@ -0,0 +1,6 @@ +{ + "filename": "tL-pr-market-pmanager_Stage_Presence", + "department": "Marketing", "Manager", "PR", + + "cleaned_text": "stage presence head toe manual musicians karen hagberg scarecrow press inc lanham maryland oxford scarecrow press inc published united states america scarecrow press inc member rowman littlefield publishing group forbes boulevard suite lanham maryland wwwscarecrowpresscom po box oxford ox ru uk copyright karen hagberg alz rights reserved part publication may reproduced stored retrieval system transmitted form means electronic mechanical photocopying recording otherwise without prior permission publisher british library cataloguing publication information available library congress cataloginginpublication data hagberg karen hagberg stage presence head toe manual musicians karen p cm includes bibliographical references p index isbn pbk alk paper musicperformance concertshandbooks manuals etc concert etiquette selfconfidence title mlhl printed united states america etm paper used publication meets minimum requirements american national standard information sciencespermanence paper printed library materials ansiniso manufactured united states america book dedicated survival live acoustic music twentyfirst century page intentionally left blank contents illustrations checklists acknowledgments introduction stage presence soloist page turner small ensemble conductor large vocal ensemble orchestra conductor leader day concert stage furnishings nonperforming personnel auditions competitions teach stage presence vii ix xi xlll v vi bibliography index author con tents illustrations figure figure figure figure figure figure figure figure figure figure figure figure figure figure figure figure bare skin hosiery looks sloppy onstage longlegged performers may require lowheeled shoes disorganized bow projects lack confidence tense facial expression may make performer appear angry disdainful keep music spilling stand page turner seriously detract performance makeshift solutions reflect poor planning inattention detail single distracted chorus member affect audiences concentration examples standing position examples full rest position examples semirest position examples ready position poor posture conveys disinterest performance lack discipline ensemble tailored accommodate required body movement clothing look stressed cluttered stage inappropriate setting concert end audition look success regardless think played vii viii illustrations figure lack proper equipment results poor posture balance good equipment allows student achieve strong posture equilibrium checklists list performers avoid things stage list ways keep performance looking like rehearsal list dos donts chorus members list things conductor never say list things bring audition competition list things concert day list ways keep judges eliminating ix page intentionally left blankacknowledgments book result happy association following people contributed various aspects writing personnel staff members following orchestras responded questionnaire onstage guidelines russell williamson atlanta symphony anne macquarrie chicago symphony orchestra nicholas hansinger detroit symphony orchestra laura hutchason hearn kennedy center opera house orchestra ted hutman los geles philharmonic orchestra linda uhkefer milwaukee symphony orchestra heather larson minnesota orchestra everett zlatoffmirsky lyric opera chicago orchestra vurl bland nashville symphony harold steiman pittsburgh symphony orchestra drew cady san diego symphony gregory quick syracuse symphony orchestra following musicians posed photographs used reference illustrations david angus horn sheri blake piano lisa cash pi ano justin gardner piano laura griffiths oboe larissa hoffend piano kathleen murphy kemp cello lisa mccollum voice teri pa radero piano tigran vardanian violin indebted musicians friends family individ ual contributions r j alcala wonderful musician talented editor longstanding friend painstakingly thought every word wrote replaced many better ones whose suggestion cluded chapter teaching stage presence carlene ames muse faith project david angus horn player rochester philharmonic orchestra president international con ference symphony orchestra musicians providing invaluable contact information advice john cammarasano graphic artist xi xii acknowledgments produced illustrations annette dragon photographer friend helping last minute stateoftheart equipment richard el liott tabernacle organist mormon tabernacle choir sharing stage deportment guidelines developed students louise goldberg phd friend colleague professional advice good ideas invaluable contacts ceil goldman dear friend editor guided encouraged project since idea mother elsie hagberg applied nononsense advice high school english teacher douglas humpherys associate professor piano eastman school music evaluating chapter competitions auditions dr haruko kataoka founder suzuki piano basics method taught importance stage presence point view performer audience barry lane brotherinlaws brotherin law owner consulting firm discover writing advised ins outs publishing world ralph locke chair department musicology east man school music good advice early project russell miller assistant professor vocal coaching repertoire eastman school music lending critical eye final manuscript providing useful suggestions sue rarus director information services na tional association music education menc supplying statistical data gail seneca family friend whose meteoric rise business world dressing success realize major inspiration book allison sharma niece heard inter view leonard slatkin radio alerted contents jeff tyzik composer arranger conductor offered valuable sugges tions chapters orchestras conductors lawrence wechsler horn player metropolitan opera orchestra enlightened matters specific pit orchestra sister elsa worth provided invaluable editing many good suggestions finally partner dorothy drake saw purses hanging backs violinists chairs said doesnt anyone tell kh introduction book focuses performance classical music basic principles kinds music musicians need make audiences receptive give lasting positive impression classical training lays foundation performance kinds music basics stage presence outlined may adapted kinds performances kinds musicians stage presence aspect music education carries many areas life good stage presence invaluable job interviews verbal presentations social situations kinds musician good stage presence helps build keep audi ences important without audience per formances many fine performers ensembles rise deserved level success lack ability relate au dience appropriately effectively written book manual guide musicians need help looking comfortable confident appropriate stage teachers want impart stage presence skills students book summarizes accepted guidelines come us twentyfirst century two hundred years public musical performances mentioned rise public performance late eighteenth century successful famous musicians broken conventional rules stage presence wearing attention getting attire engaging unconventional behavior stage franz liszt early notorious example fame like elvis presley liberace recently result becoming heart throb matinee idol much musician xiii xiv introduction one argue great performers poor stage pres ence contrary uncanny ability connect audience consider however performer make im pression way unless standards deviate book outlines standards come us twentyfirst century chapter stage presence piece music worked composer performance enjoy thus active emotional principle music occurs act reproduction draws electric spark mysterious source directs toward heart listener eduard hanslick music critic music exist performed benjamin britten composer think best concert ever attendeda concert thrilled youthat left feeling experienced something wonderful ordinarya concert felt deeply touched music truly exceptional musical performances produce kind experience hand many concerts seem played well enough spark may leave concert hall remembering things sheet music hanging precariously edge music stand violinist third row wore white socks seem ingly little distractions power pull audience away music matter well musicians playing audience hard time moved performance impeccable stage presence always component best perfor mances topic musicians often disregard shortsighted good stage presence far impact audience performers sometimes consider realize key element chapter making breaking concert matter well musicians exactly stage presence important musicians play stage presence defined stage presence visual aspect live musical performance every thing performers walk bow facial expression dress en sembles portrayal single unified entity condition chairs music stands piano mechanics smooth stage management performers greatly enhance image audiences total ex perience paying attention details stage presence good stage presence like good editing films books goes largely unnoticed though announce allows audience positive receptive mood concert allows listeners concentrate music throughout performance without distrac tions performers good stage presence project positive image know meticulously attended every de tail work poor stage presence painfully obvious audience feel nerv ous watch soloist nervous awkward performer makes us feel awkward become distracted ensemble whose members distracted shoulder strap keeps slipping violinists arm hair constantly falls pi anists face short pant legs reveal bare skin cellists socks draw attention away music innumerable little things involving performers nervous habits inappropriate onstage behavior may constitute poor stage presence well wise performer anticipates much possible eliminates potential distractions philosophical basis respect thefirst requisite musician respect acknowledge homage great sublime art instead tying extinguish great lights small one may shine little brightly felix mendelssohn composer conductor pianist stage presence simply long list rules behavior rulebook exists prescribes proper way perform settings times good stage presence like music art clear expression stage presence disciplined musicians respect music audience musicians respect music performer everything provide au dience direct access music distractions possi ble respect music readily defer composer nothing could take spotlight away work played also prepared perform adequately practiced performance good let perfor mance look sound like rehearsal respect audience respecting audience means appreciating people took time trouble come listen without would performance appreciative audience sincerely want best reflected facial expressions body language audiences like guests feel welcome greet genuine friendliness respect respect musicians never anything bring attention take attention away group musicians play together competition among seriously detract performance respecting fellow musi cians means try upstage way example accompanist dress conservatively soloist members string section remain still attentive flute solo every member ensemble keep eye conductor times musicians present throughout per formance work leave stage long rests applause finished physical space around violated demonstrative sudden body movements ensemble bows need rehearsed giving members appropriate gracious ac knowledgment respect respect musician take work seriously want audience take seriously well prac ticed long hours gone trouble arrange performance chapter want look awkward foolish onstage want inadvertently put audience way attending minute details stage presence indicates respect work enhance image eyes audience general public stage presence stage fright determination give pleasure nullify stagefright device known george hotchkiss street twentieth century vocal coach professor unfortunately many fine musicians able perform successfully front audience stage fright every performer must cope feelings anxiety concert takes courage get front audience anything much less task complex playing musical instrument singing successful performers must find ways deal inevitable anxiety despite hazards stage fright adrenaline produced precon cert excitement actually help performers best humans ac complish adrenaline pumping reason athletes almost always break records competitions prac tice sessions musicians learned use heightened state advantage find adrenaline spur best rather cause fall apart knowing helps much written stage fright phobia cases might need medical attention little said relationship stage fright stage presence good stage pres ence actually help relieve much anxiety associated stage fright situation stress reduced know expected go things correctly social context ex ample much ease know make introductions properly converse strangers even fork use dinner table without knowing basics etiquette may feel insecure awkward continually make one etiquette faux pas af ter another insecurity could turn fullblown anxiety kind snowballing embarrassment cause people become anx ious avoid social situations stage presence musicians performance different unsure walk onto stage bow stand face audience hold instrument dress musician also become anxious sometimes point able perform know ing basic rules following gives musician sense selfconfidence selfcontrol people need practice shak ing hands strangers looking eyes smiling introduce musicians must practice walking stage bowing properly getting ready play though natural people others acquired skills without mu sicians would much less able handle stage fright performers increase sense selfconfidence selfcontrol overcome nervousness use pressure performance advantage stage studying practicing principles good stage presence knowing look best acting appropriately stage takes away debilitating selfconsciousness allows think music bringing pleasure audience stage fright ex aggerated attention focused solely learning become centered music performance hand es sential players want minimize stage fright paying attention stage presence important musicians good stage presence complements enhances musical performance poor stage presence diminishes performance also ruin entirely good stage presence reflects musicians respect music audience musicians practicing good stage presence allow musician use rush adrenaline performance advantage effectively di minishing stage fright compared complexities demands learning perform musical work stage presence may seem unimportant vital element performance musician afford overlook page intentionally left blankchapter soloist pianists physical impression enormously important important ever supposed beginner didnt realize important thefirst time saw myselfon television ifanyone commented appearance thought im trying petform great music theyre talking banalities made sorts bad movements threw arms wildly lfinally saw looked however realized distracting audiencefrom music alfred brendel b pianist learning music expressing unique way course primary task performer good realize however visual aspects presentation either help hinder audiences ability drawn music confident enthusiastic per forming take time look best organized stage management runs smoothly take un necessary time done everything possible eliminate repeti tious possibly annoying body facial movements performers pay attention things look comfortable onstage turn put au dience ease ready listen owe long hours practice present music best context dress concert stage dressing style individual styles dress everyday life us fashion conscious others important realize chapter however musical performance fashion show care must taken choose appropriate dress concert level formality clothing example may vary depend ing time day performance generally less formal af ternoons evenings time year less formal summertime seasons venue less formal room concert hall every performance whether audience judges deserves dressed appearance wear everyday clothes risk performance look like rehearsal practice ses sion dressing also indicates take seriously sug gests audience well addition level formality dress musicians need sen sitive flamboyant revealing clothing might dress provocative clothing everyday lives recognize styles may inappropriate performing simply compete music audiences attention young profes sional performers encouraged agents adopt unusual provocative modes dress audiences remember young man big muscles red socks young woman stunning cleavage short skirt achieve notoriety discarding traditional conventions concert attire altogether revealing unconventional clothing however distracts audience exam ple uncommon lately see musicians performing bare armsbut conductor leonard slatkin pointed interview london times string players dressed way risk audience become fascinated jiggling flesh music pianists instrumentalists problem upper arms exposed even young generally good physical condition performing make sure wear flattering body use clothing minimize least attractive physical attributes downplay ex tremes height weight color also something think look best certain colors colors pastels may make look washed un der stage lights bright colors may appear loud black always safe choice looks dignified strong vie tention outfit black however mean appropriately dressy formal enough occasion casual clothes black still look like casual clothes musician may feel qualified choose best clothing aesthetic sensibility may largely aural visual may feel sure choosing styles fabrics colors hesitate get help deciding concert wardrobe soloist know someone special knack dressing well consider hiring professional consultant work get confidence results knowing look good onstage long run really want people notice remem ber playing performers long professional careers eventually adopt conservative modest way dressing distract audience dressing utility comfort pair good comfortable shoes birgit nilsson b wagnerian soprano answer question take sing wagnerian opera performers need consider style essential nothing annoying uncomfortable clothes first tight addition restricting natural move ment body tight clothing appear even tighter stage lighting create shadows around underlying body con tours underwear also need able move freely without wor rying clothing shift undesirable positions high slits skirts example problematic way shoulder straps al though bare arms recommended illfitting cummerbunds concert clothes fit comfortably enough room arms back outfit move much need move find tailor rely keep stage clothes fitting look ing right gain lose pounds get new clothes nothing attire need recurring attention ad justing clothing onstage looks awkward selfconscious performing want able forget outfit entirely bring full concentration music therefore never perform clothing worn playing instrument singing conducting good reason dress rehearsal even performing solo hem lengths foofwear hosiery playing stage set higher audience fail consider look like knees skirt may appear modest people standing level may look outra geous first rows orchestra short skirts generally revealing raised stage midcalf short skirt without becoming distraction skirt made material chapter may look sheer stage lights wear darkcolored slip almost long skirt always check beforehand make sure show hemline whatever position skirts shorter full length trousers reveal glimpses hosiery therefore consider hosiery carefully asset overall appearance dressy rest clothing lighter color outfit skin allowing audi ence see hosiery fashion faux pas context looks awful stage lighting especially pale skin cellists particular must careful long sleeves best hemmed correct length look short long get way plain tapered toward wrist without extra decorations fur lace flashy cufflinks choose shoes carefuliy best shoes use performing wear style color coordinate appropriately rest outfit let shoes become worn dirty keep impeccably polished make sure walk shoes figure bare skin hosiery looks sloppy onstage soloist natural stride without making much noise stage help ful include shoes dress rehearsal also walk practice really become part soles new shoes roughed enough slippery polished floor perform standing shoes adequate support keep pain fatigued end concert want able forget clothes want able forget footwear high heels stacked shoes may require wearer adopt unnatural posture walking standing even sitting athletic aspect musicianship requires body best alignment efficient performance although short legs may find high heels help sit balanced way allowing feet reach floor taller players look right siily high heels sitting musician first allow com fort natural use body rather fashion dictate footwear necklines hair makeup accessories audience members sitting orchestra ievel others sitting play hall bal cony low necklines appear modest normal circumstances become revealing viewed upper levels hall con sider also appearance low neckline bowing moment figure longlegged performers may require lowheeled shoes chnptcr entire audience effectively sees carefully choose neckline constitute distraction perform hair control audience clear full view face hair either short enough se curely fastened obstruct view clothing constantly touching hair moving around look sloppy secure selfconscious hair falling face cadenza interfere concentration make audience wonder going deal addition long hair pulled back often projects casual seductive appearance wearing dressy clothes ballet dancers ice skaters learn take care hair stays one place throughout rigorous routines noticing instructive musicians also need hair look neat stay put making sure hair well groomed con tribute greatly confidence onstage wear understated makeup mistake think makeup must overdone onstage daily life much makeup attracts atten tion wear clear nail polish keep fingernails short play ing instrument comes accessories fewer better best wear anything wrists fingers playing instrument includes watch since reason check time would want audience see careful wearing hair ornaments may come loose brooch necklace may right instrument never touches certain instrumentalists cellists harpists must consider buttons front cloth ing making certain way perform scarves shawls nuisance distraction move around eyeglasses wear eyeglasses adjusted fit snugly ride nose whatever wear prac tice performing wearing make sure nothing wardrobe demand attention adjustment concert dress enhance perforniniice best concert attire may different would choose wear occasions performers need take many things consideration necessarily important everyday life outfit looks odd angles bright lights whether competes music attention audience addition athletic aspect musical performance requires con cert clothes comfortable sports uniform designed spe soloist cific function anything less distract performer needs every bit concentration best job elements comfort utility shoes hairstyles accessories important clothing raise expectations entrance moment walk onstage make strong impression au dience based attitude degree confidence reflected walk facial expression bow ability create meaningful si lence first note sounded various elements entrance actually provide audience expectation performance come positive negative interest every performer maximize audiences high expectation first note sounded attending aspects entrance allows look enthusiastic confident ready perform walking onstage plan route take backstage place stop bow always enter stage right audiences left side un less something configuration building pre vents practice walking onto stage every new venue get feel distance know detours obstacles ahead time actor establishing distinctive walk important element development character actors learn way people walk says great deal walk onto concert stage walk gives audience strong message feel attitude toward audience level enthusiasm performance even whether ure u good performer best interest give audience many positive messages possible moment see begin form opinion eventually play make think give good experience chances wizz good experience opposite also truenegative ex pectations usually fulfilled well want walk project enthusiastic anticipation event take place going somewhere want go pace therefore purposeful without hurried walking quickly look nervous selfconscious walking slowly con vey reluctance lack enthusiasm simply bad attitude chapter body look composed relaxed good alert posture arms naturally sides carrying instrument car rying instrument make sure professional formal manner performers look audience walking way contestants beauty pageants instructed walk onstage since walk ing one direction looking another something daily life challenge make look natural advantage walking way establish eye contact au dience moment first see maintain rapport time step onto stage bow otherwise may look going normally would promptly take position introductory bow either case know ahead time exactly place stage look way unsure going sometimes good idea mark spot stage piece tape worry finding conscious making visual pic ture take bow playing instrument al ready piano harp percussion stand audience see instrument single unit getting close actually play keep walk another distance bow look anticlimactic interrupt timing entrance facing audience made entrance audience applauds ar rive spot onstage upon stop bow face audience facial expression complete impression given walk audience feel happy see appreciative took time trouble genuine sincerity goes right heart audience con vey good feelings effectively making eye contact single audience member toward back orchestra section low est balcony letting eyes unhurriedly sweep one side back audience smiling good smile must sincere establish rap port audience seen photos people fake smiles plastered faces audience recognize smile great distance immediately see phony performer must truly good attitude positive feelings besides cultivating feelings greet audience best way break boundaries settle de soloist mystify situation get ready play also effectively reduces preconcert jitters try imagining smiling someone love meeting best friend airport long absence bowing bowing audience like shaking hands individuala proper formal greeting introduction establishing eye contact bow conveys sincerity come onto stage move purposefully spot perform stop look audience establishing eye contact bow stand back stay spot reestablished eye contact audience failing three things equivalent meeting someone shaking hands without eye contact turning walk away handshake finishedeither would dismissive rude bow feet together keeping feet apart look disor ganized awkward keep shoulders hands laxed sides unless holding instrument pianists may touch piano left hand bow lower eyes floor bend waistgently jerky motions never throw hairto degree angle lowering eyes indicates hu mility respect maintaining eye contact actual bow ei ther threatening kind bow used toward opponents martial arts immodest therefore recommended musical per formance move head body together bow without sticking chin going chin first keep hands one place sides let ride legs dangle front unbuttoned suit jacket separates appears untidy bowing allow long tie fastened tie tack fall straight perpendicular body first bow may incon spicuously unbutton playing give full freedom movement keep jacket puckering unattractively play refasten get ready bow end perform wearing suit jacket practice quick unobtrusive buttoning unbuttoning without look nothing bow appear hurried take time coming place looking audience bow chapter figure disorganized bow projects lack confidence also take time moving playing position maintain ing sincere pleasing facial expression entering unhurriedly yet intentionally drawing audience sense time space turning attention instrument audience settling applauded entrance set ting pace way prepare concert together audience time given number positive impressions positive expectations ensuing per formance assuming playing position audience getting ready together hear mu sic transition point performance important maintain atmosphere respect turn attention instru ment respectful anticipatory mood entrance bow created completely undone stopping tune soloist instrument crucial moment best already tuned fore coming onstage accomplished use elec tronic tuning device may tuned piano ahead time performing without piano reason tune onstage tune backstage hearing audience must tun ing onstage quickly quietly unobtrusively possible long riffs sound like practicing showing endless zeroing pitches nothing break spell created audience like tuning first sound hear first note program never turn back audience unless conductor player whatever reason must actually perform facing back stage get ready quickly composure stage personnel done job need arrange stage furnishings way move chairs raise lower piano lid change height stand adjust piano bench position stand take moments create total silence filled intense concentration performers good focus entire audi ence within silence begin play creating ideal mosphere sound first notes piece performing accompanist make sure rehearsed beginning piece least amount demonstrative count ing either verbal physical beginning look smooth audience simply breathing together practicing assessing entrance bow entering bowing art people well extensive thought repetitive practice earlier times performers rely mirror opinions others assess en trances bows work improving video camera invaluable tool musicians wishing study stage presence even practiced professionals surprised upon observing performance entrances exits bows may diverge image minds eye studying way beginning positive change bound improve overall image find hav ing trouble making changes think need make may benefit working specialist art stage pres ence acting coach create best possible initial impression audience chapter performance one correct facial grimaces placing mirror reading desk spinet harpsichord francois couperin composer harpsichordist organist play keep audience focused music much possi ble giving things notice think body lan guage demonstrate intense yet calm concentration need aware potential problems area may play composure playing graciously accept audiences ap plause annoying physical habits practice musicians acquire physical habits dis tracting performance intense effort concentration example may create unpleasant even grotesque facial expression strong sense rhythm melody may produce body movement overblown intrusive performers things habit necessity creating behaviors difficult overlook figure dainful tense facial expression may make performer appear angry dis soloist audience trying listen music behaviors fall three categories personal habits mopping brow wringing flexing hands fingers wiping mouth licking lips tapping toes adjusting hair touching eyeglasses breathing audibly humming play handling instrument shaking moisture applying rosin bow pulling loose hairs bow wiping keyboard rattling valves audibly blowing mouthpiece horn licking reed drarnat ic gestures assuming tense overblown facial expression tossing head flailing arms swaying body bobbing head dancing music behaviors may perfectly right neces sary wellbeing performer instrument dictated aspects piece repetitive predictable however appear pointless become distracting even annoying best seasoned performers tend dress conserva tively avoid calling attention also learned adopt poised demeanor maintain quiet concentration play rests kind concentration used bring audience silence beginning piece chapter accompaniment important soloist men tally performing whenever accompanist playing alone first note last note every piece concentrating way careful react mistakes accompanist makes perspiration performers perspire excessively perform need use handkerchief dry face hands pieces rests handkerchief folded pressed kept way unfurl handkerchief wad blot wipe skin give attention carry handkerchief place performance dig trousers pocket easily accessible interior jacket pocket inside long sleeve pianists may carry handkerchief hand place inside piano begin play white handkerchief glare stage lights subdued color one clash color attire better never wipe hands clothing may un consciously habit handkerchief perform notice whenever hands become moist perspiration problem wear colors fabrics minimize appearance moisture nonshiny fabrics dark colors best eye contact instrumentalists look directly audience per form fact time make eye contact audience im mediately immediately bow unless also choose establish eye contact walking onstage constant furtive eye contact actual playing rests make look selfconscious however allow audience see face play making sure nothing music stand hair style obstructs audiences view sure hold head play guitar cello audience see top head depending work performed singers required either address audience directly remain detached instrumentalist would either case singer must aware exactly music requires regard consciously decide whether establish eye contact audience singers must careful hold score front face flat low front soloist reacting mistakes always assume every performance mistakes much important eliminating mistakes virtually impossible react allow audience get worried mistakes imperative eliminate even tiniest reaction either face body visibly reacting mistakes makes seem much worse follow example ice skaters per formers learned rise fall ice big smile almost actually intended fall keeping composure mistake difficult players whether realize musicians actually practice losing composure allowing histrionics pri vacy practice room onstage find impossible change lifelong ingrained bad habit aware ways handle mistakes practice eliminate reaction au dience may able see playing memory score head head score hans von biilow conductor major conductors great pianists legendary soloists performed almost exclusively memory question playing memory without bother printed score preferable way perform way securely know every note music thus totally avoid potentially messy busi ness dealing score stage practical considerations force performers resort using music least time music must used performance done least possible distraction much possible want audience remain unaware score exception singers may hold score hands sing soloists never carry music music stand onto stage walk play score stand positioned beforehand stage personnel audience arrives opened first page height music stand also preset need adjust front audience begin carry score stand done score remain completely hidden music stand particularly wide high score taped copied pages together chapter figure keep music spilling stand avoid difficult page turns wise purchase extension ex pandable stand making wide high enough accommodate size pages use score good condition make sure take care single pages could fall concert always carry clips need fasten score stand never turn pages demonstrative sudden manner rather unobtrusively quietly possible know music thoroughly possible use score general guideline refrain reading music note note per formance intense reading takes focus away sur roundings turns instead page make look practicing follow hans von bulows advice score headnot head score soloist acknowledging applause carefully rehearse body language concentration control timing audiences applause end piece even unsophisticated audience dissuaded clapping movements early significant silence end piece way performer maintains concentration holds body vite applause begin exactly want releasing con centration mentally physically applause begins stand bow beginning relaxed facial expression eye contact audience feel drained exhausted show bow sincere grati tude toward listeners accept compliment applause openly graciously avoiding hint fake awshucks modesty turn head even slightly bow run risk projecting undesirable impression decide beforehand leave stage may decide bow two three times leaving applause partic ularly enthusiastic leave first bow walk good posture brisk hurried pace stay offstage return quickly another bow important come additional bows applause peak already dying avoid milk ing applause coming back many times always best leave audience asks leave encores although encores may look like spontaneous response audiences enthusiasm performer course carefully planned one ahead time need know exactly play part printed program never want take many bows never want play many encores leave audi ence always wanting little rather run risk playing long want play encore part program come back stage quickly first second bow get position per form right away announce name piece clear voice soon audience still almost always appropriate add one piece way performing multiple encores right long audience remains enthusiastic avoid teasing audience mak ing wonder whether play make beg repeatedly enter bow leave stage either play chapter end concert without coy encores better many talking audience times may want address audience course performanceto break barriers musician concertgoer introduce audience present additional formation may appear program example performers good public speakers attempt aware formality traditional concert significantly lowered whenever take added role narrator host informality goal preconcert talk interview followed intermission often solution allows musicians address audience time preserving formal character subsequent concert draw distinction talking performing best talk concert attire change clothes talk performance publicizing talks ahead time holding scheduled time begin ning performance also makes possible audience members skip verbal presentation wish performing others accompanist sure practice exits en trances bows together looks good soloist gener ous public recognition accompanist equal collaborators come stage equals soloist lead com ing accompanist lead going bow together ac companist performing subordinate role music appropriate soloist lead walking bow alone gesture soloist may invite accompanist take individual bow end concert always exit stage together single file pace first exit subsequent bows may taken soloist alone soloing ensemble singers musicians en trances exits bows coordinated conductor case conductorless ensemble must come stage bow together group either case since performing organiza tion may distinctive style pace entering leaving bowing appropriate request short rehearsal maneuvers soloist appear organized concert details repeated bow ing acknowledgment individual players sections encores forth decided ahead time keep audience beginning end perform encourage audience concentrate sound music eliminating many potential distractions include repetitive unnecessary physical habits facial contortions appropriately looking audience visibly reacting mistakes fumbling score conclusion performance acknowl edge applause professional rehearsed manner always making final bow audience remains animated plan encores avoid anticlimactic feeling results playing many attend aspects stage presence job music ready performed done everything possible maximize appearance demeanor perform time effort must spent many aspects stage presence music heard best possible con text choose appropriate clothes event task hand study practice entrance bow audience anticipate good performance even begin evaluate havior onstage anything audience find distracting prac tice reacting mistakes either perform memory make sure use score unobtrusive possible accept applause graciously always leave audience wanting hard work deserves displayed best light constantly evaluate stage presence today work toward improving future audience notice appreciate attention important yet neglected aspect performance chapter list performers avoid things onstage turning back audience unless perform po chewing gum holding anything mouth adjusting clothing hair touching eyeglasses scratching itch wearing distracting uncomfortable clothes wearing noisy shoes shoes make difficult walk play wearing anything arms wrists fingers keeping time movements body unless arranging stage furnishings piano lid stands chairs sition instrument naturally conductor chapter page turner ever since performers especially keyboard players usually play continuously throughout piece begun appear audiences wanted solve thorny problem turn pages also playing instrument nineteenthcentury pianist con ductor sir charles halle developed mechanical pageturning apparatus pianists operated players foot reported time however audiences became fascinated watching clever device action forgot pay attention music similar chanical inventions years met demise rea son recently digital music stand come market stores part score electronically pages turned touch performers finger toe yet however ideal placement human page turner even performer adept turning pages difficult music still good idea person onstage assist sheer physical feat able turn pages play time ef fect audience mechanical devices person turning pages onstage important element overall presentation concert person addition turning pages right time actively contribute stage presence entire performance appearance general dress guidelines apply performers apply page turners well especially careful loosefitting sleeves dangly jewelry chapter figure page turner seriously detract performance may get way performer always avoid use per fumed personal products especially working singers wind players attire somewhat less formal less colorful others never casual never candy lozenges gum mouth everyone knows actually chewing gum question many appear believe hold things mouths unob trusively true especially onstage possible attend one rehearsals least take time read scores together performer making sure know repeats cuts easily understand everything music players mark exact beat want every page turned performer never give cues head body page needs turning entrances entering stage walk behind performers go di rectly piano music stand without looking audience acknowledging applause way move relaxed pur poseful manner pace musicians head eyes forward reach designated place stage musicians bow page turner carry score onstage closed side place desk open first page locate first page piece coming stage look front audience may remove score stage finished may necessary several different performers one concert nothing concert requires bringing score placed desk audience arrives left leave stage performers looks neater close score lay flat part desk leav ing performance chair best situated slightly behind pianists bench stage side chair next pianist way sit upstage soloists turning pages well sure chair low squeak remain seated page turns stand turn pages best turn pages certain ones keep mind repeatedly standing sitting throughout performance potentially distracting done unobtrusive smooth manner thus trouble physically standing sitting controlled quiet manner performance sit good posture feet floor remain absolutely still stiff concentrating music keep eyes always score never looking players audience around room hands remain quiet relaxed lap prepare pages flaring upper right hand corners pages easily separated tempted moisten fingers tongue turn pages efficiently quietlynever moving part body music eg bob bing head tapping toes exit first bow end concert remain seated looking score rise promptly follow performers go stage always turn toward away audience remain offstage subsequent bows unless presence required per formance encore ask included rehearsals entrances ex bows including possible encores chapter turn pages realize much depends role page turner dress appropriately look performers compro mised audience distracted move around much fully concentrating music entrances exits ap pear disorganized rehearsed part aware ways contribute successful performance chapter small ensemble conductor collaborating another musician musicians without direction conductor charge stage presenceie decisions affecting stage presence made appearance stage greatly improved consciously planning various pects presentation two musicians stage performing gether helps audience drawn music look like polished ensemble even begin play sound like one therefore want look thought pects appearance including attire equipment way moving together stage way acknowledging applause although may consider collaborative rather hierarchical relationship one another good idea pair group musicians deciding major policies together iden tify individual individuals may take proprietary interest organizations stage presence may someone enjoys choosing inspecting attire may like clean repair stage furnishings would interested conducting hearsals exits entrances bows people identified give authority carry wishes entire en semble matters without individuals take respon sibility maintaining level stage presence ensemble become increasingly disorganized one consistently taking care details chapter attire duos small ensembles often perform intimate halls rooms musicians attire come scrutiny audi ence anyones clothing good condition freshly cleaned pressed people notice also obvious outfits fit well shoes worn scuffed someone group signed conduct inspections grooming general condition everyones clothes may far go playing ensemble may regularly perform together takes planning determine level formality wish achieve make sure members look way com mon faux pas performing ensembles way dressing incongruity style formality within single performing organization unusual see musicians dressed blacktie occasion looking going work office still others would fit folk festival also common see one mem bers group dress way calls undue attention selves taking attention away group even two pianist another instrument example important coordinate clothes easiest way prevent incongruities attentiongetting attire uniform outfit designed members dress individually without benefit strict dress code actual uni form appear given thought way dressing groupand truly different de sign men women without stipulating exactly everyone wear ensemble constantly grappling issue appear thoughtfully planned attire organization devise clear dress code strictly enforce find long run uniform easier produce better results adapt look different venues seasons times day variety uniforms various occasions may chosen whether designing uniform creating dress code include every pect musicians outfit including accessories shoes one musician wearing brown socks everyone else wearing black distract audience begin raise awareness among members issues group attire taking time observe video recordings per forming also discuss way presently dresstogether come good ideas constructive change consciously decide really want look begin taking steps reach goal small ensemble conductor equipment total impression make audience enhanced use equipment chairs music stands uniform style new condition best professional ensembles realizing im portance go trouble bringing equipment every place perform often members ensemble require chair certain height configuration particu larly low piano bench cello chair music stand opens extra wide expect find things performing venues makeshift solutions using two nesting chairs raise seat placing two music stands side side make one wider stand look slip shod reveal lack planning apparent general indifference details requisites performance always assume unless know certain otherwise need bring equipment performances committed maintaining uniformlooking equipment new condition ensemble maneuvers onstage without frequent rehearsals entrances bows exits way wish begin pieces acknowledge applause together spontaneous way things look disorganized members ensemble higher potential look un connected lost onstage another area careful study video instructive revealing manner de tails may considered walking onstage may seem simple enough way walk onstage group projects certain image every ensemble decide ahead time exactly image wants project practice entrance desired effect want come gether means walk pace without bunching leaving big gaps people players finished walking begin bow bow together players minimize movement onstage bow bow close possible spot eventually perform der walk determined way posi tion stage play walk different order h figure makeshift solutions reflect poor planning inattention detail small ensemble conductor need move around much crossing front behind reason probably best revert traditional rules etiquette entrance women enter men elders precede younger players conscious entering good posture erect without stiff looking poised eager perform adopt similar facial ex pression portray ensemble attitude rather motley col lection individuals walk carrying instruments add look uniformity coordinating hold carry music come onstage arrange parts music stands ahead time audience arrives placed stage personnel open first page music adjust exact position stand height angle tilt chair forehand well players need make ad justments front audience bowing making actual bow members come com plete stop facing audience standing good posture feet together makmg eye contact audience practice bowing pace making eye contact audience together amount time bend angle degrees perpendicular eyes lowered feet stay together slow count three come back reestablish eye contact au dience moving playing positions plan bows degree detail musicians group draw atten tion something different others bowing quickly others example bending much anyone else tossing hair failing lower eyes bow individual members undermine desired appearance purposeful planned unity think ensemble actually playfor entire time front audience tuning tuning best done beforehand offstage audience hear electronic tuning device useful must tune instrument usually piano already onstage reason tun ing must done onstage quietly unobtrusively possi ble established ahead time pitches play best however first sound audience hears first note program chapter performance rehearsal develop way begin piece overly dra matic using collective concentration breathing conversation ever necessary among musicians onstage one member usually designated conduct entrances accomplished successfully members ready concentrating together audience least aware mechanics process avoid obvious counting foot tapping head bobbing solo musicians ensembles appear impressive play together least amount visible effort make sure loose pages music could fall stand performance turn pages gently quietly avoid page turning others solos bring clips tape arrange mu sic order perform whatever necessary keep printed music becoming distraction never react mistakes others keep strong concentra tion times playing look around room long rests relax posture audience tell daydreaming remain fully participating member en semble times concentrating music beginning end conclusion concert responding applause leaving stage maneuvers require rehearsal look smooth planned someone group designated give others signals tell bow leave stage leaving well en tering everyone move group pace uni form spacing avoid situations members leaving others still bowing bunching one per son moving slower pace group whole also plan rehearse reentrances additional bows encores coordinated appearance compromised end concert may want appear spontaneous played actual spontaneity result look unprofessional confusion prac tice looking spontaneous also planning moves maintain intentional look ensemble leave stage last time invited take individual bow accept au diences recognition graciously dignified manner without inap propriate humility never visibly resist invitation bow alone force another beg bow small ensemble conductor time make collective decision appoint one member decide group stop going back additional bows everything group allow one two members go back onstage coax others join usually time happens audience stopped applauding players forced leave stage audience begins leave always best stop coming bows audience still peak enthusiasm order avoid milking applause coordinate final exit raising house lights stage goes dim evaluating stage presence useful study video recording dress rehearsal performance improve details stage presence viewing audiences point view revealing first step neces sary positive change working professional consultant often best way ensemble achieve truly professional demeanor appearance establish procedures maintain good stage presence future making stage presence priority ensemble small ensembles conductor ignore issues stage presence run risk appearing disorganized unprofessional perfor mances groups often look like rehearsals project polished professional appearance ensemble must consciously plan attire stage furnishings group entrances exits bows best assign individuals specific stage presence duties give authority carry duties making aspect stage presentation part players job description awareness stage pres ence issues among members organization heightened audience may realize experience ex citing satisfying performances work improve presenta tion ensemble chapter list ways keep performance looking like rehearsal perform furniture equipment new condition without dust dirt scratches dents ownership stencils back music stands perform housekeeping duties onstage assign moving setting furniture large instruments stands scores stagehands require stagehands dress uniformly casually coordinate attire among members ensemble leave personal items purses instrument cases extra clothing backstage carry nothing onstage instrument never turn back audience refrain talking musicians onstage avoid excessive tuning warming within hearing au dience avoid excessive demonstrative predictable attention instrument performance emptying water winds wiping adjusting joints applying rosin bow pulling hair bow cleaning drying piano keys keep tempo concentration beating part body practice rehearse enough eyes glued score turn pages silently unobtrusively refrain perceptibly reacting mistakes others rehearse every detail entrances exits bows hall performance take place establish eye contact audience immediately immediately bow stage look signal friends audi ence performance bring percent concentration performance every second front audience whether playing chapter large vocal ensemble choir sounds better looks paul hill choral conductor composer arranger chorus look unified easily instrumental ensemble cause members thing standing together way also strong tradition singers vocal ensem bles wear strictly uniform dress nevertheless chorus members need clear detailed guidelines onstage appearance demeanor group make stage presentation best goal chorus create many members one single entity voice accomplished enacting maintaining policies designed maximize look professionalism poise ensemble eliminating anything part individuals may draw atten tion away group within organization individual personnel committees may assigned responsibility certain aspects stage presence set policy also enforce dress ultimate choral uniformity choir robe addition identical everyone male female hangs attractively indi vidual bodies frames singers faces exactly way usually purchased single source custom made material also identical color texture robe robe chapter simple singers wear adapts radical changes body size chorus wearing robes portrays certain image may one want ensemble many possible styles dress including formal blacktie attire military uniforms various casual outfits always preferable everyone wearing ex actly thing singers asked provide clothes results less optimum required wear black trousers skirts white tops example everyone appear different styles dressy others necklines sleeve lengths hem lines fabrics vary assorted whites blacks look onstage best clothing chorus members either custom made pur chased single source chosen outfits remain avail able may decided women men group wear different clothing desirability creating two visually dis tinct groups singers ensemble must considered possible custom made male female attire designed gender specific way look alike onstage whatever chosen outfit kept good condition clean pressed fit well cling body choir robes adjusted uniform length singer shoes hosiery uniform footwear also preferable chorus members choose especially singers front row although au dience may see feet singers enter exit stage variety footwear undermine uniform look achieved rest attire consideration must given comfort support shoes since singers must stand extended lengths time poor foot support may cause upper bodies shift sway hair makeup accessories require singers wear hair short enough fall faces sing fasten back securely need adjustment performance hairstyles including mustaches beards congruent style clothing ca sual appear well groomed makeup understated one singers heavy makeup look different others best jewelry large vocal ensemble worn including rings possible exception wedding bands watches earrings allowed dangle demeanor develop guidelines singers demeanor circulate among members devise well system enforcement may applied strictly fairly singers appreciate instructed prin ciples good stage presence know exactly expected preconcert preparation require singers arrive well beginning performance may make preparations unstressed environment vocal warmups involving members may conducted back stage bad morale performers voices singers rush last moment concert taking time make preparations together ensure everyone warmed thinking together feeling ready perform actually going onstage good idea singers observe period silence prepare mentally avoid finishing conversations wise preoccupied walk front audience entrance rehearsal entrance chorus practiced go smoothly possible concert singers know exactly going walking ahead practice entering uniform pace people bunch leave big gaps among take attendance concert remove chairs absent members plan fill empty spots risers chorus members enter promptly walking directly places without looking around audience singers adopt pleasant facial expressions entrance looking ward concert conversation wordless com munication chorus audience members place entire chorus may seated cue designated member rise entrance conductor standing sitting done exactly together practice large chorus make simple acts standing sitting chapter appear exciting audience draw groups dis cipline even music begins performing singers standing uniform angle angle may different different sections chorus stage left stage right change gradually uniformly determined ahead time members assume strong yet relaxed posture hold throughout performance singers chorus need reminded often posture singers never anything eyes look con ductor anything hands hold score long hair properly fastened eyeglasses securely adjusted need use hands reason singing without mu sic hands may remain relaxed sides clasped front uniform throughout chorus conductor possibly assisted observers correct attentiongetting behavior part individual chorus mem bers rehearsals one two demonstrative singers constitute major distraction changing desired mood whole performance figure single distracted chorus member affect audiences concentration large vocal ensemble music folders singing memory always preferable way perform singers look prepared also better concentrate conductor reading times printed music necessary carefully plan look singers manage music onstage music held folders size style color arranged ahead time order performed everyone instructed hold music folders hand uniform way rest position walk get ready sing cue conductor practice opening folders exactly together way practiced synchronized stand ing sitting every singer folder may adopt stance difficult singers watch conductor stand good posture sharing folders folders held height allows singers glance music also conductor moving eyes entire faces remain vis ible audience acknowledging applause plan rehearse conductor chorus acknowledge applause together end piece well end con cert decide whether chorus bow simply remain standing dur ing applause practice details part performance bowing practice exactly together cue conductor whether bowing members chorus remain stand ing good posture pleasant facial expressions folders held uni formly sides rest position conductor bowing exiting reentering additional bows refrain con versation wordless communication neighbors mem bers audience rehearse bows soloists conductor well exits entrances additional bows coordinate dimming stage lights final exit conductor soloists chorus members remain standing still audience completely stopped applaud ing leave stage organized rehearsed fashion arrived beginning concert holding folders uni formly walking rehearsed uniform pace talking among looking audience chapter concert instruct singers interact audience members con clusion concert accept praise graciously without contradicting listeners opinions concert unseemly unpro fessional attempt extract praise audience members discuss weaknesses concert engage conversations critical conductor soloists chorus members sections postcon cert discussions listeners positive time critical evaluation among performers next rehearsal total discipline organization good stage presence large chorus requires thinking dozens little details may seem insignificant individually taken gether create professional organized appearance au dience may fully concentrate music demeanor every singer must blend others avoid distraction dress ing planned coordinated fashion rehearsing entrances exits bows establishing detailed code onstage deportment singers contribute final goal creating chorus looks dis ciplined poised organized ready sing large vocal ensemble list dos donts chorus members keep concert attire clean pressed good condition keep shoes polished good repair adjust eyeglasses ride nose practice music need glued score bathe dressing brush teeth fasten style hair appropriately eat light meal concert arrive early performance clear head personal problems arrange music order sing going stand sit still erect stiff posture concentrate music whether singing keep eyes conductor hold music still maintain appropriate pleasant facial expression accept praise graciously keep postconcert conversations audience positive stage dont eat big meals performing eat garlic anything may disagree stomach drink alcohol wear perfumed products carry anything onstage music talk gesture make eye contact others onstage move around sing take much room arms hold anything mouth touch face hair toss hair beat time head feet lookaround slump sitting look overly enthusiastic thus drawing attention continued chapter list dos donts chorus members continued react mistakes others mouth words others singing applaud turn back audience discuss weaknesses performance audience members seek praise audience members ask opinion concert chapter orchestra orchestra watch baton conductor hector berlioz composer conductor thrilling see disciplined orchestra chapter orchestra refers instrumental ensemble conductor play ers obviously concentrating together one conductors ba ton appearance demeanor precision ensemble leads audience expect something wonderful ordinary rarely disappointed best orchestras look professional poised last member time come stage time leave achieve high level discipline uniform appearance every orchestra needs clear dress code comprehensive onstage guidelines also standard procedures personnel responsible enforcement responsibilities board directors management conductor whether actively aware leadership orchestra es tablishes organizations standards stage presence part leadershipwhether charge student orches tra amateur orchestra professional symphonythe stage pres ence ensemble responsibility collectively chapter associates must decide exactly want orchestra look act established necessary set rules provide resources make happen regardless profes sional experienced players may unable pro ject unified image unless specific instructions particular organization maximize polished look ensemble begin establishing standards dress demeanor stating clearly writing dis tributing every member detail omitted written policy may seem fussy excessive without spelling exactly wantto letteryou get expected sults probably restricted budgetary concerns good stage presence costs money terms time directly cash entire leadership orchestra conductor board direc tors management must involved setting standards wise leadership realize however effect good stage presence audience well worth expense maintaining organi zation whose poise professionalism excites concertgoers crease size audience time truly bread butter performing organization matter well may actually play difficult keep audience ensemble looks disorganized players appear engaged performances dress code good dress code ensure coordinated equally formal look among players also prohibit elements attire may draw attention individuals principle applies solo per formers applies well large instrumental ensemble best concert attire compete music attention audience principle course may relaxed less formal concerts musicians dress fun comical effect concert bands modeled military marching bands traditionally wear dress military uniforms uniforms based model military dress codes specific last detail including even hairstyle footwear leaving room individuality kind result ensemble appearance complete uniformity orchestras hand originated entertainment bility performing salons ballrooms livery dictated patron even building performedby nineteenth century orchestra stylish formal dress clothing day custom applying rigid military standards uniformity orchestras way dressing survived orchestras especially male female members presently ambiguities generalities orchestra dress codes leave many details members attire individual choice orchestras need careful dress code enforcement dress code become lax make general appearance seem dis organized visually chaotic heightened concentration inten sity musicians want project requires equivalent attention attire amount care goes dressing visual manifestation amount care went preparing music audiences find selves unable take casually dressed orchestra nearly seriously would players dressed formally gender issue added lack specificity orchestra dress codes compli cation brought presence men women group since male female formal attire always gender spe cific typically although appearance uniformity goal orches tra dress codes different rules men women separate dress codes gender mens rules relatively simple compliance relatively easy certain items male dress suits tuxedos hardly change style year year always readily available womens rules since womens fashions change every season yet standard uniform female orchestra members usu ally allow sorts outfits dresses pant suits skirts tops slacks tops experiments formal attire included per mitting requiring female members dress identical tuxedos men end spectrum dispensing idea uniformity altogether women dress colorful ball gowns might formal social function achieve uniformity orchestras experimented dressing male female players alike dress casual outfits black pants matching tshirts example result ing look although coordinated make audience feel watching rehearsal still others resorted outfit custom made women players single style material way firm control women orchestra look onstage although chapter may seem bothersome get involved design dressmaking tailoring trouble save performance end may well worth completely coordinating womens clothing eliminat ing visual disarray outfits may cost players saved frustration searching department stores count finding suitable solutions items comply dress code professional orchestra authentic professional uniform also tax deduction situations female members expected comply dress code may difficulty finding outfits quired color usually black white complying seemingly simple color requirement easy many shades black many shades white mixed together stage lights contribute unified appearance within ensemble stark white various shades cream look good together exam ple black comes variety huesespecially va riety materialsthat visually incompatible female players also need clothes cling body leave much flesh exposed must deal fact womens fashions usually created attentiongetting main point orchestras dress code single player stand visually group strict dress code may also prohibit certain types fabrics velvet satin open laceeven limit ing womens choices added restrictions requirement outfit match male tuxedo level formality der among female players see variety outfitsoften looking inappropriateand visual impression given chestra seems deteriorate percentage female players rises principal reason conductors whether realize want women orchestras reflection women musicians rather comment social customs regarding genderspecific dress developing standard uniform female players making consistently available way problem solved unable provide players uniform helpful dress codes specific leaving little possible individual choice male attire certain type tuxedo suit uniform required men specifying whether coat tails whether wear cummerbund waistcoat color type tie color orchestra cummerbund waistcoat best fabrics exactly female attire women important prohibit certain fabrics stand un der stage lighting velvet satin sequins sparkly terial fabric revealing sheer lace open hems skirts pants floor length sleeves least halfway elbow wrist necklines modest front back bare arms legs decolletage may acceptable fashion make female players look less serious dignified male counterparts furthermore different amounts exposed skin person person orchestra looks disorganized stage lights garments drape flattering line without clinging body slim skirts tight pants worn overlaying garment required cases womens attire look formal asand formal thanthe mens jewelry hair flashy jewelry body hair well dangling earrings bracelets kind prohibited great variety among hairstyles another cause visual disarray hair style important item dress code long hair hanging looks incongruously informal wearing dressy clothes must fastened back away face requiring adjustment concert hairstyles including beards mustaches impec cably groomed coordinate formal dress shoes hosiery shoes hosiery important since much audience sits eye level men women kinds dress shoes best require simply black dress shoes specify certain kind smooth leather suede patent leather appear dif ferent look disorderly represented within ensemble time open toes boots high heels appropriate best presentation shoes com pletely uniform member member hosiery must black sparkly otherwise highly decorated long enough tops seen calf formal style chapter consistent rest outfit like shoes hosiery looks best everyone wearing exactly kind alternate dress codes often orchestra one dress code different performing situations example may less formal code daytime concerts lighter look summer concerts guidelines clearly prohibit wearing anything would cause visual disarray ensemble bring attention onto even less mal concerts dress code specific possible size cleaning maintenance dress code stipulate players wear clothes fit well looks sloppy members wearing clothes right size also important require concert clothing regularly cleaned pressed clothing show wear kind audi ence perceive dirty worn wrinkled garmentsto think otherwise false shoes must kept pristine condition scuffed worn hosiery must free runs enforcement best dress code world worth much enforced good enforcement requires regular inspection services dress maker tailor used periodically evaluate overall fit condi tion garments determine need replaced good appoint staff member conduct preconcert inspection every performance cover matters dress code line penalties various repeated infractions inspector must ap ply sanctions strictly consistently fairly frequently explain players importance dress code success entire organization want become inter ested orchestra look good onstage completely invested standards organization onstage guidelines orchestras usually perform stage without curtain means audience may see hear players assemble orchestra performance also end leave important con sider look sound times well actually performing four positions readiness members orchestra practice assuming various postures gether given time may stage readiness together group four standard postures strumentalists typically learn standing position rest position semi rest position ready position standing position used players walk stage instrument whenever orchestra stands together acknowl edge applause usually happens conductor comes stage beginning concert conductor calls players stand applause end standing posi tion appropriate way ensemble acknowledge ap plause musicians within orchestra bow unless singled individually standing position players within families like instruments hold instruments bows case string players formal way uniform angle players remain still never taking eyes conductor row musicians front orchestra closest au dience must pay particular attention appearance standing po sition looks good face audience full ensemble stands players back stage must equally attentive standing position however disciplined appear ance group whole maintained rest position employed long rests pieces move ments instrument play instruments may placed floor instrument stand across players lap rest position percussionists harpists keyboard players may simply stand sit quietly regardless long musician must remain rest position posture changeit remain strong upright head aligned centered spine resting player neither lean chair back slouch ward feet remain floor throughout long period rest players eyes remain conductor also follow ing score ready next entrance players relax posture looking around otherwise paying attention distract audience weaken concentration everybody hall figure examples standing position figure examples full rest position chapter semirest position employed conductor cues ready position beginning piece end long rests playing short periods rest music semirest position players able assume ready position ready position players holding instruments ready play look something energy concentration focused upcoming task erect eager posture held slightly forward ready position creates ap pearance enthusiastic anticipation music come eyes conductor waiting cue musicians may taught slightly different ways assume positions important position intentional planned therefore orchestra needs standard defini tions four positions players practice gether look feel precisely coordinated concert players come onstage time con cert begins audience hear practicing see housework setting concert stage furnishings scores stands stationary instruments set adjusted audience allowed auditorium musi cians come onstage mentally ready performance without talking among looking audience players carry instrument nothing equip ment necessary performance secondary instruments mutes swabs extra strings music stand clips placed earlier playing position onstage leave nonessential per sonal belongings instrument cases purses sweaters behind litter stage carry instruments formal manner get quickly formal rest position sitting standing good pos ture warmups done backstage hearing au dience members arrive onstage ready tune con certmaster arrives reason orchestra members must warm onstage quickly possible appoint member charge stopping warmup entrance con certmaster enter people still playing entrance concertmaster timed happen soon members assumed positions brief warmup lighting may change point lights onstage coming n n figure examples semirest position figure examples ready position orchestra auditorium lights dimmed stage lights come players sitting still attentively waiting concertmaster stragglers ever arrive onstage moment lighting changes audience drawn readiness silence players concertmaster makes entrance silence goes position onstage bows ac knowledge applause bow concertmaster turn direct tuning orchestra section section organized fashion efficiently quietly possible players sounding usual tuning pitches concertmaster seated conclusion tuning mak ing way entrance conductor someone backstage appointed watch exact moment tuning com pleted signal conductor go onstage anti climactic conductors entrance delayed conclusion tuning members rise together upon conductors entrance players section facing direction holding instru ments uniform fashion move must rehearsed precise effective one player see conductor moment steps onto stage concertmaster usually facing direction may appointed cue others stand exactly together work well members must give full concentration conductors entrancewhich turn generate excitement anticipation among audience conductor enters bows podium walk distance bowing orchestra stands attention facing orchestra conductor gives cue seated players sit exactly together assuming semirest position another cue get ready position orchestrating every detail conductors entrance various positions players standing rest position semirest position ready position shows audience truly ensembleworking thinking concentrating togetherbefore begin play large group people focused enough move precision way exciting watch carefully coordinated opening audience await first sound program aroused anticipation conclusion concert conductors bows invitation entire orchestra specific groups players stand acknowledge applause rehearsed beforehand standing accept applause members chapter remain uniform rest position conductor left stage last time house lights come point players leave stage promptly without conversation carrying instruments cleaning packing instruments done back stage podium chairs music stands music stands set height players may see printed music also conductor moving eyes moving whole head without craning neck ele vation conductors podium depends height conduc tor taller conductor lower podium players closest conductor strain upward see conductors face hands baton players back need clear unobstructed view dented dirty worn generally shabby stage furniture perceived audience although acquiring maintaining good looking stage furnishings costly orchestra wants look best cannot afford overlook significant aspect stage presence every performing organization needs staff member charge appearance stage furnishings responsibilities orchestra members first foremost faithfully adhere orchestras published dress codes stage guidelines take seriously never try bend rules thereby place stress entire organization ensemble warms stage wlule audience mem bers present quickly quietly possible time show upcoming solos demonstrate high fast loud play also whether warming backstage onstage extremely bad form use portions guest artists solo warmup material show play piece tuning orchestra quietly quickly sounding tuning pitch whenever onstage remain alert posture without leaning chair back slouching forward keep feet try appear mentally awake involved going even pieces actively involved seemingly passive activities waiting conductor listening rests sitting au dience applauds never allow look disinterested bored tired careful adopt trancelike stare times playing leave watch backstage orchestra figure pline ensemble poor posture conveys disinterest performance lack disci converse engage type wordless communication directly relevant performance refrain reacting facial expression mistakes outoftheordinary occur rence onstage similarly save expressions approval others playing concert look audience turn around look anything behind another player chorus film never take eyes conductor playing well know music well enough need read note note performing keep body movement minimum violate personal space players around refrain beating time part body swaying back forth circles keep legs still arms legs feet close body draw tention demonstrative enthusiasm instead develop look intense still concentration play turn pages gently without disturbing air around responsible page turning always prepared clips fasten score stand necessary equipment must set floora mute exampleplace cloth elimi nate possibility making noise putting chapter concert refrain cleaning instrument turning pages someones solo event musical emergency instrument chanical failure appropriate musician lesser position imme diately give instrument soloist first chair highly ranked player attend every detail attire stipulated orchestras dress code wear clothing fits perfectly changing whenever body size changes choose footwear hosiery goes rest outfit conforms dress code hair long enough fall face make sure well groomed fastened back securely wear anything fingers possible exception wedding ring wrists paint nails wear glasses make sure fit snugly ride nose eliminate possibility body odor bathing concert clean press concert attire regularly wear per fumed products kind rehearsals concerts never chew gum hold anything mouth bring read ing material kind onstage concerts rehearsals arrive early stay late rude come onstage conduc tor arrived leave conductor still pit orchestra think pit orchestra need concerned issues stage presence since sitting pit away view audience however overall discipline performing organi zation important audience cannot see good pos ture uniform dress attention conductor appearance totally engaged performanceall elements effect musicians help create best performance organization produce also unusual situation pit orchestra visible loges balconies people sitting sections part audience well enough illumination music stands see clearly whether musicians truly involved performance pit orchestras best professional opera companies often act portion audience even especially distracting practice allowing musicians come middle act avoid sitting long periods time playing cannot help break concentration conductor musicians signif icant portion audience repeatedly throughout long performance orchestra possibly serious infraction players pack leave end performance soon last note played audience applauding rude inconsiderate conduc tor singers audience gives bad impression ganization whole onstage orchestras members pit orchestra remain present long conductor obstacles good stage presence financial realities maintaining professional orchestra sometimes force least encourage organization cut comers matters stage presence example poorly paid pit orchestra players may absence deserved pay raise given privilege leaving soon part performance perhaps management wanting pay musicians extra time actually require leave morale among professional orchestra members problem wonderful orchestra concert players perform ensemble week week easily become stale worn routine job takes strong leadership keep players fully invested success organization put per cent performance poor morale although intangible obvious demoralizing audience leadership large performing groups go lengths necessary keep players enthusiasm high professional amateur orchestra good dress code stage guidelines may still look bad onstage cannot afford time money takes enforce rules consistently may inadequate funds maintain scores good condition replace necessary stage furnishings may get shabby money buy new ones conductors feel always little rehearsal time nat urally want use every bit time preparing music per formance rather rehearsing entrances exits bows example attending details stage presence seem unattainable luxury overcoming obstacles personnel large orchestra would enjoy job im proving maintaining groups visual presentation would take task raising funds accomplish finding people chapter setting work takes nothing leaderships inter est making happen board members management conductor become fully aware importance stage presence realize poor stage presence seriously curtail overall success organization become priority good stage presence comes high cost return investment great however measured effect audience sense orchestra afford without list things conductor never say watchme stop talking gesturing winking rolling eyes flirting gig gling wakeup get rid gum put magazine book newspaper letter stop fidgeting solo clean tuxedo turn pages quietly dont wear cologne hair spray aftershave stop tapping foot bobbing head moving around relax face take bath use mouthwash sit straight leave belongings purses sweaters instrument cases back onstage arrive leave go music directors amateur student ensembles may often heard saying things professional context however con ductors sometimes reluctant insult intelligence expe rience musicians pointing basic transgressions presumed professional players know better even though behavior may always show responsibility every ensemble member take care things context rehearsals performances every orchestra needs procedure place correct infractions chapter conductor leader real end aim conductor opinion presence apparently unnecessa place helm oars franz liszt composer pianist conductors provide much legendary material music history great conductors imposing figures sheer force personalities exceptional musicianship maintain authoritarian command dozens sometimes even hundreds musicians good conductor use charisma focus concentration players audience alike every note work performed keeping excitement high first note last good stage presence indispensable element conductors overall presenta tion helps accomplish performing organizations hierarchy leadership usu ally includes many people conductor music director one conductor therefore never given au thority make decisions addition purely musical duties find involved politics keeping budgets balanced maintaining personnel satisfaction dealing board members fac ulties andor management may minimal stated authority regardless much power actually given policies organization however everyone look moral artistic leader group person sets enforces stan dards demands discipline uncompromising musical mat ters fact best conductors ure people push others heights would otherwise attain often nothing steadfast ideals chapter since budgetary matters involved preferable organizationwide policy funds designated establishment maintenance organizations stage presence even pol icy however actual daytoday stage presence chorus chestra largely depends rules ability enforce commanding respect musicians main taining high morale among exercising strong power per suasion among colleagues command respect require concentration audiences impressed members performing organiza tion respectful toward conductor show respect draws performance begins soon appear stage therefore important require ensemble respond im mediately entrance standing exactly together come stage outset concert practice getting members various stages readiness standing rest semirest ready positions ulti mately want ensemble react instantly cues means ready waiting direction times never anything demonstrative get attention move little possible conductors must give unmistakable suggestive signals orchestra choreography audience george szell conductor look powerful effective cues ensemble subtle true actually conducting music well cueing readiness positions direction grandiose looks working hard get musicians follow fluence appear weaker achieve desired results small apparently effortless motions minimum movement part also less distracting audience conduct good posture good posture characteristic successful leaders project image ensembles capable effective conductor carry well keep strong back hold head top spine always conductor leader looking front hold shoulders back keep arms hands natural relaxed conscious able breathe deeply open chest head times using score place music stand may see music without bending head forward let eyes become glued score throughout performance let use score negatively affect good strong posture turn pages un obtrusively possible best audience unaware music front dress job conducting need able use full range motion arms whatever wear impede movement clothes look stressed conduct requires special tention dress clothes usually constructed allow large arm movements may burst seams pucker unattrac tively unless tailored need mind figure look stressed tailored accommodate required body movement clothing chapter hems skirts trousers rise fall arm movement pay attention appearance footwear assuming eye level good portion audience make sure shoes provide enough support may stand throughout concert without undue fatigue wear clothing least formal full ensembles attire keep hair short fasten back away face dis tracting musicians audience important repeatedly push hair eyes performance wear anything fingers wrists evaluate appearance behind conductor usually musician performs back audience organists also play backs audi ence often sight altogether playing within sight audience consideration important organists well difficult imagine appear behind without viewing video recording weak posture especially noticeable van tage point habit bending forward waist con duct see projects derriere unflattering position clothingespecially viewed much audience sitting one reason conductors tradi tionally wear tails long jackets avoid clothing clings body generously share accolades musicians conductor may leader ensemble mean accept credit accomplishments without musicians baton would performance audiences attracted conductors addition firm disciplinar ians generous public appreciation musicians organization acknowledge contributions individual singers players sec tions applause although may want appear spon taneous best plan rehearse ahead time decide exactly happen final applause individuals sections asked stand order asked long remain standing cue seated forth always planning curtain calls cease applause begins wane conductor leader precisely time entrances exits coordinate entrances exits stage manager anticlimactic wait entrance outset concert make sure either concertmaster enter soon house lights go stage lights come audience gets quiet time entrance similarly lighting intermission con certmaster first enter purpose tuning enter promptly end tuning moment concertmaster seated intermissions end concert obvious audience stopped coming back bows house lights stage lights dimmed exit last time guest soloists guest soloist soloists entrances bows exits conductor also need rehearsal look polished con ductor responsibility orchestrate moves adapt customs organization style visiting soloists generally conductor follows soloists stage coming soloist goes place per form conductor passes behind soloist goes directly podium point soloist takes bow conductor also faces front either bowing together soloist watching allowing focus soloist initial bow de tails vary always rehearsed guest performer appreciate time take end performance number things may happen soloist may embrace conductor shake hand conductor concertmaster solo bow conductor soloist may bow together conductor may want orchestra cer tain sections ensemble stand accept applause inappropriate soloist bow audience clapping orchestra case multiple soloists important decide lead group stage order walk conductor plan moves nothing looks awk ward clumsy applause consciously plan ensembles presentation conductor responsible stage presence many peo ple person entire organization relies chapter standards guidance enforcement must think de tails lay plans hold rehearsals able convince management importance overall presentation dimension job almost certainly contribute major goal entire ganization growth retention audience chapter day concert three qualities essential professional musician thefirst good health two mark hambourg pianist important sometimes overlooked aspect stage presence general wellbeing performers need feeling well look best cannot feeling rushed frantic take care important details concert addition playing well whether performing frequently twice year suc cessful must learn take care health get enough rest eat well practice sufficiently conduct rehearsals adequate time bathing dressing grooming checking conditions con cert hall takes careful planning make time things also keeping calm focused possible concert personal needs first determine optimum schedule day concert like get long practice hearsals scheduled much time would like hall meeting piano tuner long need meetings stage personnel page turner would like eat would like eat need time rest long much chapter time need bathing dressing getting ready long fore beginning concert would like arrive hall needs backstage concert immediately fol lowing performance know answers similar questions arrange day leaving plenty time everything need helpful develop personal checklist routine schedule days perform hosts patrons fans completely charge schedule concert dayif another city exampleyou must make needs known people around may fear regarded prima donna make many demands people may understand importance requests sometimes cannot helped better seen finicky person bad performer often exactly choice must make experienced performers learn make needs known young less experi enced people take advantage learn express needs clearly completely hosts especially less experienced ones relieved tell exactly want throughout day concert cause may mistaken impression need en tertained fill whole day requested schedule see worry keeping occupied also interest performer build good relationships hosts patrons fans want personal contact one sort another day concert may invited attend dinner reception may also asked sign autographs copies recordings hosts want help promote concert interviewed media best way juggle wishes hosts personal ne cessities spell important needs writing well concert ask host honor eliminate last minute surprises consulted host wants make changes stipulated schedule able make decisions case case unfamiliar surroundings forget inquire length time takes get pro posed activity return afterward ask hotel close concert hall least remain close hall day concert driving around traf fic stressful encounter hosts bad driv day concert ers able return room bathe dress concert hotel far hall spell meal requests including preferred menus times persuaded go restaurants far hall day concert decline preconcert social dinner engagements let hosts know ahead time want something eat drink dressing room anything else may need backstage concert ask wellwishers visit dressing room concert intermission afterward put limits long greet public long sign autographs look ward postconcert reception may want stay end enjoy parties limit time willing remain events request something eat drink meeting people reception often performers offered anything placed receiving line asked sign autographs reception food often adequate case need good meal concert request one plan arrive late reception learn decline requests applause receipt bill artur schnabel pianist explaining refusal play encores end concert perform encores tired feel cannot best also bad taste hosts quest informal performances times therefore always ap propriate decline requests practice gracious ways escape overly zealous longwinded fans play instrument avoid prolonged hand shaking autograph signing activities stress hand avoid awkward situations clear needs concert save awkward situations decline preconcert dinner party last minute cancel sightseeing plans ask delegation vip patrons leave dressing room intermis sion hosts happy help carry wishes know understand certain things must important gone trouble enumerating ahead time chapter protect wellbeing performing music demanding job demanding non performers usually realize therefore expect others even accustomed working professional musicians anticipate individual needs day concert express needs clearly well ahead time people help schedule day need every day best maintain health eating well getting enough rest minimizing stress avoiding unhealthy habits significant athletic component performing musician like athlete perform best peak condition list things concert day go personal checklists early day al ready reviewed earlier week make sure ready order outline schedule detail review tasks stage manager helpers make time adequate rest practice preferred relaxation eat well avoiding sugar caffeine alcohol anything decline social engagements concert inter visualize exciting enjoyable performing experience routines might upset stomach mission chapter stage furnishings hints pianofortes keep pianofreefrom dust allow needles pins bread placed upon especially keyboard exposed suck articles apt get inside produce jarring whizzing sound enquire within upon everything stage upon perform well furniture piano use important aspects presentation overlooked consider stage special place visual context concert avoid performing venue cannot visit beforehand time make requests stage manager aspects stage presence follow principle want distractionfree environment audience concentrate music make stage clean uncluttered performers frequently play halls control con sequently stage generally poor condition needing paint repairs little thisexcept possibly play different hall regardless overall condition however stage well permanent equipment may using piano podium risers clean request cleaning done concert staff disposal chapter make sure stage littered nonessential objects chairs music stands risers podiums instruments anything else using concert request stage emptied items move backstage chairs stands look best uniform style color clean good condition without dust fingerprints scratches dents take care equipment would instrument stands solid backing large enough hide widest highest score use safest bring chairs stands unless know ahead time hall well equipped performance placement general performers centered stage means conductor standing exact center chamber group clustered center keyboard piano lined along center perpendicular line solo performance two feet left line viewed audience perform ing soloist position piano angle determined center stage left right must decide far back stage performers positioned take consideration acoustics hall sight lines audience necessary lighting one spot sound project best hall experienced performers find place even without presence audience times problems lighting force move figure cluttered stage inappropriate setting concert stage furnishings less acoustically desirable place stage unfortunate situation best stages lighting adapt position chosen based solely musical considerations light g concert decide settings stage lighting lighting house want stage lighting come house lights dim performers walk onstage reverse happen intermission end concert final bow direct spotlights center stage one performer size ensemble increases strong lighting illuminate stage much possible eliminate distracting shadows glaring lights blind musicians may necessary use lighting individual music stands prepared equipment remove shadows keyboard pianists ideally require light ing directly unfortunately often available al ways rehearse lighting used concert ask lighting engineer coordinate changes stage house lighting ushering staff latecomers disrupt dra matic entrance musicians onstage concentrated preparation first sounds concert flowers atmosphere concert enhanced stage dressed flowers single bouquet size proportion size stage hall better flowers arrangement looks small numerous smaller plants bunches cut flowers may used line lip stage get ad vice florist decorator want flowers feel cannot make best choices regarding size type stage placement flowers tastefully enhance overall picture performers wish present look place overwhelm stage piano problem musical instruments beautiful aesthetic objects musicians take pride keeping instruments looking good possible chapter cleaning packing away every time play pianists aspects discussion apply well percussionists play ers keyboard instruments however rarely tutored pro cedures instrument care number reasons first technician usually relied upon care instrument since frequent tuning important well expensive easy pianist feel piano well maintained simply calling technician sec ond pianists almost always perform instruments thus may seem unimportant care appearance ones piano since audience never see third case grand piano something seem like piece furniture mu sical instrument gathers dust lid pro vides large surface upon tempting place things fourth piece fine furniture takes time money keep piano looking pristine condition uncommon appearance musicians personal pianos deteriorates years accumulation finger prints dirt case keys dust piling strings dents scratches caused using instrument table bump ing objects moving go unrepaired interior instrument usually cleaned average technician pianos personally owned individual musiciansthose schools conservatories concert hallsfare even worse typically piano may tuned regularly occasional adjustments pairs affect way instrument sounds way responds performer rarely organization provide main taining appearance even best piano pressure brought bear people playing piano either visiting pianists typically take interest condition tuning strument home employees institution owns piano musicians pride personal ownership rarely instructed care maintenance pianos appearance use pi ano serves tabletop moved onstage may see piano bumped things serving dolly piano bench items typically none people around piano treat magnificent instrument standpoint good stage presence piano stage look like new piano showroom condition ap pearance instrument congruent formalities ob served performers dirt fingerprints scratches dents visible audience pianist formal gown tuxedo sitting abused piano paints incongruous picture performer stage furnishings may want piano hall look better suffered years neglect much last hours concert caring instrument becomes routine aspect piano ped agogy awareness impression made pianos appearance raised among musicians piano problem go away moving piano concert whenever occasion piano moved stage concert important treated musical instrument protective padded cover removed backstage pi ano brought cover metal parts grommets buckles take care scratch piano items ever transported piano lid stagehands move piano dressed look like furniture movers keep shiny sur face piano free fingerprints wearing gloves wiping new fingerprints case soft cloth carried expressly purpose practice job done expertly efficiently mini mizing time audience must wait pieces musicians may need move chairs stands make way piano kind onstage rearrangement know exactly going move promptly quietly without conversation without turning backs au dience good rehearse moves take little time possible concert stage presence includes stage furniture instruments pity rehearsing music choosing right attire studying aspects comportment stage concert takes place shoddy surroundings first foremost make sure stage furnishings clean request piano cleaned pol ished use uniform chairs stands keep free obvious dents scratches musicians pianists aware importance treating pianos instruments property hall organization fine instruments devote time energy care often piano shared instru ments undermine effort put areas stage presence page intentionally left blankchapter nonperforming personnel opera house depend even man operates cur tain lets early late stroke ruins pi anissimo karl bohm conductor perform hall time organization large enough support staff luxury time familiarize helpers ongoing needs train details often case however musicians per form various venues must work people know well cases important consider kinds needs communicated performance requests directed every performing venue staff one people whose job provide assistance performers see concerts run smoothly staff members best performers communicate needs clear organized fashion asked participate problem solving assume nonperforming personnel matter experi enced professional may anticipate needs performer responsible making requests known staff well ahead time must therefore plan time make important communication chapter typical positions venues fulltime staff member performing functions venues one following list po sitions represents tasks must done behind scenes per formance performers anything perform day concert certainly housekeeping tasks front audience therefore whenever venue provide personnel others appointed carry essential work concert manager concert manager charge booking hall first com municating concert manager date concert make sure include times performance impact venue example equipment deliv ered let concert manager know exactly delivered provide name phone number movers ask name number person movers report make sure find equipment stored hearsal concert responsible moving stage fore perform need piano tuned ask tuners name num ber find schedule tuning schedule tuner find times piano may tuned give concert manager tuners name phone number tuning schedule make sure give concert manager estimate time need rehearsal hall ask name person let find contact person event build ing closed get possible meet beforehand ask security measures rehearsals procedure follow exit reenter building estimating ending time concert best say concert end later actually allowing stage personnel finished earlier planned least time forget add time take pack things audience leave finally tell concert manager equipment moved hall get name number person movers report make sure movers appropriate formation nonperforming personnel stage manager stage manager set stage event make desired changes stage concert also control temperature hall supervise lighting stage auditorium stage managers helpers stagehands help make performance run smoothly best interest utilize expertise much possible requires communicating detailed instructions cases holding rehearsals early make request stage cleaned cleared unnecessary items concert use piano ask case instrument legs bench polished make sure tell stage manager exactly want every piece equipmentrisers stands chairs podium instruments forthpositioned stage musician adjusted equipment beforehandfor example setting height piano bench tilt height music standrequest adjust ments carefully maintained clearly describe changes stage setup happen concert exactly happen one two simple changes outline writing helpful stagehands mark stage floor tapea separate color changeto show everything ask stagehands make changes specific waythat carry single items upright position hands example turn backs audience request person come onstage concert dressed appropriately stagehands venue accus tomed dressing performances may want appoint helpers onstage work performers refrain ing good idea give stage manager supervising stagehand generous tip performance thanking ticipated help make concert success lighting engineer stage manager may charge lighting may also lighting engineer either case check stage lighting hand see lighting appropriately highlights important places stage ask lighting engineer adjust lighting needs position equipment adapt chapter lighting unless cannot adjusted make sure lighting illuminates face bow careful cast annoying shad ows piano keys shine strongly eyes play make sure musicians see music sometimes separate illumina tion may required individual music stands plan lighting concert deciding much dim auditorium performance much dim stage coordinate changing stage auditorium lighting entrance final bows musi cians enter promptly stage lights come begin ning concert auditorium lights come immediately performers left stage last time lapses tim ing crucial junctures create anticlimactic moments best avoided audionisual engineer need audiovisual equipment concert simply microphone make announcements concert make needs known ahead time person experience equipment time set always rehearse use apparatus spares audience frustration waiting make last minute adjustments figure work equipment also important protect everyones ears shriek poorly adjusted microphone become necessary remind audiences concert turn electronic devices may make noise cell phones pagers watches forth live verbal announcement purpose effective written reminder program announcement may come backstage sound system onstage announcer forget request sound equipment short speech stagehands remove audiovisual equipment stage soon finished ushers performers may think ushers nothing concert play key role overall stage presenta tion gone trouble carefully orchestrating en trance bringing audience concentration building feeling anticipation excitement want make sure nothing disturbs critical moments begin play sing nonperforming personnel rely ushers keep latecomers interfering tense atmosphere tried hard create need therefore authoritative ushers able enforce rules requiring tardy audience members wait end piece enter hall quite difficult task concertgoers potential causing disruptionthose sitting front often ones paid tickets pa trons concert job young people timid easily manipulated ask ushers wait begin prohibit en trance hall soon stage lights come entire entrance free distraction large hall preferable head usher stage manager communication one another may coordinate moment entrance way get know helpers performers get best support staff es tablished clear respectful communication communication carried early enough staff turn also plan sometimes difficult impossible accommodate last minute requests go trouble remembering names helpers know ing various responsibilities familiarity facilitate interaction draw expertise essential smooth run ning performance page intentionally left blankchapter auditions competitions auditions performances janet bookspan contemporary performance coachstage director body literature fields psychology education con firming physical appearance affects expectations people eventual performance area performers good vi sual attributes consistently rated higher others studies also confirmed though musicians physical appearance less conventional standard attractiveness portrayal confidence good stage manners whether aware judges musical audition form opinion play evaluation appearance demeanor onstage included evaluation playing responsible performances result audition cannot help favor performers play well also proj ect poised confident image often even competitions highest level one best performers overlooked poor stage presence prizes awarded weaker players simply look better front audience reason going audition impeccable stage presence gives distinct advantage audition performance audition different performance except usually specific goal may may accepted conservatory chapter secure position performing ensemble win prize get teaching post based results audition single audition could thus profound effect life aspect stage presence unimportant context never decide ahead time expect win outcome important presentation unimportant typically performing unfamiliar venue therefore would smart anticipate every possible need selfsufficient possible saving stress deal emergency situations without prepared list things bring audition competition checklist performers directions event instructions event important phone numbers teachers page turner event director cell phone ringer turned change phone card pencil pen paper instrument cleaned polished required equipment adjustable chair footrest pedal extender instrument cleaning repair supplies scores judges nof working copy metronome lightonly feature wristwatch wear performing performing attire clothes shoes accessories wool gloves jacket sweater grooming needs comb hairbrush tissues makeup nail clipper handkerchief clean folded pressed eyeglasses even wear contacts bottled water avoid sugar caffeine nutritious snack phone calls endpin mute music stand clips printed music posture gait walk room onto stage pro ject enthusiasm confidence easily project uncertainty apprehension make sure first impression make strong positive one performing stage bowing begin let collect draw people room performance auditions competitions much like concert attend minute aspects bow cause poor bow make look awkward inexperienced performing room simple smile hello judges may suffice either case fail acknowledge judges enter carrying instrument professional mal manner refrain holding sloppy fashion walk bow well rests choose attire carefully would concert never wear casual clothes audition wear concert shoes appropriate hosiery fasten hair well wear nothing fingers wrists keep fingernails short paint never chew gum hold thing mouth good idea matter time year bring wool gloves jacket sweater wear perform public buildings uncomfortably cool either winter weather air conditioning preperformance nerves also make feel unnaturally cold im portant hands body kept warm wait turn front judges eliminate selfconscious man nerisms never touch hair body clothing keep face relaxed pleasant expression practice looking either timid serious look unpleasant angry keep mouth relaxed alert judges parts program find difficult tensing lips furrowing brow using unnecessary gestures postures absolutely never react mistakes draw attention remember best players make performance look easy keep feet head still maintain feet head reflection total state mind allow feet head fidget appear nervous frightened beat time either playing appear labored quite ready per formance long rests remain concentrated composed fill time fussing instrument performing unnecessary tasks practice standing sitting comfortably merely listening com posure concentration sustaining good body posture require accompanist andor page turner audition rehearse entrance exit last detail conversation front judges want look know exactly need use printed music keep scores ring binder arranged order play necessary trip tych altarpiece arrangements photocopies avoid page turns make sure opened begin play juggling strument score look awkward practice beforehand chapter make task smooth possible bear mind may surface except floor put instrument make adjustments music stand decisively without fidgeting spending much time doublechecking height tilt balance always prepared possibility judges may stop middle piece tell go next one judges stop ready go graciously next piece stop middle last piece program stand bow would permitted finish stopped necessarily indication judges like playing often means opposite may disappointed stop especially played think impressive section music regardless may feel stopped look cheerful think confidently practice ending program look success face take final bow walk confidence looking best happy performance interacting judges audition room stage room close physical proximity judges appropriate say hello enter hand scores judges take time present graciously eye contact without hurrying never appear throwing scores hastily toward performing stage judges seated audience walk bow concert without saying anything take time prepare set tone performance fore actually playing first note wait pieces judges tell go unless instructed beforehand play con tinuously case take time mentally get ready piece program would recital scores bring working scores extensively marked au dition want judges see teachers directions notes judges information draw attention potential difficulties almost impossible lower grade commit error supposed corrected practice auditions competitions figure l played end audition look success regardless think use new pristine scores fully intact clean appearance avoid pedagogical editions anthologies collections geared toward students usually colorful illustrated covers rather use professional edi tions whenever possible pictures give impres sion serious musician even begin play although want avoid giving judges working copy personal reminders annotations make sure score give notations regarding articulations ornaments dynamics tempo indications cuts reflect exactly prepared piece judges know interpretation different printed music intentional different score marked draw attention problem areas chapter use photocopies sponsors auditions competitions want ing adhere strictly copyright laws disqualify candidates appear illegal copies music work print legal copy may bring recent letter publisher tailer effect number measures neatly score already num bered edition one number per line music upper left line best judges want able refer specific places mu sic comments write name scores judges usually supposed know interacting rivals competitive musical event like competitive sport winners losers behave graciously winner loser eventually find positions always make point congratulate winners win ners performance end competition courteous attend educational well competitors avoid listening players miss unique opportunity observe others prepared participate event hearing participants play invaluable experience work ad vantage next competition happy position receiving prize always con gratulate prize winners thank judges organizers event giving chance compete extend around accept congratulations sincere gratitude judging musical performance subjective often conclusion competition others might strongly disagree judges de cisions feelings run high situation may feel personally disappointed failing win prize also rightfully gry victim poor judging winner may notice people around feel deserve win discussing evaluating judges decisions integral part par ticipating competitions much learned discussions however never appropriate site event matter unfair may think judging behavior ward fellow competitors organizers event even judges remain professional appreciative cordial people around feeling outraged results share feelings later time avoid drawn conversations criti cal judging whether mixed company side among auditions competitions entourage presence others act assume judges done best chosen deserving winners whether really feel way blind audition situations evaluators hear candidate behind screen without seeing player orchestras united states europe instituted socalled blind auditions late move overcome longstanding belief white men com petent players women minorities fact percentage women minorities orchestras indeed risen dramatically since practice blind auditions began participating blind audition however important psy chologically take care appearance evaluators see simply play better look good may also contact members hiring organization actual evaluators hurt look taking audition seriously presence personnel staff board members volunteers even stagehands percent audition results may lasting impact life want give judges positive impression possible audition gone trouble takmg care details stage presence judges immediately understand serious work added confidence comes knowing look good acting appropriately often good stage presence thing distinguishes winners losers generous sportsmanlike dealings competi tors organizers judges audience members behave appropriately whether winner loser abide cheerfully judges decisions chapter list ways keep judges eliminating dress concert pay close attention matters personal grooming make eye contact judges entering room hall greet smile hand scores sit uation formal stage judges sitting hall formally bow making eye contact bowbefore begin playingjust would audience practice looking feeling enthusiastic playing au dition make sure reflected aspects body lan guage posture walk facial expression provide judges scores good condition without notes written bring editions used professional musicians pub lished students refrain adjusting hair eyeglasses clothing eliminate visible nervous habits never register displeasure performance react mistakes facial expression body language performance finished bow leave room stage would audience expression success satisfaction face practice demeanor judges acting situation make study video recordings work improve details presentation chapter teach stage presence stage presence subject sorely neglected critical element communicating audience andfor reason must taught part studentsformal training anthony leroy glise contemporary guitarist composer music editor stage presence taught always improved thing musicians naturally even years performing public yet aware musicians students alike begin un derstand overall presentation affects impression make win audience even begin play teachers provide students ongoing experience time give ability look good feel confident onstage performersdancers singers exampleare generally taught aware stage presence instrumentalists conservatories vocal students required approach lesson learning experience stage presentation required pay tention dress grooming lesson days music teachers incorporate study stage presence teaching life skills earlier child exposed principles stage presence better effectively taught first music lesson wait student expresses interest becoming professional musician fact necessary music student eventually end concert stage skills relevant stage presence skills invaluable areas mu sic confidence comfortable front large groups chapter people poise make good impression prerequisites kinds success students emerge studio good stage presence given ability carries areas lives developing good stage presence students stage presence grouped four components posture bow dress demeanor throughout students education first lesson last expertise four areas taught improved four areas require long time master cannot simply tell students move abilities developed constant practice patient reminders long period time posture whether learning play instrument sing conduct good posture essential part good technique performing music physical ac tivity good posture keeps body working naturally min imum effort impossible breathe freely deeply body aligned chest cavity fully open musical per formance kind requires good deep breathing optimum body balance teachers work young children especially important responsibility students postures since physical attitude stu dents adopt beginning music study usually follows throughout lives attempted correct poor posture older students understand well whether teach voice instruments conducting think good posture first basic element without student serious disadvantage constantly examine reassess work posture teacher poor posture cannot set good example students learn best example cultivate interest science body balance alignment begin observe various ways people stand sit walk know help students variety disciplines help train musicians posture balance effective use body alexander technique tai chi yoga pilates name becoming expert improve posture students requires think case every student comes along every performer see teacher imperative rec fo teach stage presence ognize subtle weaknesses posture brief lapses body balance suggest ways correct teach instrument played seated need specialized equipment teach posture make sure adjustable seating specific instrument teach well students equipment provide best example may seat individual student position right body changing seating students body changes stances addition adjustable chairs need footrests keep feet dangling students variety bodies naturally better posture others weak lower backs find difficult stand erect sit straight length time tight necks shoulders find difficult hold heads squarely top spines take time every lesson adjust students posture require play lesson erect yet relaxed body whether sitting standing teach sitting hold lower back position standing straight elicit help parents check students posture dur ing home practice neglect teach walking good posture students entrances exits look consistent bear ing perform assume students posture probably improve significantly consistently taught many years praise students good posture give difficult cases students learn walk perform good posture bow western countries longer bow course daily life consequently experience bowing practice wonder many performers beginners professionals seem selfconscious awkward bow since time stage front audience perform make sure teacher practiced bow feel natural comfortable teach carefully student practice bowing repeatedly action feels natural com fortable teach several elements good bow beginning stand ing good posture feet together arms naturally sides hands relaxed looking audience pleasant facial expression require unhurried bow bending waist degrees upright looking toes holding hands one place side letting dangle front figure equipment allows student achieve strong posture equilibrium lack proper equipment results poor posture balance good hozo teach stage presence travel legs difficult part bow teach end coming actual bow standing good posture reestablishing eye contact audience several moments moving may seem simple enough students suc cessfully onstage reminded practiced elements long period time helps give students frequent opportunities bow front small groups consistently require good bows master classes short recitals well every lesson teach students bow play well bowing beginning way may center control timing entrances take time evalu ate students bow opportunity students critique others bows make video recordings performances observe video individual student purpose evalu ating bows take years students finally feel comfortable enough per form bow well look poised selfconfident face audience patient knowing skill acquired stay life dress planning recitals students make formal occasions students want dress distribute dress code require strict adherence may difficult students ordi narily reason dress everyday lives simply hate dressing takes patience effort teach impor tance dressing performances explain students parents uniforms various sporting activities dress clothes music students uniform ultimately students respect enforcement dress code though may complain come enjoy special recital days dress course must set tone dressing well lessons well performances make everything recitals formal stu dents perform wellmaintained hall good piano place flowers stage print goodlooking programs plan formal reception use dressy tablecloths arrange food attractively serving platters use punch bowl instead setting soda juice bottles table things add overall impression recital special event warrants dressing music teacher may need help creating elegant reception find parent small group par ents take responsibility event catered chapter course every concert needs incorporate overtly social pect giving students many opportunities experience performances made special way helps understand appropriate de meanor environment never overlooked require certain aspects dress code observed les sons ask long hair fastened back instrumentalists remove everything fingers possible exception wedding bands wrists fingernails must trimmed lessons year year students prepare way even thinking impress students importance dressing performances recitals master classes workshops auditions competitions al though may less formal dress code events avoid holding performances dress guidelines want teach students concerts unimportant performers may disregard presentation teach looking good situation play front others give advantage take less care appear ance regularly critique students dress overall appearance review video recordings performances making suggestions improvement skirt short tie straight shoes casual hair fall face clothes tight high heels high make students aware issues remind recital recital think improving appearance onstage sample dress guidelines formal student performances girls dressy outfit skirts knee sheer sleeves required plunging neckline back fabric cling body stacked shoes high heels hosiery required boys white solid dress shirt tie dark dress pants corduroy denim dress belt coordinated jacket dress shoes sneakers lug soles casual suedes black dress socks teach stage presence wear nothing fingers wrists secure long hair away face able walk naturally shoes clothing shoes fit well demeanor taught students good posture bow required dress well already feel confident onstage front audience knowing acting appropriately looking good contributes overall poise selfassurance want maximize students confident appearance teaching eliminate certain gestures behaviors might make look timid awkward nervous may project bad attitude eval uating performances video invaluable area facial expression encourage students maintain pleasant facial expression practice walking bowing also play asked smile bow important smile look insincere sincere open facial expression one conveys good attitude ward audience enthusiasm performance goal bow end facial expression whether stu dent happy performance teach students never regis ter displeasure performance way onstage perform teach carry tension face grimace look serious appear angry reveal difficult parts piece looking strained playing lessons students practice reacting mistakes point students whenever ask allow react mistakes practicing let students know performers even greatest ones make mistakes thing mistakefree performance students realize unless tell help understand good performers learn handle mistakes well audience often unaware hands feet body teach students fidget hands onstage show insecure looks performers adjust clothes hair concert distracting audience make chapter sure know scratch itch otherwise touch ten sion hands seen audience teach students keep hands relaxed times also good effect overall ability stay calm control per formance lessons help learn beat time feet head eliminate extraneous body movement attitude performers general attitude revealed audience en tire body every move reflection players mental state teach stu dents best pace walking onstage bowingnot sluggish hurried work posture make sure include element laxation stiff body projects nervous unhappy attitude discuss accept compliments end performance appropriate performer register displeasure performance concert teach students rude contradict wellmeaning praiseinstead accept gra ciously thankfully teach well never blame external condi tions poor performance piano bad somebody coughing accompanist threw regardless poorly musician feels may played reason meet audience afterward without sense pride accomplishment performed moreover performers always much aware flaws audience students need realize best way teach students good attitude toward per formance teach love work performing love music general may important job music teacher always teach stage presence students cannot learn good stage presence asked exercise twice year special event good stage presence must ongoing routine studio element stage presence may incorporated every lesson teach takes time sometimes money educate musicians art stage presence results well worth gradually raise awareness stage presence among students standards studio rise accordingly attention pay issue give students skills useful musical performance areas lives bibliography aarons martha orchestral etiquette flute talk april alberge dalya cover conductor tells fat fiddlers quoting conductor baxtresser jeanne becoming team player flute talk november bean performance techniques singers bringing song life part two halves journal singing performance techniques singers gesture art song opera jour nal singing mayjune beckhelm paul take bow american music septemberoctober blake sara developing commanding stage presence trained dancer looks subject musical performances offers eyeopening advice american recorder may boots frederic w judicious amount showmanship instrumentalist january bryce pandora stage presence communication interview tenor mark dubois american suzuki journal summer burns r showmanship modern drummer september campos frank g ed clinic stage deportment itg journal decem capotasto classical guitar may cerone david bringing stage practice room american string clements kaye l checklist competitions flute talk october colby linda jenks rules good page turning clavier february leonard slatkin london times august ber teacher spring bibliography collins stewart looking good concertgiving going stage playing music classical music march davisbrown eileen smile please strad september f debost debosts comments limited movement flute talk de cember delano tricks trade orchestral string players strad september deutsch r w slatkin says overweight musicians cover leonard slatkin wwwsonicnetcom duncan charles stage presence american string teacher spring ellis brobury pearce look music journal november emmons shirlee alma thomas power performance singers transcending fink lorraine teaching stage personality american suzuki journal fall frank jonathan boneless wonder musical opinion january gibson tom thoughts ponder auditioninga view behind glise anthony leroy stage presencethe forgotten art soundboard gollwilson kathleen talking flutes flute talk april gregg jean westerman song speech requirements singing career journal singing may june hayes susan learning showmanship opera stars flute talk april hickman david r judges advice young soloists itg journal may highstein ellen making music looking glass land guide survival busi ness skills classical performer new york concert artists guild hill paul cleaning act pride presentation affects pride performance choral journal april jacobson joshua r concert choral journal march jarboe john c last word smile american suzuki journal febru ary landy h sigall beauty talent task evaluations function performers physical attractiveness journal personality social psychology march barriers new york oxford university press screen ita journal summer winter lesson concert etiquette school music januaryfebruary mcclaren cort alan influence visual attributes solo marimbists perceived qualitative response listeners phd diss university okla homa visual aspect solo marimba performance percussive notes fall bibliography miller richard selfperception performance reality nats bulletin monroe ervin musical birds flute talk september morrison richard bottom line mr blobby london times au muegel glenn allen accepting applause part performance national novotna jarmila stage etude september rathbone basil look audience etude march scharnberg william lookin good feelin bad horn call smythe richard mirror image music teacher september sorel claudette mind musical manners offand stage handbook stage etiquette plus listing lmportant domestic foreign competitions new york edward b marks offstage handbook stage etiquette rd ed new york edward b markshal leonard spelman leslie p neglected aspects music teaching american music teacher februarymarch street george hotchkiss performance hints young singer music west may thatcher e c mannerisms strad april van ingen elizabeth stage smarts concert etiquette performers chamber music winter verdery b contemporary classical performance tips guitar player may vorreiter vicki bow bow question american suzuki journal february wapnik joel jolan kovacs mazza aliceann darrow effects performer attractiveness stage behavior dress violin performance evaluation journal research music education winter whitlock weldon facets singers art vol twentieth centu masterworks singing champaign ill pro musica stage deportment nats bulletin december novemberdecember gust school orchestra association bulletin january page intentionally left blankindex accompanist applause acknowledging attire concert see also dress code gender issue audience addressing audiovisual equipment see also stage furnishings berlioz hector body language see also facial expression posture bohm karl bookspan janet bowing breathing see body language brendel alfred b britten benjamin bulow hans von chairs see also stage compliments accepting furnishings concentration concert attire see attire concert concert dress see attire concert concert manager concertmaster conductor confidence couperin francois demeanor see body language dress concert see attire concert dress code see also attire concert encores entrance onto stage evaluation video exit stage eye contact facial expression see also body language lndex fans full rest position see readiness positions gender issue see also attire concert hambourg mark hanslick eduard health hill paul hosts leadership leroyglise anthony lighting see stage lighting liszt franz memory performing mendelssohn felix mistakes reacting morale music printed music stand see also stage furnishings nilsson birgit b onstage guidelines page turner parts see music printed patrons performers personal needs perspiration physical habits see body language piano pit orchestra positions readiness see readiness positions posture see also body language printed music see music printed readiness positions ready position see readiness positions relaxation respect rest position see readiness positions schnabel artur score see music printed semirest position see readiness stage fright stage furnishings see also audiovisual equipment chairs music stand positions stage hands stage lighting stage management stage presence definition standing position see readiness street george hotchkiss szell george evaluation see evaluation video positions talking audience see audience tuning addressing ushers video evaluation see evaluation video walking offstage see exit stage walking onstage see entrance onto stage author karen hagberg phd consultant presenter stage presence performing musicians one dozen americans earn diploma piano talent education institute japan trav eled widely conducting seminars workshops piano teachers australia singapore england canada throughout united states since students perform regularly national international events several prizes competitions contributor latest editions groves dictionary opera groves dictionary ofmusic musicians dr hagberg also written nu merous articles author personal monthly newsletter study ing japan mafsurnofo news editor bimonthly piano basics foundation news since dr hagberg graduate syracuse university received phd degrees eastman school music writing book motivated passion live acoustic musical performance fervent hope flourish endure twentyfirst century beyond" +} diff --git a/tl-MANGER2.json b/tl-MANGER2.json new file mode 100644 index 0000000000000000000000000000000000000000..4bf177c8dacdd01ce46019702c56d122da6c0799 --- /dev/null +++ b/tl-MANGER2.json @@ -0,0 +1,5 @@ +{ + "filename": "tl-MANGER2", + "department": "Manager", + "cleaned_text": "secretsdirty little recordbusinesssecrets hank bordowitzhank bordowitzwhy much music hear sucks much music hear sucksdirty little recordbusin essof theof business music w hat happened record business used wildly successful selling outstanding music showcased performers creativity individuality rapid decline bestmusic lies buried swill unprecedented book answers question detailed examination record business fouled itsown livelihoodthrough shortsightedness stubbornness power plays slothand outright greed dirty little secrets record business takes hardheaded tour thr ough corridors major labels rides wav es corporate radio explain much music hear sucks close look machinery behind popular songbroke including \u03c9the corporatization record business \u03c9why stockholders play important role hear \u03c9how radio went art science lost thechange \u03c9how record companies alienated core audience \u03c9why file sharing may bogey man r ecord industry would think \u03c9technologys effect hear hear \u03c9and dozens reasons add record industrys currentfinancial artistic woeshank bordowitz veteran music journalist former recording artist musicbusiness consultant adjunct professor ofthe music business author ofseven critically hailed books including bad moon rising unauthorized history ofcreedence clearwater revival every littlething gonna alright bob marleyreader turning points rock roll andbilly joel life times angry young man liv es exurbs new k city wife years three children jacket design rattray design front jacket photo getty imagesauthor photo gene gaus printed united states americaisbn isbn dirty little se crets cord business dirty little se crets cord businessan accurate wellresearched expos\u00e9 surreptitious undisclosed covert activities music industry hank bordowitz spares one exposing every aspect business tony bongiovi producer talking heads aerosmith ramones book one us time music business fifteen minutes life wish written lie awake nights mentally washing handsas assiduously yet much success lady macbeth voicein hank bordowitz big book throw theliars cheats bastards fooled twice hugo burnham drummer gang four former manager majorlabel ar ex ecutive nobody ever even think signing kind music industry contract without reading book reading may save lives itwill certainly save careers dave marsh author bruce springsteen two hearts decades artist producer working major indie labels nev er r ead comprehensive history recorded music broadcast worlds arrived sorry artisticstate ive lived quicksand economics conflicting intraindustrymotivations hank bordowitz succinctly explains want tounderstand got book read larry f ast keyboar dist peter gabriel eigner brilliantly written insightful good history great read jack ponti songwriter producer manager record company presidentbordo witz bordo witz secrets thedirty little recordbusiness hank bordowitz cappella book library congress cataloginginpublication data bordowitz hank dirty li ttle secrets record business much music hear sucks hank bordowitz p cm includes bibliographical references p index isbn isbn sound recording industryhistory music tradehistory music technology title mlb dc cover nd interior design rattray design front cover image getty images hank bordowitz rights reserved published chicago review press incorporated north franklin street chicago illinois isbn isbn printed united states america book dedicated dick thompson opened impressionable eyes wider world music steve julty cousin harold exposing cool stuff early people attempted teach guitar ron andriuli tom conners particular kenny barron dan goode joe zitt opium den mothers refined redefined music john swenson dave marsh dave sprague colleagues turned much good music marc j affee music teacher mold dick thompson wife caren accused ornette coleman playing catswinging music face public guess son mike keeps bringing home arcane japanese bands son larry potential real keyboard prodigy son bill even years old wants write songs l ate grandma goldie always wanted hear practice folks lways encouraged music even though couldnt stand anyone ever told man youve got hear long people like world music suckthe music business always nurturing instinct great white shark paul taylor manchester evening news music business cruel shallow money trench long pla stic hallway thieves pimps run free good men die like dogs theres also negative side dr hunter thompson thats dirty little secret fact take away incentive major minor financial reward dilute pool musicians courtney love forest catches fire death theres also birth comes think thats seeing shar corbitt ocean way recording studio nashvillecontents acknowledgmentsxi introductionxiii part playback payback record business drowned success whos charge oure kidding answering stockholders audience brief tour fictitious record company q ny ar guys es take screw lightbulb cant screw anymorethey cut balls char ting co urse ch anges charts changed biz control issues home taping kill music panic suites napster grokster last kaz aa records percent revenue fable elephant rabbit indies eating majors lunch part ii messy suicide commercial radio airwaves people people eah sure regul ations dont need steenking regulations death dj curse selector process songs really get radio payola isnt dead always smelled like dont payola let independent promotion companies handle arbitron rated symphonicpunkcountrydisco fragging format ou sirius satellite radio webcasting podcasting save broadcasting even part iii retailing recor ds rock hard place records become commodity face real estate prices profit margins censorship walmart tippers scales voyage amazoncom part iv technology recorded three months one mic racks ternet friend foe tool hardwar e softw demand n hip part v audience touch grey boomers grow grow old lost udience music business broke faith main supp orters em barrassme nt riches entertainme nt op tions today hey kid wanna buy record video game part vi money music education buddy spare dime orlando phenomenon boy bands bad girls made order breaking star breaking bank video revolution looks arent everything theyre thing contacts contracts artist go gold one day flipping burgers next conclusion bilious stew music business turn millenniumand hope deliverance source notes bibliography original sources indexacknowledgments id like thank jim fitzgerald extraordinary agent went bat book big way yuval taylor editor lot ideas didnt think lot ideas wouldnt think made sure th book didnt suck devon freeny nitpicked copy made sense dammit late great juggy gayles central character book started telling dirty little secrets home truths music business quite naive miss doug howard vetting stuff really needed know got right doug always prompt response kind word hell never know much ineeded time also titled chapter payola beth kr akow er unwittingly helped write chapter based dog pony show weve perfecting classes course several years jerry lembo bar ry bergman dave seitz jack ponti ed majewski information issues hadnt thought denni damico lost audience records framing concept chapter special thank vic steffens holiday weekend answered question thoroughly thoughtfully iwas tears ian coyne rescued critical information th hour xijeff jacobson jacobson colfin pc llc legal guardians help contracts chapter class marketing management music busi ness music time ramapo college new jersey bringing sorts information attention burt goldstein big daddy distribution first longterm boss biz ran benel helped soundscannumbers cast crew new ork public library per forming arts dorothy lewis b cullman center hammerstein archives recorded sound music division sine qua nres earch facility matters musical george po ter library electric acoustic dasher may jmo j laurie bego top cat meliss encouragement good netizens velvet rope whose informed opin ions course years shaped parts bookxii acknowledgmentsintroduction friends acquaintances know past years ha worked one aspect another music busi nessas performer recording artist journalist promotion per son marketer engineer producer ar scout retailer criticcrony gadfly guide last decade question mostpeople ask whatever became good music realize good music pretty subjective phrase also understand sentiment upon time manystories begin could tune radio hear great thingsmusical revelations little steven van zandt said foreword richard neers excellent much cited fm rock music become religion radio church djs priests rabbis gurus would preach fromthe gospel dylan lennon mccartney jagger richards book townshend song byrds acts davies righteous rock radio would continue bit longer struggling valiantly eighties die quietlyin nineties like spent stick incense place anybodytwentyone years old younger inherited wasteland cor porate conservatism tightly controlling lifeless depersonalizedderegionalized homogenized djs spewing depersonalizedderegionalized homogenized playlists real answer people probably good music available average persons con sumption time history problem hearing findin g getting access one going lay ear though might try surface little xiiistevens wasteland corporate conservatism would seem control anyone willing scratch little beyond thesurface theres wealth great sounds book explain happened easily accessible good music music fans wnew new ork ksanin ba remember sometimes still exists odd enclaves like public radio la newark gotta get hippedto know programs like morning becomes eclectic rhythm revieware ut music isnt going anywhere music fans kn w like go huntergatherer mode get long ago opportunity poll several classes full undergraduate college students goodsized state collegein suburban new jersey favorite radio stations theanswer genuinely surprised half said whenthey listened radio usually listened classic rock station new ork city plays much themusic steve van zandt talking means many people entering third decade life listen music recorded largely born breaks paradigm goes back socrates andbefore every generation listens music parents hate generation listening music parents lis tened finds superior music contemporaries classic rock one successful formats radio today reasons parental nostalgia examined answer came quality musicianship message said large music generation lacks qualities boils large number disenfranchised shellshocked music fans want toknow happened book hold hands willexplain offering dissatisfied music lovers reason fallof popular musicxiv introductionthis book lays specific terms system turned music commodity ultimately failed trivializing product user product would us musicfans finish reading better idea whytodays popular music sucks maybe even reason two tohope things improve music business come fascinating ratio nales slumping sales imagine general motors startedto assess reasons declining sales came upwith people selling used cars people buying thirdparty parts people buying parts junk yards started lobby laws secondhand sale itsproducts envision post office declaring mail intel lectual property starting sue providers users email sounds ridiculous record business years spent last decade trying find fall guy accoun declining sales upstart technology inter net throw music business loop music businesss reaction disruptive technology bears scrutiny mir rors fortunes businesses possible reacting like businessand like many businesses actedthe music industry really couldnt help trying maintain status quo several years behind industry big trou ble powersthatbe blame digital file sharing cd burning businesss woes et evidence shows file sharingmight actually help sell physical copiesintroduction xvthe record industrys fingerpointing hides multifaceted reason industrys decline dirty little secrets record business amount money energy used createthis smokescreen one reasons much musicyou hear sucks cognoscenti music business point host problems much longer standing world wide web account fortheir waning fortunes consolidation aspects musicbusiness including polygramuniversal merger rumored future sale merger emi buying spree led clear channel owning nearlyhalf us radio business offshoot livenation close percent live music industry wouldbe songwriter booze heir edgar bronfmangetting squeezed universal buying thevenerable warner music group taking public merger sony music bertelsmann music group record company initially run formertelevision executive rise hese publicly held companies requires record labels competing parts entertainment congl omerates seek shortterm profits answer quarterly stockholders lieu developing career artists traditionally fueled business independent promoters maintain stranglehold radio record business business continues concentrate havealways regarded demographic yearoldsand ignoring plethora entertainment leisure choices agegroup enjoysxvi introductionthe people grew era without many options consider music part many reasons though including systemic problems way record industry business thisbook reveals analyzes factors many evenindustry professionals dont know since one facet thebusiness often doesnt know facets operate example student introduction music business class new ork worked director ofar large popular successful record company run oneof top young music business entrepreneurs afterthe first class asked might basic ashe likely made money music business theother people roomincluding mecombined said thatmight true still idea people officenext one hand knowing wonder popular music business faces big trouble course many take position actually making money music somehow dilutes musics purity bestmusic gets made rubric art arts sake plent p refabricated music made keep sluices machine lubricated contributes much music hear sucks making music money inherently evil even bad thing r eason subtitle tome reads much music ou hear sucks allthe music ou hear suck commercial music actually speaks peo ple artistically independent music utter crap one ofthe great things art absolutes music thatignores audience defines selfindulgence often borders goes right pretentiousness popularthat people likedefines popular music sometimes thereason might even music rather marketing introduction xviipeople made money music millennia music around nearly long humans thinking ani mals paintings flute players neolithic caves tanzania stands reason developing specializedtool like flute people would use voices hit thingsto keep time dancing ceremonies playing music wouldhave mostly amateur activity dating dayswhen humanity began time recreation even earlyinstruments generally created musicians asrecreation music go pro pose question class students often cite edi son even point advent rock roll sbut actually bible refers musicians playing courts ofking david solomon one would imagine performers would get paid millennium greek theater used music paid musicians played somusic became profession sometime common erathats least probably like years professional music theater tradition spread rome entirety roman empire theaters often used animal fightsand large meetings beyond tragedy comedy da ballets musical performances held using people paid play settings musi cians divided two classespeople played money nd people played recreation people played money could sole means support sound familiar middle ages two chief means making money even living musician jongleurs minstrels tendedto vagabonds going town town entertaining weddings like lucky could find wealthypatron relationships became longstandingtheformer minstrel could become manors music master thexviii introductionmanor could afford luxury sometimes relationship would last winter minstrel entertaining aftermeals company perhaps giving lessons usuallyyounger members household room board perhapsa small stipend another major employer musicians middle ages church musicians could various ordersor laity johann sebastian bach example played andcomposed church music indeed musical notation know itemerged music could sent church church country country sort lingua franca among musicians started h ppening across europe around th century middle ages several classes musicians emerged beholden one master anotherthe courtmusicians direct descendent manor musicians whowere treated like servants nobility church musicians whooften pursued lines work well bach example soldspirits itinerant musicians minstrels klezmorim nt playing weddings events wherever could emergence renaissance european mid dle class craft playing music well became rar ified musicians emancipated courts musicians guilds sprang across europe guilds weeded poor musicians audition required join offered members l egal protection clout helped get work furthered training mostly offered certain level prestige allowed musicians emerge part rising middle class guilds set payment standards stabilizing themarket time goldsmith name johan gutenberg created method setting type soon discovered movable type could set symbols including musical notation point question became whointroduction xixowns music person wrote person printed publishers started buy compositions composers ultimately publishers composers agreed aroyalty situation splitting proceeds foreshadowingof current relationship led question protect creators inter ests keep creators creating france concept ofprotecting ideas become codified midway thcentury nascent america followed suit first nationwideset laws constitution article states congressshall ability promote progress science useful arts securing limited times authors inventorsthe exclusive right respective writings discoverieswith one line concept copyright intellectual property came new world musically much consequence major intel lectual property issues arose music business piano mechanic named john mctammany invented thepianola player piano discovered however makingthe instrument marketing two different matters pianola didnt really catch sold patents theaeolia n organ company took years turn c entury pedaloperated player piano using music recorded onto perforated roll thick paper hit market within years could find homes business es one million piano rolls sold pianola turned million annual business pianos sold nearly percent mechanical created question within music business pay composers perforated rolls paper playing music wasnt thing sheet music foliosof songs mechanical reproduction eventually eachroll sold entitled composer publisher mechanical royalty years concept would become even moreimportant well see deal contracts rightsxx introductionso music meant money millennia much phrase music business defines turned giant ruminant digestive system sound also functions equation music business even artists play selves friends get involved musical commerce buyinstruments sheet music especially records even beforeedison embedded sound tinfoil music business anuneasy partnership whether music sucks doesnta highlysubjective personal mattera ton money gets spent theproduction promotion ultimately sale things musical money goes greed greeds henchmenavarice bullshit corruption deceitcome play gets us meat matterall ruminant diges tive systems produce meat much artistgets music fanconsumers hands ears business creates context commerce works todayit builds worked throughout bookill picking points history certain practices became paradigms showing became part popular musicmindset precarious tightrope team art commerce play dangerous venues popular music music stayhealthy musicians thrive time create money ust grease wheels however money becomes hidebound side equation avoid getting affected music busi ness pull uroboros swallowing tail threatening consume simply disappears emulate phoenix growing old burning arise better beautiful ashesintroduction xxipart playback payback record business drowned success whos charge youre kidding english emi purchased capitol records yearold compa ny founded midst world war ii get ting raw materials manufacture records verged impossible due wartime restrictions purchasing thelacquer used hold grooves rpm record thecopper used cut masters glassandlacquerrecords made obstacles didnt stop songwriter johnnymercer lyricistturnedmovie mogul buddy desylva someassocia tes forming company started two major hits mercers strip polka ella mae morses version cow cow boogie record business successful businesspeople often contrarian et dozen years starting capitol submitted foreign domination emi first multinational record companynot long shot craze sound recording spreadbeyond america victor talking machine company made thefirst international alliance joining forces british gramophonecompany victor already pulled contrarian move switchingfrom wax cylinder sold edison columbia selling new time glassandlacquer disc hardware toplay british gramophone became disc based victor startedto usebritis hgramophones logo little terrier ear cocked toward horn listening masters voice emi knew experience dawned rest business world observation record business stood inthe early lacked schooling people running busi ness possessed lot native smarts formal business trainingguys like artie ripp hadnt even finished highschool running record companies making fortune record company revenues topped billiondollar markspiking year crest emis wave beatlemania andthe subsequent invasion musical redcoats segued intothe summer loveyouth culture beginning reach full economic flower tail end thinking corpo rate suites went something like uneducated guysoften working side law could rake bigmoney imagine mbas jds could ifwe brought standard business practices party waspretty easy see point view looked someof people charge many big hits mids artie ripp ripped market kama sutra label big act loving spoonful ripp worked hisway dropping high school istarted walking around broadway id see kids making records getting paid could number one record charts end owing record company half million dollars thought businesshas system every party charged artist ive got hundred hookers charge artist phil spector together lester sill ran philles label home fthe righteous brothers ouve lost lovin feelin even left high school spector enjoyed rapid rise chart success group teddy bears theirhit know love topped charts soldmillions copies earned group totalhe one year college working toward degree courtstenographer headed new ork job andirty little secrets record businessinterpreter never made interview falling bunch musicians studio work songwriters jerrylieber mike stoller worked sill daysas artist spector rejoined partner four yearslater working way lieberstoller organizationto become prodigious producer hit records artists like bene king gene pitney philles label sill helpedintroduce world girlgroup sound dominated popmusic british invasion took hold simon waronker started violin prodigy first call violinist hollywood founded liberty records age help th century fox beginningwith orchestral pop like julie london moved noveltyrecords ross dave seville bagdasarian scion chipmunks dynasty rock roll eddie cochran rbwith billy ward dominoes even signed youngwillie nelson berry gordy started motown story come horatio algerstyle folklore especially african american community dropping high school box gordy drafted fight korea demobilization openeda recor shop support songwriting neither made enough oney w ent towork one detroits many auto mobile assembly lines luck began change family friendintroduced jackie wilson took one songs gord ywrote r eet petite billboar dhot ingles chart w ilson recorded four gordy songs next years gave gordy latitude get assembly line begin produce music instead started record label toput music produced early influential hits likebarrett strongs version gordys song money smokeyrobinson miracles shop around temptationsmy girl supremes stop name love anumber hits motown made gordy major force inwhos charge youre kidding music business height british invasion gave english acts run pop music dollar ahmet ertegun son turkish ambassador formed atlantic records friend herb abramson funded loanfrom dentist first started atlantic records hesaid intended make good blues jazz music well assome pop music one main reason wanted tomake kind records wanted buy even beatles biggest hits early career capitol united states indies veejay tollie swan james bracken vivian carter bracken hadstarted veejay loan pawnbroker tollie wasan imprint veejay dick clark coowned swan records withsi waronker clark one crowd collegedegree similarly erteguns atco got act reaching top early beatles recording aint sweet mbas jds looking record business seemed like side gangland imagined whatthe business might look like considerations like profit lossstatements entered equation corporations failed account music business hadbeen built oftenentropic foundation assorted mi screants wh ogrew business understood made peace entropy worked several levels usicbusiness time much even woul w ell answering key question rotary itfair concerned instead operated everyoneforthemselves level many ways resembled perhaps continues resemble highstakes gambling thanany particular business model like highstakes gambling thepeople best knew stack deck sothat nobody noticed mastered deadpan poker face innegotiations never ever let anyone see sweatdirty little secrets record businessstacking deck predominantly affected way artists remunerated particularly early days rock ripp pointed musicians could sell millions records makeapenny fact owing record company money went lawyers began take interest end ofthe record business representing artists make sure gotarelatively fair shake lawyer got percentage later well take look one chillingly onesided contracts independent blues protorockandroll label chess records notorious sort behavior got stranded chicagoand leonard chess found picked put hislabel recalled urban blues legend etta james paid balance money previous record com pany wanted chess check desk said wantyou chess records let show artists getbecause kind looking could see checkthere lifted check thousand dollars made chuck berry alan freed faint many zeros andhesaid six months payment maybelline ihad one hit record cry stop wedding dearest goingin layers w year later would time rec eive royalties went knew going l ook see nice fat figure looked saw w aswritten red said right leonardsaid ho ldit hold looked like wow thats really good said dont get bent shape kind confused like saying says look etta dont worry says need im really confused hereswhat need big red numbers thats etta james learned red ink ledger meant housing expenses recording expenses important money took buy contract thewhos charge youre kidding previous record company even year hits couldnt get positive numbers way contract signed stacked leonard chess take care quite things adds things could never add royalties everybody talk came chess records tell almost like broken record thing notesanother chess artist elias bo diddley mcdaniels got ripped bad man appreciate chess records giving opportunity become bo diddley greatthings ive done dont appreciate ripped becauseihad trust money comes pay aint got shit ive waiting years likeagood samaritan thinking one day ill look mailbox say oh wow theres check make mypockets look like footballs never happened ou dig whatim saying im upset made pit bull ofme extra set teeth bad enough pokedat poked made evil dude beyond ripp spector sill gordy chess et al knew could fault lose millions easily could make occasion go tinto music business get rich hap pened hat ny many others made living lost everything labor love noted bob weinstock made aliving prestige records process record ingimmortal sides miles davis sonny rollins john coltrane dozens others people involved business timeorrin keepnews riverside les koenig contemporary alfred lionblue notewere collectors fans loved music forthe musicians joke serious aboutwhat pleasure work ourshared goal make good musicwhich diddirty little secrets record businessof course one ways prestige records made money keeping recording costs notorious junkies label paying addicted artists fix certainly hadits pick finest john coltrane thelonious monkmiles davis sonny stitt sonny rollins addicted allliving new ork recording prestige another aspect record business mbas could get solid handle actual profits losses thelosses businesses private private wellthe gains visible anyone see hear winnerswere obvious losers flew radar easyto believe werent inside everything came intoarecord store flew tune singing cash registers beyond record guys demonstrated even failures innate knowledge people wanted hear itwas era perception music largely selling wasnot far fetched seems though mechanics howthe music sold would appall mbas startedto make move capitalize gold vinyl theysawin records whos charge youre kidding answering stockholders audience public losses visible company didnt want even gonifs knew enough hire clever accoun tants corporations staff instance carefully hidden warner bros film paperwork fact f iveyearold record division losing three mil lion dollars year despite mids seven arts small distributor producer best corporate approximation tiny mongoose eating enormous cobra cobra eating cow swallowed warner bros film record companies gave seven arts enormous amounts debt unable sustain seven arts sold entire company thatpoint included atlantic records buyerthe first major nonmusical company take plunge deep cold murky waters record businesswas kinney corporation kinney built business limousines parking lots chains funeral parlors head business steve ross lot common selfmademusic people hed working one reasons warnerbros would actually work well nearly two decades itbecame public company early brooklyn guy withagreat head figures disarming personality mastery art deal ross married well proved hismettle way ran wifes family business building intoapublic company answering stockholders audience earlier acquired small talent agency enjoyed working show business seven arts deal came saw downside youre risk taker said youshould get hell business ross musician even particularly musical dubious honor pioneering era record business inwhich business acumen meant musical acumen forexample cbs record group black rock buildingthe like mock obsidian monolith corner nd street ixth avenue housed company time similar change took place goddard lieberson conservatoryeducatedpresident columbia records retired turning recordcompany presidents office one companys lawyers clivedavis da visrecalled took several years break barriers suspicion existed lawyers people couldnt read music rock n roller means came position cbs someone loved broadway someone loved songs lawyer wore suits ties new orkand never tried within years warner ross sold nonen tertainment assets company years took kin ney p ublic ross renamed company warner communications inc fo r first ears warners record division envy music business mostly run aprivately held company ross put experienced music businesspeo ple like mo ostin joe smith charge keeping music business legends like atlantic records honcho ahmet ertegun bestfinding music liked selling business usual put warner top music businessheap kept warner mo ostin joe smith clout steve ross big boss recalled walter etnikoff replaced davisas head columbia time warners moved across thestreet black rock new rockefeller center digs warner movies warner music command ross smooth operator much beloved leader unlike cbspaid underlings well grateful dead van morrisonblack sabbath james taylor warner winning marketshares left right ross also selling tool lackedross told artists could put movies movies put steve ross realized music film engine growth said jac holzman headed warnerowned label elektra records time threw much cash selffunding went along jerry levin former time warner ceo succeeded ross didnt clueabout wh atthe music business didnt respect didnt care showed disrespect record companies time warner heldstarted falling disrepair suffering suc cess nature publicly traded companies inherently verydifferent privately held companies publicly traded company sells stock public publish financial information quarterly via securities exchangecommission sec provide corporate report annually allof people hold stock record divisions became v isible profits became driving force within web corporate holdings already public companieslike rca cbs performance divisions flew largely radar however music divisions accounted much larger percentage corporate parents profits thepeople charge went oldline professional music people likejoe smith corporate appointees accountants mbas thenature business began change quarterly reports dirty little secrets record businessanswering stockholders audience became important method generating profits less less essential corporate reports spotlighted cash laid practice record companieshad leisure develop artists took bruce springsteen threealbums develop reputation beyond jersey shore hisrecord company today probably would never get time heneeded make breakout albums become one columbias biggest sources income onward however even successful independent record com panies talent could develop saw fit sell thecorporate interests many reasons smallerindependent record companies succumbed siren song themajors whe nboiled essence reduced one money independent distribution left lot desiredespecially company wanted compete toe toe big b oys sold atlantic records warner seven arts recalled ahmet ertegun f irst came didnt distribution created group got together warners selves asylum elektra solidified set owndistribution brother set international distribution one formidable world companies relied mostly deep catalog often well fantasy wasindependent nearly half century acquired another wealthier independent company thenonly companys owner decided hed rather make moviesbut f part independent record companies capitulated either lure incredible amounts moneylike halfabillion paid herb alpert jerry moss recordsor overextension assets sonymusic group came possession cti catalog unfamiliar strange somewhat melancholy tale cti leaving abcimpulse label founded creed taylor started string jazz labels inthe late cti kudu salvation moderate successes george benson milt jackson chet baker bob jamesfreddy hubbard dozens others engineer par excellence rudy van gelder behind board taylor making themusical decisions managed quite well fiveyears started even better deodatos prelude start success label failure noted labels former operations manager didier deutsch success deodatos also sprach zarathustra created dri thatpropelled label forefront also causefor labels eventual demise overex panded time tried exceptions theydid succeed say never achieved status deodato single spent two weeks shy top billboard charts rather accepting singles success frea k occurrence taylor made fatal error think ing precedent deutsch said nice sell albums small label quite burden kind money got muchmoney one time decided expand go inde pendent nine months opened something like nine branches money gone spent money theydidnt able sustain suc cess deodatos album albums ultimately cti catalog absorbed vast cbs records archives recorded sound became fodder reissue mills helped grease corporations dirty little secrets record businessanswering stockholders audience successful distribution channels profitability channels became evident thebig boys came play beyond corporate entities got entertainment bug like rosss kinney record companies certain appeal companies made hardware music philips electronicsfor example long bed corporately speaking therecord business brought technology relationshipmanufacturing records inventing compact cassette thecd along original holdings like deutsche grammophon owned mercury records mgm records ververecords rso records casablanca records decca records andlondon records become part philipss recordingarm po lygram merger warner bros got thrown german cartel office us federal trade commission fears hat would create monopoly years later stan dards seemed relax point sale philipss music software division seagram went much gnashing ofmusicbusiness teeth whisper ftc seagram liquor giant bought mcathe entertainment conglomeratethat started talent agencyin timemca h ad already bought acquired assets noted indies def jam records motown records uptown records geffen records chess records universal pictures polygram inthe interim made highprofile purchases island recor ds seagram acquired polygram bit billion music labels put umbrella universal musicgroup two years later seagram acquired thefrenchmedia conglomerate vivendi everything thats wrong record industry today amplifies hallways universal since thecompany glued together said one west coast media executive helping explain left record business randown alist companys changeresistant key executiveszach horowitz doug morris jimmy iovine jordon schur polly anthony l reid dopes hanging anoutdated model delivered yearold format mostpeople could care less sold stores worry moreabout selling tires washing machines youre majorlabel senior executive would want anything changeespecially perks salary like philips sony manufactured entertainment hardware wanted foothold software end things especially fall betamax standard consumer format videoone reasons failed sonys main competitor matsushita owned film rights sony sony wanted ownsoftware walter etnikoff said companys purchaseof cbs record group part feed burgeoning marketsony recently cultivated walkman department cbs records gold mine two years earlier privately held german publishing entertainment conglomerate bertelsmann ag bought rcarecords changed companys name bmg music sale included rca video companys directmarketing armand custom pressing service would make cds featuring mostly rca cts various companies example songs smoking tobacconist sale affect joint venturerca columbia home video club video cl ub however prefigured smaller scale shape things come august bmg sony announced merger music divisions pooling resources two creative companies music industry perfectly positioned help artists realize theircreative goals new hybrid companys ceo andrew lack atelevision executive couple years earlier said whileat time providing greater value music consumersaround world one reasons merger course remain competitive universal music group took dirty little secrets record businessanswering stockholders audience record manufacturer position upon merger sonybmg still fell short pulling ahead half billion dollars anotherreason jettison employees cut payroll andenjoy savings million emi remains unmerged writing though rumors emiwarner bros merger dont feel left keepflying emi owns distributes virgin blue note capitol labels name emis recent successful years andajump digital marketing music later ever warneremi merger may necessary factmight drag emi something theother major global record companies profit corporate bedfellowing left warner bros usba sed ajorinternational record company distinction maintains writing say companyhas changed hands corporate identities perhaps half dozen times since steve ross passed warner enter tainment became part time warner empire part ofthe aol time warner family getting sold former seagrams head edgar bronfman took company public written rumors swirl bronfman unloading andhis investors shares company big six started dwindled big four major record companies record companies withglobal distribution clout universal sonybmg emi andwarner terms economics new millennium unusual like major players many industries patri cia seybold author customer revolution observed com panies process consolidating ev en people record business agree great thing consolidation made record business moreabout business said record exec tom corson wasmore records abrief tour fictitious record company welcome fun flowcharts episode play sherpa foll owing piece music artists brain consumer steps tour rep resent specific record company work somethinglike eons broad strokes helpexplain music gets turned corporate commodityandone reason business hit ebb tide startingat top artist may one instances artist top corporatestructure purposes starts artist createsmusic needs communicate kind artist would content work get circulated onlyamong friends familythis artist wants world knowand hear artist male female group making kind music attempting find audience theprocess artist often find advocate avatar otherwise known personal manager artist personal managerlawyerbusiness managerthe teamwho major label paradigm artist personal managerlawyer production distribution salesretail marketingbusiness manager product manager promotion promotion radio format independent local promotion radio consumerpublicity newspapers magazines tvetcvideo promotion includes contracting promotional video video outlets mtv video showswholesaler one stopchain warehouse store retailerrecord club aword warninganyone manager unlike say booking agents automotive mechanics states need licenses must follow certain regulations stay busi ness artist managers need license credentials experience contract one regulates artists outthere behooves make sure manager deliver thatthe manager knows people music business help propel music keep mind artists christina aguilera leonard cohen inxs found necessary suetheir management within one week managersof inxs killers sued bands especially whenmoney gets involved artist needs manager trustnuff said addition contacts music business preferably every ar person creation manager often alawyer retainer time artists need ownattorney read possibly negotiate management contract many managers affiliations business manager person makes ure business artist gets handled like businesstaxes filed money invested rent paidemployees artist gets lucky paid etc lately agreat deal artist development used purview record company fallen lap managers record companies want hear artist whodoesnt several releaseready songs storythe unique selling points explain record company take achance artist many majors sign artists whohavenot previously sold units record either via independent record company actuallybecomes part story sometimes story evidentthebacon brothers didnt need work hard generate story one br others kevin also movie star hand doesnt help sell earthshattering numbers ofrecords sake chapter going assume artists sales story convincing else sherpa wont verymuch reason guide manager gets artist arradar signed major label dirty little secrets record businesswho occasionally artists get onto ar radar without ben efit manager artist gets signed first thing ar person charge find artist manager reasonis pretty simple cases record companies would rather dobusine ss manager artist running amok hallways manager ostensibly knows rules game agoodone knows play rules well play managers push keep artist record companys face rather rearview mirror believe thats whatthe record companies wantthey realize without someoneholding acattle prod would motion little boys girls intent getting music business wanna ar certain amount glamourand p ower theoretically ar department decides artists get gatekeepers maw thedigestive system record company however well see lateron itaint necessarily ar people work insane hours learn ing live without sleep day usually finds office sifting cds paperwork cd generally gets seconds track unless many trackscircular file even note track unengaging ar person forgets forward next trackgetting signed artist personal manager r department ar person actually likes track case goes pile review paperwork involves making sure projects ar person currently tap working properlythe pro ducer ar person hooked artist working outthe artist living contractual obligations company isliving contractual obligations negotiations managersand label brass moving forward issues involvedin feeding hungry maw record label handled ultimately artist manager go major label route sign record deal offered ar department majorrecord company generally pay artist advance againstfuture r oyalties usually percent gross sales manager gets percent cut top restofthe advance pay making recordstudio time hiring producers engineers likeas well giving artist something live record made meantime ar department get busy ar p erson oversees initial steps artist record company recording process artist notcome company way production deal deal wherea producer takes artist studio initially records three tracks tracks land artist record deal theproducer gets piece action produces part thefull album ar person suggest producers artist producer doesnt studio ar person might help find best one suit artists needs artists dont writetheir material ar person might also suggest songs beyond though ar person artists champion within record company often ar person leaves thecompany persons artists get divvied among peoplewho still artists called orphans sometimes get adopted someone loves work willcontinue champion sometimes wind wicked stepparent ar dirty little secrets record businesswho atypical event happen new artists record business pete townshend said iron giant warner bros peo ple c harge company line producers changed five times five times every time like new group people deal project remained people changed poor orphaned artists frequently dont last long unless manage rise neglect usually aid agood manager actually sell enough records let makedemands record company ultimately activity ar person artist et al result producer artist delivering form digital recording medium ar person master thenmake rounds record company heads com panylisten makesure want sign whether ornot know thing music promotion depart mentlistensto see hear hit something work get r ecording attention really doesnt matter asthe deck stacked everyoneconventional wisdom record business says percent records released actually recoup advances eventually perhaps percent turn profit record company forlack trying mores pity everyone signed recording ar department hands product manager production department step process recording goesfrom raw tape package would find localrecord retailer handoff product managera r departmentthe production process involves deciding artwork appear cover many pages booklet inside cd package run kind packaging use willbe printed cd etc beyond productiondepartment also come promotional copies cd usuallypackaged cardboard paper plastic record company two systems recording passthefront office promotion machine back office dis tribution machine dirty little secrets record business front office back office distributionproductionproduct manager promotion production distribution salesretail marketingproduct manager wholesaler one stopchain warehouse store retailerrecord clubwho basic distribution side gets recording places consumer buy ita record club catalog store web site anywhere cd bought record companies distribution occupies separate space front officefunctions ar promotion product management legal etcalthough remote branches sometimes local sales marketing force share office space local promotion forcethe actual manufacturing cd takes place third location separate front office distribution team first thing gets done sales department creates aone sheet document name artist title record order number bar code artists storythis might first exposure anyone including sales forcehas artists cd refer productthey go chain warehouses offices determine howmany copies cd buyers want recordings dontget ordered cds releasedevery year since mids many fit moststores well see meantime marketing people prepare artwork budgets displays base row records orendcaps counter displays pointofpurchase tech niques retail l east make onefootsquare slicks ofthe product cover available display retailers b udget department might sponsor contest retailers tocreate di splay manager store best display selected marketing department wins appro priate prizeusually play artists name title album marketing peoples job make product morevisible within budget constraints slightly release date initial shipments go stores wholesalers almost cds come tuesdays mainly allows report full week ofsales soundscan salestracking service runs fromtuesday tuesday way billboard music industrys main rade magazine compile charts based sound scan information go print friday dirty little secrets record business product manager promotion promotion radio format independent local promotion radiopublicity newspapers magazines tv etcvideo promotion includes contracting promotional video video outlets mtv video showspromotion going back office front office iscrankingup promotion machine get artists story many peopleas possible main source exposure music since radio economic dynam ics relationships record companies con sumers nd radio havechanged radically last decade soso much entire section book dedicated dealing particular dirty little secrets entire promotion department indie might one two people calling radio stations writing press releases going online get artists names virally major itsavery different story senior vice president pro motion quarterbacks promotional team mainoffice head promotion pretty much every genrewho format radiothe national head classic rock promotion national head rhythmic top promotion forth theytake care business nationwide basis branchoffices two three local promotion people work radio stations area looser guidelinesin one office one person might handle southwestern rock promotionall rock asopposed specialized promotion people backofficewhile another office someone else handles rb promotion new england record company might employ promotion people nationwide working get companysrecords played local radio stations genre publicity department tries secure whatever media cov erage artist garnerreviews artists recording news stories artist etcagain within constrictionsof budget frequently buzz artist getsstarted however publicity department often rodneydangerfield record company gets respect onepublicist acquaintance recalled promotion department major record company worked justusurped half publicity departments budget one year promotion ran riseof mtv video promotion became veryimportantmeans breaking artist artists could never get break radio broke big mtv networks influenc estarted ebb lost track min n ame st ood andremade teen young adult lifestyle channel another promotional outlet runs waves importance club scene disco new wave themoshing club promotion broke artists regular basis get consumers store spend cd q many ar guys take screw lightbulb cant screw anymore cut balls vic steffens mike caplan sat caplans office sony building n madison avenue one day early part st century caplan time respected ar guy epic records bands got love critics usually number sales took succeed majors level thathas never unusualwell see small percentageof bands get level sales needed succeed majors level wonder majors level exists butim getting ahead one fthe bands caplan signed moe first seemed like natural huge following nationwide werean integral part many touted next big thing inpopular music jam band movement started wellup majorrecord economy regarded underground like many recordings major label level moes potential outstripped reality sales label brassfound number units moe shifted disappointing theydropped ba nd however caplans signing moe still inspired steffens set meetingq many ar guys take screw lightbulb steffens wellearned reputation producer engi neer credits include recordings lita ford blue sarceno matt guitar murphy sly stone dozens artistsfrom blues gospel jam bands also owns studiohorizon music record company horizon recordsand manages several bands horizon well prototypical well see possible future music biz one ofthe bands steffens company mighty purple similar roots fans moe despite moes dismissal company roster caplan still apparently saw potential jambands interest signing mighty purple epic polly anthony time president epic records came caplans office said hello steffens chattedfor minutes left anthony called caplan hershoulder almost afterthought youre signinganother one jam bands point caplan could smile sheepishly even wanted bring mighty purple couldnt hehad overruled ar nothing fails like failure nothing succeeds like success one band movement genre fails liveup title next big thing genre artists painted w ith genres brush even come contact paint likely never get opportunity reach v ast audience suddenly theyll buildor even worse rebuil dtheir audience organically artist catch publics fancy half dozen nearl identical artists spring artists stories based much like hit artist appealsto radio come thrive flavorofthemonth sameness keep audience switching stations situation nothing new sweet bands early boy bands late someonefound formula worked everyone tried capitalize formula failed dropped equal greaterrapidity record company owner bob marcucci recalledof heady early days rock roll knew idolswere going come presley big rickynelson really two big artists felt couldfind kids like put label could somebig stars signing fabian frankie avalon label help american bandstand became two po pular performers late early laid path others like bobby vee sal mineo even bobbydarin became one first adult contemporaryswingers baby boomer era changed years role ar department early days still went found talent acronym would took talentthe stands artistand put together songsthe rstands repertoire even booked studio time andhired musicians arrangers although eras ar people like mitch miller goddard lieberson quitecapable ofwriting arrangements thanks da ys ofdirect todisc noted miller renowned anti rock head ar columbia records waning hey day g reat american songbook went studio people h ad toknow business didnt get take throw jerry wexler legendary head ar atlantic records ageneration miller concurred tongue firmly cheek nobody really knew make record started ousimply went studio turned mic said play people said play worked record company rock roll came along even samphillips owned sun started producing elvis george mar dirty little secrets record businessq many ar guys take screw lightbulb tin emi employee went work beat les ahmet ertegun tom dowd atlantic payroll ahmet course boss made greatearly ray charles sides maxwell davis ran seminal la blues andrb companies aladdin modern addition bringing inmost artists making records maxwell davis unsung hero early rhythm blues noted mike stoller produced effect record sessions aladdin records modern records local independent rhythm blues companies early late sin los angeles ertegun pretty much created idea independent pro ducer relationship jerry leiber mike stoller andthe coasters group later called coasters said atlantic founder called robins time recording jerry mikes label wanted sign group wealso wanted continue producing signed thegroup made production deal lieber stoller guess first socalled independent producers long series hits figured w eknew h ow ake records adds stoller watched people make records good people like maxwell da vis learned lot watching becaus ehe w lot sessions songs done record company owners actually signed artists went recording studio make actual records davis even extent ertegun expandedthe definition ar even contracted role asrespected ears didnt hear didnt sign thatwas true point men later whenthey appointed people bring talent even timewent people hired ar often little bosss talent hounds retrievers bringing home musicfor bosss decision postitive spin went withanthony caplan lieber stoller deal opened floodgates point today recording done independent producers ofcourse recording process become much involvedwhereas miller would record single takes onto transcription disceffectively recording threeminute song three minutes nowproducers capture hundreds digital tracks per recording aprocess might take weeks months per song finish whilewell explore economic upshot change technologylater current purposes lets say circumstances ar person produce records arperson wouldnt able anything record sometimes contemporary ar person studio chops like paul atkinson time bands theystarted signing part major label ar hasbecome domain glorified hamstrung talent scouts nowmore ever ar people limited largely flavor week sometimes someone get lucky find artist mining anew vein f old old pique first radio publicsinterest suddenly groups scene artists sound like chance findin g managers crosshairs least one ar epartment andembroiled strange byzantine courtship ritual record industry become fewer bidding war companies managers live able predict next big thingis keeps business take example nirvana broke selling million copies sophomore album suddenly needed wasto seattle area play guitar could atleast get audience ar people groups like pearl jam dirty little secrets record businessq many ar guys take screw lightbulb soundgarden whod indie success even nir vana stone temple pilots scored nirvanas coattails similarly amounts boy band farm orlando produced certain teen girlsingers well anon likewise shortreign funk george clinton placed variations essentiallythe band every major record label lates philly scene thanks american bandstand bur geo ned early bandstand moved los ang eles show performed service surf music main thing changed riskaverse record companies become polly anthonys distaste jam bandswas tip iceberg stakes become highthe stockholders demanding longer time todevelop artists cultivate sounds even create trends allbecome reactive regular personnelbloodbaths used keep bottom line glamour ofar waned considerably aformer ar guy moved better things put way budgets much less theyve past affects areas ar guys life work meaning salaries much lower much percent five years ago expense accounts massivelyscaled back perks like past bands arent generally getting anything close used labels intheir contracts gotten worse since left yet ar department still performs service feeding hungry maw record company equally hungry artists ready eaten keep distribution wheels greased keepthe records coming major record companies retainthat element makes major ability distributetheir wnproduct need keep channels open charting course changes charts changed biz one early fulltime professional experiences music bus iness internship late lamented trade periodical record world came summer job radiop roduction company building went ele vator broadway introduced editor mike sigman explained concept internship basically slave labor educational component though canpaymy train fare feed struck deal im proud say long magazine existed afterward anintern journalism department rutgers learned hell f alot journalism magazine produc tion mechanics music business timethere learned hard way like quite twigging exactly ascap got moneyit sounded like pro tection racket time observation byinference actually told way thingsworki also met michael zilkha reco rd worldan wou nd signed artist ze records imprint year later hot minute recording artist one main jobs magazine helped gather information charts every week chart department innew ork consisted four people including also hadour correspondents la office every person charge ofaspecific genre dance music columnist rb editor forcharting course example responsible compiling departments chart information helped jazz dance music chartsand gathered information main sales chart well thisinvolved calling various retailers radio stations clubs andentering sales information playlists onto graph song record getting points getting downthe line similar method used half mile downbroadway across street billboard offices de partment spent monday tuesday compiling charts often involved working close midnight everytuesday heads chart department went officesand closed doors got conference call losangeles office settled numbers wednesday tallied information created actual chartsone jobs every wednesday afternoon copy thecharts distribute everyone office pm sat fielded calls consultants record companiesmanagers radio station groups journalists requestingthe coming weeks chart numbers specific albums last weekitwas pop chart dance chart top iinferr ed closed doors offices chartheads especially hearing indistinct arguing seeped charts mathematical also p rocess compromise even informationgathering proce ss di dntstrike thoroughly accurate retailer didnt give precise numbers would learn several years lateras recordstore manager fairsized chain stores new ork metro area sometimes stores improvise theirinventory counts information compromised even thatearly stage gathering accurate could final tallyreally example great consternation gnashing teeth chart department first week october eagles long run longawaited followup ho tel california came indications said de didnt happen conventional wis dom music business trades said albums needed slow build climb charts thats made every week thecharts exciting kind like horse race sport asurprising number music business people enjoyedi know ofone told losing publishing company trackone sunny spring afternoon end sales strongto ignorethe chart department felt choice todebut long run chart er f compromise deliberation chart num bers changed may day billboard pub lisher ho ward lander wrote years sales charts relied rankings bestselling records obtained stores telephoneor messenger service technologicalchanges introduction computers tally thedata quickly recent usage fax machinesbutthe basic methodology remained last years introduction pointofsale sys tems scan bar codes retail checkout counters made possible wh ole new degree accuracy measuring record sales bility count precisely number units sold rather han ranking titles billboar dhas worked dili gently l ast two years take advantage new tech nology toproduce accurate charts issue proud begin using actual piece counts two leading charts top pop albums top country albums source information yearold company called soundscan charts however ancillary companys mission wanted create management information system said company cofounder michael shallet tool would allowindustry peoplebe record executives concert promoters dirty little secrets record businesscharting course artists managers booking agentsto measure cause effect various marketing things soundscan hooked computers point ofsale computers retailers across country mostly bigchains already pointofsale computers scan thebar codes recordings sold system rolled outthe company also started equipping independent stores pointofsale systems could monitor sales well far asthe charts concerned replaced preconceived notions ofhow records sold solid statistically significant sales figures said shallet mentality far chart concerned said sales look like bell curvethat curveshould start slowly rise time frame would bedifferent long took rise apex gently asit rose thats gently would fall reallywas never sales pattern record keep stores openuntil midnight sell street date andyou see people dying get hold product realsales pattern chaos erupted record business gen tle bell curve disappeared suddenly every assumption business disappeared well hardly month went withoutone another blockbuster album entering charts gen res industry regarded marginal like country proved every bit popular pop mainstream record businessseemed surprised nashville another planet tastes new ork los angeles totally reflected tastes rest nation theyve gotten shockthey still dont seem let go notion one executive time warner described another upshot soundscan multiplier effect ar nothing succeedinglike success record hits charts many retail ers routinely discount price put top albums apreferential display makes sense album makes top means people want therefore reaches satur ation point album reaches top charts sells even charts dominated records weekafter weekie discounted ones records slipped lowest common denominator executive noted resultingmarket lockins led mediocrity acolumbia university study backs observation empirical evidence group people given accessto web site could download music rate itsquality ratings however rigged example oneband ranked terms quality studyshowed lot people downloaded song people continued download whereas initial downloads song became one least downloaded inthe study study suggests sociology professors columbia concluded people make musical choices based onpopularity rather quality turns youlet people know people think popular thingsbecome popular said columbia sociology professor dun watts soun dscanbrought changes basic level chang ed r eporting day wednesday tuesday reports compiled computer didnt one back reco rd world days availa ble tuesday evening dig italage companies changed process compil ingsingles tracks charts rely information radio playas well sales old days compilers got informa tion program music director radio station andthey trusted though well see later lot theline would make one question veracity however company called broadcast data systems conveniently owned thesame parent company billboard found way offer far mo accurate picture songs air similar man dirty little secrets record businesscharting course ner way soundscan tracks digital barcode albums sold bdss computers monitor songs played radio stationsand compare digital thumbprints second seconds every song release stored enormous database theycheck second seconds avoid chance ontheair talent talking record fouling sample similarly acomputer program called selector professional stations use create programming directly upload theplaylist week anyone authorized view radio reco rdsus ed method track spins billboard bought witched bds songs get spins chart higher terri rossi billboard director operations rb music divi sion said singles chart must accurate mea sure actual airplay units sold also charted rbmusic marketplace way single go onthe rb singles chart without necessarily crossing thegeneral market new methods led trepidation removal human element charts fear homogeneity since reporting might become science uniform wh ole industry take away individuality markets course see explore radio worry might h ave phantom spinsradio stations report ingsongs didnt actually playthan individuality save much certain individuals got line pockets need worry radio becoming homogenous would happen would come source far removedfrom charts soundscan exactly shallet partner michael fine set accomplish still get callssaid shallet hey get records thecharts answer course sell records time warner executive responded sound scan experience shows businesspeople often settle least creative interpretation manipulation data course bind doubtless soundscan far accurate measure records sell brings mind somethingchurchill said democracy worst system worldexcept others dirty little secrets record business control issues home taping kill music great scam think wrote david shamah eco nomics reporter jerusalem post bought say goodby e yellow bri ck road el tonjohn whe n came dating still like ou even still album although record player long gone dont make anymore actually look hard find ou like album somuch bought cassette tape version play car later cd youve got ipod similar mp player youre considering buying mp version hmmm shelling four times product time edison bell berliner introduced recorded music consumable product mid record business control ou wanted themusic go thatstarted change slowly around end world war ii w ith advent tape recording tape machine came toamerica germany colonel richard ranger dismantled figured worked put back together andarranged people see showed bingcrosby hollywood sound engineer glen glenn recordingpioneer inventor solid body electric guitar les paulsaid showed advantage tape disc immediately turned headwhile reeltoreel tape machine became one music businesss best friends ushering complex multitrack record ing studioanother les paul inventionvery machinesprivate owners ever accused trying kill musicthough many committed music reels ownersof reeltoreel tape machines tended either affluent adultsyounger music makers students recording lectures dad hadahuge clunky wollensak tape recorder size piece carryon luggage weighing pounds weighed anouncewhat masqueraded portable back sthey far enough music industrydidnt pay much attention reeltoreel recorders panic didnt even start philips introduced cas sette deck far easier use reeltoreeltapes often required byzantine threading cassettecouldnt get rid sonic hiss inherent design like theearly edison phonograph mostly found way offices asadictation medium ray dolbys labs introduced consumer noisereduction system got built cassette decks starting mids cassette could make serviceable copy album andfm r adiostarted tofeed frenzy midnight album blocks duringwhich w ould play new album way hometaping pleasure audience early uk r ecord industry trade group british phonographic industry become alarmed created logo dirty little secrets record business control issues really scared anything else lack control first time since one edisons min ions put music cylinder phonograph public consumption industry controlled music entirely controlthe medium people consumed music although wevealready established philips inventors cassette ownedseveral record companies including classical music monolithdeutsche grammophon technology became better themusic businesss paranoia escalated palpable fear wasnt limited record industry either home taping scared publishing business well without mechanical royalties came record companies publishers songwriters also businesswhen digital tape recorder entered picture earlys got worse songwriter publisher georgedavid weiss whose credits include louis armstrong hit whatawonderful world tokens version lion sleeps tonight saw tape something analog home taping machine degrading original head touched copy hot copy copy thefirst bout six eventimes youve got go buy another ta pe another original ou buy one maybe g et wo two half cents take home copie weregetting zero w ith dig ital audio tape forget ou buy compact disc put tinto machine nothing touches elec tronic information sent one side nothing degraded second one made clone copy exactly good authentic withas much fidelity original imagine means us dat machine going devastate us copy copy copy clone clone clone music industry whole grew frightened lobbied congress got audio home recording act whichamounted levy digital audiotape also pressured man ufacturers include serial copymanagement system thedat recorders made impossible one datrecorder make one copy given cd maindat recorder manufacturersphilips sony panasonicallhad interests music business wasnt hard convince also made medium useless consumer audio item limited dat market theprofessional semiprofessional music enthusiast againthings relatively control record industry continued exploit benefit new digital medium compact disc however welldiscover next chapter less percent recordssold new releases assume moreor less normal year record business means thatover percent records sold record businesscalls catalog albums albums new upon timeand remain consistent sellers enough stores keep theminstock record companies keep print cease sell record company cut record catalog take band saw boxes cds left itswarehouse cutting small slit carton jewel box cd far damages actual disc far enough cut evident sells boxes recor dliquidator puts stores l part ar tist willnever see money cds asmost contracts dont pay royalties cutrate cutout albums artists likely never saw money records beyond advance anyway catalog important part record business catalog cd essentially saved industry vinyl still ruled disco boom led disco debacle sparked part failure soundtrackto sgt peppers lonely hearts club band adog movie ye ar half earlier turn decade music busi dirty little secrets record businesscontrol issues ness pisspoor shape record sales slipped close percent pirated counterfeit copies records got morereturns company actually sold stores things happen waves artie ripp label gulf western recalled gulf western records put soundtrack elton john movie called friends think first album shi pped platinum came back double platinum took back many returns counterfeiters presented jimjones gw president platinum gold records andso total farce ayear great disco deflation philips introduced cd first europe america revelation knew cds would become dominant format whenwe first saw cd player said rose founderof rykodisc first cdonly record company realizedthere potential lot material reissued compact disc lot significant music less saturated viability analog market recently mined windfall cassettes spawned adventof walkman relied dominance lp years b efore record business moved saturated analog market took advantage oppor tunity exploit catalogs allure cd w asclear consumer record companies since laserread digital format noth ingever made contact actual recording unless careful lps developed scratches attracted dust anddeveloped hisses clicks pops skips manner surfacenoise cds hand theoretically none theseproblems actual music encoded digitally pits encasedinclear plastic would supposedly last forever record com panies sent interns minor minions vaults locate themaster tapes bestselling recordings could digitizethem release lucrative catalogs new format capitalizing recordings long ago paid iworked record retail cd first arrived amer ica managing one first stores new ork citys greenwich village stock themas imports initially costing upwardof people village tended early adapters theybought players cost neighborhood early days needed software play onset stocking cds store lunch mydistrict manager asked thought new format told thought great wondered wouldever see favorite records tended toward theobscure format neednt worried nearly everyrecord ever owned vinyl notable exceptions cameout cd doors producer paul rothchild didnt even know elektra rereleased doors records cd wandered intoarecord store actually saw bought cds put one player abysmal said takenfrom minimum fifthgeneration master perhaps even eighth generation cassetterunning master noisy distortedobscene rothchil alone experience first cds ofelton came dreadful said elton john producer gus du dgeo n terrible people made dig ital transfers basically didnt understand took years finally got issue straighte ned largely efforts people like rothchild dudgeon first decade half cd era boom years record business indeed even period cd sales doubled dollar value seemingly music managed survive home tapingnicely dirty little secrets record business panic suites napster grokster last kazaa strangely next great panic attack came sort delayed reac tion though one weiss foresaw terms ability clone digital music exact medium cause thispanic another new format initially started music businesss sister industry movie business movie business loved whole idea digital audio couldnt fit much information onto soundtrack film ger man engineer karlheinz brandenburg came solution digital audio compression protocol basicallytrimmed frequencies beyond power human ear perceive speakers reproduce fur ther compacted musical data song might take megabytes information cd generally could holdup gabytes data shrank megabytes digital data brought idea motion picture expertsgroup adopted brandenburgs audio layer compressionprotocolmpeg short mp shorter based file extension used pieces compressed musical dataas thestandard digital audio compression film brandenburgs company decided make protocol open source mattered much early computers comparatively puny code would overtaxed initially took dedicated device actuallycompress filesthere axiom computer world however called moores law intel founder gordon moore moore predicted number transistors would fit microprocessor chip would double every year thereby doubling thepower speed computer moores law variation onthis idea basically states computing power doubles everyone two years took five years doubling thehigherpowered personal computer could deal algorithmfor mp point around highend computer usershad digital muscle needed rip digital cd audio mpfiles personal computers time another development computing became commonplace started means scientists senddata back forth relative rapidity internet beenin use academic military communities since mids graphical web browser mosaic introducedin however potential wellspring data became moreaccessible computer literate included college studentsespecially studying burgeoning fields computer engineering science order perpetuate moores law students discovered brandenburgs opensource algorithm suddenly highspeed connectivity available college campuse new ability compress song encoded onto cd tenth original size digital music zinged backand forth students computers campus networks aware phenomenon record companies didnt care much first bunch col legekids couldnt get songs away computer people dont learn history doomed repeat radio started ascendance record companies took attitude would anyone want listen tosomeone else playing records could play theirown however depression people radio theydidnt really need spend apiece records radio provided dirty little secrets record businesspanic suites enough entertainment make forget troubles minutes record sales topped million slid million fall caused part recordindustrys hubris ignoring appeal radio industry hadnt lost hubris years later shouldnt surprise people ignored digital transfer musicin like rise radio peril record companies embraced technology back figured many ways could exploited thenexploited music business might much healthier happier place economic terms everyone could easily access musicinstantly anywhere either subscription per piece musicwould kinds business precautions preventthe average person ripping dvdthough new programs circumvent safeguards arise faster industry retool defeat even sound recordings would become far less expensive physical packaging warehousing real estateexpenses would exist people would happily spend money ondigital copies record companies catalogs didnt happen unfortunately record business several thingsprevented one thing opensource nature mp format put computer literate way ahead curve time biz became aware college computers overflowed digital music files ans compressing music become institutionalized record companies also failed recognize internet meansof selling catalogs perhaps hadnt yet milked cd couldremember glassandlacquer disk served years vinyl disc reigned finished thebrief decade cassette cd fell laps thecd barely years recordedmedium throne whenthe challenge digital domain software never actually needed permanent container like cd tape challenged assumptions dominance record business threat also came outside business even cas sette come withinthe invention philips itblindsided worse control even anyidea control coming grips change wouldtake decade half time geniehad long escaped bottle music business landscape wasforever altered record businesss first impulse try use lob bying muscle control digital domain cable tv andsatellite systems cablecasting digital music fearing consumers ability tape digital music would allow makeneardigitalquality copies record companies began lobbycongress new laws amendments copyright code like totally see possibility people industry ignored ramifications peopledidnt todd rundgren one first artists put hisown web site option pay membership fee heareverything soon done began see actual record stores would become thing past ideawell deal depth later b etower records blockbuster video except wont storefronts theyll big faceless buildings giant mainframe computers waiting call theyll download house theyll charge walked record store buy dif ference prerecorded media disappear actually ceo sony agreed extent retail ers proactive said michael schulhof opportunities future threats retailersbusiness retailers ensure place thefuture electronic marketplace dirty little secrets record businesspanic suites users internet began probe music busi nessand copyright law generalin rather tender areas record business began slowly take notice collegecampuses around america world students postingcopies songs along cracked commercial software andimages naked women users male computerstudents anyone web access could find song files findaplayer files voil\u00e0 instant music collection indeed record business world wide web come resemble spanish main th century havenfor pirates reaction record business load cannons engage battle appropriate balance betweenfreeflowing information intellectual property struck saidthenriaa president hilary rosen internet neverachieve potential become viable medium sale ofmusic must let pirate market internet get established legitimate one ready would sound theme nearly decade however industry representing seemed lessthan interested turning internet viable medium sale music time shed said alreadytoo late te ntativesteps taken oasis asked fan sites please take unauthorized music videos sites geffen recor ds sent polite letters deans provosts presidents heads ofit variouscolleges biggest visible bulletin boards making aware hosting thesebulletin boards violation copyright laws united states internets threat control musichas caused handful interlocked global monopolies whichdominate music industry reveal naked greed saidrock rap confidential editor social music critic dave mars h hi new technology offers potential make music available people time however since potential didnt fit record businesss current paradigms distribution didnt see possibilities example oasiss management mighthave wanted downloadable version groups currentalbum fan sites might actually thought twice afterall fans band tended visit sites wouldnt fans apt buy cd especially heard beyond management didnt want unauthorized music sitewouldnt oasiss best interest perhaps authorize nonlp bsides live tracks rarities offers winwin situation fans musicindeed music oneelse would get didnt visit fan sites oasis earns thegoodwill fans gets music people mightnot otherwise hear course turned became moot point pretty much anyone computer download nearly anything oasis ever recorded either legally paying dollar legally gray blatantly illegal area ppdownloads time however record companies bigissues digital music record companies anxiety stayed back burner time ore general sites mp files found way onto net lik empc om search engines like lycos found thestillmorecommon bulletin boards cd burners yet become widespread way get music files computer put cassette home tap ingstrikes course next year record business got onetwo punch worthy lennox lewis consumers viewpoint chip technology provided answer immobile music files korean computerhardware manufacturer saehan announced newest innovationthe mpman product limited way could dirty little secrets record businesspanic suites hold hour music liberated mp file com puter put pockets early adapters suddenly themusic business sounded alarm around time alarm sounded firstyear student northeastern got trading music files via internetrelay chat irc saw way extend ircs capabilities sonot could files passed people could also searchone anothers computers music download gave theprogram irc handle long anyone musicjones modem downloaded napster using toaccess music files person person peer peer rooted frustration mpcom lycos scournet also create music community former northeastern student sean fanning said innovationthere really nothing like time peer peer remains strange troubling business model napster programs followed wake making music essentially free commodity programs also free nearly highprofile pp software internet music sites late managed find investors none really clear idea tomake money digital creations whil e conversation continued around record busi ness withinthe record business new notion file sharing earned h ushed whi spers best think record industry basicallyignored warning signs wall said warner bros chief information officer tsvi gal indus tryby large ignored piracy hopes wouldnt widely accepted course going go away easily record businesss ostrichlike procrastination made possi ble future music became free good rather commodity via means distribution controland indeed one ignored previous decade hundreds thousands people could share songs online college students either accountants writers gradeschoolers attorneys people walks life tested digital waters file sharing napster mainstream song theycould think could find even oddities word napster became curse word order pay olain h alls major record companies fear record compa nies business lobbying trade group riaa started campaign terror directed internet web sites fansand even artists toward end universalmade rap group public enemy take downloadable track itsnew album web site capital records forced thebeastie boys billy idol remove music files webthe beastie web site billy idol mpcomsite eventually bore brunt ninefigure settlement forcopyright infringement idols case source close singersinner business circle said billy thought important getsome music fans riaa denied members anything mp files music industry campaign use mp files claimed rosen concern rampantpostin g files without copyright owners artists autho rization free taking recordings online mp orany format w ith dotcom boom booming internet bubbl estill swelling battle lines drawn far cor ner weighing pounds gorilla called record industryin near corner weighing three pounds cute kitty cat face headphones napster rather trying anything constructive record businessseemed spend time either trying crush napster saying terrible things napster managed toavoid getting crushed dirty little secrets record businesspanic suites fall gorilla assistants weasels gotten toehold napster bringing fanning associates court time major labels scattershot putup form internet music service either boughtout created whole cloth either case companiesselfconfident miscalculations became quickly apparent theproblem twofold noted anonymous sony executive first everyone proprietary technology ideas done confusing toconsumers theres idea people interested inonly sony warner product might thecase back fifties knew atlantic recordspretty much really cool rb acts companies cross genres single definable identity forcustomers majors early efforts web doomed hubris also still much easier download gnutella kazaa grokster peertopeer programs web industry referred pirateto pirate complicated process admitted riaas dougcurryitsmuch easier someone upload thousands cds put online f free opposed changing years large industrys practices overnight mark et research analyst mike mcguire gartner group agreed r ecord companies said year old business model thats based controlling distribution controlling physical thing cant anymore cant rely entirely copyright control services reported music fans downloaded quarter billion tracks previousyear another study found one day period percent yearolds surveyed downloadedapp mp file united states canada swe den taiwan italy netherlands south korea even urban areas mexico came onetwo punch early dotbomb terrorist attacks september former found thatmost forprofit internet music sites along percent new internetbased companies burnedthrough public capital sending stock values plungingat mcy one vice presidents get bonus fromthe company stock options exercise ayear would cost taxes stocks worthfortunately loan would never pay thecompany burned assets instituted massive layoffs andeventually shuttered hardly isolated case another reason record industry trouble getting together online control issues date back quitesome time weve seen record business simply playnice others example worked company called personics around dollar track would makeyou custom highquality cassette songs catalog thousands unfortunately songs came frommajo r labels virtually none hits major labels didnt trust valuable properties outsiders thought allowing used manner would devalue howeverby web become freeforall per sonics sq uared peo ple downloaded virtually song wanted could burn favorite mixes onto cds download hours worth music portable mp play ers proliferated penetration grown capacityover previous two years record companies worst nightmares coming true chased interconnected monsterof internet jumped cliff revenues kept fallingand falling didnt wake pew internet american life project drove home survey people dirty little secrets record businesspanic suites loaded music percent didnt consider stealing percent didnt care copyright even want tothink paying music internet record companies middle period marked decline would last writing brief respitein saw cd sales dip high million units low million units therecord business started wringing collective hands claimingthat downloading activity would put businesswhat university texas economics professor stan liebowitz calls annihilation theory despite companies actually try sell songs internet mcycom crashed burned offered downloads could bought played portable file players although used proprietary compression protocolformer grp records president larry rosen grammywinning producer phil ramone started nk encoded music themusic boulevard web site offering hard goods downloads rather use mp opted easiertocontrolfor liquid audio compression sites offered limited access music however major record companies stillsuspi cious internet would trust regarded ajor asset catalogs wired devil ever visionary ramone saw differently standing precipice new generation technology work traditiona lmusic distribution grown overburdened outdated said tony stonefield ceo another pioneer inter net music distributor general music outlet elec tronic records electronic distribution clearly next step forthe industry next step precipice loomed nearer alarming speed music consumers defecting internetin droves artists prince midst major disagreements longtime record company warners gave upon record companies altogether began using rundgrens model making music available online soft hardgoods perhaps record company asked nicely gave alot money might make music available via moreconventional outlets guitarist pete townshend made much solo output available hard goods via site concurred fornew artists direct line general mass population get early response finished work record companies stand artists fans said courtney love signed terrible deals theycontrolled access public world total connectivity record companies lose control every artist felt way new technology metal lica band encouraged trading live concert tapesamong fans felt threatened commercially recorded output available peertopeer trading online submitted list email addresses belonging third millionof fans downloaded album tracks napster theriaa metallica like many musicians focus contro l asked editors rockand rap co nfidential aband starts owns music music isvirtually worthless record industry alone capac ity turn something worth millions price alchemy involves assault ownership music onits representation public money gener ates every single aspect postproduction circulationfamous musicians become rich except continually battling system wants keep everything givethe actual creators barely enough subsistence artists standing saying dont download music said wharton school business professor david fader really movie stars saying dont watch previews dirty little secrets record businesspanic suites highvisibility campaigns riaa metallica others case napster went appeals court summer gorillas full weight landed napsterkitty flattened totallythe central hub napster network would permit certain unauthorized songs passthrough essentially removing core music people weredownloading major record companies music suddenlyvanished service napster faced problem asmusic boulevard mcycomit offered music limitedaudience ultimately closed shop sold assets itcould however first iteration shuttered users haddownloaded billion songs course month course didnt matter much anyone fanning riaa napsters wake dozens hubless pp networkstook places unlike napster central nexus throughwhich music flow hubless pp software accessedthe users computers via tens thousands shifting nodes onthe web really didnt owners per segnutella forexample set free world small team aolsspinner radio available minutes aol realized company removed frankensteinsmonster w already large amok program spread virally riaa ggressively pursued antimp course con tent shut sites trafficked mps started seek legal relief sites directed people mps includ ing selfdescribed pioneer indexing searching link ingof musicrelated sites files internet mpboard mpb oardposition served merely guide mp legal pirated could found distribute actual music sites pointed happened house illegal files well whose fault sitepointed right back riaa client companies notgetting program online beyond mpboardattorneys suggested rather going pathfindermaybe riaa follow path go actual infringers infringers proliferated rate record industry found alarming whereas hightraffic evening napster hadfeatured quarter million users five years service got ridden dodge rail unusual seefive million users time logged hubless pp sites thisphenomenon due partly fact music fans felt entitled newfound ability get music online partly tothe growing penetration broadband internet homes via cablemodems fiber optics dsl even fastest dialupmodem might take minutes download song really fastbroadband connection might finish less minute percent americans connected theinternet half took advantage access broadbandconnections number continues grow summer riaa become desperate began get agg ressive companies putting pp soft ware also users softwarelooking legal action individual downloaders subpoenaed musicfans accusing getting mp files one huble ss services kazaa claiming downloaders could befound owe per song writing p eople subject lawsuits end resul ofthis noted phil leigh research firm digital media youve sued customers youve deterred peertopeer activity havent improved sales accomplished frightening customers angering music industry estranging entire generation music listeners added jerry del colliano audiorevolutiongen x feel right download music despite copyright infringement laws riaa killing napster failed dirty little secrets record businesspanic suites experiment new peertopeer networks like gnutella rage files swapped millions leigh del colliano alone expressing sen timents lawyer fred goldring urged record business toabandon shock awe tactics strategy suingcustomers thieves building everbetter locks cds digital singles simply working everything haddone thus far fact made problem worse since manyin industry become familiar step programsthat dare speak names goldring suggested sixsteprecovery program record business admit youre powerless file sharing going away downloading already popular cd give antipiracy technologiesthey dont work stop attacking customers bad pr worse business focus less fingerpointing immediate practical fair solutions give people want even requires thatlaws changed supportinitiatives allow unlimited access every piece music mp format whenever wher ever someone wants conditions restrictions easytouse interface people pay esthe social reason digital rights management fails concurred electronic frontier foundations cory doctorow keeping honest user honest like keeping tall usertall end day user drm meant defendagainst unsophisticated least capable among us lawsuits file sharers going save music business pc magazine gadfly john dvorak addedin fact opposite true im convinced shuttering original wideopen napster beginning theend recording industry napster notjust alternative distribution network alternativesampling system napster people tradingsongs engaging mutual discovery oud begin downloading songs b cyour favorite songs everand youdsee one trader three songs orher library ou could peruse persons entire collections oud notice two similar taste butwait youd find unknown bands collectionsoyoud download new songs discover another band liked another area concern early became rising global gray market mps began emerge taking advan tage one webs chief benefits oftendropped first partof nameit world wide russian site allofmpcomoffered downloads itunes offered future music organizations brian zisk observed understanding allofmpcom might well legal russia though ifpi international federation thephonographic industry exerted extreme influence themoscow city police computer crimes division recommendto prosecutors criminal charges filed serviceit decided charges would filed whileallofmpcom might liable civil suits pay royaltiesincorrectly different us labels websites face pay royalties incorrectly isunknown paying correctly reported rates inrussia minuscule compared us folks might violating laws us using ser vice possible allofmpcom might liable us l aw hown recent legal victories unautho rized im ports hunch clearly illegal ifpi claimin gallofmpcom since hat charges lawsuits would filed long ago dirty little secrets record businesspanic suites foreign jurisdiction quite tricky area easy state nailed us laws dont thinkwed want internet publishers held laws foreigncountriessay saudi arabia example saw beginning legal sites legitimate licensed major label songs apples itunes leading way chapter people got songs kazaa conservative ratio though peg indeed university texass stan liebowitz citesevidence people download million cds worth songs per month us national sales run million cdsper month ratio hand may actually evidence pp protocols help album sales australian study univ ersity western sydney indicates nearly per cent respondents copped downloading music one pp services nearly percent still went boughtthe cds said researcher geoffrey lee main asons downloading included able listen ngon pc able burn songs cd cheaper original cd able sam ple song purchasing sixtyeight percent generations surveyed baby boomers generation contin ued buy albums traditional retailers pre fer original copy like able look cds shopping like able listen new cds similarly organisation economic cooperation development published report stating difficult establish basis prove causal relationship sizeof drop music sales rise file sharing studypoints quality music growing number entertainment choices physical opposed digital piracy muchbigger culpritsajoint study professors harvard business school university north carolina chapel hill came simi lar conclusion really dug statistics couldnot find evidence file sharing effect people buying cds beyond found effect might wou ld extremely small compared precipitous drop cd sales afew folks record business agreed would certainly prefer collecting money intellectual propertythey saw alienation customers foolish destructive even acted principles terry mcbride president canadas nettwerk records picked legal tab forone file sharers targeted riaa filesharers great music fans breaking new artists little mainstream media support stepping back bit reflects cassette controversy teen years buddies exchanged cassettes allthe time turning friends favorite music songs wantedto bands etc almost universally would ultimatelybuy music liked compilations jamaica tourist two blank cassettes perhaps us ollar w ould often get one mix tape full latest hits islandin exchange went came armed bunch blanks wound handful great mix tapes sent local record store pretty quickly however l iebowitz looked problem viewpoint amarket economist disagreed concluding mp loads ar ecausing significant harm record industry clear however whether downloading current legalenvironment cause mortal blow industry suspectthe worst damage industry behind us us supreme court ruled file sharing service grokster could held responsible illegal activities users led hope corridors record dirty little secrets record businesspanic suites business long years strife would soon end longer compete thieves night whose businesses built larceny proclaimed thenchief executiveof sonybmg music andrew lack even middle digital music tracking company big champagne reported given time million filesharers line million us alonethis figure represented percent annual rise internationallyand percent rise domestically record business issue still boils control john lennons widow oko ono made lennons workavailable sale digitally paul mccartney asked whether thebeatles catalog would ever available download said hewas sure would happen parties involvedit bound difficult get involved stuff actually control something said theres lot ofstrangeness areas tend keep way typical many record business continue run around looking saying sky fallingdespite upturn sales first year riaa took digital downloads sold account coincidentallyor l ook everywhere b ut w ithin nothing new say recording com panies scared said professor steven e schoenherr university san diego theyve always scared records percent revenue every billboard columnist ed christman sits wit h soundscan figures calculator crunches num bers determining percentage music released really selling actually makes profit record business oftenalarming numbers offer great insight businesss woesand numbers seem distress dont seem tosurprise fact surprise less every year christman determined new titles includ ing reissues hit stores major record companies released came independent labels thesenew releases accounted percent records sold thatyear less million scans titles quite percent sold less copies terms perunit sales figures look little better still pretty bleak terms overall picture average major label release scanned copies theaverage independent release garnered well discover later much way music promoted know want topurchase record dont know exists traditional means promoting recordings nearly century beenradio following cycle made recording world goroun sincethe consumer thats us folks hears something radio consumer likes consumer goes store buys records percent revenue radio stations tighten playlists follow formats generally concentrate programming centrally rather locally become less less willing take chance anything new stakes high unfortunately recordcompanies slowly woken reality startedto try revise promotionequalsradio equation christman also analyzed sales records print year soundscan tracked albums whichsold million units simple division tells us average release therefore sold copies nearly albums soundscan tracked sold excess one million units sales raked sales units albums sold units added albums accounted million sales means soundscan provides statistically accurate sample reckoning percent albums ld accounted percent album sales long time c onventional wisdom music busi ness stated albums dont pull weight esti mate percent rpm singles recover productio ncosts percent popular lps dont recover costs former riaa chief stanley gortikov said hatleaves small percentage albums artists pay records dont make conventional wisdom music business also states average major label album break even needs sellbetween copies albums sell less thanthis dont even make back money record company letalone bring artist anything like royalties therefore al bums assuming cds discussion asselling figure part major labels active catalog broke even major labels year operatedon profits generated percent records theyreleased granted tracking albums released calendar year includes released november even december thoughdecember releases generally rare leaving little time themto hit breakeven mark november releases however aresome strongest year ones designed feed vast h oliday buying frenzy releases record com panies counting get people stores end f year independent record companies meanwhile operate far less overhead majors presently theaccepted independent average breakeven range sales depending recording cost overhead indiebut even lower threshold rarely met percent thetitles released sold albums accounting forjust less percent cd sales year thats less percent product accounting nearly percent total sales five years later christman calculations new releas es albums came including reis sues withnewbar c odesand digitalonly releases new releases accounted million million albums soldin hoserecordings garnered sales amillion units accounting million copies means albums percent releases accounted percent record business another albums went gold selling copies soldbetween others scanned total albums sold total million copiesabout percent new records putout year accounted percent newrelease sales percent total sales year dirty little secrets record business records percent revenue figures account legal digital downloads via itunes emusic like digital sales still seem curios ity numbers consequence total number digital album sales ran accounts percentof album sales digitalonly albums released majors issued came independents majors digitalonly releases sold average copies bestselling digitalonly album selling independent digitalonly releases scanned average ofabout sales per title however digital releases may well become part record retailings long tail long tail theory proposed wired magazines editorinchief chris anderson basically states ifyou h ave unlimited space unlimited number products sell well might sell poorly consistently plot graph get something looksalot like sleeping rat long long tail representing items sell copies however taken aggregate thislong tail accounts half sales sort flip side thefact percent albums represent percent sales long tail theory says time might justmake thesemarginal recordings financially viable nd hatpotential long tail grew sub stantially number majorrecord new releases jumped around independent releases doubl ed releases nearly bringing indies share releases percent percent sowhats point well spring immediately mind since charts gauged sales percent albumsthat broke even ones made charts got onto theradio got publicity albums thatyear everyone knows indeed like little girl thecurl record business good year veryvery good five albums sold million copies theirfirst week release naturally zooming booming top charts bringing musical immortality uncounted richesto culturally important im half sarcastichere artists backstreet boys nsync britney spearslimp bizkit eminem leaves quarter million albums fighting little less half recordedsound portion nationsdisposable incomea shrinking figure well discover thesealbums many independents little promotional budgetand little hope traditional avenues promotion generallyhave count press word mouth exposurecertainlyfor reasons well get later cannot count radionot even records major companies huge promotionbudgets count anymore important albums released average person probably could hear music fromabout generally available media evenmusic person would never actively listen heard walking downthe street coming stores via airport soundsystems behindcommercials theres music everywhere meantime record companies consistently released excess recor dings onto market year decade twice muchin lone think chances one tens thousands records might become new favorite ofall time got chance hear business whi ch p ercent product supports percent afford figure way get music heardand bought popprism mentality success todays world inundated numbers numbers numbers little featpianist bill payne said representative kind ofquality thats important keep mind charts nothing qualitychart numbers denote quantity number dirty little secrets record business records percent revenue units particular product sold versus products type case compact discs saw old sayingthat nothing succeeds like success takes whole new dimensionsin peerdriven familiaritymotivated arena like music wherecharting means sales number levels leavesthe vast majority music produced recorded anygiven year virtually unheard tell friends canhear good music today time history im talking cds bands music falls throughthe cracks fable elephant andthe rabbit indies eating majors lunch consider infrastructure major record company laid ch apter profits less percent releases major record company needs support front office operationsofficers promotion people ar people inhousecounsel publicists etc mention space house innew ork los angeles nashville well theback office operations sales distribution nodes localpromotion people located across country major recordcompany employ thousands people supported less percent titles work owner f independent label sat group potential students interested music business pro gram new ork city college taught ev eninghad gone introduction courses seminar music business company president taught theclass running independent label label wouldsign artists often ones toiled boiled rosterof major labels fall percent sellenough copies break even perhaps moving cds exposure garnered labels howeverthe fable elephant rabbit expanded fan bases artists enjoyed president indie label would sign agreeing split profits arrangement compare royalty system used major labels lets math suppose amajor label artist receives advance royalties record album artist sells around copies perhaps percent percent royaltyrate many labels still figure pres glassandlacquerdisk breakage allowance contracts company figuresthe royalty based price nine dollars cds gross incomefrom cd gross income cd multiplied theroyalty rate gross income ofthe cd multiplied royalty rate multiplied thebreakage allowance doesnt look bad artist got advance seems recouped made roy alties thats part story producer steve albinioutlined advance managers cut legal fees recording budget producers advance studio fee drum amp mic phase doctorsrecording tape equipment rental cartage transportation continued next pagecatering masteringtape copies reference cds shipping tapes misc expenses total cost video budget cameras crew processing transfers offline online editing catering stage construction copies couriers transportation directors feetotal cost album artwork promo photo shoot duplication band fund new fancy professional drum kit new fancy pro guitars new fancy pro guitar amp rigs new fancy potatoshaped bass guitar new fancy rack lights bass amp rehearsa l space rental totalcosts artist pulled subtract advance budget overage ie band actually realized badin fact farbetter example band sold pieces less remember established previous chapter onealbum depending year achieve thosekinds sales figures look different dirty little secrets record businessthe fable elephant rabbit cds gross income cd gross income cd multiplied royaltyrate gross income cdmultiplied royalty rate multiplied breakageallowance sake argument well assume band roughly expenses artist netted take away advance budget overage ie band still owes record company collect one dollar royalties takeinto account contractual withholdings like percentage forreserves returned cds items may take yearsfor artist actually see royalties money also cover costs might get written artists royalties according contract thecompany works record many cases promotional itemsand publicity junkets mention artists limousine allneed recouped artist sees first dollar roy alties later chances even net income attributed ar tist exercise high many figurescited ar e lowmany albums especially major label albums cost lot produce though bud gets shrunk costs devastating effect recor ding industry well later see needless say make money back even fewer generate royalties artist selling copies cd record com pany grossed means paying advancetaking care extra production expenses evenputting additional reserve account recordcompany grossed front officeexpenses salaries warehousing back office expenses recordpressing production etc etc need get paid little bit downthe line well find mount successful promotional campaign radio stations cost million per song remember albums rel eased actually sell many copies one course given year might one cds thatalmost pulled weight least far record company isconcerned lets look model indie labels espouse artist get advance gets fairly smallone recording done labels studio billednominally artist royaltiesfigure cost pay engineer rent wear tear equipment cost media used recording betweenthese recording fees legal fees contract negotiations sincethese negotiations tend much simpler major labelkind figure half price cost actually pressing cd figure another initial run cds artist would seem getgo things start get interestingthe indielabel sells cds retail goes first run cdsthe numbers look something like cds minus production costs profit split eg percent royalty recor compa ny band come away minus managements percent cut leaves artist thats first run records artist already major label development indie president estimates sell conservatively cds thenext artist record company still split manufacturing costs dirty little secrets record businessthe fable elephant rabbit cds minus press cds split party comes minus managers percent andthe artist realizes thats times artist made major course major already heavy lifting giving artist exposure needed build fan base could support salesof independent cds todd rundgren put record companies still function underwrite artists build core audience thats record companies used used artist development wasnot hits machine time everybody company oriented toward one blockbuster makes bottom lineit used trying get artists point thatthey would generate dependable level income sales thats record companies still envi ronment underwrite promote artists acore audience branding powerful thing ou willbuy hitty product good brand name record business driven lotby dontneed major record companies said barry bergman president music managers forum us thing ass media indeed name brand artist indie route could best perhaps way go stu cook former bassist creedence clearwater revival plays old buddydoug clifford creedence clearwater revisited startedas way play old songs audience releasedarecord via majordistributed independent record company fuel represents best worldsan independentwith distribution spank major works major well lot people payroll distribution branches needs keep pushing product throughthat pipeline good deal artist participatesin profits percent royaltythat split atthe high end already royalties said cook ourbreakeven point get royalty rate asmichael jackson thats way business great times independent labels said david sanger austin texas indie lazy sob recordings reason manufacturing costs within reach anybody whowants make record course role indies play often farm club majors initial development major labelthen seeks exploit build sometimes works didfor nirvana got bought contract seattlebased indie subpop records often doesnt mostcases major help expand indie bands following orsogoes conventional wisdom course conventional wisdom often fails unconventional environment like record busi ness emo band thursday sold copies debutalbum nindependent victory records universal music group imprintisland def j records bought band vic tory contract idj record sold copies con sider case another victory band hawthorne heights hiobased hard rock band minimal radio sup port managed sell copies debut still billboar ds top writing saw sophomore effort mo first week debuting billboard top album chart band built community fans p ursuing incessant grueling touring schedule work ing internet particularly online musicoriented social networking web communities keeping lean mean using promotion outside mainstream making sure artists sign dirty little secrets record businessthe fable elephant rabbit determination work make independent labels might become growth industry perhaps even remind majorlabels record business selling music thatreaches people entire staff would small majorimprints promotion department victory records managed tobeat majors game getting rarified records sell gold better apercentage victorys sales go independent distributor thisway pays indirectly sales distribution nodesas opposed majors need keep product flowing maintain nodes majors twigged opening independent distribution companies giving theindies access distribution nodes thereby adding productto flow channeling distribution fees corporate bottom lines occasionally striking upstreaming dealsthat use indie farm clubwhen album sells acertain amount indie sells contract major ownsthe distribution company sonybmg controls independentdistributor red emi bought independent distributor caroline toserve purpose universal revived fontana name independent distributor warner several notably thealternative distribution aliance ada rykodisc beyond therearestill several totally independent distributors asnew jerseybased big daddy many things advantages disadvantages indie company sa students indie record company pres ident interesting metaphor way worked versus way amajor label worked said major labels like elephants elephants large willful animals tendto difficult turn theyre heading particular direction takes lot bring one independent labels aremore like rabbits rabbits small fast respond tocircumstances change direction quickly run circles aroundelephants take care get caught theelephants foot cunning rabbits however wellthe former head tommy boy records tom silverman sold company warner bros found starting busi ness scratch response insanity sell millions maintain major label relationship saidsomething effect great want send allthe acts sell copies well make mint dirty little secrets record businesspart ii messy suicide commer cial radio airwaves people people yeah sure owns airwaves actually ultimate rights th ose broadcast frequencies airwaves america indeed world theoretically public property mandated radio act hr whi ch established federal communica tions commission congress empowered commission ime time public convenience interest necessity require cl assify radio stations bprescribe nature service rendered class licensed station cassign bands frequencies wave lengths also elineated variety responsibilities obviated passage time primary one however involved assigning frequencies various functions andlicensing fcc reminds us doesnt pertain commercial broadcasting fm television frequencies toy cars run radio control frequencies need licensed car remote small radio transmitter evenmicrowave ovens use radio frequencies micro wavelengths youwill need licensed look back microwaveand see fcc compliance statement think good without someone watching things might turn televisionand popcorn would start popping use wireless modem cause interference car radios neighborhoodor broadcast wireless phone calls everyones fm stereonow thats entertainment bef ore creation fcc things like happened time many property squabbles frequencies weredue idea frequencies fact grabsaccording attorney krystilyn corbett broadcast wireless communication first devel oped rights use particular frequency electromagneticspectrum allocated firstintime principle aswere many private rights one wanted broadcast simply appropriated suitable frequency one came later foundanother unused frequency rights established firstintime principle however recognized enforcedconsistently many conflicts arose one hand courts wouldnt allow broadcasting beregulated purview secretary commerce hand without regulation nothing say one broadcaster could use frequency another broadcasterhad used first stepping powerful transmitter mids things became confused air wave president coolidge went congress asked takesome ction radio act part proclaimed air waves belonged people united states used indi viduals authority short term licenses granted government back opposed government still equated people next step process revised communications act reaffirmed public ownership airwaves stating thatradio stations required operate public interest convenience necessity act also turned fcc permanent body prohibited anyone owning radiospectrum dirty little secrets record businessairwaves people people yeah sure purpose chapter among things maintain control united states channels radiotransmission provide use channels ership thereof italics mine persons limited periods time licenses granted federal authority license shall construed create right beyond theterms conditions periods license however university chicagos richard posner described abroadcast license practical purposes perpetual making license transferable congress fcc essen tially turned radio spectrum frequency auction sincethe people possess licenses able sell broadcast spectrum become essence property whocanpurchase piece became harder revoke broad casterslicense broadcasting license could stay owners hands time somehow transferred leaving theowners airwavesusout transaction completely try p revent situation concentrating media access hands wealthy could thenensure opinions exposed publicsome avyrestrictions placed media ownership example rules established one c ompany could reach percent nation households prohibit broadcaster owning one station single market except large markets oprevent ownership radio station television station market prevent cross ownership newspapers television market public also given ability challenge station felt didnt serve public convenience interest neces sity prevent renewal stations license fcccodified policies estab lished criteria maintaining broadcast license effort took vet criteria renewal turnedinto real drag fccs time courts got involvedand several rulings began process handcuffing fcc tothe standards required confirm renewal license fromthese cases came flood challenges renewals especiallyafter fcc denied whdh renewal citing publicdemand fcc streamlined process stating itwould renew licenses station could show least substantial performance free serious deficiencies somewhere therethe pendulum began swing away public ownership theairwaves toward model private ownership theoretically airwaves stayed hands sad fact somewhere toward start slippedthrough fingers dirty little secrets record business regulations dont need steenking regulations starting reagan administration regulations held media owners hip check five decades began get stripped away mids company could pretty near media utlets could afford one f plankson platform brought ronald rea gan office getting much government possible ofpeoples lives businesses one first major policy initia tives toreach fruition official beginning deregulation media gone stringent rulesofownership cross ownership rather govern ment dictate rules fcc decided let market gov ern according fcc report given status ofbroadcasting today marketplace competitive forces aremorelikely obtain public interest objectives reg ulatory guidelines rules went board shakeup included radio stations longer keep detailed programlogsthough well see next chapter didntreally matter radio stations beginning beprogrammed effectively logs longer limit amount advertising astation could air whereas previously limit minutes percent per hour station thought could maintain listeners broadcasting nothing commercialsnothing could stop regulations requiring certain amount local interestnews public service programminga prime means forchallenging licensesno longer applied broadcast ownership rules became far relaxed number radio stations one entity could nearly doubled seven fm seven stations limits set mids fm stations thenumbers risen however owners werestill limited one station per band one market thecourts got act example overturning fairness doctrine requiring stations give equal time opposing viewpoints trend came head telecommunications act bill clinton signed law suddenly becameopen season radio stations national cap numberofstations company could disappeared altogether arket singl eent ity control morestations sta ions band sta tions stations ba nd stations stations band fewer stations stations band floodgates opened particular radio entertainment impresario robert sillerman began buying stations weremonopoly properties said sillerman dirty little secrets record businessregulations dont need steenking regulations recent passage telecommunications act substan tially form anticipated opens significantopportunities us existing markets otherareas throughout country greenvillespartanburg willbe operating triopoly three fm stations one stationand jackson three fms two ams highlevel radio station ownership within market never beforebeen possible anticipate much greater operating efficiencies excellent results benefit deregulation throughout rarely month go buy announcement sillerman acquisition sold radio stations amfm chain went corner market concert promotions venues two years later another huge radio chain clear chan nel bought sillermans former stations deal station amfm chain creating largest radio broadcasting company united states march five yearsafter deregulation began clear channel bought sillermansconcert promotion venue business billion stockwhen sale announced david lieberman proposed fol lowing scenario usa today consider could happen big act kiss brit ney pears backstreet boys marc anthony cher comes songs virtually unavoidable particularly radio station sponsoring concert radios different station wont miss billboards clear chan nels original business still big one advertising event radio sponsors web site one easiest places buy tickets performance fans probably go thereanyway hosts cybercast chat artist arena youll find surrounded mer chandise adsmany radio station andupcomin gconcerts short therell escape one record company head summed ou cannot hit record without clear channel astonishing part clear channel fire sale bring within even lenient owner ship regulations sold around percent stationsbut even clear channel owns six stations new ork cityand nine la respectively markets unitedstates stations total afew major players also took advantage deregula tion including abc radio three stations new ork three inla total us stations emmis broadcasting owns three stations new orkand two la total us stations cbs radio owns six stations new ork sevenin la united states four bigger players writing companies owned stations clear channel many chains combined centralized concentration media money chillin g effect usic high financial stakes keep ingdozens hundreds radio stations solvent radio needs guaranteeprofits music flypaper listeners flies owners w ant tocatch many flies strip programming lowest turnoff rate possible radi ostations becoming homogenized patricia seybold observed less interested new orniche music led disposable pop regurgitated rock repet itive rap everything radio sounds seamlessstream sonic syrup anything modicum personality dirty little secrets record businessregulations dont need steenking regulations potential offend develop somewhere outside broadcast frequencies next five years artist todd rundgren predicted think radio stations going continue thisdownward slide theyll good initiallywere good bringing live events events notpart database created extemporaneously proved prescient right referring recorded content radio database death dj curse selector back radio meant world avid fan alb um rock station wnewfm learned music disc jockeys musician didnt call pro gramdirector afternoon dj scott muni professor nothing one c ould hear wnew dj whim play set tom lehrer germane something shehadsaid morning man dave herman could play something stark ly notrock claude bolling jeanpierre rampals suite flute j azz piano every morning made radio sponta neous tere sting fun durin gfall r utgers freshman first media journalism class already one main djs campusradio station came upon article one music businesstrades wynyfm new ork formerly wnbcfm station recently changed format called adultpop found format troubling fascinating themethodof delivery rocked world nbc decided auto mate station computers would run whole thing evencuing dj would known thereafter announcerand later onair talent innovation became topic ofmy first major college paper adearth available literature subject meant paper would rely firsthand observation wentto station talked stations gm youngthoughnot young wasbob pittman sat hour withthe death dj announcer announcers booth control room showed signs recent construction one wall theannouncers booth inchwide square plexiglasswindow link outside booth looked like someonehad put one even primed painted raw wallboard double pane one could see opposite wallwhere feet thenstateoftheart radio automationmachinery stretched one end room twofloortoceiling apparatuses held tape cartridges eachevery minutes one would rotate tape cartridge intothe play position recognized tape cartridges college radio stationwe used tapes songs program director deemed rotation mechanism gave newmeaning terms rotationthe songs literally rotated center another device recognized circa computer complete halfinch drive transporting reel tape spool spool stood six feet talland controlled whole thing primarily operated new program created specially automated stations called selector booth announcer several weeks earlier actually handson relationship music playedsat otmatrixprinted list songs would play dur inghis shift also listed w ere commercials breaks backannounce earlier tracks read adver tisement preannounce next song hi bookfm th erise fall f rockradi orichard neer reca lls selector came wnew computers beginning used program stations kneejerk reaction represents bad trend andcertainly given direction radio taken last decadethere justification viewpoint computer savesthe jocks programmers lot work replacing paperwork mouse click despite initial bugs selectorworks radio stations music director simplyfeeds songs computer spits randomthe music could perfectly balanced according fac tors pd views important nearly years later selector automation taken radio percent radio stations use program create playlists maverick stationsremain freeform use programs automation hasgone wall worth equipment desktop pc themusic hard drive changed entire gestalt commercial radio neer notes program inherently evil six years worked selector may well purposefor best suited programming automated music service advertising onair talent heart selector database program director programming music radio station inputs information foreach song programmed along rules songfits format radio station complex simple needs see lot options important one category cat songs basic classification roleit plays stations hierarchy dirty little secrets record business death dj rules could include whether performance group ale vocalist female vocalist instrumental notice rules set cant one duet row two female vocalists row must beat least four songs every instrumental music director program director set rules sound song case station could play four ska tracks course hour least three tracks two african language tracks five songs themand two cover songs minimum four tracksin variety rules soundcode wellthe system handle many twice throughthe alphabet pd md finishes entering informationputting new records playlist taking records recodingthemhe presses couple keys selector goes da tabase ofsongs rules programming station dirty little secrets record business death dj program completes task generates list songs order automated system play station onair talent person gets copy list unlike heyday progressive rock stations years ago rarely talent actually touch recordedmedia air preprogrammed term discjockey become nostalgic anachronism contemporary radio onair talent little say goes overthe air nymore reque sts get n air well person listening tothe station requester probably wants hear song thats playlist anyway talent knows song going come nd announces request talent might even record person making request make seemlike happening moment days ou say ill play long gone process songs really get radio scene takes place radio station programming department ring ring whnk programming hank herehey thisis bet h pomo promotions whats onyour mind oh know records dave marshes lightin gup nights phones youknow got spinning times week wow much ou report hits c ourse rr verif selector feed bds w baby band booyahs going turd wouldnt float cm wtmi cross town must listenership uplisten booyahs going road dave ivegot togive banner either tmi well know weve dave since first album broke region eah tmi spinning theyre giving booyahs seven week ill bet owls bats enjoy itokay moonlight least airthe process cmon beth im playing fair always need keep gig spinning stuff like booyahs land ass pretty quick well told hnk gig begin eah know owe booyahs call record people started snoring hey im getting lot pressure upstairs chair mans grandson plays drums band smashor trash anything listen going coop concert promoter cant give ad station isnt playing record right much coophavent decided yetsigh tell ill give two moonlight spins gets ny phones ill three smash trash great talk next weekoh let go ipods gave away last week contest ou sent us dozen ship back nah uchpaperwork put back inventory easierif keep em ok ok click variations theme go phone every week betweenprog ram directors people promoting records radio every commercial radio exists clarify jargon whenbeth asks album lighting phones refers requests people actuallycomplaining song programmers like either way means people actually listening although songs peo ple hate may lead tune station wont unless station plays two three songs cantstand row opposite love isnt hate itsindifference programmer would find worse asong zones people theyre listening becausethat means zone advertisers messagesas well even worse record causes audiencetogasp switch stations happens program direct send lot r\u00e9sum\u00e9s find new job wonder radio programmer makessuch effort test songs go air orthat proven artists take precedent even mosttalented unknowns people like familiar things thatswhat radio gives especially losing ratingspoint means potentially cut advertising rates orlose advertisers much people say wed love hearnew music local music said wwdcs joebevilacqua whenever anybodys attempted past couple years weve fallen flat faces theratings hits andrr aka radi oand reco rdsare two trade magazine publish charts airplay various musical forma ts genres rr usesbds te chnolo gy hears second seconds song see chapter determine airplay charts hits lets station simply port adds spins moonlight moonlight rotation scheduling record sothat play hours midnight losing listeners matters least relationship promoters programmers issuch promoters willingly provide wide variety offavors anon least keeping dirty little secrets record businessthe process track job openings radio transitory fickle business callout callout research station callspeople listening audience plays snippets songsfor phone gets opinion thosesongs often ignores opinions callout hasbecome dominant noted j records head promotionrichard palmese program directors rotaterecords gut smash trash contest run radio stations toget phones lit get listeners involved helpingto program station listeners vote whether song asmash trashed coop short cooperative advertising isadvertising record company splits partnerslike record retailers concert promoters since radio sellsads commission program director take home apercentage often percent bit ipods selfexplanatory notuncommon often promoters send items contests never happen general manager midwestern top stationcut p romotion deal suddenly managed take several vacations year theoretically trips promotional purposes station said radio professional gm decides take family instead bottom line radio records become big business business gets bigger players seem become conservative anyone lot losethus getting anything added playlist particularly anythingnew causes problems every level promotion even majorlabel level real problem record labels radiostations become averse risk shrink number ofartists invest terms money time saidauthor james surowiecki may rational short term bad culture interestingly im reallyconvinced good business either conversations preludes maalox moment promotion persons week conference call usually heldright billboard releases chart numbers coming week issue serves legitimate purpose shoring weak areas dealing problem records record companyssenior vice president promotion gets heads programming departments local promotion people evensome independent promotion people phone togetherthese calls last upwards six hours become abusive andhave led firings raises promotions ulcers perhaps drugaddiction suicide okay booyahs record area beth im seeing many spins id like know boss tough sell im getting added whnk though street team going staying latelistening calling emailing hank wants phones anddamned hes going get good much givingcoup le pins week ittake get oup well weve got banner open dave marshe bumphouque arena theres coop shows ho w much offer think seven large month ads antici pation show put us overglad hear itand beth puts phone mute moment lets along sigh relief shes dodged bullet another week vp happy stressful makes call teamthe call make next report adds superiors dirty little secrets record businessthe process company makes pressure puts staff seem mild give folks running company big picture picture better include lot airplay beth boss know radio truism richard neer stated one always wary stations malleable record company inducements heavy airplay may accompanyapromotion based large schedule advertising free concerts may nothing records potentialno smallermarket programmer immune enticementsbecause revenue critical getting radio like mounting military campaign said promotion head palmese try identify heroes program directors like song enough tostep add rotation ring ringwhnk programming hank herebeth f rom pomo booyahs man college students stay late got dozen calls campus three morning tuesday aboutfour morning friday three number youvegot three spins thursday drive time smash trash ver cool writes note warn street teams use damn c ell phones way got co opbudget going want great ca n iwrite thats mentioned excellentstill dave marshesholding steady spins week may actually start playing another song album show gets closerespecially get banner announce dave comes uphere interview bumperswell know last one problem ill see two cool well thats week talk next week always pleasureand always pleasure well pomo bought worth advertising hanks commission percenthe pocketed major labels dominate commercial radio major labels deep pockets employ street teams buycoop advertising build acts profiles illegal well maybe ipods fall gray area nothing herein chapter really actionable thats say thatrecord companies labels dont engage actionable behavior dirty little secrets record business payola isnt dead always smelled like turn th century phonograph records onl game town america became affluent every wellheeled home piano generally someone house could play read music became sign refine ment majo rstatus symbol parlors living rooms unlike agood stereo system toward tail end century sowhilethe record business took first baby steps sheet music established back day gutenberg also turned amajor commodity example stephen fosters ball sold one million copies sheet musicjust course year nothing sells well vacuum selling songs fell new form music businessman song plugger precursor record company promotion department asong plugger earned keep enticing people buy sheet music accomplished several ways basic wayinvolved going large sheet music retailer large sheet music retailer around prescribed territory sitting piano andplaying music potential customers handed sothey could hear bought companys songsthis required publishing companies regional officesall across country profitable way entice buyersinvolved getting performers sing publishers songs stageby late th century various areas country showcircuits presented minstrel shows early vaudeville even burlesque places segregation segregated vaudeville circuits late boogiewoogie piano legend sammyprice recalled early years performer one blackonly circuits toba theatrical circuit organized cities black artists could travellike plantation circuit circuits started stlouis st louis kansas city kansas city dallas dallas houston houston shreveport louisiana jacksonvilleflorida around baltimore would discontinue show traveling shows enjoyed acrosstheboard popularity wherever theater could support song performed vaudeville headliner nearly guaranteed publisher hit paying headliner perform song uncommon rootsof practice deep even respected extent gilbertand sullivan performance subsidized songs helpedmany vaudevillian make ends meet course factors subsidization influenced vaude villians decision perform perform song factors fluenc e radio programmers decision spin spin radio programmer wants avoid losing listeners job v audevillian wanted avoid getting pelted ripe vegetablesand projectiles time went people continued pay play tell great stories artists beat system way dave cousins got british progressive rock band strawbs theradio england finding stores reported thebbc gave price single friends fam ily friends family sent shops noting rise sales bbc started playing song andsuddenly began sell without cousins underwrite dirty little secrets record businesspayola isnt dead always smelled like story great rare throughout rock era getting record radio major often dirty chore former columbia head walter etnikoff put music businessand especially cutthroat business generatinghitshas always shady side else new better part century equation record business read r p represents sales rstands radio p means promotionor pword blue moon record companies domanage se records dont get radio playthe soundtrack brot art thou bands like anthrax hawthorne heights nnheim steamroller sell considerable numbers without benefit hitgenerally path least resistance togetting hit involves getting song radio callthat least resistance symbiosis radio music business began nearly introduction radio popular audiencein new york times trumpeted questionnaire reveals radio beneficial tomusicindustr broadcasting many instances created desire part oflisteners buy records clearly shown case wendell hall instrumentalist singer visited many large broadcasting stations singing weaf herendered songs three years old andfor recent demand record form several music stores brooklyn reported sudden demand forrecords songs upon questioning found renewed popularity caused broadcasting selections led rapid change role song pluggers suddenly didnt need bring music directly peo ple could reach people much ease getting song radioiwas song plugger years ago said juggy gayles one people invented developed idea promoting music radio means selling records back dayswhen involved getting big bands play regularbroadcasts days looked get songs played onradio today look get records played radio billboard reporting radio stations nat ionwide accounted songs played per day cry radio killed musicshortened life songs already heard late network radio thesystem remote broadcasts bands coupled virtualdeath vaudeville chief source song promotionhad already worked major change business thisremarkable statistic lies answer happened themusicrecord business answer grown rougher andmore competitive ever levels several developments point fact deejays role increased stature past years first isthe fact station management tend ever give thejockey complete freedom selection records power dj led interesting courtshi prituals c orporate america record companies catered vices djs didnt even know get br oads hotel said artie ripp early days record b usine ss make sure disc jockey finished redhead knew blonde hall joe smith dj boston rising pres idency elektra records knows practice ends aguy go unnamed music director wins alan freed hot radio station guy making week music director living sutton place wearing fancy suits driving fancycar going europe week station manager oblivious said oure great job dirty little secrets record businesspayola isnt dead always smelled like going promote news department give aweek begged please dont payola modus operandi way life golden age rock roll percent cases bestdisc jockeys didnt play records money played recordsand got money distributor label would give discjockey month month would pickfrom records nothing didnt play iteveryone fierce competition ratings businessthat couldnt make program stiffs yougot paid guys radio stations got money course ripp agreed interesting thing tak ing money play records would play anyway way might represent capitalism finest study supply demand even adam smith would admireon one hand disc jockeys music directors wanted tokeep month coming time good salary radio week nearly doubled whatmost made however keep money coming tokeep audience listening audiences know songsucks well dj probably even better involveda delicate balance likely smith ripps rose color ed versionof bad old days radio take smack truth l ate h owever us congress took inter est l eveling media p laying fields started hearings tv game show scandal wherein major winner revealedhe received answers advance show congressmen saw kind media play got theylooked another highprofile target found way killtwo birds one stone neither mainstream record industry performance royalty organizations companies collected money thesong owners payed theoretically every time song wasplayed particularly liked rock roll outsetespeciallyascap still pretty snooty let join reason one performance royalty companies bmi represents much early rock roll since major record companies yet finish milking careers doris days andfrankie laines let independent companies break rock androll independents made fortune ascap riaa lobbying congress rock roll convening hearings radio taking bribes toplay music congressmen could answer lobbyists maintain high profiles media time takes money make money feel thatespecially juncture rise popular music rock rollpayola actually helped level playing field new per mers black artists got far exposure ever author james surowiecki noted small labels put recordsthat everyone listening im convinced would havehappened without payola records beat could dance came largely via indies payola almost served vet themafter record company must funds get record distributed funds grease djs ajor companies missed point lot ways ignor ing emergingbaby boom generation idea kids didnt want listen music parents pattipageand perez prado perry como didnt appeal kids wh olistened p ortable radios bought cocacola stations sold via advertising went dances con certs radio stations sponsored failed targeting kids way would fail targeting kids years l aterthe irony largely audience ignored subpoenas dispatched radio rock roll record industries summoned washington testifyi jimmy van heusen dick clark dirty little secrets record businesspayola isnt dead always smelled like wife juggy gayles recalled days hearings clark van heusen impressed clarktold us lawyers told keep cool ask youaquestion already know answer watched hearings followed saw dick clark handle congressional hot seat aplomb basically telling thehearing owner several record companies ifsuch thing payola existed would probably pay thanhe would ever receive one juggys bittersweet memories involvedhis subpoena appear payola hearings issued forgeorge resnick juggys given name one knew george resnickso summons didnt get served sparing juggy agony testifying friends associates like alan freed shot offhis mouth like bottle rocket front committee alan could worst enemy juggy said late dean disk jockeys helped lure cleveland bringhis inimitable style new ork george furness got brought new ork payola thing happened taken saw dick clark thought ill show headlines blew cool shot mouth didnt want hurt anyone beautiful guy genius got taken lot people never gave alan freed dime life used pick tabs went r esult ofthe hearings clark forced divest self many side businesses ancillary hit television show american bandstand ld several record music pu blishing companies deemed conflict interest main business alan freed one powerful djs onthe air got brunt committees ire although finesdidnt amount much could longer find work testimony made industry pariah within seven years haddrunk deathafter hearings government quickly passed law payola th congress voted communications act amendments september stated purpose promoting public interest amending communica tions act impose limitations payoffs betweenapplicants require disclosure payments made broadcasting certain matter grant authority impose forfeitures broadcast service prohibit deceptive practicesin contests intellectual knowledge skill chance forother purposes level individual radio station legislation achilling effect djs since individual djs recip ients payola longer got pick music prevent even appearance influence individual showsthe era powerful dj ebbed decade freeform fm became popular format fell thewayside due selector instead responsibility fell program director outside consultants actually made therecord promoters job easier instead taking care six discjockeys payoffs went program director actually cutting payola budgets addition methodsbecome mewhat subtle whe nhe joined atl antic records promotion team juggy gayles continued give money airplay took andeverybody paid said used give money ogo road andtake care guys program directors would say dont want money itoldthem gave give take deeply ingrained payola consider reaction coed records payoffs discovered thelate early coed slew hits modified doowop songs like crests candles ou belongto duprees last dance harptoneswhen came light us tax court label dirty little secrets record businesspayola isnt dead always smelled like deducted almost taxes two years communications act amendments passed moneyit paid disk jockeys employees various radiostations purpose influencing individuals givepreference playing singles label argued thepractice payola common industry many yearsit said company failed make payments would nothave records played view relationship radio record sales persisted conventional wisdom record industry wehave become year year dependent radio exposure ourrecords without play cooked said warner brosvp creative services stan cronyn last yearsand dramatically last five record business sold onlywhat could get played payola remained like boil skin entertain ment business ou couldnt help aware werein business wasnt evident anyone outside oneftc official predicted end investigationsit may exactly payola itll something else something subsurface terupted gain series angry pustules newark fed eral court began investigate industrys mob connections pay play sex play new variation theme dr ugs play dubbed drugola one f vestigations chief sources within record business former vice president columbia records named davidwynshaw wynshaw righthand man mer company president clive davis company dismissed cloud financial malfeasance involvedmisappropriation nearly columbia money homedecorating sons bar mitzvah within company wynshaw number unflattering nicknames like royal procurer loved job took artists around townwhen came im known copa waldorf iliked action wynshaw claimed columbia spent least quarter million dollars year payola rb stations itdistributed promotion company run kal rudmanwho also published highly influential tip sheet friday morn ing quarterback wyns haw allegedly also ties reputed member gambino crime family pasquale falcone worked talentmanager accused trafficking heroin side airplay company purchased primarily ben efitted african american performers scandal centeredaround columbiadistributed custom label philadelphia international records purveyors records ojays dancehits like hustle wake investigations los angeles district attorneys office began look allegations record companies city used cocaine promote records anice way make headlines observed mca records presidentmikemaitland david geffen president asylum records prosaic concerns headlines feared chilling effect even whif f ahint cokeola would cause radio stations cut back playlists hurt chances getting new talent air joni mitchell starting today said shed trouble getting radio air play climate radio stations afraid take chance new artists unless hugehits theyre afraid theyll questioned whether paid play coincidental announcing aspi rat ions run governor new ork states attorney gen eral eliot spitzer launched several highvisibility soundbite friendly campaigns ballyhooed one investigation dirty little secrets record businesspayola isnt dead always smelled like old standard music business payola instead inves tigating receivers payola congress ands targeted dick clark alan freedspitzer wentafter record companies caught sonybmg warner musicgroup emi universal music group like kids handsstuck cookie jar unable get loose would meanletting go cookies spitzer characterized practice payola corrosive integrity competition corrosive music industry corrosive radio industry essentially scam instead airing music based uponthe quality based upon artistic competition based upon aesthetic judgments judgments made radiostationsradio stations airing music beenpaid way disclosed publicthis wrong illegal investigation several sonybmg promotion department memos became public please advised weeks jennifer lopez top spin increase bought approximately spins acost f please advised weeks good charlotte top spin incr ease w e bought approximately spins acost k ordered laptop donnie michaels wfly albanyhe h since moved wyhi miami need change shipping address work donnieto see kind digital camera wants us order michaels proved problem sonybmg promotionin general addition computer apparently theybooked junket las vegas sony execplanning trip sent memo warning make sure donnieis staying room high fear heights sony agreed stop paying play hire compliance offi cer pay million fine attorney generals office turned rockefeller philanthropy advisers distribution among new ork nonprofit organizations also paid theattorney generals office toward cost spitzersinvestigation internal memo announced promotion company attorney gil aronow post compliance officer warned employees misrepresenting identities order influence theselection music radio television programming andthat includes course calling radio station posing amember general public request airplay forsonybmg tracks would effectively defeat thepurpose street teams however providing radio stations cds dvds concert tickets orother product didnt work promotionsdepartment long afterward warner music group paid mil lion fine andmade similar concessions settle investiga tioninto radiopayoffs emi settled million largest major record company universal music group got hit milli certainly semiserious fines levied corporations one date done real time payola violations despite federal statute pro vided penalties andor incarceration ayear one way get around legal prohibitions simply think song advertisement promoters bought three minute blocks airtime get certain songs radio theradio stations preceded songs announcement thatthey brought listener whoever paid dirty little secrets record businesspayola isnt dead always smelled like played course pdas salesperson adpock eted commission difference whats legal andillegal mostly boils disclosure noted surowiecki radio station announces paid play song saying something like song sponsored aristathen take money doesnt thenit cant although rule hard fast sortsof loopholes determining whether theres quid pro quoand independent promoters take advantage even paying play manner doesnt guarantee hit promotion world payola world airplay world turn terrible record noone wants hear hit dick clark said iran test prove couldnt break record playing record didnt played record every day seven months record tommy sands ive forgotten title earmarks hit wrote letter sealed still sealed never opened ienclosed copy record wrote capitol recordsone largest companies world promoting thisrecord young singer several hits writers aregood p romotion behind record good every indication record could hit except stinks ahit however play every day prove make record exposure alone never ahit ranintotommy sands years later said always wondered played song every day told thestory letter still resides briefcase ive got sealed posteri ty important part cant make record ahit playing hell surowiecki agreed wellworn truism music indus try cant buy hit still believe part true people cant really fooled bludgeoned liking something dontbut beyond heyday payola scan dal would seem spitzers criteria quality artistic competition aesthetic judgments play thanthey went record companies weveseen broadcasting already become pretty homogenized theonly quality radio seems value currently sameness familiarity spitzers stated quest eliminating payola hope alevel artistic playing field didnt necessarily correspond criteria radio programmers looked music put theair wanted better flypaper attracting flies latest payola scandal boiled slapped wrists bitten sound lot publicity putting candidate governor national stage dirty little secrets record business dont payola let independent promotion companies handle acouple friends mine promote records independently use heir contacts experience specialized markets get music released clients markets front many people possible long ago major record companieshired work certain recordings received annualcontract set rules conduct companies expectpromoters hire follow friends called laughingat one paragraphs basically read promoter notto pay play promoter pay play record compa ny knows nothing washington dc call plausible deniability every record company promotion department even one hats worn president sole proprietor anartistrunindie e ven skilled promoters however findmarkets cant crack often theyll get help spe cialists dependent promotion people get right record right person get buzz started juggygayles left atlantic whenever record companies reached animpasse new ork became one goto guys iworked epic worked columbia worked atlantic worked warner wanted new ork city long knew winners andiwasnt picking losers could get played credi bility around stations late early took credi bility get records played network independent promot ers appropriately called network controlled radio promotioni know radio wants one network heads joe isgrotold columbia records president walter etnikoff radio hitwith much product need weed radio knows canweed radio respects radio listens bring themthey play im maitre decides gets restaurant give hit record ill make sure played main difference isgro average maitre isgro gave tips order receive bestturntables handshakes joesmith alan freed might accepted bad olddays payola isgro dealt serious money one radio generalmanager claimed isgro paid excess yearfor four years estimates independent promotion budgets major record companies time range million million year company sixmajors seemed independent promoterscould get r ecordon station worth getting airplay time sta kes record business extraordi narilyhigh b ottom h ad started fall business ignominious death disco popular music majors either owned acquired public parentorganizations ge sold rca records privately held ber telsmann demanded upward trends sales everyquarter r p getting music radio meansnecessary essential took million quarter keepcash flow high books looking good thats theyspent took bands sounded like everythingelse promoters would handle well dirty little secrets record businesswe dont payola let independent promotion companies handle record company revenues went freefall early however someone corporate suite warner communications began look budgets item thatstood left side expense column tensof millions going independent promoters guys corporate paid inhouse promotion departments salaries get reco rds radio also pay inde pendent promoters rare time edict recordcompanies warner corporate told three record labels stopusing independent promotion seemed like good idea tothe folks cbs corporate well columbia cbsaffiliated labels declared boycott independent promoters turned boycott name etnikoff recalled artists furious learned indies would eliminated artists hunger hits much moredesperation labels get around ban labelsincluding would give extra money artists theirmanagers us would hire indies anyway looked independent promoters game didnt turn spigot reallocated money adiffer ent budget line seemed appease corporate offices least minute two however game didnt last longfor isgro network dead winter nbc news aired egment called new pay olainterestingly months nbcs parent company ge divested rca records segment showed pictures isgro associate fred disipio attending rock roll hall fame inauguration ceremony also showed isgro reputed associate gambino crime family joseph armonewhom wiretaps revealed isgros speed dial whomisgro referred partner columbia recordsoffices black rock walter etnikoff fumed sputtered withamixture fear loathing whitehot furywhen saw tape show next day dropped every thing stormed cbs president thomas wymansoffice enraged bullshit said shred ofproof substantiation film guys getting oftheir cars like theyre convicted killers president cbs yougotta something ou gotta put press release call itwhat isa journalistic scandal worse scandal purports expose ou need defend columbia records youneed defend meanwhile industry ran hills disipio isgro dropped every label including choicecbs chairman william paley gave order nbc wanted shut network couldnt succeeded thoroughly wanted wipe payola corruption record business couldnt done worse asit turned etnikoff right took three years usattorneys office deliver sort indictment long andarduous investigation isgro former cbs vp ray anderson andisgros associate jeffery monka faced counts including violationsofthe racketeering influenced corrupt organizations rico act defrauding record companies payola money launderingand kickbacks however trial presented parade ofwitnessestalking payola drugs threats illicit incentives play certain records nearly years legal wran gling thatinvolved three appeals spectacular legal gaffes gov ernme nt prosecutors god knows much taxpayer money cases isgro anderson monka dismissed chargeswere never brought disipio whileisgro et al still caught legal morass appeals dismissals emi president charles koppelman hiredhim consultant teach promotion department promotion strategy koppelman likened hiring joe dimaggio ahitting coach still intents purposes credibility useful ness promoters evaporated careers went andersonbecame president independent rb label dr dream isgro dirty little secrets record businesswe dont payola let independent promotion companies handle went movies producing film hoffa also started label private consulted company called raging bull productions private dr dream among first labels start signing artists dropped majors andcapitalizing followings isgro signed rick james bootsycollins gap band private andersons label featured dash rip rock rich little paul kelly musically end network era augur well consider records year network hit fan year phil collins topped charts threetimes wham twice john parr aha onlyreal hits buying music onto air network ushered insonic homogeneity musical malaise still afflicts popularmusic music network worked tended towardthe middle road radio started regard rock nicheformat height rb whitney houston thecommodores network disappeared branded popularmusic scars remain network finished independent promotion didnt go away however mutate height influ ence network came crashing ayoun g promoter chicago worked independent pro motio nin ne w york andtoiled various midwestern cities anemployee cbs came idea went fcc attorney laid promotional assis tancerevenue sharing opportunity said jeff mcclusky idea take portion income go one two three top stations various medium small markets supply station promotional assistance would work us independents thatswhere started standard speak timeother companies caught way business wedbecome dominant company area basic model promotion mcclusky invented worked like signed station mcclusky station station agreed work indepen dent promoters provided station promotional budget used things like station van themore station could increase profile valueit would hold mcclusky clients thebudget offered dollars van cost noone wiser every week mcclusky sent records wanted stations add usually thered around therecords station added week certain percentagehad mccluskys mcclusky charged record companies relatively small weekly fee bonus fees getting record chart getting top getting top getting top topping chart reaching gold status reaching platinum status cours e level multiplatinum ironically method proved twisted sort way democratic network aided first com mercial wave rap music independent companies put rapcould afford dealing mcclusky members network far pricier mcclusky didnt bring homethe bacon record company pay relatively smallretainer company likely making enoughmoney happy give mcclusky share thenetwork built top mccluskys method couldbuild middle network began crumble dirty little secrets record businesswe dont payola let independent promotion companies handle mccluskys power began accrue many companies started use method one thing mcclusky didnt count stations report ing one thing playing another offered enough music thatmost mcclusky stations could find sufficient mcclusky records toadd every week fit formats proved useful yearsdown line weve seen chart methodology becamemore sophisticated publications billboard radio reco rds sto pped relying station reports g reater reliance verifiable information noted independent promoter radio consultant talent advisor jerrylembo todays benchmarks monitored airplay mediabaseand bds soundscan callout research building joe isgro ran trouble againout side record business march federal grandjury indicted charges loan sharking must havecaught redhanded pleaded guilty two counts andwas sentenced months prison longer dapper tansuccessful music businessman network days joe isgrofaced judge shackles wore prison windbreaker blue chinos hairpiece gone left natural hair w sparse gray antime isg ros successor pound gorilla ofnational promotion jeff mcclusky associates grew morepowerful billboar dcelebrated mccluskys mo reorlesst hanniversary advertising supplement ran nearly pages ads paid major record companies many larger indies film companies local press service providers mcclusky business withlike travelagencies florists limousine serviceslawyers managersother radiospecific trades tip sheets even artiststhemselves scourge independent promotion became watchword around industry way get anythingplayed indies major radio stations contracted work exclusion even record company promotion staff infection began threatening breakthrough surface nasty rash boils record companiesthat want suggest music radio stations gothrough independent promoter hired radiostation exclusive source access radio stationsaid carey sherman president riaa independentpromoters pay radio stations large amounts money orderto exclusive relationship unlike isgro however mcclusky maintained least appearance propriety none alleged mob ties hismethods lot slicker previous indie promotionscompanies paper trail tended least look aboveboardhe legal contracts radio stations invoiced therecord companies like service business companymaintained efficient businesslike demeanor things began change however another pound gorilla case recently coalesced stationstrongclear channel chain began question need mcclusky enough spank could afford vans andother p erks mcclusky brought table rec ognize hat rela tionships independent promoters may appear something theyre said clear channel presi dent andcoo mark mays zero tolerance pay play w ant toavoid even suggestion practice takes place within company whenclear channels contracts indies ran renewed clear channel began using clout stations go directly labels contests promotionsand marketing strong relationships artists record labelsare priority business said clear channel ceo johnhogan eliminating relationships middlemen provide opportunities us create better ways market dirty little secrets record businesswe dont payola let independent promotion companies handle promote music concerned suddenly services mcclusky became far less valuable record companies new ork attorney general spitzer unveiled results payola investigations targeted mcclusky describing business model effort dodge payola lawsand means perpetuate fiction stations notreceiving money gifts record companies exchange forairplay investigation found independent promotioncompanies like mcclusky allowed record companies continue pay radio play songs keeping price hithigh instead record companys employees making thepayoffs could filter money independents major record companies keeping price hit high part idea allowed maintain lock mostcommercial radio dint deep corporate pockets whileaseries handshakes might vetted indies giving appearance enough prosperity get record thepublic price independent promotionkept pretty well game late ss beyond mcclusky peers priced themselvesever higher anyone couldnt afford got shut theupper echelons charts except rare instances public deman outranked corporate money hits independent record companies became scarce foiegras atmcdonalds mccl uskysawhispr omotion business go stations lost business clear channels withdrawal shuttered portion com panycalling remaining client stations telling would renew contracts fund annual promotional budgets past hope wouldcontinue use however valuable source information advice new music diversified interests music business claimed areas jmahad become even lucrative promotion businesssaying made money example consulting pub lishers merchandising companies looking new talent andventure capital firms wanted buy glamour investing music business plan totally stop working record companies promoting records hewould go back old way work flat feerather multitiered bonus system indie promoter lembo reflected promotion postmcclusky things think promoting record marketing support internet activity video mtv vhbet fuse cmt etc print media touring television appearances satellite radio play sirius xm music choice digital music channels certain cable systems motion picturesoundtracks use song television show advertisingcampaign artist top mind comes popular culture eg american idol asclear channel ascended mcclusky fell record business scrambled one hand broadcast frequencies remained monolithic homogenous monotonous ever reaction new choices like outlined lembosprang dideliot spitzer succeed isgro trial failed wash awaythe corrosive influence integrity com petition usic industry radio industry allowing artistic competition based upon aesthetic judgments judgments made radio stations fection ofindependent promotion payola go subcutaneous one thing likely halfcenturyold older rules getting hit record wont changeany time soon song without significant record company support noted new york times jon pareles stands muc h chance congressional candidate without campaign funds dirty little secrets record business arbitron rated symphonic punkcountrydisco fragging format bears repeating commercial radio format flypaper us flies extend metaphor bit mat specialized flypaper targets specific flies sta tions listen know generally set tokeep listening sell advertisers products television nielsen tracking viewers radio arbi tron tracking listeners recently still somemarkets nielsen arbitron accomplished featthrough fairly similar means solicited people randomly andasked small stipend would willing theirviewing listening habits tracked whe nyou agree keep diary pretty much open life toarbitron said radio television columnist larry bonko page quick questions answer age live thinking back six months radio station listen time arbitron asks income amount schooling youve zip codes places live work upon beingselected promised arbitron survey easyand fun easy ep fun thats stretch work arbitronpaid listen radio fill diaries brightblue covers mail back postagepaid envelope dirty little secrets record business arbitron collects information creates elaborate demographic breakdown listens however markets arbitron started use peoplemeters devices worn consumer registerinaudible signals broadcast part radio station signalswhen devices turned data put computer consumers still fill demographic information meters make listeners diary entries makes general information available public like overall radio station ratingswhat company callstopline ratingsthe big news gets collected radio andadvertisers refer book book shows howone station compares another overall also breaks downby part day listeners age income sex raceso station might rated overall full point andahalf fewer ratings station market still demand per minute advertising stationsminute reaches much affluent listener stationsminute howdetailed arbitron research get recent report revealed fascinating nuggets percent chinesespeaking asian americans newy ork los angeles ages listen radio foran average hours week percent listening done chineselanguage stations englishlanguage formats chinesespeaking americans listened adult contemporary percent news percent popchr c ontemporary hit radio percent p ercent attended college percent live households income greater thanarbitron rated symphonicpunkcountrydisco much get general drift arbitron knows lot people take surveys one things report points different mats reach different people example new ork city writing clear channel entertainment owns adult contemporary station wltw urban station wwpr chr station whtzclassic rock station wqcd rhythmic chr station wktu andadult contemporary station walk actually suburban station buttracked nyc stations formats designed via elector databases reach different listeners joe smith noted wha thas happened radio fragmented much deal w ithspecial audiences girls lefthanded could radio sas could disc jockey countryplay range bo diddley doris day without ever considering crossing unknown lines ou programming hit records hit records seemed com monali ty interest looking black audience girls udience older audience consider fastdiminishing oldies formats stations would dare segue james brown creedenceclearwater revival ronettes one thinking twiceabout radio era try recapturesounded like today formats tend run rb orall contemporary hits sounds astonishingly egalitarianandtry finding nonoldies station plays ronettes jamesbrown programmers would believe older hitshave neither relevance resonance outside specific formatsgeared toward older music beyond stations arbitron ratings fall cer tain ar ea oesnt seem reach demographic craves flip formats often causes outcry fans failed format write fcc relief however fcc sstand issue followsthe commission authorized lawthe communications act amendedto license broadcast stations regulate operations respects act prohibits thecommission censoring broadcast matter takingany action would interfere free speech broadcastingafreedom also guaranteed constitutions first amend ment wonder presirius howard stern cbs wouldsay therefore although limited statutoryexceptions general neither fcc governmental agency authority direct broadcasters theselection presentation programming federal lawor regulation requires commissions permission beobtained change radio stations entertainment format report found commercial radio stations us although noted formats change drop arbitron point time popularmusic formats radio excluding news talk classical sportsradio broke like format tations rock modern rock formerly known albumoriented r ock adul con temporary contemporary without hard rock hiphop rhythmic top pop rb hiphop contempor aryall new hot adult contemporary soft rock beat contemporary hit radio chr top song playlist hits time adult album alternative music former albumrock fans still wanna rawk modern rock without synthesizers urban modern rb hiphop spanish actually bunch different genres tropical tejano survey didnt subdivide dirty little secrets record businessarbitron rated symphonicpunkcountrydisco alternative breeding ground rock especially modern rock edgier fewer sythesizers country another variegated species radio didnt get subdivided soft adult contemporary allnew sosoftitssquishy music urban adult modern rb without hiphop modern adult soft rock without oldies smooth jazz aka instrumental pop jazz smith lamented new fragmentation people lot research phoneouts phoneins narrow banding terms outreachto play ludicrous record doesnt makeit aor albumoriented rock called modern rock world aor world invented agroup people wont listen hit record kenny rogers thats awful kenny rogers makes wonderful records last long time people dance hear guys got record lady couldnt thatbe played radio station narrowcasting perceptions programmers putting people bags whatsdifferent f rom back radio course powered advertising format like adult contemporary appeals predominantly womenand arbi tron co nsistently reports doeswhere want advertise tampons format consistently appeals men want advertise beer medium radio arbitron tells flypaper attracts flies manyof often tool said one station owner use busi ness every day sirius satellite radio webcasting podcasting save broadcasting even told one former students subtitle book said radi radio radio radio sucks pretty good idea standard terrestrial broadcasting reputation broadcast frequency spectrum full many urban areas keen competition really doesnt help homogenizing effect stationstake leap sound different stakes high one f adages business way get rich fill niche find problem solve build proverbialbetter mousetrap radio solutions taken three specific shapes satellite radio webcasting webcastings kissing cousin podcasting unfortunately writing none ofthem proven financially viable though getting close relatively recent development broadcast world idea satellite radio brewing decadesince fcc decided allocate gigahertz band fre quencies satellitebased audio broadcasting set price alicense broadcast bands million fcchad four ta kers ofar three companies sky air iriussatellite radio xm satellite radio worldspace worldspace operates asia africa europe xm andsirius com pete north american market sirius terrestrial radio stations ie fm sta tions notdiscussing chapter broadcast analog sig nals n carriers satellite broadcasters use digital signal similar encoding cd recently combat com petition satellite providers many terrestrial stationsstarted piggybacking digital highdefinition version theirprogramming writing jury still come inon whether new format capture consumers cash satellite systems proprietary chip decode digital signal coming orbiting transmitter xm worldspace two satellites geostationary orbit equator worldspaces satellites calledafristar asiastar xms named rock roll aslong view southern sky areceiver proper chipset generally get digitalsignal two stations works well worldspace aimed mostly sta tionary objects houses offices like servicemakes information education entertainment available toplaces heretofore available radio programminghard imagine westerners many places africa asiadont local broadcasters worldspace sees means empow erme nt bringing communications age never went sirius took aslightly different tactic launching three satellites higher elliptical orbits cuts onbut elim inateone xms prime problems xm sirius design hard ware tomove listener make homeoffice sets sets car even sets carried around like personal stereo however xm listeners lose sight southern sky potentially lose signal xm andto thelesser extent necessarysirius use strategicallyplaced antennae called repeaters get signal satellite wont reach like conventional radio satellite sets tend tobe useless tunnels underground places like garages signal cant penetrate writing xm offers channels sirius offers area terrestrial frequencies taken nonsatellite radio listener would theoretically samenumber choices based active frequencies spectrum reach certain parts every listening areabut weve seen many terrestrial stations would overlap compete programmed lowest common denominator xm sirius advantage diversity albeit nar rowcast diversity stations broadcast rockor pop stations broadcast classic country contemporarycountry bluegrass stations afropop reggae asianmusic xm every major league baseball game siriusbroadcasts nfl nhl nba xm siriuss stations commercial free charge writingabout month service million people actually subscribe satellite services accounting approximately percent penetration us householdsspit oceancompared terrestrial radio xm also offers service subscribers satellite television broadcasters directv peoplewho wantto listen radio televisions bothfeature human element announcers guest programmer like siriuss underground garage chan nel produced little steven producer creates selecto rdatabase songs stations sound quite bit like terrestrial stations complete bumpersthe little spots songs identify station offer hint plays satellitecasts bring localhero jocks like markcoppola national audience give rinsedout opposedto washedout personalities like original mtv vj mark goodman home personalities satellite downrightsurprisingbob dylan show rolling stones producerandrew loog oldham rocker joan jett regular slots dirty little secrets record businessare sirius like cable television satellite radio censored end user listener timehonored method changing sta tion appeals personalities like shock jocks opie andanthony xm howard stern sirius stern made jumpto satellite radio getting boot cbsinfinity radiosbroadcast stations sirius offered reported half billion dollar contract service counting least million ofsterns million listeners make jump number new subscribers claimed would need cover sternspayday end got million cite sterns presenceon sirius element could turn satellite service intoaviable brand wealth choices satellite radios key selling point though digital clarity doesnt hurt either however therise cellular web access widespread wifi within fewyears satellite radio could run money thanjust terrestrial stations satellite stations offer perhaps programming choices mobile access internet radiooffers tens thousands new ones going live everymonth web internet radio nothing new got mes sage frommy friend sam pocker saying hed tried audiostreamingsoftware shoutcast im still shaking samhas webcaster ever since currently creates pod casts oreon anon bargain hunters hobbyists andevencollege stations webcasting avoids expensive hardesttomaintain aspects broadcasting actual license purchase upkeep broadcasting equip ment sends signal air professional commercial radio transmitter cost excess canfind frequency getting license difficult insome areas impossible process beyond transmitterstend temperamental technology web radio obviates thatoverhead arbitron reported million americans listened radio web june six times number satellite radio subscribers million four years previous growthpotential huge said john potter digital media association still significant challenges record industry best keep internet radio box law webcasters follow far rules either terrestrial satellite broadcasters owing record industrysongoing fear online space place product toget pirated rules came table part digitalmillennium copyright act example internet radiostations cannot play four songs one artist overthe course three hours prohibited mentioningthe idea recording content aweb radio station find requests balti bangkok boston baghdad location becomes irrelevant although stations like keep things local oneconnecticut station let anyone web access listen butonly people instate telephone exchanges actually register membership membership get theability make requests use interactive elements thestation lik e weather traffic concerts like geared local udience infinity radios vice president streaming media matt tim othy noted internet radio needs use webs interactiv ityto winhe said wehave give much control user possible webcasting allows kexp watt fm station seattle funded former microsoft honcho paul allens experience musicproject reach well beyond miles transmitterwould allow throwback days djs roamed theearth takeover selector art segue continues practiced kexp creating contextfor music said kevin cole one djs take clap dirty little secrets record businessare sirius hands say eahif mix early talking heads see oh yeah thats whats going one services kexp provides listeners cyberia hourlong podcastsbroadcasts recorded saved mpfiles downloaded computers portable listeningdevices predominantly ipod ipod later growing segment webcasters opted method podcastsrange shows like sams national public radio broadcastspodcasters range amateur djs pros kexp according potter webcasters continue operate loss however unlike kexp dont paul allen subsidize though kexp expects completely donorsponsoredby end commercial radio looking phenomenon study bridge media polled radio listeners six marketswho also listened podcasts favorite station according bridge president dave van dyke apparent regular schedule podcast listening key element order radio station receive benefits increased listening study revealed people listening two pod casts month increased frequency regular listening hand like webcasters writing podcasters make profit another technological innovation kexp lowbandwidth stream webenabled cell phones pocket computers somekexp personalities gotten calls emails peoplestreaming internet signal phones carstereos points next step webcastingwidespreadavailability internet radio write first steps toward remoteaccess web radio already started entire cities philadelphia san francisco entire counties inmichiganmuskegon arizona cruz plan becoming digital hotspots first generations cell phones receivers utilizing wifi hit street time book doesonce internet radios available everywhere youll internet walkmen watershed moment said bryan millerfrom woxy former terrestrial radio station made theswitch internet least thats commercial hope certain hardware manufacturers vision motorola announced technology initiative called iradio thatwould essentially kexp fans play internet radioover car radio ford microsoft announced pickup truck similar technology built main reason give contractors work trucks offices theability use computer internet work sitesboth companies stress broadcasting implications fordmobile office system claim also entertainment unitto play mp files listen internet radio vehiclesstereo system long person might able program several hun dred urls favorite webcasts device plugs dashboard steering wheel giving access sites thetouch adialor button voice command mood zouk url uch aswwwr adioantillescom might nonstop zouk online gotta hear mozart someone might set domain www stolzvonwiencom fill mozart jones hardwar e coul deven web crawl find particular piece want hearcall voice recognition element car andthe google songsearch software built car find put onto car stereo nanoseconds none ofthis technology exists dont bet rise web radio could one two ramifications record business one hand could totally obviate itthe artists get music directly web stations get royalties every time song gets played line could offer dirty little secrets record businessare sirius new opportunity record companies profit radio spreads gets far wider thinner audiences artistsmaking music get chance exposure r p equation steroids dietlonger stronger way wayleaner long tail comes radio sheer abundance web stations ease creating might turn goldmine aggregators put station easiertouse format millions millionsof choices companies like live actually done foryears attracting advertisers sharing wealth wealth key issue terrestrial radio satellite radio lot heavy backers terrestrial radio theresnearly century history public companies hundreds case clear channel thousand stations billions already spent launch hard goodsof satellite radionot mention people required programstaff maintain actually dj contrast pretty nearly anyone put together internet radio station live internetradio verge broad penetration kind thingthat scares debentures companies big money invested highoverhead technologypart iii retailing records rock hard place records become commodity face real estate prices profit margins one fthe biggest problems record business faces besides let ting people know product exists actually get ting product people might want buy quandariesfacing record retailers get difficult daily many problems within music business things way always creates far static clears changenever comes easily failure change cause disas ter retail uses recent business model say therecord companies model remained largely half century early part main buyers sound recordings werent stores record salesmen made bulk theirmoney ervicing owners jukeboxes held singles machineswent popular discs pretty quickly days big stores carried large inventories music people would buy records variety stores musicalinstrument stores appliance stores like recordswould sit racksat appliance store theyd put nextto phonographs gave salesmen serviced thesestores appellationrack jobbers sam gutowitz didnt even get serviced rack jobber years prior world war ii ran novelty magic shop indowntown manhattans financial district radio began ascendancy entertainment medium choice andthe depression world choke hold record business took dive like bankers area surroundinggutowitzs storefalling high million gross salesin million customer walked intothe store asked whether gutowitz records gutowitzwas surprised thought records gone dodobirds would later recall remembered actually stepping glassandlacquer basement washington heights apartment buildingso told guy come back couple days negotiated deal building superintendentthe pile recordsfor either beer three cigars story would changewith tellingcleaned resold stack like many gutowitz realized joys music isaid beautiful business wasting time toys novelties seeing records hot commodity got good deal onsome singles previously done time jukeboxes started stocking selling recordings well thathe oved hi shop midtown settled th street opened astore using ni ckname hed acquired kid sam goody goodys name hangs front doors hundreds recor dstores around world adventures record retail ing make agoodstudyas led way discount record retailing came epitomize business lived ups downs record retail music business general represented businesss ultimate goalselling records goody began selling records using merchandising techniques common novelty market heretofore unheard inrecord retailing late saw future vinyl lpsone staunchest advocates lp retail gaveaway turntables operated new microgroove dirty little secrets record businessrock hard place speedsand rpmone anyone bought worth lps lost money short run recognized meant new customers next major merchandizing maneuver marked new lps percent retail list price could sell inch longplaying disk listed since hebought disks still made nearly dollar everythingthat sold keeping overhead percent carrying lps sam goody made record store sensationhosting customers day goodys store accountedfor percent us lp sales grossing close four milliondollars year around time record companies saw new source revenue rely sam goodys world whenyou could take wares directly customer columbiastarted columbia record club summer offeringretailers percent revenue every member signedup deal still makes magazines run ads andthe college students post application cards around campus survey thebillboard asit known time ama jority retailers naturally opposed idea reported hadnt affected sales though percent said hadcut b ottom lines one methods clubs used recruit suckersi mean membersw give away records premium another prac tice con tinues unabated thus new artists even ven erable artists without starpowered negotiating leverage competent lawyer found language similar contracts royalty shall payable respect records given members record clubs bonus free records result joining clubs andor purchasing required number records record business knew clubs wouldnt replace record stores though cover issue thebillboard recordclub story magazine predicted another recor dbreaking year record sales partially attributed rise advertising especially display advertising another thing might accounted rise perceptionof value new york times music specialist robert shelton poin ted change rpm glassandlacquer disk microgroove vinylite minute music record today costs less onethird certainly key factor giving record phonograph sales theirgreat impetus period prices nearly every product economy rose indeed record sales rise new highs mil lion two years hadrisen million shelton predicted happy tunes playing nations cash reg isters age vinylite means ended theindustry brink new era age stereophonicsound observers feel addition new dimensionin music reproduction disks tape add another dimension cash sales flourishing industry kind p rediction might led irrational exu berance g oody expanded aggressively aggres sively forced chapter bankruptcy partiallyit disaster design discount retailing caught n across board goody longer game town markeddown music retail record business rapidly turned thenriaa head henry brief described low margin high turnover business typical consumer able buy say one album often afford two albums total outlayof discount price records make natural traffic builders loss leaders stores didnt necessarily go goody dirty little secrets record businessrock hard place astudy commissioned john wiley columbia records said business grown percent decade predicted record business woulddouble size within next decade end theupward trend yet sight added wiley future hasnever held promise even rate took seven years sam goody clean debts two years pulled company ofbankruptcy floated stock counter ageof rebuilding empire eight stores newcomputerized warehouse queens get product thecompany turned third million dollars profit basedon sales million things continued look hehad expanded cassettes blank prerecorded itemhe saw high salespersquarefoot potentiala conceptthat would become increasingly important also franchised hisname even looked videotape rental though vcrwould arrive home another five years sam goody chain stores grossed million year goody decided agood run time go unfortunately couldnt leave companyto children loved said still c ompeted every thing soon even help taking sides could see thembreaking apart sold company buyer unlikelyas sounds american com pany bought record distributor retailer pickwick inter national year earlier american merged two music companies agreed transaction goody said atthe time company would perpetuate growihave two sons howard barry lot young eager beavers put lot effort building business time sale people worked chain nearly years ruled roost retail records sam goody revolutionized way america bought sound record ings would see revolution wrought like sam goody jack eugster sold tchotchkes albeit head department store chain also like goody russsolomon started selling records ancillary another business case fathers drugstore base sacramentos venerable tower theater ways weregoodys heirs solomon took success record department dads store moved space hewas opening sort store contemporary record buyers havecome associate tower records freestanding opposedto mall store located san francisco capitalized musicof summer love became favorite place thedenizens haight hang store became huge success solomon started expand height towerrecords success chain solomon owned companyremained private recently even offerstock oversaw almost stores four continents billion dollars gross annual sales part success staying ahead curve ofwhatcustomers w antbut slightly said solomon company policy support new technologies matter support anything record companies come withits natural thing us go along program whatever dont awful lot risk either analyze doesnt sell send back jack eugster took musicland record chain waspartof american primerica time retail music division included sam goody led leveraged buyout chain eight years later con trolled percent us music business sales harking back goodys similar achievement years earlier however dirty little secrets record businessrock hard place eugster played considerably higherstakes game goody accounted percent market four million dollars sales eugster accounted percent salesof one billion dollars fast forward decade musicland tower deep trouble along almost record retail havesales plummeted margins foot traffic riaareported people actuallybought records differently recordstore sales hadaccounted percent total record sales number fellto percent went stores rose percent percent even online stores likecdnow amazon dug significant niche online sales asof still accounted percent total business theonly thing gone specialty retail record storeswas overhead anyone modern record store tell takes lot prime retail space freestanding storethekind solomon specialized inmight use squarefeet even mall stores grow carry enough music compete especially mall discount departmentstore thatmight use music loss leader time whe n retail pace canaverage per square foot mall cost upward per square foot along main shopping drag new ork low per square foot ci tysgarme ntdistrict fanciest neighborhood range per square foot strip las vegas average strip thought given profit margin cd especially context astore sells little else contemporary record store concentrates solely cds ou might find dvds cases blank cds players booksmagazines even memorabilia many stores theycarry traffic demands takes space payfor square footnow lets little math even lower end rental spectrum say square foot new ork square foot store costs half million dollars month rental overheadalone brings us margin universal music groups jump start program started trend toward lower cd wholesale price even cd generally costs retailer somewherebetween newhit majorartist release andaround midline cds jump start programs effortsproved little late cds first came theycost percent vinyl albums would ultimately replace record companies assured consumers asthe manufacturing prices came would prices cdsonly never years cognoscenti knew onlycost buck manufacture package cd priceof cds continued rise since retail competition fierce stores cannot charge new hit midline cd thisgives store margin per cd much less percentagethan goody made devised method marketing music retail divide average margin r ent merchant sell cds month topay rent thisdoesnt include salaries interest inventory even keeping lights clearly business mode l becomes difficult sustain every year mikedreese ceo fnewengland specialty record chain newbury comics offered specific details fiona apple getting percent profit margin nickelback points sevendust percent marginkanye west percent margin green day percentmargin new depeche mode sowing costs percent margin majors titles coming crazy costs ou almost wonder planet guysareon dirty little secrets record businessrock hard place rather making things easier universals jump start pro gram made things even difficult get discount cd prices retailers dedicate percent shelfspace umg product hardship umg accounted forclose percent sales also provide third ofthe stores prime marketing space umg free spaceincluded endcaps hit walls listening stations thingsthat record retail used beef bottom line month worthof space endcap could cost record distributor thousandsof dollars added stores net helped keep lightson even retailer join jump start programand get discount universal wouldnt buy space umg would longer provide coop advertising dollars justlike radio split ads helped retailer get traffic intothe store record company paid space stores orchains advertising company promoting hot programrecords month week largest record company world stopping practice retail well truly screwed jump startprogram looked good retailers paper first blush mostly benefited universal longer paid space used costit retail ers c hose get discount universal got space providing discount didnt give universal space didnt get fee anyway might left space forthe three companies assuming three majors sa w fit pick slack lot slack however time diminished returns proof problems seriousness lies obvious financial trouble retail facing phrase fortune maga zineco rrespondent andy serwer used describe situation tow er hemorrhaging money solomon family surrendering percent companys equity bondholders company sale sure beats heckout company make go long termadd devastating effect terrorist attacks new ork washington dc september sales growth already started slip falling percentincrease previous year percent decrease attacksshut virtually everything america week emotional vulnerability shock sadness nation felt coupled physical problems air traffic groundedso checks could transported stock markets closing andthe commodities exchange effectively getting wiped collapse world trade center certain financial recordsbeing lost record business ceased continue sales gainsthe previous year slipping peak billion billion slide continued billion thus best buy purchased musicland million thought bought bottom trough itwas wrong basically gave chain florida investment firm exchange assuming companys debt anotherchain wherehouse entertainment filed bankruptcy twice overthe course nine years still chains fight good fight closingstores try shore profits total recorded music sales slid billion lower years earlier thisslump doesnt affect chains independent recor store hasnearly fallen wayside many ers fthe stores remain open think shutting adailybasis industry trouble said owner yearoldillinoisshop im scared love stores chains survived writing book least filling niche market small california chain amoeba records beat larger chains gameby actually paying staff musical knowledge chicagosdusty groove put much inventory online leading todescribe one exciting record stores country garys record paradise escondido california caters toan audience wants rarities oddities specialties dirty little secrets record businessrock hard place house sam goody fastfood mentality garys owner eustaquio kirby said really record stores science shopping author paco underhill agreed indus try v iews music consumable product ou consume music way youd drink pepsi amoeba thinks musicas tradable commodity durable good longtermvalue means stores carry used records cds percent margin used cd moderate margin needed new albums even stores may feel pinch rental rates retail properties spike fall new orkthe rents drove even revered specialty stores business notedthe archive contemporary musics bob george cbgbs east village institution disappear end august venerable soundtrack theatrical shopfootlight records closed bricks part operation store dark vast historic collectiondocumenting lively arts largely kept intact agenerous donation recordings new orksarchive contemporary music nearly years footlighthas one americas important sources outof print hardtofind lps cds name implies ater film aterials primary focus store also st ocked one largest inventories recordings cabaret ingers big bands crooners pop vocalists present time fans collectors music indus try often combed bins right satisfying sound ronsaja footlights owner since tells time film director nora ephron came search music enliven thesoundtrack sleepless seattle however early sa les inching toward percent online footlight herald ing eventual demise highrent physical space issues caused huge international record seller hmv pull us market five years case wasabout fact poor real estate deals said chains ceo alan giles majority stores wereeither poorly located overrented always gave us amountain climb music business thought ahead far enough might found mps digital compression formatthe answer many expensive problemsbut ithas infamous control issues prerecorded media disappear todd rundgren postulated early notaccounting record industrys stubborn backward reactionto digital retail space ou never go buy prerecorded cd buy blank media say okay want particular recordor want songs record want buy sixpounds michael jackson theyll download andit appear something like minidisc listento home pop portable player listen car delivery medium different much efficient think wont tosend record pressing plant press send therecord store packaging throw away anywaywill disappear dig ital transfer music files medium becomes whatever bottle end user chooses keep lightning web eliminates twothirds cost factors smith sonia ninstitutes richard kurin pointed ou dont produc e h ardproduct dont pay middleman prospect greater dissemination course digital space still accounts less per cent record industrys sinking sales well see however stores close people fewer fewer choices aboutwhere actually buy records stores offer fewerand fewer choices kinds records customers buyit turns vicious cyclethe fewer places buy records thefewer potential sales dirty little secrets record businessrock hard place space considerations retail density ranges cds per square foot floor space tower location per square foot smaller independent store meansthe squarefoot store halfamilliondollar rentwe looked earlier would carry titles stocked nothing cds course record storescarry far cds margin dougmashkas owner store high end density spectrum carrying cds dvds squarefoot space admitted effect pretty figure stores stock less cds per square foot carry inventory cdsdepending floor space inclination even carried onlyone copy title likely scenario crammed theracks high end inventory could still fit onethird available titles certainly department stores sell hits dedicated record stores give space highermargin itemsthey devote less space marginal music catalog itemsthe fewer stores selling deep catalog less deep catalog gets sold wondered percent records soldaccoun ted percent sales try find p ercent ofthe available titles regu larity record stores censorship walmart tippers scales specialty record stores even huge chains tower tra ns world musiclandpale penetration compared walmart locations around country hugediscount department store often represents choic e people buy records within hour live particularly rural areas since mids walmarthassold pop music retailer america accou nting around million million compact discs sold per year average bad store stocks recordsas apart mix runs pillowcases shotguns walmart sell records retailer america often sells cheapest makessense get customer record department usually theback store maybe buy toaster trac tor television towels well department storemargin cuts waysits willing gamble slight loss ona product lure customers buy highermargin items records classic loss leader brian k smith value music concepts explained downside sake possible big firstweek ranking front page flier exposure poweraisle placement next greeting cards candle rack labels sold souls asector developed act develop actand desire develop act highvolume departcensorship ment stores care lossleading addon transactions care addons come theprocess labels allowed product devalued inthe eyes consumer thereby creating situation thetraditional players look like thieves expecting margin sales department stores getonly doit without benefit lawnandgarden department addition marketing store brand place bar gains walmart takes great pains promote maintain image family store certain areas local walmartserves social center even live exurbcum suburb new ork city one larger religious communitiesin area uses local walmart place get togetherschmooze course shop even elements pickupbarive seen dates made people meet customers understand music video merchan dising decisions based commonsense attempt provide type merchandise might want purchase walmart spokesperson explained type merchandise might want purchase answer actually dont want purchase per haps walmart doesnt want sellentertainment curse words nudity violencein short cd conveniently decorated parental advisory warning sticker otherwise known tippa stickas brings us point need back sticker bit selfpolicing record business itresulted accident started avalanche controversy lyrics popular music whats appropriatefamily entertainment made entertainingmoments c ongressional history bloomed one record businesss worst cases agita angst simple beginnings involved ohio family named alleys wh oliked song prince album name one day appropriately orwellianmrs alley went store bought copy far record business approves everybodys happy playing album evening however mr mrs alley stumbled lets pretend married found thelyrics explicit turned volume lest justprepubescent daughter sevenyearold son catch would stopped right prince getting rele gated hours kids went bed except thealleys members delshire elementary school ptathey proposed sort warning put records tomake parents aware profanity sex violence vulgarity injune year ptas national convention passed resolution effect mayor san antonio texas saw opportunity made lot noise similar ratings system concerts disturbingly reminiscent sort filmfootage see wherein klansmen whitecitizens council members talk evil influence rockand claim conspiracy communists african americansnot exactly words jews ptas resolution relatively toothlessit really enforcement power andstopped short calling boycott recordings however controversy princes alleged profan ity sex violence vulgarity pick one two chance blow mary elizabeth tipper gore wife thenfreshman tenness ee senator al gore overheard daughter listening prince time sonic culprit somewhat less innocuous song darling nikki singer finds mas turbating magazine mrs gore compared notes withsusan baker wife treasury secretary james baker thetwo formed parents music resource center bolsteredby pta mandate group used clout washingtonand convinced us senate convene hearing issueof monitoring music industry ratings system similar tothe one used film industry dirty little secrets record businesscensorship one side room members pmrc sev eral senators foes porn rock subject hear ing came referred side sat one mostunlikely troikas performers world popular musicdee snider theatrical heavy metal band twisted sister mellow middleoftheroad pop star john denver virtuoso iconoclast frank zappa festivities kicked senator paula hawkins playing videos van halens hot teacher twisted sisters gonna take giving symposium onalbum covers claimed glorified sex unacceptablebehavior young people snider countered describing practicing christian didnt drink smoke use drugs saying thateverything professionally leader twisted sister wasconsistent beliefs remarked violence thevideo going take shows teenageboy throwing father brick wall stairs andout window simply meant cartoon basedon extensive personal collection road runner wile e coyote cartoons r everen djeff ling pmrc advisor recited lyrics songshe found objectionable popular bands mentors sold copies record released date even publicity hearings quoting lyri cs like sme anal vaporsy face toilet paper inspired committee member john danforth inform ling time denver countered pointing amount availabil ity indeed market songs ling quotedwas small part pop music universe small enoughthat going affect children degree needto fearful star day however frank zappa whose life mis sion always seemed hoisting jerks petard anyway refreshing committees memory reading first amendment us constitution ostensibly themembers foreign press began pmrc proposal illconceived piece nonsense fails deliver real benefits children infringes civilliberties people children promises keep thecourts busy years dealing interpretational enforcement problems inherent proposals design one hasforced mrs baker mrs gore bring prince sheena easton homes teenager might go record storeunescorted pocket young children donot go record store mom dadspocket always say johnny buy book theparent ask guide child away sheena eastonprince whoever else complaining zappa really got heart matters noting smoke mirrors surrounding reagan tax reform package working way congress designed raise nationaldebt lining already wellladen pockets americas wealthiest zappa pointed pmrc circus wasgoing people high places work tax bill soridicu lous nly way sneak keep pub licsmind something else porn rock indeed hearings highprofile wife brought al gore limelight well presidential aspirant ernest hollings beyond caused riaa fold like bad poker hand record companies capitulated adapted parental advisory sticker dirty little secrets record business censorship brings us back aisles walmart albums dressed parental advisory stickers taboo since walmart represents large percentage records sold recordcompanies bands redesigned created alternative covers foralbums released versions cds masked lyrics changedlyrics removed songs altogether artists give sort selfcensorship get racks walmart getting rackscould cost artists percent sales estimated al cafaroformer head records beyond sales however chilling effect artists perry farrell created papierm\u00e2ch\u00e9 sculpturefor cover janes addictions ritual de lo habitual album given walmart second thought pre release meeting record company said thoughtishould consider second cover wed probably sell athousand copies ritual de lo habitual albums walmart whi te cover bands name along first amendment ifyoure artist noted retailer rosenberg want write something race religion politics sex andyouknow going carried large percentage retailers ourein p osition either singing whats mindor selling records mayneed show id wrote rockand rap co nfi dential editordavemars h buy cor ds make mean ingful commentary world youmight able buy place near home sells cds walmart theres anawful lot music cannot buy walmart walmartstocks stores like retail reflection radio even online thechain stocks titles quite quarter number available many artists needed expurgate goodly chunkof albums get shelves artists dont need bother company couldnt get records walmartregardlesstheyre small lowprofile anything reallyas merchandise music walmart tendstoward inoffensive middleoftheroad blandness quirky orcontroversial need apply dirty little secrets record business avoyage amazoncom fortunately alternatives cannot get areco rd store besides walmart dont want expurgated version music age mcluhan arrived live aglobal village anywhere world find inter net connection access one dozens online recordretailers booksellers indeed cdnow cofounder jason olim saw need alternative main reason people would come onlinestore breadth selection said store sold quar ter million different items important thing wasnt always option email usegroups internet opposed web functions available gener ally since compuserv called went intobusiness however many people even aware modemscertainly standard equipment people home computer people hadmodems crawling along baud contrastamodern home dsl line exchanges information thou sand times rate trend toward personal computers becoming truly personal slightly improved home computer penetration united states mere percent thosea scant p ercent internet access took advent mosaic forerunner netscape move web hands solely geekerati realm technological early adapters previously navigating webinvolved knowing code universal resource locators urls hypertext features mosaics graphical interfaceadded new information mouse click away within year number web servers risen number netizens doubling every fewmonths didnt take long businesses smell money startswarming around web like sharks chumfest endof could tour graceland book airline tickets seeclips fox television shows online course buy cds august yearold twins jason matthew olim opened cdnow business theinternet cdnow founded disastrous search forsome jazz albums first listened miles davis said jasonolim unable get good advice introduce tothe genre decided build music store provided customersnot discs also reviews related band informationpersonalized email recommendations real audio samples ibuilt cdnow help people discover music december companies geffen records linking web sites cdnow addition finding infor mation record companys web site visitors could nowclick b uttonthat said want buy open window records page cdnow november people checking olims site every monthbringing themmonthly sales cds monthly rev enues nd monthly profits seeingthat new england retailer newbury comics set virtual storefront another sector music businessformer grp records owner larry rosen opened virtual storefront called music boulevard action people predicting web would become nexus commerce soonthe larger retailers would get online compete withthe upstarts music became popular item purchase via dirty little secrets record businessavoyage amazoncom web cdnow stocked half million dif ferent cd titles part reason popularity buying music online could actually hear music siteswhile fair use proscriptions required clips longerthan seconds web surfer could listen pretty much anysong record cdnow music boulevard sold beyondthat sites others followed offered vastamount editorial content including short artist profiles andreviews even low bandwidth time people surfingat home used k baud dialup modem music streamed withacceptable enough fidelity listener knew song whichhe listening music didnt take much bandwidth led music boulevard start experiment aware collegiates using mp exchange music fileswhy company asked try actually sellmusic online hook ed proprietary music compression technology called liquid audio started sell tracks web site either advances conventional cds ornoncd tracks idea whose time quite come yet even music boulevard realized one thing stillveryinconvenient download song speed three minute ng liquid audios scott burnett said modem youre looking somewhere around minutes however introduction secure web connections made financial transactions possible without endangering credit rating online marketplace boomed amazoncom already one biggest sellers books planet expanded music summer site like cdnow information rich said amazons david risher dont know difference say acid jazz tradi tional jazz free jazz ambient jazz describe theseplus list essential cds genre reviews itsaway learning genre dont wind acouple ridiculous easylistening jazz discs thatll embarrass front serious jazz listeners ability preview records hallmark days glass lacquer record shops listening booths became popular aspect online buying experience brickandmortar retailers started install listening kiosks theirstores discovered record companies willing payfor put certain artists listening stations othershad entire selection recordings available listening byputting pair headphones waving cds barcodeunder scanner competition became intense online cd stores battlefield commerce columbia house bought outcdnow making online arm mailorder operation similarly bertelsmann wound buying music boulevard putting aegis rca record club theearly years new millennium despite fact consumer buy pretty nearly every cd print quite outofprint cds online manypeople seem inclined online sales physical cds continued climb course last five years stillaccoun less percent total physical cds sold perhaps simply culture instant gratificationwe wantwhatwe want want people trust online c ommer ce feeling little suspicious putting credit card information cyberspace perhaps people donthave enough information take advantage choices internet provides ironic situation information superhighway beyond technology taken hold different way people gained access speed onthe internet k even k baud downloading musicwas painful process broadband started penetratedeeper deeper us households via dsl lines cable dirty little secrets record businessavoyage amazoncom television company online services suddenly could download asong less time would take listen many peo ple began explore possibility eliminating reducingtheir intake physical product choosing new digital container digital music five years scott burnett predicted downloading music may look becoming mainstreamdistribution alternative didnt know prescient waspart iv technology recorded three months one mic tracks imet frank filipetti working engineer foreigner agent provocateur electric lady studios green wic h village new ork got know ihad engineer managing music video store block studio sixth avenue would rent four five videos time wife ailing tracked album became regular oncewhen asked progress report foreigner hiswife told wasnt sure working fornearly year twelve hours day really didnt feel anycloser finishing six months earlier processeventually took year half imentioned todd rundgren time later people think hat unless takes certain amount time isnt good said thats necessarily true dont know many times peo ple done best take first take ignorethe glaring errors happens people try get rid ofthe errors concentrate precision less lesson performance may perfectly played feel ofit less pleasant less human ou realize time second month rolls around youre looking forward oure supposed creating pleasurable meaningful stuff happens last thing world want gointo studio go grind dont comprehend guess ends justify means anybody manage get sales thats fine lot guys couldnt possibly think way les paul inventor multitrack technology noted trend cold faultless recording let go get perfectwith feeling early days possible entire nature recording different course record company wanted thebestsounding bestrecorded music lates everything recorded direct disk rememberthe tape recorder really didnt even come shores someone made mistake engineer controlroom scrap transcription disk start itbehooved musicians make mistakes get right thefirst time achieve producers relied great musicianssome rehearsal good charts sessions lasted three hours back objective leaving studio three orfour serviceable sides wh ole pointsaidmitch miller spent lot time making recordings artist ar man ultimately presi dent columbia records ready ta ke otherwise became exercise exhaustion nobody wanted one screwed record initially days wax cylinder recordings werent even made electronically captured acoustic energy dug grooves wax one hardest aspects recording wasarranging musicians achieve balance would presentthe music optimum electronic recording transcription initially introduced still one microphone musicians arrange toward thatone locus even initial tape recorders monaural dirty little secrets record businesswe recorded three months records made themthough tape certainly offered less expensive simpler means recording cuttingadisc lathe especially came multiple takes tape recorder led major economic shift record business longer track involve cutting master nowrecording merely required relatively inexpensive tape andbad takes could either fastforwarded erased entirelywith advent lp robert shelton pointed earliersuddenly perceived value recorded music shot even asthe cost producing came spurred newindependent record companies open business millers day important artists came prepared sessions recording still matter hoursrather matter days weeks legendary english producer manager mickie recalled first recordingwith animals circa ipaid production records course days w erent expensive animals first record house ofthe rising sun playing onstage oudhave deaf hear hit record magi cand made record tour chuckberry took allnight train picked seven fifteen morning took equipment themin truck around recording studio started recording around eight oclock morning eight fif teen house rising sun finished studio cost eight pounds hour twenty dollars days recorded song fifteen minutes youre talking five dollars scheduled catch twelve thirty train southampton continuewith tour said lets album finished albumby eleven made twelve thirty train les paul however would pauls career spans almost e ntire history sound recording gouging arecord like farmer ox transcription turntables building recording modern digital studios early hecame idea sound sound playing one trackonto one transcription turntable plugging electric guitaranother innovations andthe first turntable second turn table playing along first transcription add track process broke another bit prevailing conventional audio engineering wisdom since one recording decided silly stand three feet themicrophone moved six inches away found thesound got lot cleanerthe technique called closemicing found worked even recordingseveral people discovered put several microphones preamplifier volume control hecould close mic bunch people time wayshe improved sound records however biggest innovations came advent tape already legendary technical prowess paul procuredone first tape recorders come united states immediately started tinkering putting extra record head could sound sound one machine howeverthatmethodwas risky made serious mistake time tostart wh ole thingover illustrated scene film th ebuddy h oll story holly crediting les paul idea blows soundonsound dub causing band go back anddo initial track answer problem making paul came withanother idea instead recording head onto already recorded stacking several tape headstogether recording onto different areas larger tapehe took idea ampex came paul affectionately nicknamed octopus monster eighttrack mixer set eight cables octopus leading toasixfoottall set preamplifiers attached reeltoreel dirty little secrets record businesswe recorded three months tape machine twoinchtall tape head quarter inch head used transported oversized reel twoinchthick opposed quarterinchthick tape many years however wanted use eighttrack recorder venture pauls home studio mahwah new jersey beatles first studio recordings nearly adecade pauls studio running albeit quitedebugged still done threetrack recorder abbeyroad would play live studio using pauls multipleclose micing onto two tracks third track could usedto fill anything else bounce first two trackstaking material tracks mixing opentrackgiving group two additional tracks recordas famous engineer producer said needs morethan three tracks fourtrack recording became de rigueur around subsequent bump technology process making arecord became potentially complex consequentlymore time consuming costly beatles producergeorge martin said icannot see need sixteen tracks record ing b uilding ur new studios center london decide sophisticated facilities tracks possible think makes whole business recording far expensive multitrack recording give better sound postpones moment truth ou decide mix going use track quite lot facilities air st udios would quite happy less sorry repeat beatles sgt pepper think wo rthwhile mentioning done four track think main point recording studios today provide modern facilities instantly great comfort sothat artist made feel home theartist producerif never seen track recording console looks something like controls spaceship track essentially controls depending board thesecontrols look intimidating offputting recordingengineers job making sense world gear getting asound one place another place transparently everyone else possible however progress didnt stop tracks early power station recording studio room geared soundfor film industry excess tracks recordingconsole feet wide started four trackwas noted power stations owner tony bongiovithrough track generation spent lotof time studio watched technical side industryevolve pictured track console dirty little secrets record business recorded three months problem particular studio striking correct balance much equipment studio need much rent clients behest expense without losingthe client facility state art charge toplineprices book enough hours equipment merely adequateto clients needs still turn profit studio bringin clients first place much needs spent onadvertising promotion keep room rooms filled cut teeth engineer small eighttrack stu dio manhattan faced challenges daily basis thestudio goodtogreat location relatively shabby building th street eighth avenue rehearsal studio twofloors us sadly owner proved much businessman initially opened studio hope promoting hisown musical career record company attached thestudio expanding tracks renting thespace video production eventually sheriff came aroundchained door auctioned contents nonpaymentto number creditors recording studio business pretty familiar sce nario invested millions dollars business notedanother st udio owner shut doors sold assets urn aroundand charge peanuts percent book ingat full rate must record really couldnt make better reached top us top wasnt good enough trouble studio began console installed one first particular kind city became com monplace console company started lower price ofthe consolethe cost early adapter said studioowner people position ou never win ou put console sell room next guy putsone charges next guy charges producer artist studio owner larry fast noted heyday bigformat studios like record plant power station hit factory media sound etcall goneout businessthe big console tape machine manufacturers extended easy credit prevailing interest rates percent buy actually infinitely lease products theyflooded market product money made onthe leasetobuy arrangements console couldeasily cost million life lease theyd sell toanyone forcing rate wars among studios labelsleveraged drive recording budgets downward illustrative example house music mci console lease purchase cost wecould get book rate hour studio canimagine costs staff health coverage property taxesenergy etc pretty low comparison back neve v series console studio andwere lucky get labels cough hour othercosts gone roof biggest monthly hit toneves parent organization siemens financial services whichheld lease purchase paper write good console could cost million dollars withthe cost audio accessories included board designin g building room buying actual tape andor digital recording system lease mortgage payments agood studioin goo dlocation could set owner back two million dollars b efore ever books hour startbooking hours mean trick folks u sealist studios among conservative world said producer vic steffens studio owner right generally take chances unless absolutelycannot get another place beyond building clientele studio need maintain customers business prevailing wisdom saysthat retaining customer percent easier cost dirty little secrets record businesswe recorded three months effective getting new one many studios retaining cus tomers meant keeping prices low similarly equippedspace could woo away hours severely undercut rateshowever keeping competition rising rents themost desirable areas rising salary requirements staff allthe costs business could squeeze studiosmargin like old whalebone corset billboard columnist paul verna elaborated one studio owner recently told looking early receipts one new orks top facilities wasastounded learn top rates exactly thenas quartercentury later however averageinvestment necessary construct equip topnotch roomhas increased tenfold time according tosources approximately least million big reason increasing costs besides inflation need evergrowing number tracks recordingmixing situations whereas recording projects sand seldom exceeded tracks today unusual foramajor mix require tracks accordingly consoles tape recorderswhich account bulk studios investmentare bigger therefore expensive c asessteffensconcurred ssl nevemight make difference booked kit rebhun studio manager glenwood place studios la also greed im portance board people know right market wants triedandtrue people arent comfortable new consoles even theyre absolutely incred ible dont want sit learning curve isnt time however tracks lead several issues musi cian record company music animalscould get train eight morning load equipment train onto lorry get studio load theirequipment lorry studio set record entire album tear equipment load back onto lorry get n train five hours days might take much time mic drums properly record ing process become long drawn lacks spontaneity energy powered adrenalinefueledwellrehearsed threehour session recordings becomefar precise precision never really hallmark popu lar usic recently paul rundgren pointed human element gets lost theres cost mosts sessionfor animals first album estimates including studio time tape hauling equipment probably cost around rate releasing album little theway upfront costs compared even couple weeks amodern recording studio could cost tens thousands ofdollars even discounted rates fueled intense competition business rise home studios inexpensive digital equipment wrought yet another major change recording business atmy right elbow desk digital fourtrack recording studio competent musician make serviceable demoit cost j ust new macintosh computerseven cminiscome macs garage band functional digital recording program times artist canassemble stateoftheart equipment digital audio worksta tion big dog digital audio workstations pro tools pro gramthat works mac pc artist entrepreneur purchase pro tools several levels free sample program parent company digidesign offers web siteto program comes recording mixing console andsoftware emulators kind effects equipmentany studio could want less days analist studio could cost easily dirty little secrets record businesswe recorded three months computer harddisk recording really got cheap better time lamented wolf stephenson owner leg endary muscle shoals studios knocked socks lotof studios muscle shoals included exacerbate current financial bind recording studios find recording advances gone way downmany artists opt least initial recording theiralbums using digital workstation equipment even means hiring engineer run itor even better hiring engineer whoowns equipment tracking ou buy trackdigital machine four grand railed green street recording studio manager david harrington insane many producers artists feel get budget make record home studio better investment noted one owners nowdefunct unique studios new ork shut doors record flopsat least still home studio recording industry economy forced unique close shop years business still studios owners didntleave business entirely invented several software tools digital audio workstations nd fa llout began earnest b iggestname r ecording studios shut doors unique power station muscle shoals sound studios cello studios enterpri sestudios venerable renowned hit factory closed beyondthe home studios equipment wars recording studios similar fight beginning process making record retail stores end process bringing music market rising market saidgeorge petersen editorial director recording industry trademagazine mixa studio spaces land value far exceed busi ness v alue surviving studios added pro tools rooms figuring even artists record entire albums home record company providing budget might want get mixed pro fessionally still lead loss spark leads great music even recording studio knowevery minute spent eats away bit budget asan artist means production spend long asyou stand get sound right even real feel ing g ets lost process digital effects even tweak sound make precise still artist hears music impor tantly feels music thats way music recor ded artists particularly electronic synthesizer driven music precision hallmark sound may notwork everyone works bongiovi said albeitbefore sold power station musicians singers make music engi neers im producer mixer ive produced lot hitrecords im smart enough know musicians get around people make records much bass treble put record kind microphone use song youre selling musicians playing thatswhat business dirty little secrets record business internet friend foe tool weve already established record industry likes blame new techn ology woes culprit nearly drove record business business radio wasthe compact cassette late wri ting book internet brings mind two great quotes two members one attributed late bass player john entwistle durin g slump asked whether thought reason record sales falling nearly percent anythingtodo home taping thought moment replied think record business put percent less good music quote bard rock pete townshend w hosguitarist primary songwriter came series interviews related webcast lifehouse concert fromsadlers wells townshend often credited one thepredictors internet concept lifehouse concert everyone experience live communications weban idea townshend proposed wonderedif still thought internet good idea replied internet definitely friend music industry many ways growing new internet companies need established artists like focus activities new artistsits direct line general mass population canget early response finished work web fabulous marketing channel built feed back loop never existed recording artistturnedweb entrepreneur thomas dolby robertson agreed worldclass acts wannabes alike reap benefits case point meteoric rise english band arctic monkeys sheffield england band made londondebut long new ears fall single english charts record hit united statesit debuted based nothing residual british buzz caused buzz band made dozen songs available free internet music spreadvirally helped monkeys make intriguing music ofcourse using internet built following grassrootslevel reaching directly fans potential fans finallyreleased first physical product via uk independent companydomino records sold copies britain firstweek best first week album ever sold faced scenario losing audience downloading artists well record companies particularly independent ones discovered peertopeer loading actually helped promote artists especially asthe radio noosetightened richard egan principal vagrant recor ds figured hat label would gone business without peertopeer downloading peer peer like convincing form marketing word mouth taking enough wnershi p aband song introduce friend abig risk responsibility thats powerfully persuasive ar tist development said chris blackwell former head island records owner palm pictures file sharingits notreally hurting ou want people discover artistsy oure building future todd rundgren another technical fellow early adapter things technological early presaged way music business would shake decade later dirty little secrets record businessthere lot hidden channels people arent tra ditionally musicians havent signed record deal somebodyin words dont company bankrollingthe record cost equipment coming andfurther ou get adat couple synthesizersand make records completely end runaround record companies ou could go kind ofequivalent public access data lines revelation came rundgren began seriously reevaluate career years warner bros bearsville records half dozen moderate hits agold record early reputation innovator andapain ass deal professionally label rund gren came parting ways ever fan technologyhe actively involved internet early hesaw way disseminate information anticipatedthe concept faq site id rather someone dial mycomputer terminal punch questions answers wouldall online adventures technology took experiment interactive music abortive cdi format pioneering work esktop video finally led back internet durin gspring opened web site annual subscript ion made music available made offered access online c hats email messages found lot things attractive idea write music time assurance get distributed heard said also show chat room see everyones experience site going theyd like tohave happen rundgrens idea became recurring theme late early years st century height internetgiddiness investors would throw money anything thatthe internet required modem dot com name web music companies public capital burn im leaving majorlabel system hundreds artists going tofollow said courtney love theres unbelievable opportunity new companies dare toget right since ive basically giving music away free old system im afraid wireless mp files threats copyrights anything makes music available people great prince changed name glyph artist formerly known prince set web site npg music club members could download unreleased songs videos alsosold album crystal ball quarter million fans tha n half directly public web site people collective hallucination tosell x amounts records success said noting thathe made money selling percent volume majorlabel keeping profits recordcompanys system exciting part music internet impact could delivery systems added david bowie another early web adapter via bowienet several multifaceted multifariousweb presences record companies may resist web last minute forced action reco rd company isnt exactly jumping board im indifferen ou dont stay record company forever ounger bands started discovering big way clap hands say eah arcade fire sufjan stevensnot mention arctic monkeys united kingdomall thank thisgrassroots community fact selling hundredsof thousands albums noted nettwork records president terrymcbride dirty little secrets record businessnor viral marketing internet sole domain rock pop bands country artist michael lee austin created internetbased fan club giving away memberships musicarmand morin austins record company alive explained creation internet relationships ever hightech marketing strategy needs supplemented hightouch system stay constant contact customers fan base build relationship marketing theres buzzword sort relationship branding allows customers take ownership artist band develop emotional attachment judicious use internet changed artists dont necessarily need radio even vast resources create thisrelationship one leading tools costs nothing useror artist webbased community epitomized writing myspacecom site allows artists post tour datesbios information importantly music communicate back forth existing new potential fans ashawthorne heights lead singer jt woodruff recalled trying get going us would spend least four hourseveryday adding myspace friends w ith anydiscourse especially record business even veteran artists similar points view disagree david bowie feels thatthe lack control people criticize internet iswhative found attractive idea formalizing net awfuland wont happen pete ownshend hand noted bothers internet rapidity change speed changemeans theres academy theres process nobody canteach anybody anything internet becameestablished lecture royal college arts theonly one ive ever done particular lecture said thatmusic would sold telephone lines audience got upthe internet walked couple remained remained heckle say would anyone want however matured music phone lines personal computers became hot topic around therecord business especially music going thosephone lines paid shared dozens hundreds even thousands times internet music genie wasout bottle devising new ways creating mischief everyone record business thought file sharing necessarily bad thing thank heavens wecome record kids want badly enough theyre willing waste precious hormonally infused minutes downloading internet chided one independent recordcompany president internet music sites dont threaten recordindustry nearly much greed stupidity companies tried develop online business model like liquid audio partnership larry rosen philramones music boulevard made live tracks variousartists nk label available internet thingslikerichard barone closest thing old band bon gos ever hit barbarella live right ideabut w ere far ahead curve antime fe arless prognosticators began fear lessly prognosticate saying four years road direct digital delivery music would account percent usic business lighting suggestions dozens legitimate companies tried hand online music business happened worked one legitimate online music sites mcycom aswith liquid audio key encryption along high sampling rates compression company proprietary software player purchaser could also load musicinto early mp player rio changed business model proprietary webcasts made online musicsales secondary part business sold dozens dirty little secrets record businessdownloads consumer thinking point buy could swap aswarners chief information officer tsvi gal said generation people used paying intellectual property bad people butbecause never insisted teaching paidfor industry trying reconcile mistakes wonder record business come back mistakes many fear decade free downloads coupled sense entitlement brings may killed intrinsic market value recorded music one f major problems record business led situation even turn millennium adecade internet age still far easier certainlycheaper free get digital music pirate piratesites deal anything legal music business set red herring research study topic concluded successful companies license database digital music successfully syndicate onlinemusic technology develop subscribership whosemonthly remittances online music firm great enoughto cover demand profits recording industry music artists costs operations mustget users pay content know fewinter net e ntities able make successful meantime nearly major record companies dependent firms tried get pay service right ulti mately took apple computer founder steve jobs job first apple introduced hardware player called ipod thatcould hold upward songs device took hotelectronic gadget apple introduced place buysongs ipod one time eachitunes jobs hadmanaged convince major record companies many independent labels even unaffiliated artists put theirthe internet music onto apples itunes music service unleashed pub lic april end first week itunes sold amillion downloads percent computing public used apple computers thechief downside itunes initially pc users couldnt useit october apple programmers doubt holding noses whole time come windows version program percent humanity subservient microsoftssoftware whims wiles could use ipod itunes theycame market suddenly bunch competitorsreal networks rhapsody musicnet buymusic relaunchednapster name onlyyou couldnt share files time buythem dreaded microsoft even walmart whichin typical fashion undercut everyone selling downloads apple partnered aol promotions pepsi andsoon itunes became popular online music store theunited states another answer came sites allowed users sub scribe stream music computers devices albeit ipodmore like model red herring suggested month sites offered access millions songs recor com panies music publishers blessings provided sites paid royalties customer could stream nearly song could name recent initiatives made even longout ofprin music accessible music fan february itunes sold billion songsthe bil lionth coldplays speed sound early people predicted death cd digital domain inevitable generation thatgrew downloading mp files might feel going storeto buy music way people feel vinylits pleasant little anachronism older people enjoy howeverthis generation gave object fetish item themusical hard good like cds also grew mall culture dirty little secrets record businessmeet mingle malls bring significant social standing shopping especially shopping entertainment software soeven accessing music via internet ultimately becomes easierthan going store might much fun like saying home shopping networks keep stores said phil ramone old story dancingpeople never stay home dance go dance soyou club personality think thats whatmakes musical world tick human nature requires interaction people con curred sony ceo michael schulhof kind interactionwhich specifically occurs record stores believe people stillwant experience firsthand emotional aspect stores mallsetc destination well social experience however years threats lobbying retail com munity finally joined digital fray way could hear thesighs relief record industry grotto sixthavenue manufacturers didnt worry anyaspect distribution digital files except getting paidbusinessasusual course legal downloads available didntstoppeople downloading pp sites estimates put r atio legal pp downloads biggest downloaders naturally younger peoplewho l arger timetobudget ratio generally inter net sa vvy elders survey canadians showed yearolds composed percent canadian population accounted percent pp loading canada largest per capita percentage offile sharers world however another study revealed thatamong demographic heaviest downloaders alsothe apt buy despite perhaps record sales rose percent downturn industry placedsquarely shoulders pp may well withthe internet general global economy report pricewaterhouse coopers observed mid entertainment media industry upswing following three years sluggish growth reaction toeconomic weakness terrorism terrorism remains agrave threat economic conditions countries haveimproved entertainment media industry isexpanding maybe early indications sales dropped pre cipitously falling close percent middle cd sales fallen percent comparable periodin even digital sales reportedly slowing one positive signs decade first sticking heads sand becoming ninja ostrich going attack record companies finally seem willing explore embrace possibilitiesof internet show signs beginning accept agoodly hunk future involves electronic transmissionoftheir product evidence could seen industrys reaction shutdown grokster compared victorydanc e surrounding napster four years earlier however valid industrys desire protect products reported new ork imes trying stop fil e sharing become sisyphean exerci se even hilary rosen former role head riaa single vocal antidownloading champion planet noted certain air resignation grokster ruling might important psychologically itreally wont matter marketplace knowing rightlegally still isnt thing right real world internet via sites like myspace offers exposure half million aspiring artists become key tool findingnew talent record companies managers dirty little secrets record businessassumes course bands want get involved musical industrial process artists sell downloads ringtones also next chapter cds buildafollowing worldwide via web sites internet affiliations fifteen years ago bands would build audience constant touring said paul smernicki fictionrecords youll see groups without record people turn gig sales major label would kicked enormous overheads said david cool standalone records indie musicians thats good living artists realizing themselvesbuild fan base keep control art well aiding endeavor sites like cd baby online record store independent artists sells hard productand downloads keeping sale cd percenton sale download site offers free web page foreach artist along practical advice weekly check provided course cd sells claims get hits day hi suse attitude toward internet many things rundgren proved years ahead time whe nhe opened hi subscription web site recom mended recor dcompanies means subsidized artist development recor dcompany underwrite band promote internet build core audience even one twothousand people lets say get people commitat level year thats cost defray ment right front would essentially loaned artist production whatever dois build small core audience willing pay aroundthe cost cd im distributing electronically make music might normally put cd wouldnt fit concept itsonly minute long minutes long kinds restricthe internet tions giving real estate cd dont exist youre distributing electronically sounded surprisingly similar announcement mer record company warner bros made nearly decade later summer coming elabel subsidiary anartist required enough material albumnoted warner music group chairman edgar bronfman hemade announcement enough excite earsrather releasing album every couple years every fewmonths label release clustersthree songsbythe artist additionally artists signed elabel retain ownership masters copyrights parent company saw asaway exploit web means talent development slash ing cost marketing new artist millions minimal november label taken shape hit web cordless records headed jac holzman foundedelektra records years earlier physical product placein world holzman said pointing using theweb let find test artists greater speed far lesscost money would take make marketanddistri bute inglecd cordless could release songs artists even duringthe darkest days internets relationship recor dbusiness cheerleaders dig ital music business emis former senior vice president digital development ted cohen took record company position rather similar one offered emergent napster position cajoled needled business pointwhere teeters brink dealing online music asbusinesspeople rather combatantsand started hisown consultancy broaden effort futurehas never exciting said going figure outhow make work dirty little secrets record business hardware software demand hip say music politics icet smart ddressed mpcom convention san diego offered funny biting ultimately true reading state digital music among comments subject succinctl ygotto heart people werent getting wealthy downloadable digital music files yet right n ow cant get mp two feet computer many people got computers hooked stereo sys tem notreally happening ternet usic mp going move hard ware c atches christmas mp car stereo christ masof mp home system christmas rio player playing six eight hours shit happens sitesaregoing bombarded people going need conte nt christ mas year supposed hardwired dig ital usic players would introduced peoples homes year downloadable files would start migrate computer onto entertainment systems however exception thealready available digital music players like brujo hadallowed early adapters burn cds mps play backas mps opposed reconstituted cd audio files ofcourse rio prospective marketplace full brio andbrouhaha fueled hyperbolic press releases may turnedsuspiciously quiet september didnt bode well kind quick penetration marketplace people promoting digital music anticipated pointed hardware thanthe software files using mp ab nettrax bunch ofother proprietary compression systems could gotten ontostereos around world lack actual players people wanted convenience digital music demand wanted ability put hours music cdr orload thousands songs onto player worry aboutchanging record record mp downloadicet told convention audience stuck fuckingcomputer im burning fucking cd ill go buy thegoddamn thing people however would sooner burn thanbuy evenperhaps especiallynow time several pieces audio equipment allowed compressed music files migrate away computer andinto realm home audio components home audiosystem aforementioned brujo mpcd player came outduring summer sold around bad pricepoint earlyadapter technology first player kind played traditional compact discs also cdroms cdrscdr ws ndisos well mps allowed listener put h w orthof music one cd cd burner computer play home sound system several similar players came along upped ante allowing people withdvd b urners play dvds svcds well cd formats mps people preferred take hour cd road portable cd players starting player calledthe genica functions popular portables additional advantage playing mp discs traditionally anything mp players could consideredtraditional chipbased rio introduced latter part ofthe continued allow mp play music repro dirty little secrets record businesshardware software duction without moving parts however pointed speech held two hours music alowerfidelity setting around time harddrivebased ipod progenitors began show well portable personal jukebox thehomestereocompatible songbank based harddrivetechnology jukebox used smallsized sixgig harddrive held songs unit six inches longby three inches wide inch thick weighing little overhalf pound size paperback book sold forabout unfortunately downloadable digital music broken underground like spring crocuses via peertopeerservices one hand liquid audio mcy theirilk hardware would take digitally downloaded music computer onto living room thecar stereo remained buried mainstream audio merchants carried brujo could use digital filesif cd burner computerstill fairly expensive option rather standard equipment become products playing digital files available inamerica required computer point process w ords might llow music takenaway co mp uter didnt necessarily get music away comp uter et w ordmusic doesnt even appear index hisbook theinnovators dilemma clayton christensen might swell h ave writing book emerging digital music business digital music files players exemplify hecalls disruptive technology example cites harddrive industry developments allowed drives getsmaller yet available disk space time kind change occurred company brought changechallenged market leaders ultimately toppled disruptive technology framed marketing chal lenge christe nsen wrote though italics mine tec hnological one unless identify potential customers convince potential customers need technology find price point works gear destined great technological scrap heap consumer level entertainment technology develops pretty standard curve particularly hardware new component format comes initially welltodo gadgeteerscan even touch eventually depending marketing howwell product among firstwave earlyadapter gadgetbuyers price starts come item becomes mainstream think dvd mids else doesnt sell andvanishes think dat digital compact cassettes oull always certain amount ofi dont want call elitists people cutting edge new tech nology russ solomon head tower records mused lot ofbrandnew electronic machinery gets bought reason ne wpeople buy thats hobby doesnt cre ate mass market actually sold awful lot dat machines iv egot one never use ive got course thiscurveto even chance develop product come market take aforementioned songbank june creators announced revolution ary system would allow make compressed digitalcopies cds unit also would come modemand network connection allow eliminate computerfrom process downloading music directly web toyour stereo could create possible database songs songbank almost cds worth music whichwould blow capacity cd carouselsup point dirty little secrets record businesshardware software way getting even close much music onto stereoout water especially consider youwouldnt put entire cd system thosesongs wanted august however company begun sec ond thoughts dwight griesman head marketing lydstrom parent company songbank explained rather rush market product good perhaps outstanding consumer state decided tofinish integrate improvements technology also working consumer electronic manufacturers hopes compresssome traditional product lifecycle perhaps wontbe two three years products come tomarket reasonable price points another piece musical technogeek wetdream hardware announced may became vaporware september indrema paper would musiccapacity songbank indrema would added digital videonot unlike panasonics thennew settop digital video unitor tivoas well video game capabilities making virtualdigital home entertainment center box personal tv beginning take indrema market ing manager yana kushner said know mp enormous potential market offering entertainment systemthat well graphics subsystemis mindblowing instead tallying holiday sales spring company closed shop victim like many technologycompanies time burn capital songbank product name finally came hardly resembled griesman described intervening half decade digital music hardware marketplace grown little conservative still stability plutonium reality marketplace moves awfully damn quick griesman almost prognosticated arranging trying arrange variety different part nerships give us flexibility adapt market unfolds example market turn besubscription based well able support sort subscription service turn traditionaldownload basispurchase albums purchase tracks whateverwe working streaming capabilities well everything weve done comes consumer music lovers perspective automotive frontier presented largest array options early adapters using direct wire adapter portable devices could used car audio addition several harddrivebased mp players car eachcosting around holding songs systems basically removable hard drivesinstalled trunk car could plug computer transfer files one early adapters market ted cohen marveled ability gigabytesof musiclarger many peoples record collectionsat fin gertips ashe dr ove la automaker ford digital wireless phone technologist qual comm b egan working product called wingcast way allow consumer among things access internet music hisor car well integrate cars onboard com puter sy stem expected available models projected would become common proverbialamfmcassette package instead dissolved partnership gm still automanufacturer using telematicsas system calledalbeitwithout internet component via onstar system move similar qualcomm venture though geared pedestrians rather automobiles korean lg information dirty little secrets record businesshardware software communications best known states monitors put integrated cell phone digital mp player cyonmp allowed consumer download music right flashmemory phone without access computerasimilar phone finally came america late bastardstepchild status digital music files selves slowed hardware process crawl legal downloading files remained state hitormiss chaotic flux therecord companies upset unto legal action pp users andwere none happy people using readily available consumer software rip songs cds hard driveas mp files regarded prelude ppmore oftenthan correctly software element mp file true disruptive technologyeveryone mps part wereat everyones favorite price point free brouhaha surrounding act downloading spread word waythat envy marketing professional et thehardware failed disruptive technology could havebecome mostly investors became risk averse dotbomb musics owners found legal wayof distributing product internet pieces mpfri endly hardwar e came market lot difficulty finding retail space especially big box stores sold audio equipment cds part c ompanies made products tended small also generally run technologists intenton inventing better musical mousetrap without clue get retailers excited get product intostores cases money went rd manufacturing leaving little necessary sales marketing somealso point musicalindustrial complexthe bigbox storeslive die brands like philips sony panasonic allhave convenient ties record business companies werenot put one product would actively undermineanother would happily cooperatively business stores sheer customer demand got riointo storesmore computeroriented retailers audiodealersthe brujo generally available samemeans music played itthe internet took exceedingly deep pockets apple founder ceo steve jobs create first truly disruptive technology inthe digital music hardware world ironically making use one ofchristensens favorite examples disruptive technologythe evershrinking size evergrowing capacity hard disk driveswhereas competitors done little consumer outreachin market jobs wherewithal create masterful pieceof marketing ipod ipod toy signature white headphones became status symbol sign discretionary income musical taste technological savvy piece came representintroduced toward end songbank somany pieces digital music hardware turned vaporthe device demonstrated timing problem indeedseveral players come market limited suc cesssony smaller player held couple ofdozensongs creative nomad large unwieldy piece equipment c ombining apocketsized footprint capac ity thousands songs ergonomic controls people regarded advanced digital music player mar ket ipod b ecame generic name mp players quickly perhaps one object replacing spaceconsuming fetishobject represented record collection helped jobs threw companys marketing muscle behind product series television commercialscombined million magazine inserts slogan theaccompanying itunes software made digital music fans cheerwhile making record executives blood run cold rip mixburn introduction ipod dirty little secrets record businesshardware software harddrivebased players sold pieces within three years apple released four generations ipod sold million units everything icet wished forit could play nearly two weeks worth music go anywhere attach homeor car stereo hardware finally caught revolution revolution going mainstream noted last chapter took major labels allowed consolidation copyrights onto onesystem feat took jobs accomplish kicked thelegal genie bottle long consumers coulddownload music major record companies legally fromover dozen places according survey forresterresearch percent yearolds planned buy anmp player course year forrester foundthat percent people demographic actuallybuy downloads pointed better half alsoshare music via cd exchanges emails blogs local networks however promoters sharing theyfound also buying another disruptive technology advancing leaps boun ds alongside digital music world cell phones gone expensiv eluxury item wealthy mainstream item achieved percent market penetration united sta tes percent per capita penetration swe den ita ly austria united kingdom many people owning multiple phones many people use cell phone p rimary even phone sales increased technology also followed moores law doubling power every couple years one area thisbecame highly evident development ringtone ringtones initially played melody line gained thecapacity entire computergenerated arrangements finallythey able play actual digital recordings favorite songsrecord producers concentrate edit hit singles also separate second snippets ofsongs potential ringtones considered passing crazetrumpeted one ringtone web site ringtones account formore percent global music market overtaking cd sales sooner expected thats something artists really especially pro ducers said greg clayman mtvs vp wireless strategy andoperations begin think different placeswhere music heardbooming cars computersstereos ipods also phones slightly less year example company called bling tones sold four million ringtones artists playingwith medium isnt fully formed said bling tones vp ofar jonathan dworkin mobile content used retailand promotion powerful promotional tool builtinto actual product episode hit television show csi new york exam ple one characters cell phones rang song lets talk band coldplay public availability ring tone announced commercial aired right scene artists havealso started exploring digital means deliv ery ted co henhelped ake rolling stones abigge rbang available cd also memory card phones computers similarly canadian pop stars barenaked ladies relea sed recording available usb flash drive called barenaked stick evice contained songs al bum art photos videos variety goodies took half decade mp players general gone mainstream wake ipod one thing big boxstores finally seen digital light consumer buy cd player spin hour cd ofmps disc player compatible dvds cds burnedmp discs hook television stereo dirty little secrets record businesshardware software record companies mainstreaming digital music almost felt like capitulation succumbing inevitable since hardware manufacturers owned many software companies opted play carefully upstart technologynearly walked away business predict applewill become dominant player music business boththe hardware software perspective taking majority retail market share perhaps even acquiring content distribution almost symbolic victory company retained right use logo digital music products though beatlesapple corps said apple computer violated yearold agreement gave apple corps exclusive use similar trademark music business perhaps upstart applesconquest former upstart beatles corporate interest indicatedthe record businesss inevitable course back high school friend mike good fortune good grades spend summers working atbell labs would come home excited stuff hedseen man would tell us things theyre computers arent going even see another years u ntil everyone catches technology unfortuna tely took record business years yet get speed spring many record labels including majors renewed licensing agree ments withitunes fo rmonths thatin fashion typ ical business either kills geese lay golden eggs exhausts start laying leadthey lobbied raise price front line new hit recordings web site charged leaving everything else price point jobs laid mightily chiding greedy really steve insisted price point essentialto continued success itunes service held dirty little secrets record business record businesss possible hope success digital domain certainly marked first time anything even madeadent free music ethos creating simple comprehensive legal way getting content digital players revolution finally became portable absolutely thanks record industry icet must pleasedpart v audience atouch grey boomers grow grow old pete townshend tender age wrote anthem ag e called generation one controversial lines song whos lead singer roger daltrey stuttering hope idiebefore get old last saw pete roger facing along members ggggggeneration still song says lotabout baby boomers whe n w hofirst sang lyric hope die get old generation gap anthem asserted sunsentinel book editor chauncey mabe meaning hope die rather become afat old hypocrite seems mean hope stay young die old age would music business without boomers postworld war ii generation born approximately author former mercury records presidentdanny goldberg calls baby boomer aging hippiethis would describe many people work record business indeed people work especially leadmost businesses people skill ta lent experience ad di tion forming foundation record business baby boomers original rock audience alesser extent rocks driving creative force though innovatorsthat would fall generation babyboomers embrace rock might small localized phenomenon record business might never grown toits present proportions historian donald j mabry asserted rock n roll became dominant musical genre united states young people ages listened radio bought rock n roll records andwatched american bandstand national television noon nd movies featured rock n roll music nyu professor herb london claimed revolution sensibilities core rock roll happened america benefit baby boom generation according london rock revolution rivals suchpolitical upheavals french revolution although lessbloody revolution argued followed classic sociological stages proper revolutionincipient change reformactive revolt equilibrium reaction restoration onereviewer put professor london characterized rock litmus paper contemporary culture clearly baby boom caused major social upheaval sud denly questioning authority social mores status quowent verboten almost mandatory right passageboomers could based sheer numbersbetween n umber live births nearly doubled cours e whil e enormous percentage people happen tobe age didnt necessarily make us consolidated mono lithic bloc example extremes youth cul ture like liberalism movement represent majority young people stretch imagination didset motion counterculture music drugs long hair freelove respecting authority authoritys sake playedan important role society turned creating anovert generation gap giving masses youth voice hadnever known dirty little secrets record businessatouch grey baby boomers continue make enormous percentage population america began feel full impact tail end baby boom boomers born thecourse years accounted percent population age groups selfreferential gestalt outweighs eventheir sheer numbers much selfaware individuals boomers also enjoy power boomers havingthe sheer strength numbers behind dartmouth economist joyce manchester wrote baby boom generation prime young adult years ranging biggest cluster around behavior cohort swarms labor forceclamors home ownership borrows finance commodities well children far reaching effects economicpatterns united states nearly years later leading edge key demo graphic faces turning bulk gen eration created notion youth separate realm experience knowledge children even grandchildren yet still equate peers withyouththe baby part baby boomers dontwe want grow old gracefully dont want grow old atall baby boomers li terally think go ing die get old said pollster confirming mabes contention study done p ollster sresearch firm found baby boomers defined old age beginning three years actuarial tables say average american dies boomers reach wecan wonder concept old lie important books purposes music played important often defining role baby boomer experience boomers never stopped listening boomersparents might listen glenn miller get nostalgic boomers goto see creedence clearwater revisited dance aislespeople like us grew took music us said allan pepper owner late lamented bottom linenight club new ork parents grew big bandmusic tin pan alley put music aside gotmarried raised family generation kept buying records andkept listening beyond else baby boomers hold economic reins us around world doubt approximately million boomers still represent pound demographic gorilla demographer william h frey noted inmiddle age prime earning years baby boomers economicclout reaching peak past group continuesto shatter precedents set earlier age groups boomers reinvent lifestyles consumer patterns course made baby boomers prime target mar keting advertising better way reach thanvia rock icons artists unimpeachable musical personal integrity like bob dylan paul mccartneyappeared advertisements kaiser permanente fidelityinvestments respectively meantime rolling stones taken alleged million microsoft appearin various promotions windows turn promoted thebands songstar meup appeared ads ameriquest mortgage also sponsored stones world tour campaign swere appearances successful baby b oomers c onsistently bought recordings thepast decade younger compatriots yearolds older accounted percent sales ver sus little percent people years old difference even pronouncedboomers bought percent music percent bought people predates downloading internet points topossible roots decline prerecorded music sales howeverwhat happens music doesnt speak us music dirty little secrets record businessatouch grey hear lures us record stores could possibly nearly percent decrease cd sales lastdecade fact boomers less goto stores children wellswapping music files older demographic missing canadian record industry association head brian robertson observedin one disposable income past decade hasnt gotten much better lost audience music business broke faith main supporters akid talking bedrock folks stone cars yo u drove feet birds perches using beaks play rock music real rocks spent discretionary money two main thingsguitar accessories records werethe black plastic kind could scratch stuff oh yeahi also b ought concert tickets snacks iwas poster child music business marketers heard song fm rock station moved cracked open thepiggy bank begged mom dad money piggy invariably empty bought record industry rose overthe largely way toyearolds like use discretionary funds money ran tens billions ihave two teenagers im also music industry get pretty much record want asking andthey know ou know many records theyve asked forrecently none music fans childrens demographic download ing music become de rigueur many yearolds neverbought cd think f music free commodity early branding could devastate business business deserves lost audience childhood even several generations music business owned yearolds sina tra elvis beatles even m\u00f6tley cr\u00fce bonjovi kids music business liked call core customers constituency bought music rate billions ofdollars year record companies still see demographic despite evidence contrary wallow thisparticular fallacy gearing promotional dollars radio stations focused youth market despite increasing difficulty getting music onto stations decreasing playlistsy et ignore folks like hardcore fans raised records infavor generation kids raised robbery convince record industry older demo graphic one worth targeting becomes hard becausethe business sees teens group breaks easytoreachmonoliths x percent listen rap percent popboy bandsgirlgroups z percent punkpopmetal perceives kids easilyswayed peer pressure friends record chancesarethey want well becomes less less true every year sales eminem nickelback destinys childetc logic still work enforced ramrod conversely usical interests yearolds gen erally expand get older travels life time expos e listeners different sounds less influ enced thers hese music fans develop continually changing personal tastes teen wouldnt listen sina tra opera john coltrane bet may count one pas sions sure peer pressure still exerts subtle influence adults coolness factor still applies one record exec explained tome terms dinner party album du jour cd gets puton dinner everyone goes execs example norah jones gained traction thateventually led eight grammy awards sales million albums however longer sell adults things friends buy diffuse tastes make record companiesless interested group whole reasons obviousto feed behemoth business become conventionalwisdom says major label sell copies ofany given cd break even ive seen figure cited highas two million creates alarming situation percent albums major record companies release supportthe percent unfortunately us right themajor music business retrenching happens waves amajor one declining cycles happened lastedafew years introduction cd pulled us wave might capsize major record business since depression seen percent decreases recordsales majors seem busier looking scapegoat trying find actual solution problem save scaling backon employees signees independent record labels create music reach rockandroll adult already putumayo verywell world music making tidy profits cds sell thousand copies concord fundamentally jazz label long standing recognized part lost audience andrisen occasion signing artists like barry manil ow andraycharl es fallen favor major labels supported barry sold con cordand ray charles even better selling excess three million copies earning eight grammy awards processwith momentum barry went back home major labelarista topped charts music reaches demographic demo graphic becomes aware problem course forevery boomer buying barry manilow six might like dirty little secrets record businessthe lost audience burn every buyer putumayo world collection dozens wouldnt let music get played carand every fan band dozen groups independent labels would love label could get themusic question becomes market adiverse group would sooner listen oldies newsradio majormarket stations getthem renew passion music reach nichein business century old history mass marketing business create promotional channel reach adults beyond r p especially since weve seen even gettingpop product airwaves turned fierce bloodycompetition taking prisoners leaving survivors therecord business seems missed misinterpreted widespread changes symbiotic relationship radioin trip denial seen radio beacon ofmedia independence answers central control largepart four five major media companies local programdirectors less less power program thedays local hit dwindled nothing time ago entered era local programmers hardly anypower w diversity ruled constriction become name f game ironically also seen worldwide centrally con trolled stations may offer part answer dilemma playlists controlled tightly barely move xm sirius digital cable radio reach adult demographic centrally programmed channels hundreds speaking specific audience logic people inthis demographic would likely spend money subscriptionsto radio programming diverse enough speak themseems sound paid subscription radio reaches people withdiscretionary income become disenfranchised radioin general internet radio also chance recent carp copy right arbitration royalty panel decision web radio royalty rates sent lot internet radio programmers reeling thegame recently started regrouping recognizing viability medium artemis records stated willissue free licenses nonprofit internetonly radio stations thatwant webcast music adultoriented artists like rickielee jones warren zevon label might one ofthe smartest promotional moves young millennium internet offers viable possibilities record compa nies could mine lists fans people buy music creating optin direct email marketing music listenersfavorite artist artists ilk record companycould send song link song likely listeners ofcourse begs question find likely listenersthe initial research would cost fortune though internetagain might make simpler information mining done rightcould turn valuable ancillary source income someone figures generate mining stream firstplace companies artists figure get audi ence site least half battle awebsite called pa ndoracom fo r example use proprietary database called music genome project core created p rogrammers musicologists breaks songs hundreds f musical attributes matches elements likemelody harmony rhythm orchestration lyrics vocal style withother similar music access site asks input name favorite band starts streaming music bands similar genome thinks might likeit even gives reason thinks might like dolike music give thumbsup pandora plays morein vein dont give thumbsdown stopsplaying song adjusts accordingly technology rocks dirty little secrets record businessthe lost audience world amazing source music previ ously heardand humbly add takes nowwhat company could mine information suddenly hasawhole profile sell record company marketers kind music want hear marketers turncould reach promotional offers make awareof artists unlike spam get mighteven want hear offer tel evision presents another possibility reaching lost audience especially two things happen web technology andtelevision start converge niche cablesatellite networks continue spring like crocuses spring broadcast advertisingcosts fortune cable advertising costs lessstill pricey butyou buy seconds wee hours morning somecable stations sell handful cds bring peopleto web site get word could reap returnon investment course theres old standby print especially postseptember days print ad revenues fallenthrough floor magazines newspapers zines certainly remain costeffective advertising vehicles even amusician record company trying reach audience lacks advertising budget good pr campaign correct hook get people onto internet record store perhaps record business beginning get terrible year g eneral record business cd purchases actu ally went percent among consumers ages nalysts credited phenomenon norah jones rod stewarts great american songbook earl years new millennium seen many busi nesses go cataclysmic changes people continue todo business nothing changed last years getleft dust eventually thats nature things ironically things music business change landscape beginsto look like years ago many small compa nies early stages reaching least reaching totheir niche audiences making living coursethe methods marketing different suggestions offer sketchiest outline approach thisid marketing right instead writing book knewdefinitively get done person gets science might become wealthiest person forthcoming economy least far record business concerned theaudience waiting reached dirty little secrets record business embarrassment riches entertainment options today hey kid wanna buy record video game music business still counts kids phrase lips every record executive least long ive beenin b usiness putting music kids thanks dad ifkids arent clamoring music said russ crupnick arket research company npd group lose sales younger consumers also parents less likely shop music section behalf children thesedays youthful dollars inspire heavy competition number leisuretime options yearolds canspend money risen exponentially since last personallyinhabited demographic teens would rather play video games listen musicand younger aspires acareer musician boys also spend lot time internet rarely listen music surf load music even infrequently although still andconsidering dad maybe dont know number songs hard drive certainly dont havemuch way hard good music cds either got themor went bought according statistics theyrepretty average terms media useif every teen internetaccess downloads tracks still amounts lot music areport dfc intelligence claimed world wide interactive entertainment marketwhich includes consolevideo games games personal computer online games andportable gaming systemswould equal eclipse music business gross assets billion dollars put perspective riaa reported record business sold bit billion dollars worth ofgoods mild upswing percent video gamebusiness meanwhile sales billion percent rise overthe previous year cd sales risen almost imperceptibly since video game sales doubled doesnt takean abacus figure maybe theres connection vid eo games one hellhounds record busi nesss trail according report national association ofrecord merchandisers college students spend video andcell phones music average college studentpurchases one cd month might bode worse theretail business music even record business general money students used spend cds goesto devicesfor portable digital content likely music recent data younger consumers several reputable research organizations kaiser family foundation forrester research alexander associates revealed ton interesting information way younger americans use entertainment media television percent us children ages lived homes televisions percent three home dirty little secrets record businessan embarrassment riches half television bedroom television accounts percent media exposure age group half factor inmovies videos video gaming percent us youth video gameconsoles percent boys would rather play games watchtelevision males spend average hours week playing videogames percent gamers leisure time spent playing videogames pcs percent us homes children betweenthe ages pcs percent internet connections americans spend average three hours day online instant messaging become popular onlineactivi ty among yearolds percent ofteens older percent broader toyearold age group use im opposed percentof adults p ercent oyearolds said could live without pc twice many couldnt live without mobile phones oung people ages spend anaverage hours per week online yearolds consume six hours media dailyunless count double percent time theyuse two media simultaneously rises eight hours cellular phones nearly percent yearolds mobile phones active mobile phone users spend hours week theirphones talking four hours week using data services oung females spend hours per week mobilephones hours week spendwatching television percent teens downloaded least ringtones thethree months preceding survey percent people surveyed said paid textmessa ging p ercent custom ringtones percent games percent active gamers downloaded game theircell phone say modern consumer faces unprece dented number choices entertainment media dollar doesnt affect youthful dollar according entertainment software association average videogame player years old playing dozen years around percent americans years old play videogames women comprise percent video gamers indeedwomen years old represent bigger share video game players boys years old well see time said rob smith editorinchief xbox magazine maybe eight e ars well someone white housewho grew playing video games music market stagnated face draws discretionary entertainment income part reason hasto perceived value new video game cost perhaps twice three times cd sells offers hours game play experience often bears dirty little secrets record businessan embarrassment riches repeating know family played pretty nearly every game nintendos legends zelda franchise several times andmario timeless addition perceived value prerecorded music changed since robert shelton compared cost one minuteof music lp one minute glass lacquer snow fifty years road economist barry ritholtz sees thatdvds far better investment cds pretty obvious intelligent consumer cds lousy deal suggested retail price get minutes prerecorded music sometimes even get thanapage liner notes comes cheap jewel case certain break eventually compare cds withdvds amount moneyand often lessadvd delivers two hour feature audio video gorgeous video quality informative booklet andor decorative case pristine audio extra features outtakes deleted scenes making filmdocumentaries interviews director actors writers entertainme ntdollar delivers bang buck cd rdvd central planners music business failed rec ognize oligopoly imper vious e conomic pressures course r ecordindustry would argue cd deliv ers experience people often want repeat daily basispeople play favorite music something might piece media linearly demanding asadvd especially movie however record business sagged like aging weight lifter adams media researchreported consumers spent billion movies thehome exceeding gross take theaters rental shops byfive billion dollarsthe record business keenly aware losses sources started twig past years join em since cant beat em record companies andthe video companies gunning demographicpeople disposable income want spendon entertainment time video games benefited fromthe record industrys willingness license songs recordcompanies benefited extra exposure yearold son singing along thats life astonishmentof wife told us learned tony hawk unde r ground game also features doors rid ers st orm central strategy said emi music evp adam klein get music people thatsense video games key part strategy impact musical introduction mtv radio added steve schnur music executive video game publisher electronic arts video games record executives bemoan fact failed teach consumer value cd however billboard ed christ n pointed maybe im slow mark seems going pricing entertainme nt formats matters consumer label execu tives justifications current cd pricing structure dirty little secrets record businesspart vi money music education buddy spare dime person eats swill judgment make wha kind swill likes person hears music thats played radio exposed small por tion much greater musical spectrum make judg ments based small universe music hears record business especially major companies counts way radio stations done business afavor limiting amount kinds music theyll play asmuch record companies bitch moan limitedplaylists allows limit kinds music try bring market radios musical content grows uniformly banal gravitas artists radiothe sameartists receive marketing dollars record companiescontinues diminish sure major companies continue pay lip service marginal divisions classical department aking features syndicatejazz department never count sales con sequently budget behind entire jazz classical divisionsof major record companies might equal money putbehind one highly touted pop recording thats good business butits bad music avril lavigne kanye west fine pop performers represent apex musical creativity thelimited exposure sounds entire generation comeup thinking heard likes karlheinzstockhausen ronnie gilbert sonny rollins one gain exposure well like sex learn home learn street learn aboutit friends learn classroom howeverunlike sex theres guarantee anyone necessarily learnanything music sadly government money schools started trickling opposed flowing ou cant spend dollartwice us dollar places go fund oncemoreexpanding militaryindustrial complex theres phraseredolent nostalgia terror funding nearly every human service federal budget including music education plummeted hough bu shadministration prefers call modest reduction sin rate growth compound reduc tion arts funding nearly point nonexistence prospect cultural deprivation lurks around corner r esiden ts used say one posters ignorance culture considered cool loss fmusic education deprives students bene fits well substitute science teacher bronxgrade school would bring guitar explain mathematics physics strings work guitar fretted based mathematics physics fairly easy andallowed introduce concepts like fractions soundtravels air way stuck kids music dirty little secrets record businessmusic education specialized science deals quality sound acoustics timbre said educator william h oh extensive training given aural discrimination like pitches different although simplified form arithmetic counting groups two three fourand higher used consistently music repertoire whenteaching values rhythmic notation develop rein force concepts addition subtraction multiplication division effect necessarily conscious phenomenon either study first second graders rhode island school distri ct performed better reading math curriculum included hour music hour art aweek percent difference test scores st udents enjoyed exposure music art receive according profile sat program test takers students courseworkexperience music performance music appreciation scored higher sat students musicperformance scored points higher verbal pointshigher math students music appreciation scored points higher verbal points higher math thandid students arts participation schools produced highest academic achievement united sta tes spent percent day arts spe cial emphasis music parochial elementary school bronx lose accreditation implemented anintensive music program day within eight years per cent students reading grade level finally texas commission drug alcohol abuse noted secondary students participated bandor orchestra reported lowest lifetime current use allsubstances alcohol tobacco illicit drugsso agree music education important per haps even vitaland us gallup poll percent people questioned felt music essential toeducation answered nationwide survey percent responded music education made child smarter thequestion becomes want nation dumb kids school systems find curricular rock abudgetary hard place comes music said one cali fornia school superintendent effectively eliminating musicfrom systems program study choices wereworse cutting reading teachers closing schools cutting backon class size reduction pittsburgh postgazette reported schools cali nia percent decline number music education programs financial constraints wisconsin teachersclaimed child left behind law foisted nation isthreatening music art programs throughout state schooldistricts statewide slashing music art programs orderto reduce budget feel pressured cut programsfirst unlike math writing reading music art government tested one f wisconsin schools might actually return funds fromvh ssave music program doesnt fulltime music teacher supervise piano lab set cablenetworks grant could buy instruments couldnt afford hire anyone use one music teacher noted time went student atten danc e atevents like orchestral concerts ballets dwindled reason pointed receiving kind education schools ill bet nine times outof ten asked attend concert sayoh yes music school save semblance music education schools federal government modestly reduces rate growth throughlegislation forces state local governments sophies dirty little secrets record businessmusic education choice meeting federal testing standards actually enriching students cultural education experience well thereare sources grants like aforementioned save music program national academy recording arts sciences collects dues license fees annual telecast thegrammy awards channels money grants formusic education even paul mccartney gotten involved viahis previously mentioned relationship fidelity investmentshe formed music lives foundation although bankersseeded mere million dollars probably found itbetween cushions couch years years ofplaying band making living love sir paulsaid honestly say would without music children vulnerable age bracket natural love music frank zappa said testimony congress parent believe exposed something uplifting sugar walls support music appreciation programs schools considered childs need consumer information music appreciation costs little compared sports expenditures children right toknow something besides pop music exists mem bers congress vilified spending money arts claiming funds degenerates think putting crosses bottles urine uplifting art necessarily need positivity inspire edify government frightened edify ing peoplehas something serious hide music art general hallmarks civilization homo sapiens make break made us sapient say bre ak c ame could use tools many species use tools also start creating things sake ofcreation lack money allow civilization devolve education humanities meaning things make us uniquely human started fall wayside favor ofmathand science math science course exceptionallyimportant child studying engineer also attended philharmonic concerts opera singgilbert sullivan plays little brass little bass readsfor enjoyment love manga anime started himlearning japanese words takes leaving nochild behind math science educate takesmore teaching words look like paper instillalove reading child takes academics make wellrounded human eliot spitzer seems recognize settlements payola investigationsover million writingwillgo nonprofit organization supporting art music education bad would seem major record companies didgood dirty little secrets record business orlando phenomenon boy bands bad girls made order since days sam goody long beforesince days gilber sullivan johann sebastian bach traveling minstrels greek theatermusic commodity well asan art professional musician singer composer wannabethe trick always find balance art commerce live turns sort yinyang exercise havealways musicians took part balancing act either accepted roles products orwere simply treated however music became commodified era corporate cooption per former product become increasingly common phenomenon future popascommodity consume moreand musicians example londonbased ad agency saatchi saatchi set find way reaching people teen yearsand early creating allwoman hiphop group making employees agency offering theirservices advertisers sort human billboard client gotto brand group products seen used worn onstage videos andfor dollars morementioned inthe song lyrics tv marketing guru cynthia turner wrote band made first appearance last evening saatchi saatchi offices unless knew better youd neverknow marketing device agency calls branded entertainment finds masking advertising within entertainment better way reach tough young demo also coming commissioned entertainment media includingtv film cell phones video games saatchi saatchi idea builds even older record business warhorse madetoorder pop star dates back least days american bandstand producers would tak e kids street schools turn stars bob marcucci acknowledged expert thes early inspiration film idol makerhis f irst project along lines taken trumpet pr odigy francis avallone turned singing teen idol frankie avalon figured hed done could doit marcucci recounted experience idecided needed star like presley frankie wasnt star didnt kind look wasnt genre ricky nel son hot sal mineo hot searchthroughout country big search disc jockeys promotions asked people send pictures couldntfindhim one da yim dri ving home go past street wher emy b est friend lives big police ambulance front friends house turns ambulance housenext door walks fabian look went omy friend asked knew whether guy coul dsing friend said idea turned ambulance guys father guy fabiano forte picked story strategy male teen performer said oure going apompadour youre going dress certain shirt andpants bob would say move way move way untilit became second nature fabian never even thought aboutbeing performer marcucci approached moldedin marcuccis musical image dirty little secrets record businessthe orlando phenomenon thus prefabricated pop star became something insti tution reviled people still think popular music integrity credibility predominantly musicians critics serious fans manufactured performer remains fixture pop music landscape prevalent crossover pop star continues enor mous appeal current technologyfrom television theinternetand little luck even easier manufacture marcuccihad finger particular pulse well mentionedactorturnedsinger sal mineo actor sing singerwho act actor carry tune well enough thatstudio wizardry like autotuner takes outoftune vocalsand puts key electronically big advantage aperson acts sings working several markets canhave synergistic effect career several actorslike ed kookie byrnes one hit record mickey mouse club sp un tv stars annette funicello christina aguil er mention media phenomena jessica ashlee simpsonthe latter embarrassed infront live national tv audience tried lip synch wrong track saturday night live oddly didnt seem tohurther c areer oo muchbeing butt jokes kept spotlight ister sta yed thereas much due talent assets tabloidworthy exploits relation ships ore media hit marketable seem become actors sing became extremely important tele vision records rock era took hold success beatles records movies especially ratings drew ed sullivan show nat ura lly tv sought bring audience effort garner kinds ratings regular basis beatles wouldnt commit television show tvproducer bob rafelson took page marcuccis playbookhe recruited four young actors could sing turned theminto monkees rafelson enlisted music publisher kir shner give band musical identity paired thebest songwriters day neil diamond carol king jerry goffin etc actors became pop phenomenon almost parwith band emulated led producers animated series based long running popular comic book archie call kirshner supply mus ic cartoons fictional teens archies revealed thing independent rock roll knew corporationswere still clueless yearolds liked popular music although musicians played sung archies kids definitely appealed kids theirsong sugar sugar sold million copies billboard named ingle bad considering real groups like beatles rolling stones temptations toppedthe charts year bad also group didntactually exist led entire movement popular music geared toward demographic come called tweens toyearolds songs became known bubblegum music favorite confection tweenaudience sweet sticky ultimately insubstantial ny ofthe bubblegum bands originated tele vision showsthe partridge family banana splits lancelot link band made lipsynching chimpanzees ash lee simpson anyone course real studio per formers behind didnt exactly rule charts bubblegum substantial sales impact made people like artie ripp whose kama sutra records despite ahem adult conno tations name sold millions singles kids late early incredible thing noted artie ripp majors timecolumbia rca deccawere business selling music kids kids independent guys like ripps men dirty little secrets record businessthe orlando phenomenon tor george goldner discovered kids actually creative value whats could put value record bubblegum also builtin promotion could completely change labels relationship radio television made thismusic popular radio actually come record companies people wanted hear relationship became codified albeit subtle performers got tv became popular advent mtv certainly accelerated process one ofthe biggest stars spring forth mtvs copious navel wasmadonna promoted image time safeenough tv yet sleazy enough make parents youngwomen look twice girls went school thisbecame way zen pop star development nowhere effect evident new mickey mouse club turned two hottest female perform ers cord business christina aguilera britney spears bounce around badgirl image stab artisticintegrity even occasional moments quasihumanity britney posing naked pregnant teen idol transformed wake success young hiphop groups called thembubblegum soul like new edition bobby browns first r ecording group came pop phenomenon new kids block produced maurice starr also done hon ors ne wedition albums managed johnny wright nd band managed land two chart topping albums three singles selling millions records impressed lou pearlman took note group booked private jet company amazedat looked like billiondollar business built around newkids block pearlman called cousin art garfunkel toconfirm artie told oure business like music oushould something like weekend goof decidedto little audition one thing led another main thing led group orlando kids dubbed backstreet boys breaking europe unleashing america pearlman discovered formulaalchemists searching since time immemorialheturned dross gold platinum continuing draw fromthis orlando talent pool many members performedat theme parks justin timberlake pearlman creationnsync played frankensteins monster monsterrevue universal studios theme park andlike spears andaguilerain disney properties like new mickey mouse club pearlma ns trans continental entertainment became teen pop factory remains one writing mickey mouse club big source lot big thing pearlman said going help keep cultivating talent lot people want singers cant withoutthe right help pearlman recognized advantage ofmomentum keeping something rolling takes lot less effort thangetting something rolling using former mickey mouse club stars already traction recognition among targetdemog raphic cost less realize pearlman fallen onto basic even open secret mar cucci ri pp k irshner many others known guarded te en pop idols go away least pearlman often quoted saying god stops making little girls kids theyre fanatics dont fans fanati cs theyll buy anything band picture loyalty love somebody theyll stay idol phenomenon took new dimension however former chrysalis records ar man artist manager named simon fuller took concept exclusivepurview teens itv show pop idol uk sho w riff old talentshow formula dates back least major bowles amateur hour singers com petin g recording contract became phenomenon dirty little secrets record businessthe orlando phenomenon fox tv signed fuller duplicate show hopefully success us american idol debuted bec ame every inch spectacle england making apop culture hero nasty judge simon cowell nearly million people tuned premier seasons finale morethan watched oscars american idol amounts much aggregated needine ss f eager participants simon dumenco observed new yorker mass phenomenon suggests multiple intertwined orders psychopathology culture large gorging hordes offresh talent populace parodying idea democracy bychoosing exactly entertainment wants deserves andperhaps pointedly fame factory engaging sort ofritualized cycle binging purging core productitself shows every sign unstoppable mayjust permanently alter way music industry molds andmarkets talent american idol harnessed reality tv ge nre show fastfading recording industry new path riches turning poorly paid nobodies overnight popculturalicons virtually none usual behind scenes primping preening turns record industrys starmakingmachiner becomes entirely irrelevant really let market decide winners even runnersup gave artists sortof toehold television given archies band stand boys mo nke es christina britney course record industrys starmaking machinery becoming entirely irrelevant many record business feared likedto think owned machinery behind popular star long beall endall talent disposablefodder starmaking sausage mills letting television createthe demand worse letting people pick personal performers seemed violate business usualuntil actualalbums performers came record companieshad remind fans performers fans care allowing pump ownstarmaking channels albeit refresher trying cutagold record whole cloth disenfranchised music fan american idol ilk repre sented final betrayal last word processed pop music industry interested prepackaged goodssaid english technologist gavin alexander theres room fordevelopment growth youre artist leaves fans organic musicmusic relies sinews brains talent performers music sayssomething us dares feeling like wholefood devotees amcdo na lds every time turn radio walk record store also makes lou pearlman simon fuller reigningray mcdonalds krocs contemporary pop boyband mills readymade pop stars feed many major record companies needs ensure quickprofit bringing numbers investors quarterly corporate reports keep cds pumping distributionhubs keep product shelves young people actually deign purchase records major commodity type popular music proven time time lasting one fo ran industry relies catalog wher ewill catalog come years dirty little secrets record business breaking star breaking bank upon time artist named bruce signed wi th great fanfare major record company tremendous reputation midatlantic coast con centrated home turf new jersey amazing live performer got tremendous buildup record company abrilliant songwriter second coming bob dylan wasstrange dylan wasntstill isntquite firstcoming first record sold copies first yearandeven proclaimed rock roll future first second albums together didnt reach bruce recording today chances wouldnt gotten third chance least record company fact chances wouldnt gotten second chance andwould cut loose disappointing sales firstalbum would gotten opportunity redeem self breakthrough third album indeed one rocksgreatest albums period born run yes bruce cord company lot work build bruce spring steen success record companies countless otherartists made didnt throughout first three decades rock revolution days work either doesnt getdone done artist signs record company withalittle housand albums accounting per centof records sold perhaps new ones making money given year actual costs involved inthe cr eation manufacture promotion recordings andwith companies responsible stockholders business conglomerates bottom lines stakes made thatkind longterm effort impossible todays artists must createmusic reach maximum number people minimum amount time scale back expectations theircareers todays record companies struggle get themusic front potential fans weve seen conventional way reach audience long radio point payola become institutionalized days getting artist onto charts depending onwhat kind music artist plays chart recordwould get many get genre charts like rbhiphopcountry dance get onto hot could costfrom quarter million dollars thats justfor one song take admittedly extreme case carly hennessy signed mca compete britney spears debut album costnearly million dollars make million promoteafter three months album sold fewer copies weve never one spout major labels longer practice artist development wrote billboard columnist melinda newm itsjust hat limit acts believe hope pray turn huge moneymakers line line getting shorter shorter much work used go artist development woul seem fallen artists managers even artists labels used thrive demo deals development deals machine used noted music busi ness veteran jack ponti platform group managers anyworth stature also want seehear developed act theycommit course used fall record company groom artist recording demo whole processhas fallen manager developed act terms songs dirty little secrets record businessbreaking star breaking bank beginning develop following groomed success mainstream record business aspectof bringing artist fore makes breaks artistand manager current record business environment id say managers artist development days barry bergman president music managers forumus stated record companies wantareadymade product want artist sell tickets want act following want radio somewhere something going bean act thats selling lot course taking task developing artist involves enormous potential risks hammered home notlong ago nearly killed friend mine former artistmanager one evening sat drink enjoy one hisbands new ork city showcase dive called arlenes grocerystore band finished thought moving toanother quieter venue continue imbibing talking whenthe next band came brillianta group turnedout included two former members goldrecord band amajor label broken six years earlier kidded w ith friend see man agerhe tookme seriously approached discovered although pedigree radio stations best unsigned band contest still management tookhim ix months friend convinced let partner job nowmost managers limit amount money put band investment like things recordbusiness recoupable manager band managers dont pockets deep friend partner put nearly every penny group paying forpictures press kits cd duplication studio time works andthey actually got band offer major fromthe closest thing independent record world majorthe record company arm one worlds largest independent distributors however already recorded major bandregarded step backward severed relations themanagement company far know legalities stillpending meantime friend lost wife family house called one evening throes soundedvery much like heart attack turned acute angina hebailed music business got back software saleslast talked seemed lot happier one thing many managers seem discovered process downloading files may bogeyman thattheyve feared past decade actually eliminate theneed hundreds thousands millions dollars ittraditionally taken break artist music consumersbegin veer away hard product ancillary consumables crave ed majewski majic management said group managing myspace less eight months friends almost plays andcloseto views learned voiceopinion kids today many many email nthe page come cant download music weare cusp saying may go everything believed industry thus far realize game changing artists developing beyond burning candle ends working day job play ing night artist make living selling cds fans going download notbuythough weve seen avid downloaders alsothe biggest paying consumershow artist pick theslack shortfall fans cannot download tshirt hoodie coffee mug poster whatever else market majewski said dirty little secrets record businessbreaking star breaking bank young used brag record collec tion owned lps itwas status symbol collection kicked ass today may bedifferent may shirt dont wonder ifkids wearingowning something cant download may thenew status symbol survive record business either get grip new technology new ways consumers actually con sume music succumb artists owning exploiting ownintellectual property essence becoming record companies would outsource services record companies traditionally performed like promotion publicitymarketing hiring experts one thing record companies allegedly bestpromoting creating brand namearound artist independent contractors would find theartists unique selling point exploit benefit theartists likely managers wind footing billsfor service initially would reap kind financial rewards outlined chapter obviating need majorlabels see failure develop artists symptom themodern record companies size scope dealing withbusiness macroeconomic level lot nittygritty things used tohappen every day fallen wayside major labels afford artist development cant scale enough ponti said indie model total artist development idea actu ally clearly changing business big question becomes get artists front people might love pay seethem pay tshirts become walking billboardsfor even perhaps buy copy cds go filesthey already downloaded percent recording artistsselling less thousand copies given release dothey really lose getting public eye inany way possibleof course one words promotion pro motion costs money potentially lot especially artists managers able inclined expensive stuffthemselves like building web sites putting together mailingout press kits like beyond developing artist means helping find thing makes recording artists artists first place thing hat makes unique good seconds pleasure thing helps stand repeatedlistening inspiring people go buy art developan attachment artists find bythemselves past mentors teachers friends even competitors aided development professional recording andrecord company world demo deals allowed artists discover elements unique voiceto thing andbe known themselvesartists could nurture communicatethose elements made special thing made whatthey art late soul singer lou rawls explained way people want something put hip pocket say eah going last something pull pocket twoweeks fromnow still like certainl isnow truckload dispos able pop performers task making lasting contribution least environment offered artists opportu nityto get try often one take chance risk great dirty little secrets record business video revolution looks arent everything theyre thing joe jackson one perfo rmers class became apunk actually called spiv rocker back conservatory went long varied career ashe aged ndlost hair faced decision whether wanted undergo cosmetic procedures could con tinue make pop hits videos decided effectively gave playing rock money try one last rock hurrah signing virgin time pretty nearly every virgin artist video budgetit one labels prime means promotion joe made aclip six years virgin coaxed cajoled cudgeled couple said ont mind music videos give mtv finger recalled director marcus nispel artist looked starting take precedence anartist sounded quality artists songs caused joe jackson intents purposes abandon pop things used count good composer player singer getting lost desperate rush visualize everything possible stillget nowhere simply looking good video worsestill making onejackson put finger attitude led marked fall quality music quit playing rock one peaks importance music videos conventional wisdom said couldnt hit without one fortunately conservatory training lean started making composed albums postmodern classicalmusic rock instrumentation winning grammy symphony classical albums didnt sell hundreds th ousands look sharp night day sold main tained care er didnt videos might chickenoregg situation perce nt singles billboard hot hit singles accom panyin g videos number risen percent fully percent hot hits video version therecord companies regard music video essential becomesahuge draw assets even inexpensive music video costs thousands dollars weve seen records makethe ideal recording artist music video standpoint anunderwear model great voice talented musi cians arent attractive look awkward wouldjanis joplin joe cocker even stand chance todays market place would anyone download clips watch video ipod twobands im managing would signed f years ago manager larry mazer complained nobody commit labels tell theywont get mtv theres band chicago called rebels without applause shows lived midwest said jasonlekberg band wraith mudva yne soil many bands got signed mi dwest opened yet never got deal greg singer talked didnt really go much dirty little secrets record businessthe video revolution detail know meetings labels prob lem hes large black man unfortunately think theshallow industry couldnt see past conversely videogenic made many careers grace jones model taking mic madonna became original video diva career kicking growing alongside mtv video revolution videogenic appearancehas allowed slip personas paula abdul wasadancer choreographer releasing slew hit records years back strength kinetic video per sonality abdul hired commercial diet pepsiwhen ad came radio one afternoon driving wife asked voice whather voice never sounds natural ah thats called gated reverb gives voice pres ence mix words really cant singwell yeahthen big star answer course looked good mtv waspackaged well ar tists took udio manipulation extreme actual voice dance groups cc music factory black boxwas martha wash one two tons funweather girls nd st udio vocalist note although washs soul ful alto rattled walls dance halls rang radioseverywhere commanding everybody dance slimmer zelma davis lipsynched lines groups videos milli vanilli group made video way monkees made tv main difference ofthe members monkees could one degree another singafter milli vanilli grammy award best new artist revealed neither two fronting members ofthe group skill forced give award back scandal eventually drove one member duo suicide obsession appearance solely issue pop ular music opera singer deborah voigt claimed dismissed production royal opera house londonbecause weight conversely young photogenic scottish violinist nicola benedetti got onemillionpound contract fromvenerable classical label deutsche grammophon age said welsh broadcaster singer beverley humphries im uncomfortable way weve gone avenue believing led believe physical imageis important talent takes years working yourinstrument become great musician danger singersand musicians taken look goodandmaking immediate overnight successis itdemeans reduces true greatness performers reality past two decades video become amajor part promotion artist development process wewant break new acts sustain important artists noted mtvs coo president michael j wolf mtv juggernaut mtv today different mtv months ago despite thiseverc hanging landscape mtv consistently helped sell records early days built careers unknownslike duran duran madonna cyndi lauper dur ing da ys buzz bin early careers acts likejanes addiction red hot chili peppers made mt v temple dog sold million copies album two years release due delayed video exposure bands record company attributed albums success tomtv bottom linean artist look sound compellingon mtv sell records note artist necessarily need look good com pelling one way another one would call kid rock one beautiful people persona translates dirty little secrets record businessthe video revolution well video billy joels older clips even elton johns recent videos remain stalwarts vh mtvs sister channel capitalizing long careers established personas however came time videos alone could bring increased ratings mtv needed sustain business channel split several channels theres theoriginal mtv become lifestyle channel thanamusic channel theres aforementioned vh skews toward aging original audience mtv mtv still staystargeted teens tweens mtv picked musical slackin many cable andor satellite systems half dozen musicchannels associated mtv several independent specialized video outlets like fuse cmt much music mtv mayno longer directly stand music television dozen otherchannels continue rely videos core programmingand record companies continue fund creation clipsthat feed mtv became juggernaut wolf describes act chance achieving kind buzz avideo payola one expensive lines artists ledgers including indie artists budgets videostend reflect importance artists overall financial pic ture c osttoreward ratio necessarily scientific result experienced intuition part record company anindependently distributed heavy metal act might bud get nd spend video video largebudget album majorselling artist could still cost upwar ds amillion dollars although record business contracted budgets major video might cost mtv became proven selling tool stakes got higher sodid video budgets averaged four years later range risen another generally fell range days video major record company might run anywhere average around cut available funds circumstance direc tors find frustrating ou music videos deal withcertain budgets nispel said usually dont allow atleast budgets im still go two days ofshooting course artists dont need video exposure feel dont benefit video exposure record companies whochoose limit expense video exposure certain artistswith less video audience said video producer lara schwartzlike clapton bb king make less videos lot lessmoney pop artists rely heavily videos asmadonna kanye west britney spears many recordings many artists taking ityourself route video well one pioneers concept music video general todd rundgren himagain helped develop desktop video editing effects inthe early video cant change done desktop computers wasnt done expensivemainframe equipment said matter fact bought eq uipment produced piece within would relatively slim video budget kind stuff done anyone perspicacity undertake thing alittle less decade later pete townshend amazed person could accomplish digital camera adesktop computer whole thing going movies said music going disappear everybody going become filmmaker ou know anybody thats got imac theyre awaytheyre going making movies musician today beso visually oriented theres going explosion thatmy kid joseph got imac christmas hes ten madehis first proper skateboard movie like ones come outof seattle spent afternoon friend dirty little secrets record businessthe video revolution capturing video directly hard drive laptop using artists apartment set director jacob rosenberg cre ated professionally crewed video la singersongwriter johngold promote diy album eastside shake lead tra ck cactusflower using borrowed panavision camera ostensibly could demonstrate viability recordingdirect computer professional lighting ultimately specialeffects made video would seem place onmtv literally next nothing diy videos might get mtv much like diy records thats sort point different tar get videos get used clubs local channels even inclothing stores free equipment costs money ifyou dont necessarily hire crew eg friendsshoot video take care lighting etc least haveto feed theres time takes diy production heavy investment although directly monetary one tightening radio started commoditize music mtv finished job videos nothing commercials saidnispel difference product sings dances youre lucky youre making threeminute marketing tool agreed vice presiden v ideo warner brothers records like design ingan album cover making gone wind however asthe inter net started change average per sons access kind music imagine bandwidth constraints become less less issue industrialized world visualized music found second life internet sites like launch ou tube aol name someof largest among dozensperhaps hundredsthat streammusic videos demand become exceedingly importantpart video promotion mix add advent thevideo ipod pocket pcs power play videos evencell phones video capacity people begun pay download favorites townshend seems tohave predicted futureeverything moviesin fall itunes began selling music videos mid december mtv arranged microsoft integrate anew service popular windows media player would offer downloads music videos thanks technologythat record business spent much time resisting oncewas promotional expense become potential source revenue provided anyone wants pay see dirty little secrets record business contacts contracts artist go gold one day flipping burgers next tod ay iwant totalk piracy music courtney love told industryites artists computer music gurus digitalhollywood online entertainment conference ironically heldin ne w york ci ty piracy piracy act stealing artists work intention paying im talking napster type software im talking major label recording contracts artists want believe make lots money successful hundreds stories artists broke never made adime hit records real success still long shotfor new artists today hank shocklee similar things say producer albums like public enemys takes nati n millions hold us ba ckshockle e took p os ition senior vp ar mca records years left post igot tired signing kids watching make record start taking limousines stuff record companysdime forgetting getting billed back oftheir royalties six months later theyd sitting officesaying fuck record went goldand im back flipping burgersit comes contract holy grail many unsigned musicians many younger less experienced artists get slammed shocklee recalled getting grossly underpaidby standards day first production ashortterm contract could regard learning experience career recording artists contract last seven yearsor longer doesnt allow much learning curve theartist expects earn something recording even name one careful contractual arrangements warned veteran music business attorney jeffrey jacobson littleprovisions like mechanical royalties money paid songwriters every song every album sold subject torecoupment advances result significant income theartist cautions seemingly minor provisions enable thedebut artist sales eat signing isnt trivial added english music business visionary rob cumberland tie songs recordings andyour band years get wrong artists getting offered contract like ballplayer making big leagues tells artists however many years struggling honing craft finding voicesomeo ne w ants tohelp get art masses someone proven ability might occur artist reason recor dcompany sign artist days enrico caruso first ar tist demand receive royalties early noon tomorrow record company convinced itcan make profit record companies like art galleries business art contract makesense financial standpoint since many artists dont thinkin terms financial standpoint contract means anend sometimes end following contract came possession along box legal papers research another project dirty little secrets record businesscontacts contracts haunted artists signed rest careers weve discussed economics recording artisthere going get funky digging potential practical pitfalls pratfalls inherent signing recordingcontract im going walk contractsmost notable elements common unusual piecesof paper ink jacobson noted determine whether artistsget develop art reputation bank accounts first went specific document well looking couldnt believe terms sent jacobson justto confirm bad thought read overand told steven king novel recording contractsit made small hairs back neck stand wasso scary names course changed essence suffice say artists signed huge anddespite played together continue toenjoy massive following one groups radiostation somewhere air every moment every dayyes older contract today record company might able get away lot terms least themin ingle document might two reasons artist might sign w ithout benefit legal counsel foolish move best circumstances artist might care long reco rd comes shortsighted move one many artists make even getting legal counsel sometimes isnt enough cumberland reminded artists would learn past lawyer doesnt sign contract lawyer doesnt sitat home seven years bad contract runs wellsee case doesnt run lawyer doesnt workfor nothing gets wrong many music business contracts artists record company agreed signed one california inanswer days motion picture studio system major movie companies put actors contract kept useof services forever pittance compared theymade studio became stars california instituted astatute saying personal service contract like recording ormovie studio contract last longer seven years however contract devised way circumventing law bystarting phrase artists agree record therecord company minimum number hereinafter set forth ofmasters hereinafter defined embodying performances theartists year term hereof definition contract found pages later master five half minutes recording basically maximum would fit rpm single anachronism likeso many provisions contemporary contracts remains part theboilerplate according terms contract located pages referring paragraph artists put masters year first two years theyreceived princely sum advance royalty masters year next two years time asters ear ne xt two years additional number masters exceed ten record company may elect upon written notice artist later thanthree months end year election made record company additional number masters shall increase minimum number masters required math artist must record masters depending record com pany notifies extra satisfy provision ofthe contract pretty onerous right gets even dirty little secrets record businesscontacts contracts interesting seven pages heading fail ure perform record company addition otherrights remedies available shall absolute right inits sole discretion extend current year andor termof agreement failure perform corrected therefore artists dont record release songs course six years average songsayear clock stops contract legally cannot run seven years go doomsday matter could record cause failure whether caused sickness acci dent artists due delay impos sibility orcommercial impracticability act god fire e arthquake strike civil commotion act government order regulation ruling action labor union associa tion artists affecting artists record com pany orany portion phonograph record industry generallyor specifically shall affect applicability agreement legal terms contract could go beyond doomsday like things contract provision cut ways record company could obligate artists record many masters nothing contained agreement shall obligate record company record minimum number sides mastersspecified herein make sell records manufactured fromsuch masters record company shall fulfill entire obligation unrecorded masters paying artists amountspecified terms agreement masterseven masters never recorded words wants cut artists loose record company pay per master contracted amounts buhbyeits story recording industry past years cumberland said labels cant make commitments artistsbut artists make exclusive commitments labels even record material recorded artists shall selected mutually record company artistsand masters shall subject record companys approvalas commercially satisfactory record company doesntthink sell record company doesnt press itand doesnt count one contracted masters course artists pay make record albeit directly recording costs incurred record company agreement respect masters royalties arepayable proportionate share costs allocable withrespect masters embodying performance artistshereunder performance artist artists shall becharged royalties payable hereunder advance payments made artists record company thisagreement shall also charged royalties hereunder weve already seen costs artists incur mak ing masters get charged back artists rate royalty docume nt bad seems actually renegoti ated contrac made artists became mighty force pop ular music made deciding royalty rate somewhat contentious issue parties ultimately agreed actu ally prettyinteresting earlier contract sliding scale music recorded new contract signed andfor year afterward still fell scale started percent went percent however music wasrecorded time gave artists royalty twenty percent respect socalled singles royalty rate ofeighteen percent albums except royalty rate salesof albums subsequent theoretical expiration date dirty little secrets record businesscontacts contracts contract shall twenty percent course albums combined music recorded agreement accrued royaltiesat old rate percent since band broke nottoo long percent rate kicked didnt get enjoythat greater rate long one things found interesting con tract paid royalty based percent back theglassandlacquer days percent given shipmentactually arrived sellable condition royalties generallycalculated based percent sales long glass andlacquer disappeared recording scene even thedays plasticcoated aluminum ie cds percent figure continues appear contracts percent seemedlike bright spot overwhelmingly dismal contract readafew words contracts say pay based domestic gross sales one paid domestic net sales hollywood phrase percentage points paid net call monkey points youdhave monkey take careful accountant canmake sure nearly profitable projects doesnt show net profit beyond grocery list things recor com panywill pay royalties noroyalties records publishing shall payableon sales promotional records royalti es records publishing paid record company records given distributors inthe ratios normal industry practice one hundredfifty free records every five hundred records purchased royalties shall payable respect recordsgiven away furnished promotional purposes anonprofit basis disc jockeys radio television stationsand networks motion picture companies distributors reviewers customers others royalty shall payable respect records given tomembers record clubs bonus free records resultof joining clubs andor purchasing required number ofrecords last one particularly telling one first things artists clout renegotiate contracts get clause example hootie theblowfishs major label debut cracked rear view sold million copi es never made cent least three million sold record clubs thisclause contract removed released theirsophomore effort artist always get full royalty sales prerecorded magnetic tapes royalty payable artist shall onehalf royalty rate applicablein respective period sales phonograph records asto device utilizing new medium sound andor sight andsound reproduction royalty payable artists shall computed manner hereinabove provided prerecorded magnetic tapes nowwhen drew contract compact disc still come market would make cd new medium sound andor sight sound reproduction artists question continue sell hundreds thousands even millions cds year since made concessions giving certain rights company let retain renegotiated point quite time received half royalties cds percent royalty also applies sales outside united states territories possessions canada unusual clause dirty little secrets record businesscontacts contracts another common clause involves owns actual record ings masters recordings made artists term hereof copyrights andor copyright renewalrights therein thereto shall entirely property therecord company free clear claims artists record company shall exclusive perpetual rightthroughout world edit cut otherwise control suchmasters recordings performances may manufactureadvertise sell lease license otherwise exploit artists manage hold onto masters lease record companyfrank zappa estate david bowie notably retain rights conditions contract almost laughable example heading advertising rightsgranted section shall include professional name bywhich artists may known shall allow recordcompany fictionalize biographical material extent record company desires artist mutant venusian come earth make safe sound however contract laughing matter partic ularly passage originalmusical compositions original arrange ments f musical compositions public domain including title words ndmusic compositions authored co authored comp osed cocomposed artists herein shall subject copyright shall beassigned artists andor publishing affiliate artists publishing company companies designated record company statutory fees applying happened paragraph artists gave away publishing rights relationship com poser publisher generally calls split revenues mechanical royalties get paid directly publisher inthis case record company pays mechanical royalties publishing division publisher responsible paying songwriter represents performance royalty organizations ascap bmi sesac united states payequal amounts publishing company composerhowever many composers retain portion publishing cutting outside publisher added stream ofincome publisher administer songs throughasubpublishing deal earns subpublisher cut pub lishing exchange paperwork collecting foreign royalties trying exploit copyrights signingthis contract artists longer option uncommon ploy record companies especially independent ones attempt way thesongwriter might want form publishing company toget songwriters share publishers share roy alties record company wants hold onto stream potential income rights offer recording costs incurred record company agreement respect masters royalties payable shall charged royalties payable hereunder advance payments made artists record companyunder agreement shall also charged royaltiespayable hereunder royalties include mechanical publishing royalties jacobson mentioned earlier move retain pub lishing covers record companys financial assets lia bilities records sell little recoup sometimes even extra stream revenue pub lishing royalties advance enough either party certain wellestablished bands tried create newmode l forthe relationship record company artist emi leading way record companies writing emis recent deal hard rock band dirty little secrets record businesscontacts contracts korn artists received million advance far larger piece publishing large advancegives emis virgin records imprint percent stake everything korn makestouring licensing merchandising publishing endorsements worksover course two albums andtwo tours billboard estimated would take million gross p rofits record company break even dave marsh however wasnt sure emi got bad deal korn loses economic independence revenue streams compromised specter whats known ascrosscollateralizationthe lumping together artistsroyalty income statement imagine korns last album onthe deal sells copies band million thered record royalties worldwide concert tour associated record profit million therecord company entitled something percentthat least million doesnt million recordroyalties come million else would thelabel make deal million plus million million plus bit morethat company keeps almost themoney tour plus money record sales even good deal korn presuming break quickly enough sta kesare higher bears striking resemblance reason record company contract wanted main tain control artists publishing pretty much polar opposite strategy one used label fake science bands roster oakland californiabased company offers artists production engineeringand marketing artists get percent revenue allsongs downloaded fake science web site keep therights material songs recordings thatfake science funded basically label puts band financial creative risk said one involvednot artistsor labels ownersseems given day jobbut fake science luxury day jobs label flyer something hobby even virgin records fulltime record company andas needs make profit selling records otherway within purview ou see unlike many ofthe dirty little secrets weve uprooted reason therecord company would want foist contract like onto itsartists seem mysterious percent therecords released make profit record company needs everyedge get however music business saw right upfront begins artist without artist make recordsin first place begins artist doesnt itmake sense look develop investment contract crapshoot artist eternal dirty little secrets record businessconclusion bilious stew music business turn millenniumand hope deliverance record industry come back bigger better ever hasbeen verge disaster time sob bing requiems premature sounds like something someone could written early even last weekbut actually comes new ork times article circa peop le predicted death record business since formation true every time music business consistently demonstrates resilience mr bill gumbyyoucan crush reshape twist somehow always managesto survive largely due one truism music going away people always want music get whether involvescommerce record business notthe music business people made money w ith music thousands years edison conceived storing sound continue make money music thousands years hence concept money becomesquaint come grand glorious revolution considerablymore make music sheer pleasure theyve done pretty much since humankind could call thatit bears repeating music one hallmarks humanity conclusion isuspect however revolution comes money becomes irrelevant people continue earning money mak ing marketing music one way another short termthis require making music better marketing oneself betteror whatever reason appealing wider audience good news musicians audiences thepotential people make living appealing ownniche greater time thanks largely tothe rise communications technologies allow instant accessto information anywhere planet grow closer andcloser marshall mcluhans global village every passingday musicians marketing people beginning use theseresources reach audiences thinking locally also thinking globally six billion people planet finding even six million like particular soundshouldnt hard however technology exists todayaudiences still meet halfway problem audiences become spoiled era fast food instant access media demand people havegotten used music dropped lap radio mtv friends recommendations etc musicians marketersneed figure ut ways painlessly bring music audi ence dontinvolve traditional mass methods dissemi nation simply stopped working efficiently process already begun expect snowball people inventnewer better methods getting music people need hear moreyears ago care think buddy col league dave sprague told rock dead sensethat jazz dead broken offshoots mutations bunch hybrid styles substylespunk rockemo jam band rock electronica rock death metal heavy metalhard rock folk rock lilith rock etc etc ad nauseum theprocess focus music may improved theconclusion artists creating limited audiences ou cant generally consider mass media anymore theres neither monolithic jazz audience monolithic rock audience anymore itspart process music developing feeling anart rather product better everything else onthe charts doesnt matter comes art charts dealin commerce quality dont measure sounds thebest thing possible sells best sta ted introduction probably great musicmusic youwill likeis available today ime surely something released among alb ums came year wrote appeal even youre one people appreciateit difference quarter century ago thatnow audience find scent hunt perhapseven dig bit unfortunately business geared around selling millions thing make profit requires thing easilyaccessible irun people every day would love sell gazillion records hiphop artists still audience tap time enough monolith mass marketand always pop stars whatever reason incite enough e xciteme nt tobecome mass merchandise oth ers started become realistic times withlittle considered monolithic music music becomesdifficult behemoths market think fact albums went platinum points radiocutting back amount music plays narrowcast ing programming lower lower common denominator less gets heard via traditional avenue musicalpromotion ivisualize current landscape large sticky funnelany thing substance sticks inside walls leaving thethinnest slickest stuff find way sometimes taking conclusion odd occasional glob something substantial hap pens work way rest doesnt come outthrough narrow end funnel get need aspoon situation record business finds without precedent media columnist michael wolff sees parallels betweenthe contemporary state record business earlier daysof book publishing business young creativecommunicators aspired write great american novel nowthey aspire record next great internationalhit album wolffpointed time hemingway kurt cobain right downto shotgun john steinbeck bruce springsteen nowbruce returning favormore one person referredto steinbeck guitar norman mailer waseminem language boys language made lots moneythey lived large selfmedicated generationalvoice rock stars wolff wrote would happy sold hundreds thousands millions records bookbusiness days waning soon youll grateful release sells unitsthat yourbread butter oull sweat every sale dollar lowmar gin consolidated quaintly anachronistic business cater ingto aging clientele without much impact otherwise thriving culture awash music incidentally come usic industry w eve seen lot already begun happen early sthe baby boomers bought cds kids graying population forming record businesss key clientelewhether catered low margins made record retailas existed half century almost untenable today consolidation affected nearly every aspect business fromretail radio record companies percent records sell units percentsell less thousand copies day swiftly coming whenconclusion artist happy cd sells copies espe cially independent label vertical integration record business break ing years business would seem becomeaware rust wear chain links startedto fall apart process gradual subtle eventuallythe chain break main links symbiosis radio business record business continue break radio getting freecontent exchange giving content free promotion hadbecome public canard late nothing free themusic business paid play since long days payola perhaps even days song plugger businesss organ riaa hinted tried justifythe cost cd market ing promotion costs perhaps expensive part ofthe music business today include promotion get songs played radio hear song played radiothat didnt happen labels make investments artists paying production promotion ofthe album promotion expensive estimate record companies spend twice much promotion actual recording costs recording costs remained static last two decades put recording studios balls vise squeez ing one side rising costs competitive technology track consoles studio quality digital recording systems squeezing side falling cost competingtechnology computerbased home digital recording studio turning handle falling revenue record companies boils record business reached tipping point probably somewhere became largeto support also large realize close conclusion collapsing like black hole cd saved hav ing face realization another decade half however seems slowly arrived place expectationsexceed reality album sells million copies isntregarded anomaly benchmark everything else theartist subsequently needs reflect artist thatsells million one album sells two three million ofthe next record business disappointed best worstthe company geared anticipation huge sales thatdidnt happen record causes massive layoffs artistssuffer lack resources due marketing promotional priority given star record industrys current problems started consoli dation corporatization one time radio retail evento certain extent record companies momandpop operations chess records passed father sonatlantic started pair musicloving brothers veejaywas owned husband wife got name theinitials first namesvivian james similarly ownership rules removed many radio stations even small chains radio stations werefamil owned c orporations consolidated ownership con solidated p rogrammin gmethods even content stakes became high possible eccentricities individual pro grammers ie djs g iving way programming computer sta tions internet cable satellite even broadcast given ontheair talent formerly known disc jockey altogether momandpop independent record store still exists exception rule business discoveredaway draw consumers big stores chains dontby specializing particular genre used outofprint recordseven many stores like showmusic specialist footlightconclusion records decided better serve audience giving physical space cyberspace record business got sucked vortex larger larger companies certain level commercial performance became expected mandated ultimatelyreached point diminishing returns reflecting way contemporary society whole reacts times stress industry took responsibility diminishing returns preferringto blame customers came people taping theirrecords use elsewhere even friends record companies started campaign home taping killing recordbusiness people laughed came file sharing lawsuits suddenly one laughing anymore date record industry via riaa hassued customerssome say might mighthave best customersfor trading songs online far people settled suits neighborhood one new ork woman spent legalfees shes one people actively challenging deep legalpockets riaa recording industry said staff lawyer electronic frontier foundation basically ableto run operation like shakedown riaa h com pared p ractice downloading songs without permission shoplifting whose permission downloaders need many artists including stars like courtney love andpete ownshend happy people download ingsongs keep people listeningto use downloads wharton school businesss david fader described way movie business uses film trailers preview promotion music unfortunately contractually artists generally dont tracks entities whose permission downloaders requireare record companies generally conclusion scared new technology didnt invent con trol wont even consider part reason themajor label decline lot oldschool people stillrunning show noted manager ed majewski ithink train thought willcan run system ground basically still going business like business changed one would thinkthat change times mindsetis even run bigs right ground stillcant lose big labels business nextweek upstart new model wouldnt want hire clivedavis donnie ienner consultant people inpower know matter happens ass safe things go way wolff sees way book business record business scale back place sustain sales occasionalbestseller would certainly take good amount romanceout make record business like book business onlymarginally sexy would also require major downsizing record companies actual manpower clout inthe days corporations descended record business depende nt companies would bigger piece pie due advances changes technology production distribution music diy artists would likely uchbetter shot making living music reaching fans actually like kind music make henceforth todd rundgren said announced ap artist public internet subscription service im creating mercy kindhearted fans course rundgren realizedthat hed mercy fans previous twodecades anyway means rely mercyand patronage directlyconclusion many artists seeing advantage owning means production doesnt mean custom label deals like madonnas nowdefunct maverick records isley brothers tneck records affiliate artists major whilegiving illusion autonomy new artistowned andoperated labels often companies either artists havedeveloped following touring sellcds regionally directly fans along tshirts otherswag shows web site artist previously developed following via releases major label andcan capitalize following label weve donethe math seen well selling fraction sold via major labelbecause margin profit much higher example band hanson massive charttopping hit mmmbop major label debut mercury records time came make third album forthe label actually islanddef jam mercury effectively ceasedto exist one universal music group consolidations andreorganizations group parted ways umg formed independent label unknown territory forhanson whi ch started recording diy label seven years earlier new album unde rneath peaked nd old respectable copies whole fouryear adven ture captured film called strongenough br eak ar tists lik e veteranfolk rocker dean friedman business web friedman one fair hit late ng called ariel set amid land marks familiar new ork suburbanites became much biggerin new ork metropolitan area anywhere else managed go top nationwide well subsequent musicalendeavors didnt go quite well commercially least homein us remained something legend england conclusion quickly discovered cant feed family four legend moved interactive design creating games computersand working nickelodeon tv show arcade web ca along put deanfriedmancom suddenly fans nexus said friedman iknew didnt means reach internet allows artists audience communicate directly pass middlementhe recordcompanies distributors etc selling cds directly tothese fans sort cottage industry last cd friedman solicited advance sales coterieof fans worldwide world wide web used funds put together studio record album fans ordered advance got names liner notes cer tificate thanks copy cd certain movements music short time major label limelight next big thing continue via artistowned labels orindependents poster children artists jam bands tour incessantly play avid crowds clubs andsmall auditoriums generally fly radar mainstream record business producer label owner vic steffens said istill contend watch developments jam scene see plenty support highquality live music think groups like widespread panic moe dontmake money mistaken groups going totank last cd slipped k haveany problem k cds theonly way many diy artists discovered best way get word one contact time end even started eschew clubs favor house concertswhere perform people living room familyroom know artists make living saidconclusion singersongwriter jenny bruce compatriots might play kinds dates year es living acircuit venues sprung across north america genuine grassroots movement linked via theinternet check houseconcertscom door charge per person goes artist host servessnacks drinks money night lotmore artists could make clubs fans kindof concert offers something music used center ofcommunity homeowners host shows haverepeat customers mostly customers people lost audience looking early night closeto home cant host concert always host listening party events take place homes dorms means ofgetting people preorder cds host gets swagtshirts cdsconcert tickets attendees get hear possibly cool musicand hang friends party atmosphere best promotion band ever get fan talk said one band manager uses events promote bandsreleas es hardcore fan spread word com munity friends thats better radio mtv anything artists begun finding nontraditional ways sell music tonontraditional niches tim ryan oneil new prague minne sota call piano brothers found niche audience women years age older theyve sold women million cds shamrockn roll label nothing traditional means distribution sell records gift shops grocery storescraft shows wedding boutiques indie labels proliferate begun take advantage new media well addition selling wares via thetraditional means best abilityhiring independent conclusion distributors get chains room also sell directly web sites often offering downloads enticements providing special deals directlyto known customers via email note also predict record industry might merely become marginalized disappear altogether wolffsquaintly anachronistic business catering aging clienteledying clientele music would still exist coursebut would ancillary things like advertisements moviesrecordings might still exist standalone items scenario would likely part marketing campaigns likethe current one toyota uses promote youth brand scionthe company pays recording production youngartists distributes records clubs college radio stations dj still surviving always thriving andgives away compilations potential customers companies willuse music branding enticement artists larger ambitions need artists like need green days world us even thehawthorne heights groups want reach peo ple music consequently sell truckloads recordswitho ut compromising makes special suspect ever theseartists become fewer theydo build niches grow organically ja ded music fans welcome still dds ar e artists put wont make may dont market well c ant reach audience nobody appreciates par ticular gift think might course nothing new old music business even theboom time record business turnover rate artistsat large companies approach percent annually translates lot broken dreams boxloads unsold recordspaul bernstein observed new york times conclusion turnover rate grown intervening quarter cen tury added twist record company employees turn far frequently leaving artists stranded record companies without advocate even major record companies facethe turnover problema major part hansons problems withumg group away mercury records ceasedto exist consider fate another umg band edenstreet theysigned recorded debut album whichwas even sent press radio three days albumwas set ship umg shut records entirelyverymuch way mercury met demise umg labelpicked edenstreet sending album limbo unwantedrecordings five guys sitting louisville said one ofthe band members whose dreams taken away onawhim closejust three days record business would seem entering phase dickens might call lesser expectations greater part thebusiness struggles deal trickles artistsas well even years ago us constitution waswritten framers recognized necessity offering creative people incentive create promote progress science useful arts securing limited times authors invento rs e xclusive right respective writings dis coveries question becomes little incentive least forwhich artist create point artist put asidecreation business making living useful arts like music promoted enough ensure thattheyll even exist professional level years balance art commerce always sticky problem creative person et paraphrase mark twainrumors record businesss death greatly exaggerated time radical change record business andnot many people ready step place bets theway things shake steffens put conclusion point going realize industry never going way old deals wont workthe old methods delivery wont work old ways supporting companies wont work music find way tothe consumer music worthy people behind ithave desire really believe majewski added interesting times industry ever seen old chinese curse would may live interesting timessource notes introduction rock music neer richard greek theater trumbull dr eric roman theater boatwright mary minstrels frederickson jon james f rooney church szendrei janka guilds frederickson jon james f rooney promote progress us constitutionpianolas sanjek russell david sanjek parti playback payback record business drowned success chapter whos charge youre kidding record revenues sanjek russell david sanjek started walking smith joe record phil pec tor world musicians l ester ill lichtman irv november liberty records edwards david michael callahan go tstranded james etta authors interview leonard chess james etta authors interview got ripped diddley bo authors interview labor love hinte teri october prestige records bowden marshall chapter answering stockholders audience youre cohen roger took several years smith joe source notes warners mo ostin etnikoff walter david ritz steve ross realized lowry tom springsteen sales figures hagen mark ertegun ahmet authors interview deodatos prelude deutsch didier authors interview nice deutsch didier authors interview polygramuniversal merger caslon analytics everything thats wrong pointer authors correspondence sony wanted software etnikoff walter david ritz bmg buys rca communications daily pooling sony music umg payroll cuts christman ed like major seybold patricia b chapter brief tour fictitious record company cohen stephanie cd release figures optical storage media chapter q many ar guys take screw lightbulb cant screw anymore cut balls youre steffens vic authors correspondence knew smith joe da ys smi th joe nobod really knew smith joe maxwell davis stoller mike authors interview group ertegun ahmet authors interview figured stoller mike authors interview budg ets anonymous former ar person authors cor respondence chapter charting course changes charts chan ged biz billboard chartmethod mayfield geoff formo lander howard source notes wanted create shallet michael michael fine authors interview shallet michael michael fine authors inter view records slipped shandler geoff columbia university study red herring singles chart mcadams janine still get calls shallet michael michael fine authors interview soundscan experience shandler geoff chapter control issues home taping kill music great scam shamah david showed paul les authors interview tape something weiss george david congresss reaction dat wikipedia gulf western records ripp artie authors interview may knew cds rose authors interview abysmal rothchild paul authors interview first cds clark rick sales figures riaa chapter panic uites napster grokster last kazaa tower rundgren todd authors interview retail ers h aveto gillen marilyn appropriate balance rosen hilary mcy press release july internets threat marsh dave w rooted varanini giancarlo think record gal tsvi op citebilly thought crowly nina music crowly nina public perc eption downloading rainie lee susannah fox amanda lenhart cd sa lesfigures riaa source notes annihilation theory liebowitz stan standing ramone phil authors interview traditional music distribution bordowitz hank internet cohen stephanie record companies stand love courtney metallica rock rap confidential art ists standing knowledgewharton pione er indexing mpboard figures internet broadband penetration nielsennet ratings sur vey number people subject riaa lawsuits rock rap confidential july e nd result greenblatt alan music industry del colliano jerry pr newswire understanding zisk brian authors correspondence ratio legal pp downloads hayes simon ratio cd sales pp downloads liebowitz stan main reasons australian associated press organisation economic cooperation development study economist harvard st udy oberholzer felix koleman strumpf file sharers mcbride terry mp downloads liebowitz stan abandon shock awe goldring fred billboard cial reason doctorow cory address lawsuits file sharers dvorak john pc magazine longer laek andrew press release get involved cohen jonathan nothing new napoli lisa chapter records percent revenue much chapter based christman ed estimate lindsey robert f igures christman ed long tail anderson chris popprism hinte terri october source notes chapter fable elephant rabbit indies eating majors lunch math chapter based albini steve record companies still rundgren todd authors interview ou dont need bergman barry authors interview already cook stu authors interview victory records figures thursday martens todd great times brancaccio david beatrice black partii messy suicide commercial radio chapter airwaves people people yeah ure broadcast corbett krystilyn coolidge go esto congress gruber frederick c radio act proclaimed gruber frederick c isthe purpose shelanski howard peter w huber timeline media ownership consumers unionlicense renewal criteria shelanski howard peter w huber chapter regulations dont need steenking regulations given status bates dr benjamin j deregulation facts bates dr benjamin j stationsper market dicola peter kristin thompson dere gulation chart dicola peter kristin thompson recent passage sfx consider could happen lieberman david cannot bohlert eric radio stations seybold patricia b next five rundgren todd authors interview chapter death dj curse selector computers neer richard source notes chapter process songs really get radio much people ahrens frank callout become palmese richardtheoretically trips bohlert eric real problem greenman ben one always wary neer richard chapter payola isnt dead always smelled like toba price sammy authors interview october strawbs story neer richard music business etnikoff walter david ritz questionnaire new york times asong pl ugger gayles juggy authors interview cry ackerman paul get smith joe guy wh owill go unnamed smith joe authors interview guys radio smith joe authors interview black artists greenman ben gayles juggy authors interview george furness gayles juggy authors interview promoting public interest communications act ammendment radio formats smith joe authors interview took gayles juggy authors interview practice payola associated press become lindsey robert ay e xactly halberstam david david wynshaw lichtenstein grace january took artists dannen fredric nice way lichtenstein grace july joni mitchell lichtenstein grace july payola penalties communications act ammendment payola corrosive integrity morris chris alexander woodson please advised rock rap confidential october mak e sure donnie gross daniel misrepresenting identities sonybmg source notes difference greenman ben ran test lotz c wellworn truism greenman ben chapter dont payola let independent promotion companies handle worked epic gayles juggy authors interview know etnikoff walter david ritz claims isgro rohter larry artists furious etnikoff walter david ritz saw etnikoff walter david ritz koppleman hiring isgro lichtman irv r w allerdon greater reliance zuckerman steven isgro sent jail morris chris record companies want brancaccio david beatrice black mcclusky businesslike bohlert eric recognize clear channel strong relationships clear channel effort dodge leeds jeff upper echelon management involvement morris chris alexander woodson mccl uskys terests leeds jeff things think zuckerman steven song without significant pareles jon chapter arbi tron r ated sym phonicpunkcountr discofragging format ou agree bonko larry chinese listener figures arbitron clear channels new ork city stations arbitron ratings via radio reco rds online wha happened smith joe authors interview commission federal communications commission number stations format farrish bryan source notes people smith joe authors interview tool bonko larry chapter sirius satellite radio webcasting podcasting save broadcasting even worldspaces satellites sarma ripunjoy kumar xms satellites margolis lynne worldspace mission sarma ripunjoy kumar xm siriuss terrestrial signals sarma ripunjoy kumar satellite subscriber perks margolis lynne satellite penetration figures heine paul july sterns sirius contract westfeldt amy stern subscribers heine paul july wilkowe ellen growing number web radio stations okoli christina growth potential zeidler sue win heine paul november paul allen johnson gene creating context johnson gene rules webcasters digital millennium copyright act opera ting loss zeidler sue kexp podcasts johnson gene apparent fmqb podcast nd profit shields mike kexp c ell signal johnson gene internet radios upi ford car radio microsoft ford partiii retailing records chapter rock har dplace records become commo dity face real estate prices profit margins description late record stores mabry donald j recor sales shelton robert thought records barron james source notes said barron james turntable giveaway barron james number customers goodys store sanjek russell david san jek goodys sales barron james record clubs billboard ro yalty independent record company contract advertising horowitz november minute music shelton robert happy tunes shelton robert goody chapter barmash isadore alow margin rood george industry growth rood george end upward rood george goody bankruptcy barmash isadore loved barmash isadore agreed barmash isadore jack eugster palmieri christopher russ solomon serwer andy tower growth serwer andy company policy solomon russ authors interview eugsters sales palmieri christopher recordstore sales percentages riaa riaa profilenyc retail rental costs fashion center vegas retail rental costs kirk patricia l mall retail rental costs hazlett curt january cd margins christman ed podmolic mary ellen fi ona apple christman ed hemorrhaging money serwer andy sales figures pre national association record merchandisers dev iceownership october sales figures post riaa profile best buy buys musicland serwer andy sales figures lower years earlier riaa riaa profile industry podmolic mary ellen source notes wherehouse sam goody green frank industry views breen bill cbgbs archives contemporary music case williams paul ou never rundgren todd authors interview web eliminates napoli lisa chapter censorship walmart tippers scales walmart record sales figures strauss neil sake smith brian k customers strauss neil alleys prince pta marsh dave twisted sister video simply meant harrigan richard going affect harrigan richard pmrc proposal zappa frank ritual de l habitual cover st rauss neil yo ure artist browne david ou may need show marsh dave chapter voyage amazoncom brea dthof selection williams mark london computer penetration us census bureau num ber web servers people net lewis peter h online lewis peter h cdnow founded cdnow geffen linking cdnow lichtman irv december cdnow revenues advertising age newbury nd rosen online billboard musi cas ost popular thing buy web pelline jeff threeminute song burnett scott authors interview dont know evenson laura webnoize study seybold patricia b five years burnett scott authors interview source notes part iv technology chapter recorded three months one mic tracks people think rundgren todd authors interview lot guys paul les authors interview whole point smith joe new independent record companies parmenter ross paid production smith joe gouging record paul les authors interview octopus paul les authors interview needs credited phil ramone beatles recording three track morin cari cannot see reco rd world gazine started b ongiovi tony authors interview invested millions verna paul ou never win verna paul heyday fast larry authors correspondence folks steffens vic authors correspondence customer retention costello daniel one studio owner verna paul cases steffens vic authors correspondence right n owthe market droney maureen computer harddisk walsh christopher buy w alsh christopher many producers artists walsh christoper unique studios walsh christopher rising market petersen george musicians singers bongiovi tony authors interview chapter internet friend foe tool internet definitely cohen stephanie arctic monkeys pfanner eric w eb afabulous robertson thomas dolby artist development nelson chris new york times source notes lot hidden rundgren todd authors interview id rather rundgren todd authors interview write music rundgren todd authors interview im leaving love courtney people collective top chartscom exciting part bowie david emma brockes clap hands mcbride terry creation morin armand pr newswire trying matens todd billboard la ck control bowie david emma brockes bothers cohen stephanie cohen stephanie thank heavens sutton dan authors correspon dence generation dagostino debra successful wells matt shopping pleasure principle manning robert derek v price henry j rich itslike sa ying home shopping ramone phil authors interview human nature requires gillen marilyn pp ratios orlowski andrew canadian pp figures canadian recording industry association downloaders buy miller karen lowry rise sales bbc news mid winkler peter laura schooler however valid goldring fred grokster ruling important psychologically goldring fred myspace ahrens frank fifteen years ago pepper tara salesof pepper tara record company underwrite rundgren todd authors inter view artist required keefe bob physical product noguchi yuki future never duhigg charles source notes chapter hardware software demand hip right cant icet record icet disruptive technology christensen clayton oull always certain solomon russ authors interview rather rush griesman dwight authors interview perso nal tv infoguia juegos idrema closing hall michael songbank wild reality marketplace griesman dwight authors inter view ted cohens car stereo cohen ted authors interview four generations ipod self jonathan jason snell ipod sales top chartscom two weeksof music based gig ipod mp p layer penetration schadler ted sally cohen purchased downloads schadler ted josh bernoff sally cohen jen nifer joseph mobile phone penetration us wikipedia entry mobile phones mobile phone penetration europe telecomworldwire developing ringtones sale simon ralph considered ringtonesit thatssomething artists bruno anthony artists playing bruno anthony csi new york promotion turner cynthia november stones lbum n card duhigg ch arles barenaked stick seattle postintelligencer part v audience chapter touch grey boomers grow grow old whe nthe mabe chauncey baby boomer goldberg danny source notes rock n roll became mabry donald j herb london cockrell dale baby boom generation manchester joyce baby boomers literally adler jerry people like us grew bauder david middle age frey william h dylan mccartney paoletta michael november cd sales boomers riaa profilethe older demographic goddard peter chapter lost audience music business broke faith main supporters norah jones grammys grammycom norah jonessales riaacom putumayo barry manilow sales figures soundscan sales adults consumer profile riaacom chapter embarrassment riches entertainment options todayhey kid wanna buy record video game kids arent amdur meredith video games overtake music business industry analyst reporter record sa les figures riaa statistics video game sales figures entertainment software association college survey n ational association record merchandisers college market october homes tvs roberts donald f ulla g foehr victoria ride boys video games billings gwen november kids pcs roberts donald f ulla g foehr victoria rideout americans online stone brad ims r oberts donald f ulla g foehr victoria rideout billings gwen december mobile phones schadler ted sally cohen source notes time online lopez maribel ted schadler jennifer joseph sally cohen media consumption roberts donald f ulla g foehr victoria rideout two media billings gwen december kids mobile phones billings gwen november cell accessories billings gwen november well see time alterio julie moran video game value allan keri david cole pretty obvious ritholtz barry dvd consumer figures rothman wilson central strategy high mamau impact high mamau maybe im slow christman ed partvi money chapter music education buddy spare dime government funding associated press music specialized oh william h jr first grade study gardiner martin alan fox faith knowles donna jeffery students w ith coursework nelson j bronx parochial school dickinson dee texas commission gallup nelson j choices lindelof bill school districts statewide carr lynette vh pianos nelson j reason lindelof bill children vulnerable zappa frank chapter orlando phenomenon boy bands bad girls made order band made turner cynthia september decided needed smith joe strategy smith joe source notes archies jahn mike archies bronson fred incredible thing smith joe artie told passy charles mickey mouse club abbot jim unt il god stops rayner ben american idol amounts dumenco simon ind ustry llewellyn smith caspar chapter breaking star breaking bank bruces first record bordowitz hank cost breaking hit g scott carly hennessy ordo\u00f1ez jennifer weve never newman melinda labels used thrive ponti jack authors correspondence id sa managers bergman barry authors interview group managing majewski ed authors correspon dence fans cannot download majewski ed authors correspondence major labels cant ponti jack authors correspondence people want something rawls lou authors interview chapter video r evolut ion looks ar ent everythin g theyre thing said dont mind nispel marcus authors interview thin gswhichused count banks jack video statistics banks jack theres band lekberg jason authors correspondence two bands banks jack im v ery u ncomfortable clark rhodri want break paoletta michael november temple dog video woletz robert g cost indie video banks jack cost f ajor video banks jack schwartz lara ou music videos nispel marcus authors interview cer tain ar tists schwartz lara authors correspondence source notes video done desktop rundgren todd authors interview cohen stephanie cactusflower video rickwood lee videos nothing nispel marcus authors interview oure making banks jack mtvmicrosoft joint venture tymkiw catherine chapter contacts contracts artist go gold one day flipping burgers next today want love courtney go ttired shocklee hank authors interview one jacobson jeffrey authors correspondence march signing isnt trivial get signed cumberland rob lawyer doesnt get signed cumberland rob story sponge cumberland rob monkey points adler tim hootie blowfish fisher anne b kornemi deal garrity brian korn loses marsh dave fake science delvecchio rick conclusion bilious stew music business turn millenniumand hope deliverance record industry taubman howard made lots wolff michael soon oull grateful wolff michael marketing promotion costs riaacom marketing vs promotion costs washington post reco rding industry oconnor timothy part reason majewski ed authors correspondence henceforth rundgren todd authors interview hanson levine robert knew friedman dean still conte nd steffens vic authors correspondence source notes know artists bruce jenny authors correspondence house concerts strauss neil best promotion soukup elise piano brothers nelson lizz scion record halliday jean turnover rate bernstein paul five guys bauder david point steffens vic authors correspondence really believe majewski ed authors correspondence bibliography abbot jim orlando best known breeding ground boy bands city plenty talent offer billboard december ackerm paul spins day throw music industry whirl billboard november adl er jerry turning newsweek november adl er tim net profits make monkey producers screen finance august adve rtising age selling cds successfully november ahre ns frank technology repaves road stardom washington post may al bini steve problem music maximum rock roll allan k eri david cole away game industry fore casts stay bright electronic gami ng busi ness march amdur meredith teens spent less cds daily variety feb ruary arbi tron arbitron releases results chinese language radio lis tening new ork los angeles press release june archives contemporary music press release october associa ted press new budget plan squeezes education medicare february associa ted press tax court rules payola deductible expense january australian associated press people prefer buy cdssurvey august anderson chris long tail wired october bank jack video machine incorporation music video recording industry popu lar musi coctober bibliography barmash isadore american plans buy sam goody new york times december barma sh isadore sam goody longs new business new york imes june barma sh isadore music merchant bullish outh technology new york times july barro n james sam goody started chain record stores dead new ork times august bates dr benjamin j economic basis radio deregulation paper presented popular culture association philadelphia april bauder david adapting graying marketplace associated press february bauder david hard realities new world music busi ness associated press april bbc news us sees growth cd sales market january bernstein paul happens rockers dont make new york imes november billboard teractive briefs boston retailer goes online october thebillboard results clubs jell slowly percent still opposed proj ect december billings gwen benchmark mobile entertainment study cynopsis kids november billin gs gwe n first amendment reigned supreme cynopsis kids december billing gwen cynopsis kids december boatwright mar tthea ters roman empire bibli cal ar chae ologist dece mber bohl ert eric fighting payforplay salonapril bohl ert eric clear channel selling hit singles salon june bo nko larry radio listener heard arbitron virginian augu st bordowitz hank bruce springsteen scrapbook new ork kens ingt oncitadel books bordowitz hank future goodbye cds gallery bibliography bowden marshall visions miles review miles davis story dvd po pmatterscom november bow ie david emma brockes david bowie words afraid internet guardian january bra ncaccio david beatrice black marketplace american public media radi june breen bill whats selling america fast company january bro nson fred billboard book number one hits new ork billb oard books browne david music business watches step new york times september bru anthony ringtones still plenty room grow bill board september cana dian recording industry association recording industry launches campaign protect promote products mind citing results two national polls september carr lynette keep arts school pittsburgh postgazette jun e casl analytics ketupanet media profile polygram decca dgwwwk etupanetpolygramhtm june cdn ow cdnow announces free music life press release octo ber christensen clayton innovators dilemma new ork harper bus iness books christ man ed sales data long tail wagging billboar march christ man ed ftc removes final hurdle merger sony bmg billboard august christ man ed n ot much yule cheer music business billboard januar christman ed retail pays umgs price cut billboard septem ber christ man ed retail track margins shrink cds vie media billboard november christ man ed retail track soundscan numbers show percent albums ac count half units sold billboard april bibliography clark rhodri talent looks western mail june clark ri ck gus dudgeon mix october cle ar channel clear channel cuts ties independent promoters press release april cockrell dale review closing circle cultural history rock revolution american music winter cohe n jonathan lennon catalog make digital debut bill boardbiz november cohe n roger million ear steve ross defends paycheck new york times magazine march cohe n stephanie peter townshend interview edited hank bor dowitz mcycom communications act ammendment pl stat communications daily bertelsmann ag buys rest rca records fr om ge september costello daniel new measures crm performance crm maga zineoctober con sumers union history hearusnoworg contract king david distributors galaxy records june corbett krystilyn rise private property rights broadcast spectrum duke law review december cro wly nina mass mic responds riaa email mp mass mic j anuary cum b erland rob get signed ou know contracts bemusocom cumberland rob money sponge cant major labels sell enough records bemusocom dagostin debra sound change cioinsig ht january danne n fredric hit men new ork vintage press delve cchio rick fake science searches new stars san fr ancisco chron iclenovember dic kinson dee music mind new horizons learning bibliography dicola peter kristin thompson radio deregulation served citizens music ians washington dc future music coali tio n digital millennium copyright act public law us sta tutes large doct orow cory cory responds wired editor drm boing boin gcom december droney maureen survival fittest mix october duhigg charles music listening los angeles times nov ember du lac j freedom hey jude duude washington post november dumenco imon unstar system new yorker september dvo rak john c ode napster musics last hope pc magazine march economist amarket ideas october edwar ds david michael callahan liberty records story libertycom january entertainme ntsoftware association ear end figures report evangelista benny hell freezes jobs crosses pc line san francis co chronicle october ev enson laura amazoncom makes major music push san fran cisco chr onicle june farri sh bryan radio airplay music biz academycom october fashion center economic profile feder alcommunications commission radio entertainment format changes mass media bureau publication fidelity investments music icon investment leader team help keep music education alive schools press release october fisher anne b record clubs face music fortune april fmqb bri dge ratings study podcasting elevates litening novem ber bibliography frederickson jon james f rooney music occupation failed become profession international review aesthetics soci ology music december frey w illiam h boomer havens oung adult magnets ameri dem ographics september friedm dean fan funded diy records panel global enter tainment media summit may g scott indie artists meet clear channel execs ezine rticles ezin earticlescom october gardiner martin alan fox faith knowles donna jeffery learn ing improved art training nature may garri ty brian korns twisted deal billboard n ovember gille n marilyn sony ceo stresses retail role digital future billboard january go ddard peter boom gloom makes music business nervous toronto star february gol dberg danny excerpt new introduction forthcoming paperback edition book dannygoldbergcom january goldring fred editorial grokster music business save billboard j uly grammyco grammy award winners graser marc body sing mcdonalds adversongs urge fast food hiphoplyrics crains chicago business april gree n frank qa eustaquio kirby owner garys record par adise escondido ca uniontribune october gree nblatt alan major music labels survive digital age cqresearch er novem ber gree nman ben qa price payola th e new yorker online ju ly gross da niel whats wrong payola slate july gru ber frederick c radio television ethical standards nals th e american academy political social science march hag en mark interview mojo january halbersta da vid ftc say payola ended new ork times february bibliography hall michael indrema ceo discusses close company linux today april halli day jean scion brand enters music business crains auto motiv e news april harriga n richard capitol hill rock war emotions run high musicians confront parents group hearing washington post septe mber hayes simon music song quick sharp web piracy contin ues australian september hazlet curt bad news retailers rising rent retail traf ficjanuary heine pau l satellite stampede competition zone billboard radio mon itor july heine pau l winning web billboard radio monitor novem ber high mau search oung men big bulging wal lets financial times may hinte teri rkeley item october hinte teri rkeley item october horowitz go ing record fight independents smack big labels thebillboard n ovember hor owitz longplay records chalk peak volume ear billboard december icet speech mp summit june indust ryanalyst porter inter active entertainment industry rival size f global music business says dfc november infoguia juegos interview yana kushner indrema l en tertainme n system march jahn mike archies fictional success new york ti mes n ovember jo hnson gene internet helps indie radio spread associated press october ke efe bob napster verdict music business changed forever atlanta jour nalconstitution october ke efe bob warner start digital elabel atlanta journalconsti tution august bibliography kiley david mickey getting bad rap edited ira sager business week april kirk pa tricia l tale two markets retail traffic may knowledgewharton peertopeer music trading good publicity bad pre cedent october lander howard letter publisher billboard debuts piece coun ts two music sales charts billboard may le eds jeff music promoter abandon radio policy developed new york times november lev ine robert rage record label hanson brothers make film new york times october lewi peter h companies rush set shop cyberspace new york imes november li chtenstein grace payola jury asks testimony tips new york times january li chtenstein grace record industry coast shaken payola scan dal new york times j u ly li chtman irv lester sill rock era publishing great dies bill board november li chtman irv billboard bulletin billboard december lic htman irv billboard march li eberman david entertainment clout builds clear channels pur chase sfx entertainment creates radio billboard live per formance titan usa today march lie bowitz stan mp downloads annihilate record industry evidence far paper school management university oftexas dallas june lindelof bill budget knell arts sacrame nto bee march lindsey robert payola threatens recording profits new york times jul llewellyn smith caspar feelin free obse rver music monthly ep temb er lopez maribel ted schadler jennifer joseph sally cohen entertainment grabs ouths online time oung consumers andtechn ology forrester research july lotz dick clark chinese luncheon fusion magazine bibliography love courtney speech digital hollywood online entertainment conference may lowry tom jamming jac seymour ahmet business week online august mab e chauncey cant baby boomers learn age grace fully sunsentinel november mabry donald j rise fall ace records case study independent record business business history review autumn mabr donald j rock n roll beginnings historical text archive wwwhistoricaltextarchivecom april manchester joyce baby boom housing financial flows american economic review may mannin g robert derek v price henry j rich concierge information desk teaching social stratification malling america teaching sociology january margoli lynne satellite radio beaming cox news service august marsh dave cradle rock rock roll confidential feb ruary mars h dave deal memo korn holler ya hear hollerifblogspotcom september marsh dave rock rap confidential august mart ins todd lonely billboard february mayf eld geoff music charts compiled billboard dece mber mcadams janine bds soundscan form basis rb charts billboard decemb er mcbri de terry editorial new frontier billboard april microso ft ford joint press release november miller karen lowry emi inside makeover newsweek eptember mo rin cari evolution beatles recording technology paper northwestern university evanston il morris chris labels future doubt isgros sentencing bill board september bibliography morris chris woodson alexander news music hollywood repo rtercom july mpboar mpboard files counter claim riaa creates new digital rights technology press release july napoli lisa think debate music property rights began napster hardly new york times september na tional association record merchandisers college market content spending device ownership narm research briefs octo ber national association record merchandisers retail sales terrorism alters outlook narm research briefs october neer ri chard fm rise fall ro ck radio new ork villard boo ks nelson chris upstart labels see file sharing ally foe new york imes september nelso n lizz building crescendo successful sales two brothers small town sold million cdswith major label pr newswire december nelson j dumbing dwindling funding arts world music central wwwworldmusiccentralorg march newman melinda beatsavoy plucks vollenweider billboard march new ork times indelible pietro june new ork times questionnaire reveals radio beneficial music indust ry march nielsennet ratings survey noguchi yuki warner music turns web washington post novem ber ober h olzer felix koleman strumpf theeffect file sharing reco rd sales empiri cal analysis cambridge harvard busi ness sc hool oconn timothy file share plaintiff plans defense journal news december oko li christina web radio answer bank uk wwwthe answerbankcouk opt icalstorage media much inf ormati rege nts university california october bibliography ordonez jennifer pop singer fails strike chord despite mil lions spent mca wall street journal february orlo wski andrew every drm download pp swaps register june palmi eri christopher media merchant baby boomers forbes march paol etta michael making brand financial firms see payoff aging stars billboard november paol etta michael mtv taps consultant presidentcoo bill board november paol etta michael qa christina norman billboard august parel es jon money talks top listens new york times septem ber parme nter ross economics records new york times march passy ch arles waiting lou pearlman palm beach post ju ly pelline je ff marketers flocking sell music internet san francis co chr oni cle n ovember pepp er tara making breaks newsweek eptember peterse n george whats going mix april pfanner eric british invasion digital age international ald ribun e march podmo lic mary ellen music retailers hear sour notes crains chic ago business may prnews wir e instead suing downloadable musicthe music business take high road august radi oand records online wwwr drcom ratings new ork accessed november raini e leesusannah fox amanda lenhart million americans freeload music internet one billion free music files sit napster users computers internet tracking report pewinternet american life project june rayner ben nufacturing music teenage fanatics toronto st ar april bibliography record world magazine george martin speaks january red rrin herd shapes music tastes february riaa press lease dima riaa consumer profile recording industry association america riaa consumer profile recording industry association america riaa ear end statistics recording industry association america riaa consumer profile recording industry association america riaa ear end statistics recording industry association america riaacom cost cd riaacom gold platinum searchable database rickwood lee john golds cactusflower video video systems nov ember ritholtz barry dvd sales cannibalizing cd sales big picture bigp icturetypepadcom march roberts donald f ulla g foehr victoria rideout generation media lives yearolds henry j kaiser family foun dat ion robertson thomas dolby upside music web riaacom rock rap confidential rua criminal j uly rock rap confidential october rockand rap co nfidential rohter larr payola case dismissed judge new york times sep tem ber r ood george holiday expands recording sales new york times december r othman wilson dont rent new york times february sa njek russell david sanjek pennies heaven new ork da capo pr ess bibliography sarma ripunjoy kumar tune satellite radio economic times july sch adler ted josh bernoff sally cohen jennifer joseph musical outh still stealing also buying oung consumers tech nology forrester research september schadler ted sally cohen oung consumers love devices oung consumers technology forrester researchjuly schwartz lara billboard guide music video new ork wat son gupt il books manuscript seattle postintelligencer barenaked ladies distributing new release via usb fla sh drive november self jonathan jason snell rock scroll macworld october ser wer andy music retailers really starting sing blues fortune march seybo ld patricia b customer revolution new ork crown busi ness b ooks sfx sfx broadcasting multimarket radio announce final acqui sitions complete million liberty broadcasting transaction press release february shamah david exposed dark side tracks cds jerusalem post july sha ndler geoff book scandal industry standard july shelan ski howard peter w huber administrative creation property rights radio spectrum law economics octo ber shelt robert happy tunes cash registers n ew ork imes march shields mik e tracking podcast people mediaweek nov ember silverman tom addressing bnai brith panel discussion indepen dent record companies simon ralph commentary sounding ringtones billboard octo ber smith bria nk anassault retailers billboar novem ber bibliography smith joe record new ork warner books son ybmg memo employees october sony music sony music entertainment bmg unite create sony bmg music entertainment press release august soukup elise bands idea fresh moms tupperware newsweek june undscan album sales report april stone brad hitechs new day newsweek april str auss neil acoustic music live living room new york times november str auss neil walmarts cd standards changing pop music new york times n vember szen drei janka introduction staff notation middle europe studia musicologica academiae scientiarum hungaricae tau bman howard black discs millions new york times janu ary elecomworldwire global cellular connections reach two billion september top ch artscom mp october trumbull dr eric w ancient greek theater introduction theatre online course novaonlinenvccvauselispdetancientgreekhtm northern virginia community college turner cynthia cynopsis november turner cyn thia cynopsis eptember tymk iw catherine mtv microsoft plan service rival itunes crains new york business online december upi otorola dding internet radio phones july us ce nsus bureau statistical abstract united states washin gton dc us constitution art sec cl vanzandt little steven little stev ens unde rground garage wqxd februar varanini giancarlo qa napster creator shawn fanning zdnet music marc h verna pa ul stu dio monitor room views closing illustrates harsh realities billboard october bibliography waller jma qa billboard august wa lsh christopher studio monitor turns rough pro audio field billboard march wa lsh christopher studio monitor behind severe drop studio bookings billboard december wa lsh christoper studio monitor daw advances challenge business model billboard december hington post costs hit cd february wei ss george david address bnai brith music entertainment media unit wells matt red herring research study doubts napster success red herring research may westfeldt amy stern taken air promoting move sir ius associated press november wik ipedia digital audio tape accessed october wikipedia mobile phones accessed february wild mediagear songbank review geekextremecom may wilk owe ellen many morris fans plan follow howard stern move satellite daily record vember willia ms mark london online shipping enters comfort zone daily variety may willia ms paul hmv close final us store music week novem ber wink ler peter lara schooler eds global entertainment media outlook pricewaterhousecooper woletz r obert g new formula bin comes hit new york times august wolf f michael facing music new york j une wo rld musicians current biography h w wilson company bronx ny etnikoff walter david ritz howling moon new ork broa dway books oh william h jr music education cornerstone developing wellrounded individual massachuset ts musi c news w inter bibliography zappa frank statement congress testimony record label ing hearing senate committee commerce science transportation th cong st sess september zeidler sue casting net reuters june zimmerma n kevin fears peertopeer cablevision february zuc kerman steven interview jerry lembo totalaccesslivecom original sources anonymous former ar person authors correspondence october bergman barry authors interview december bongiovi tony authors interview bruce jenny authors correspondence december burnett scott authors interview july cohe n ted uthors interview march cook stu authors interview deutsch didier authors interview ertegun ahmet authors interview june fast larry authors correspondence june gayles juggy authors interview november griesman dwight authors interview august james etta authors interview october lekber g jason authors correspondence majewski ed authors correspondence april october mcdani el elias aka b diddley authors interview nispel marcu authors interview august paul les authors interviews pointer anonymous west coast media executive authors corre spondence ponti jack authors correspondence december ramone phil authors interview july rawls lou authors interview august rose authors interview rundgren todd authors interviews june july original sources schwartz lara authors correspondence shallet michael michael fine authors interview june shocklee hank authors interview smith joe authors interview november solomon russ authors interview september steffens vic authors correspondence september october november sutton dan authors correspondence zisk brian authors correspondence records ar artist repertoire changing role role success failure ap internet subscription service artist public see also ternet online business model abd ul paula abramson herb atlantic records actors popularity singing actors ada alternative distribution alliance adams media research report adult demographic targeting adult pop format explanation advances decrease example payment recouping african american artists exposure success afristar satellites use ball stephen foster aguilera christina aha aint sweet beatles airwaves ownership aladdin maxwell davis albini steve producer albums breaking even major labels low sales recovery production costs sales alexandergavin technologist alive ar mand morin allen pa ulexperi encemusic project alleys relationship prince allofmpcom potential violations related alpert herb ndjerry moss records also prachzarathustra deodato alternativ edistribution alliance ada sta tions ownership amazondavidrisher ameri bandst significance americancancompany purchase sam goody ameri id ol debut amoe ba r ecords suc cess ampe x relationship les paul anderson chri w ired magazine erson ray animals announcers djs anthony polly apple fiona apple computer steve jobs apple corps versus apple computer trademark arbitron report radio listeners web tracking radio listeners arcade fire archie comic books archi es sugar sugar archive contemporary music bob george arctic monkeys success internet ariel dean friedman armone joseph armstrong louis wonderful world artist formerly known prince availability music online crystal ball npg mus ic club artists cost getting charts deals development exposure black artists failure net payments ownership labels relationships record companies role success failure ascap position rock roll asiastar satellites use asylum records david geffen atco records ahmet ertegun atkinson paul atlantic records audiences reaching audio home recording act audio layer compression protocol adoption audiorevolution jerry del colliano austin michael lee avallone francis avalon frankie baby boomers impact music business bach johann sebastian xix backoffice front office flowchart backstreet boys bagda sarian ross baker chet bands budgeting barenaked ladies bar enak ed astick barenak ed astickbarenaked ladies barone ri chardthe bongos bds br oadcast data sy ste ms monitoring ofsongs relevance radio beastie boys beatles aintshe weet first st udio reco rdings beatles catalog availability benchm arksin radio examples benedetti nicola violinist benson geo rge bergmann bar rymusic managers forumus bernstein pa ul new ork times urnover rate ar tists bertelsmann music group acquisition music boulevard acquisition rca records best buy purchase musicland betamax sony failure big champagne digital music tracking company big daddy big six reduction big four billboard christman ed music sales analysis lan der howard newman melinda rossi terri celebration jeff mccluskys th anniversary location music videos paul verna recording studios relationship soundscan billboard releases conference calls held indexbilly ward dominoes black artists exposure success black box black rock building significance blackwell chris island records bling tones bmg music see also sonybmg cr eation merger sony bolling claude bongiovi tony power station recording studio bongos bonko larry tv columnist book explanation book publishing versus record business boomers impact music business bottom line night club allan pepper bowie david bracken bracken veejay records branded entertainment explanation brandenburg karlheinz mp branding relationship internet breakeven ranges independent record companies major label albums bridge media poll radio listeners brief henry riaa british gramophone alliance victor talking machine british phonographic industry position home tap ing broadcast data systems bds monitoring songs broadcast licenses description maintaining satellite radio bronfman edgar warner brown bobby bruce jenny brujo player capability buddy holly story bud gets decrease example burnett scott liquid audio business manager role cc usic factory cactusflower john gold cafaro al records california schools music education callout research relevance radio canadian record industry association brian robert son capitol records purchase emi response music piracy caplan mike epic records car audio devices caroline independent distributor purchase sonybmg carp copyright arbitration royalty panel cassette deck introduction catalog importance cd baby cd players advent availability cdnow cds appeal decline sales versus dvds getting discounts initial cost introduction justifying costs low online sales low sales lower wholesale prices making compressed digital copies monthly purchase college students pricing pricing record liquidators release day retail space occupied sales ss storage capacity types typical length cell phones access youth demographic disruptive technology charles ray chart information gathering record world see als osoundscan charttracking service cha rts cost getting artists versus quality chess records recording etta james chip technology impact chipmunks ross bagdasarian christensen clayton innovators dilemma christ man ed billboard music sales analysis cl ap hands say eah clark dick payola payola hearings classic rock popularity xiv clayman greg mtv clear channel acquisition radio stations ascendance impact radio stations owned relationship mcclusky clinton george club scene significance coasters cochran eddie rock roll coed records payola related cohen ted emi coldplay lets talk speed sound cole kevin dj college students monthly cds purchased collins bootsy collins phil coltrane john prestige records columbia house acquisition cdnow columbia record club start columbia records davis clive lieberson goddard riley john wynshaw david etnikoff walter columbia university study music quality commodores communications act composers original payment xxxxicomputers impact radio stations computing power increase concord label sales congress opposition spending arts consoles supplying recording studios contracts dealing length masters clause ownership masters clause publishing rights clause recording costs clause royalties clauses cook stu creedence clearwater revival indexcool david stand alone records coop advertising relevance radio coppola mark copyright arbitration royalty panel carp copyright control services reporting music piracy corbett krystilyn attorney broadcast communi cation cordless records corson tom country format broadcast cousins dave strawbs cow cow boogie ella mae morse cowell simon american idol cr acked rear view hoo tie blowfish crea tive nomad mp player description creedence clearwater revival stu cook crests candles cronyn stan warner bros payola crosby bing crupnick russ npd group crystal ball artist formerly known prince cti ca talog absorption cbs records archives acquisition sony music group cumberland rob signing contracts curry doug riaa customer revolution patricia seybold cyon mp c apabilities daltrey roger danforth john darin bobby dash rip rock dat recorders serial copymanagement system davis clive columbia records davis maxwell davis miles prestige records davis zelma del colliano jerry audiorevolution demographics targeting denver john deodato also sprach zarathustra prelude dep eche mode deregulation radio stations impact desktop editing development desyl va buddy lyricistmovie mogul deuts ch didier cti deuts che grammophon dfc telligence projection interactive entertain mentmarket diagrams seeflowcharts didd ley bo chess records digital delivery projections digital media association john potter digital media phil leigh digital millenium copyright act digital music cablecasting cloning commentary icet getting pirate pirate sites licensing mainstreaming digital music files players disruptive technol ogy digital rights management failure see also music piracy dis co demise disco debacle occurrence disipio fred disruptive technologies see also technology cell p hones ipods mp files significance distribution flowchart distribution process explanation diy album john gold promotion diy artists examples djs power receipt payola transition announcers transition onair talent doctorow cory electronic frontier foundation dolby ray dolby robertson thomas doors riders storm doors records release cds dotcom boom significance dowd tom dr dream ray anderson dreese mike newbury comics dudgeon gus elton johns producer dumenco simon new yorker american id ol upre es ou belong duran duran dusty groove success dvds versus cds dvorak john pc magazine music piracy workin jonathan bling tones dylan bob eagles hotel california long run eastside shake john gold ed sullivan show egan ri chard vagrant records yearolds targeting demographic significance eighttrack recorders use electronic arts steve schnur electronic frontier foundation cory doctorow elektra recordsholzman jac smith joe elvis producing emi cohen ted klein adam koppelman charles martin george potential merger warner bros purchase capitol records emine enter tainment software association entertainment technology development entwistle john epic records caplan mike anthony polly ertegun ahmet atlantic records eugster jack musicland everybody dance martha wash experience music project paul allen fabian signing fader david wharton school business fake science label contract offered falcone pasquale fanning sean fantasy records independence farrell perry fast larry recording studios fcc federal communications commission establishment failed radio formats significance federal communications commission fcc establishment significance file sharing controversy impact music sales perceptions pros statistics related index filipetti frank fine michael flowcharts distribution offront office back office getting signed handoff major label paradigm ofpromotion ofteam fm stations ownership fm rise fall rock radio richard neer x iiixiv footlight records ford lita formulas success failure forrester research study mp player sales forte fabiano fortune magazine andy serwer foster step hen ball fourtrack recording use freed alan payola hearings frey william h demographer friday morning quarterback kal rudman fried man dean ariel front office back office flowchart fuller simon pop idol fun icello annette gal tsvi warner bros gallup poll music education gambino crime family game show scandal hearings gapband garfunkel art gartner group mike mcguire music piracy garys record paradise success gayles juggy onindependent promotion onpayola hearings geffen david geffen records link ocdnow reaction internet threat general music outlet electronic records tony stonefield genica cd player availability george bob archive contemporary music gilbert sullivan giles alan hmv glassandlacquer disks duration glenn glen glenwood place studios kit rebhun gold john cactusflower eastside shake gol dberg danny mercury records goldring fred sixstep recovery program good music perceptions xiiigoodbye yellow brick road elton john good man mark goody seesamgoody gor dy berry motown gore tipper parents music resource center gortikov stanley riaa grants music education availability great american songbook rodstewart green da green street recording studio david harrington griesman dwight lydstrom grokster shut us upreme court ruling grp records larry rosen gulf western artie ripp gute nberg johan typesetting xixxx gutowitz sam see samgoody hale n van hot teacher handoff flowchart hanson mmmbop problems umg underneath hardw brujo mpcd player creative nomad cyon mp development genica cd player indrema ipods rio mp player wingcast harptones last dance harrington david green street recording studio harvard business school study hawk underg round hawk ins paula senator hawthorne heights heavy metal acts budgets hennessy carly herman dave hits magazine relevance radio hmv ala n giles hoffa holz man jac home taping controversy hootie blowfish cracked rear view horizon usic vic steffens hot teacher van halen hotel california eagles ho use concerts popularity houston whitney hr radio act hubbard freddy humphries beverley broadcastersinger hustle cant change video creation icet commentary digital music ideas protection xxidol billy idol phenomenon significance idolmaker ifpi ternat ional federation phonographic industry independent labels see als olabels major label alb ums breakeven ranges budgeting model versus major label albums recording sales sales target independent promotion banby warner communications handling power indrema hardware yana kushner infinity radio matt timothy innovators dilemma clayton christensen int el gordon moore intellectual property free access origin xx interactive entertainment market projection international federation phonographic industry ifpi internet see also ap internet subscription service arti st public online business model finding talent impact perceptions potential streaming music videos internet downloads ratio pp legal access indexinternet radio availability internet relay chat irc trading music files ipod introduction symbolism iradio motorola irc internet relay chat trading music files iron giant pete ownshend isg ro joe island def jam records island records isley brothers tneck records ittakes nation millions hold us back pu b li c enemy itunes introduction purchasing music videos jackson joe virgin jackson milt jacobson jeffrey business attorney contracts jamband explanation james bob james etta chess records james rick janes addiction jazz rock hybridization jazz format broadcast jerusalem post david shamah jett joan jobs stev eappl e computer joel billy john elton earlycds released goodby e yell ow brick road jones gr ace jones norah jukebox capability jukeboxes availability jumpstart program universal music group junkies label prestige records kama sutra kelly paul kexp hourlong podcasts lowbandwidth stream pocket computers lowbandwidth stream webenabled cell phones webcasting kid rock king ben e artist kinney corporation acquisition seven arts kirshner music publisher klein adam emi koppelman charles emi korn advance received kudu creed taylor kurin richard smithsonian institute kushner yana indrema labels ownership artists see also indepen dent labels major label albums lack andrew bmgsony lander howard billboar lapto ps capturing music videos last dance harptones lauper cyndi lavigne avril lawsuits examples lawyers role lazy sob recordings davis sanger lee geoffrey researcher legal budget example lehrer tom leigh phil digital media lekberg jason wraith lembo jerry lennon john lets talk coldplay levin jerry time warner lginformation communications liberty records simon waronker lieber jerry songwriter lieberman david radio stations lieberson goddard columbia records limp bizkit ling jeff reverendmentors lion sleeps tonight george david weiss liquid audio burnett scott online business attempted relationship music boulevard use listening parties hosting little rich little feat bill payne little seven xiiixiv live london herb nyu london julie orchestral pop long run eagles lon g tail theory explanation loog oldham andrew love courtney loving spoonful lps popularity lydstrom dwight griesman mabe chauncey sunsentinel mabry donald j historian madonna maitland mike mca records majewski ed majic management major bowles amateur hour maj label albums see also independent labels labels break ing even budgeting model domination commercial radio versus independent labels sales target managers budgeting percentage paid role manchester joyce dartmouth marcucci bob mars h da onkorn advance rock rap confidential martin geor ge mashkas doug masters contract obligations related delivering ar ownership maverick records madonna mazer larry mca records acquisition seagram maitland mike shocklee hank mcbride terry nettwerk records mccartney paul mcclusky jeff promotion model decline relationship clear channel targeting spitzer mcguire mike gartner group music piracy mctammany john player piano xxmcycom media deregulation media ownership restrictions imposed mercer johnny strip polka mercury records danny goldberg metallica mickey mouse club index middle ages ability musicians make money xviiixix mighty purple miller bryan woxy miller mitch mineo sal mix magazine george peterson mmmbop hanson modern maxwell davis moe signing caplan money barrett strong money making music xviiixximonka jeffery monkees monkey point explanation moonlight relevance radio moore gordon intel moores law applying technology explanation morin armand alive morse ella mae cow cow boogie mosaic web browser introduction moss jerry herb alpert records mickie length recording process motorola iradio motown beginning movies sales mp files disruptive technology riaas antimp position sites mp players availability mpboard position music piracy mpeg brandenburg adoption mpman introduction mtv advent clayman greg relationship vh wolf michael j muni scott professor murphy matt guitar muscle shoals studios wolf stephenson music buying online definition popular music xviidownloading origins xviiixxi perceptions good music xiii popularity classic rock xiv promotion subscribing streaming music boulevard acquisition bertelsmann beginning online business attempted ramone phil relationship liquid audio rosen larry music business see also record business decline f sales xvxvii versus record business stagnation symbiosis radio stations world wide web music education see also schools imp ortance loss music genome project music lives foundation paul mccartneys involve ment music managers forumus barry bergmann music notation origin xixmusic piracy see also digital rights management cont rol issues related explanations impact perceptions responses music sales impact file sharing music videos capturing laptops commercials costs popularity purchasing itunes streaming internet musicland purchase best buy sales generation peter townshend girl temptations myspacecom features nk encoded music starting napster case controversy culture origin national association record merchandisers report nbc news airing new payola neer richard fm rise fall rock radio xiiixiv net per centage points paid nettwerk records network independent promoters development end new edition new kids block new mickey mouse club new pa yola airing nbc news new york times radio music business ber nstein paul turnover rate artists shelton robert glassandlacquer versus vinylite new yorker simon dumenco american idol n ew bury comics newman melinda billboard nic kelback cd sa les introduction cd players number records promoting records record business buyers sound recordings record business record sales songs played radio cd sales decline cd sales dotcom boom low record sales prince promoting records record business record business record company revenues ascendancy radio record sales record sales nirvana success nispel marcus music video budgets music videos commercials npd group russ crupnick npg music club artist formerly known prince nsync indexoasiss reaction internet threat ojays older demographic targeting olim jason cdnow onair talent djs one sheet creating oneil tim ryan piano brothers online business model attempts see also ap nte rnet subscription service internet online music piracy seemusic piracy ono oko open source significance opie anthony xm organisation economic cooperation devel opment orlando talent pandoracom description parental advisory sticker use parents music resource center pmrc parr john paul les onlength recording process relationship ampex payne bill little feat payola see also radio airing f new payola nbc news coed records hearings investigation eliot spitzer investigations los angeles district attorney law receipt djs pc magazine john dvorak music piracy pcs acc ess youth demographic pearl jam success pearlman lou peertopeer downloading use arctic monkeys peertopeer programs downloading people meters use arbitron pepper allan bottom line night club percentages album sales listeners reported arbitron paid managers profits album sales profits record companies record sales records recouping advances ofrecords sold new releases ofsingles recovering production costs performance royalty organizations examples perso nal jukebox capability perso nics peterso n george mix magazine pewin ternet american life project phantom spin explanation philips holdings introduction cds philles label phil spector et al phillips sam sun philly scene significance piano brothers tim ryan oneil pianola invention xxpiracy seemusic piracy pir ate pirate sites getting digital music pitney gene artist pittman bob gm wynyfm pittsburgh postgazette report music education pla tform group jack ponti player piano invention xxpmrc parents music resource center podcasts availability kexp polygram acquisition seagram ponti jack platform group pop idol pop stars orig popular music definition xviiposner richard university chicago broadcast licensing potter john digital media association power station recording studio tony bongiovi prelude eodato pre sley elvis prestige records bob weinstock price sammy pianist pricewaterhousecoopers industry downturn prince availability music online crystal ball npg us ic club private joe isgro pro tools affordability use producers recording independents production process explanation professor scott muni profits percentages programmers versus promoters radio promoters versus programmers radio promotion department role promotion flowchart promotion model development jeff mcclusky pp sites controversy public enemy publicity department role publishing rights inclusion contracts putumayo quality versus charts rr magazine relevance radio rac k jobber explanation racketeering influenced corrupt organizations rico radio see also payola acq uisition clear channel advertising songs ascendance automation availability internet radio cost fbroadcasting satellite radio deregulation domination major labels getting songs listening web number us ownership clear channel ownership promotion symbiosis music business taking chances new artists terrestrial type use selector program wnbcfm wnewfm wynyfm radio act hr radio records tracking spins ra dio formats examples radio listeners poll bridge media tracking arbitron radio transmitters cost rafelson bob tv producer raging bull productions ramone phil rampal jeanpierre suite flute jazz piano rang er richard colonel rapp artie kama sutra label index ratings tracking arbitron rawls lou rca records acquisition bertelsmann ag rca video sale rebhun kit glenwood place studios record business see also music business ins ins vers us book publishing business consolidation forecast versus music business payola investigations eliot spitzer source problems survival taking risks record clubs beginning record companies classical jazz departments function relationships artists revenues turnover record label paradigm flowchart record labels see labels rec ord liquidators selling record sales decline drop per year percentage rise record stores size record world reco rded music introduction recording process recording budget example recording studios closing planning records independent promotion promoting ss red herring research study licensing digital music red ho tchili peppers reeltoreel tape machines advent reet petite jackie wilson reporting day changing retail space cost number square feet cds riaa curry doug brief henry gortikov stanley justification cd costs position rock roll report records sales response napster rosen hilary sherman carey rico racketeering influenced corrupt organi zations riders storm doors righteous brothers ouve lost lovin feelin ringtones development rio mp player introduction use ripp artie risher david amazon ritholtz barry economist ritual de lo habitual janes addiction robe rtson brian canadian record industry associa tion robinson smokey miracles shop around rock jazz hybridization rock rap confidential rock roll recollection bob marcucci rise rock roll satellites use rock format broadcast rolling stones rollins sonny prestige records rosen hilary riaa rosen larry rosenberg retailer rosenberg jacob director ross steve kinney corporation rossi terri billboard rot hchild paul doors producer royalties example language contracts paying advances rudman kal friday morning quarterback rule using selector program rundgren todd ap internet subscription service deregulation radio stations desktop video editing effects future music business length recording process prerecorded media subscription web site started rykodisc r p formula applying web radio explanation saatchi saatchi saehan hardware significance sam goody bankruptcy history rebuilding sale american company sales sanger david lazy sob recordings sarceno blue satprogram test takers profile satellite radio chips used choices cost versus terrestrial radio satellite services subscribers save music grant offered schnur steve electronic arts schoenherr steven e schools music education see also music edu catio n schulhof michael ceo sony schwartz lara video producer science shopping paco underhill seag ram acquisition mca acquisition polygram sales philipss music software division selector program use radio stations september impact record sales sergeant peppers lonely hearts club band failed sou ndtrack serwer andy fortune magazine seve n arts debt sevendust seville dave seybold patricia customer revolution de regulation radio stations indexshallet michael shamah david jerusalem post et music sale shelton robert new york times glassand lac quer versus vinylite sherman carey riaa shocklee hank mca records shop around smokey robinson miracles shoutcast sigman mike editor signing flowchart sill lester philles label sillerman robert radio entertainment silverman tom tommy boy records simpson ashlee simpson jessica singing actors popularity singles tracks charts compiling sirius howard stern sirius satellites use candles crests track recording console description smash trash contest relevance radio smith brian k value music concepts smith joe smith rob xbox magazine smithso nian institute richard kurin smooth jazz format broadcast snider dee twisted sister software mp files ringtones solomon russ tower records song plugger role songbank capability songs advertising radio downloading getting radio sharing online sony merger bmg music schulhof michael sony betamax failure sony music group acquisition cti catalog sonybmg see also bmg music payo la investigations eliot spitzer purchase caroline independent distributor sound sound explanation soundgarden success soundscan charttracking service see als chart information ana lysis impact management information system created significance spanish format broadcast spears britney spector phil speed sound coldplay spins tracking spitzer eliot settlements payola investigations success targeting mcclusky springsteen bruce stand alone records david cool starr maurice statistics seepercentages steff ens vic stephenson wolf muscle shoals studios stern howard sirius stevens sufjan stewart rod great american songbook sto ller mike songwriter stone sly stone temple pilots success stonefield tony general music outlet elec tronic records stop name love supremes stores cost number square feet cds story explanation including one sheet promoting strawbs dave cousins strip polka johnny mercer strong barrett money strong enough break subpo p records substance abuse impact music education sugar sugar archies suite flute jazz piano jeanpierre rampal summer f love significance sun sam phillips supremes stop name love surowiecki james exposure black artists payola onradio swan records clark waronker symphony joe jackson tale nt finding internet tape recording advent impact taylor creed jazz labels team member flowchart technology development see also disruptive tech nologies teddy bears know love teens demographic targeting telecommunications act passage television access youth demographic temple dog temptations girl terrestrial versus satellite radio texas commission drug alcohol abuse demographic significance timberlake justin time warner jerry levin timothy matt infinity radio tippa sticka explanation tneck records isley brothers know love teddy bears toba heatrical circuit significance tokens lion sleeps tonight tollie records beginning tommy boy records tom silverman top making topline rating explanation tower records financial trouble solomon russ space taken cds technology townshend peter guitarist digital cameras desktop computers internet iron giant gener ation tracks playing transcription turntables tracks singles charts compiling transcription turntables playing tracks tuesday releasing cds reporting day turner cynthia tv marketing guru tv game show scandal hearings tweens demographic significance twisted sister snider dee gonna take titles produced index decline cd sales movies sold record sales rise record sales video sales album sales platinum albums released two tons funkweather girls martha wash umg seeuniversal music group unde rground garage channel sirius underhill paco science shopping neath hanson uni que studios universal music group competition sonybmg jump start program university north carolina chapel hill study us supreme court ruling grokster vagrant records richard egan value music concepts brian k smith van dyke dave bridge media van gelder rudy vanilli milli vee bobby veejay records bracken bracken beginning verna paul billboard recording studios vh rel ationship mtv vh save music grant offered victor talking machine alliance british gramo phone victory records success video promoting developing artists video budgets example virgin video game players demographics video games access youth demographic sales video outlets formation video promotion importance video revolution origin videogenics importance videos seemusic videos vinyl disk duration vinyl lps popularity virgin video budgets virtual storefront establishment newbury comics voigt deborah opera singer walkman advent walmart family store number titles stocked power sales pop music warner bros iron giant pete townshend losse potential merger emi tsvi gal music piracy warner brothers records warner communications ban independent promo tion warner entertainment sale edgar bronfman warner music group bronfman edgar settlement radio payoffs warner seven arts sale atlantic records waronker simon liberty records swan records wash martha two tons funkweather girls web business listening radio perceptions web radio rise web royalty rates carp decision webcasting popularity rules required weinstock bob prestige records weiss george david lion sleeps tonight wonderful world gonna take twisted sister west kanye wexler jerry atlantic records wham wonderful world george david weiss whdh denial broadcast license renewal wherehouse entertainment entwistle john wiley john columbia records wilson jackie reet petite wingcast development wired magazine chris anderson wis consin schools music art programs wnbcfm wnewfm wolf michael j mtv wolff michael media columnist wollensak tape recorder description woodruff jt hawthorne heights world wide web music business worldspace satellites use woxy bryan miller wraith jason lekberg wynshaw david columbia records wyn yfm automation xbox gazine xm channe ls offered opie anthony use yetnikoff walter yoh william h educator belong duprees youth demographic use entertainment media ouve lost lovin feelin righteous broth ers zappa frank ze records michael zilkha percent dilemma explanation impact index" +}