This document provides a summary of research comparing independent music labels to major labels. It discusses that indies have objectives of bringing new artists and genres to audiences. It examines typical indie structures, financing challenges, deal terms like royalties and advances, artist and repertoire (A&R) support, and marketing strategies. The conclusion is that indies offer artists better deals through smaller rosters and contracts without exclusivity, though majors have larger budgets.
This project proposes an interactive multimedia CD service for unsigned artists. The CD would include 3 music tracks, biography, photos, and videos of the artist. It would be playable as an audio CD or viewed digitally. The project would use Director MX 2004 for multimedia development. Milestones include meetings with artists, music production, multimedia storyboarding, and CD mastering. Marketing would target independent artists through online and magazine advertising. The service aims to provide artists an affordable alternative to traditional press kits.
Emerging models of connected professional development with chrissi nerantziSue Beckingham
Learning happens everywhere and all the time. It always did. It was and still is free-range and open. It is owned by the individual. Is education, particularly higher education, now moving into this direction too?
Spotting and seizing opportunities around us to learn, feeds our curiosity and gives our minds wings to explore, engage and experiment, create and grow. Today 'around us' has perhaps a different meaning for those who have access to the Internet and the distributed digital technologies. The affordances of digital tools and social media, transform us into connected active participants and imaginative creators. 'Around us' has gained a pan-geographical dimension and stretches across the globe, across societies and communities, across cultures. This new state of distributed togetherness creates new, exciting and often transformative learning and development opportunities we never had before.
https://showtime.gre.ac.uk/index.php/ecentre/apt2015/paper/viewPaper/758
The document traces the path of music distribution from analog to digital, highlighting significant milestones. It discusses how traditional distribution involved record manufacturers, distributors, retailers, and clubs. The rise of digital downloading and online platforms disrupted this model. Major milestones included the popularity of MP3s and devices like the iPod, the introduction of download sales in charts, and using mobile phones for music. This path was shorter for labels and consumers compared to analog. Digital distribution created new opportunities for artists and labels, but also challenges around things like piracy and digital rights management.
The document analyzes the production techniques used on three songs:
1) "I Shot the Sheriff" by Bob Marley used basic equipment like an Helios desk and Urei compressors to record at Tuff Gong and Basing Street studios.
2) "Like a Virgin" by Madonna utilized digital recording with Nile Rodgers producing. Various microphones were used to capture drums and other instruments.
3) "Papua New Guinea" by Future Sound of London was experimental, utilizing extensive sampling and a variety of synths/drum machines at Earthbeat studio.
The document discusses effective training design for adult learners. It outlines conditions for adult learning, including that adults need to understand why they are learning something, learn best through hands-on experience, and see the immediate value of what they are learning. The document then presents three training module designs that incorporate these principles, with each module including a rationale, objectives, activities, and evaluation components. Design #1 on video story forms is proposed as an example that asks learners to assess an poorly designed video and provide feedback.
Siemens provides various training and development programs to help identify skills gaps and ensure employees have the necessary skills to achieve business objectives. Workforce planning enables Siemens to assess current employee skills and future needs in order to develop targeted training programs. Siemens offers apprenticeships, commercial academies, and graduate programs for entry-level employees to gain qualifications and experience. The effectiveness of training is measured through performance reviews where goals are set and progress is evaluated. Training helps employees gain new skills and adapt to changes, improves productivity, ensures long-term commitment, and attracts new talent, thereby allowing Siemens to achieve its strategic business goals.
Dina LaPolt: Building your Artist's Brand as a Business - exclusive white papermidem
It’s an obvious statement, but a brand cannot exist without customers. Artists must ensure that what they present to the world is of the highest quality attainable at that time if they expect to attract any early adopters. Too often, artists prematurely present their vision or message to uninterested business people and audiences due to a lack of analysis as to who their fans might actually be and the best way to approach them. It is unproductive for the “artist brand” to anticipate their target demographic is the entire world. The artist must give their own brand the respect it deserves if they ever expect anyone else to. Fans are the lifeline of the “artist’s brand” because without them the brand dies.
This topic can be addressed by discussing the members of an artist’s “core” executive team, using intellectual property and corporate entities to protect the artist’s brand, various ways of building the artist’s brand, the power of technology and social media, the effects these changes are having on the music industry and some areas ripe for litigation.
This exclusive white paper was written by Dina LaPolt, entertainment attorney at LaPolt Law - http://www.lapoltlaw.com - a boutique transactional entertainment law firm that specialises in representing clients in the music, film, television, merchandising and book publishing industries. It is brought to you in partnership with the International Association of Entertainment Lawyers (IAEL).
Vital Records is positioning itself as an independent record label on the East Coast that provides marketing strategies and career guidance to young, up-and-coming artists. The target market is musicians between 18-30 years old living in cities like New York and LA. Competition includes established labels like Manic Kat Records and talent agencies like Red Light Management. Vital Records aims to help artists gain exposure and attention while allowing them creative freedom, which some see as weaknesses of larger competitors.
This project proposes an interactive multimedia CD service for unsigned artists. The CD would include 3 music tracks, biography, photos, and videos of the artist. It would be playable as an audio CD or viewed digitally. The project would use Director MX 2004 for multimedia development. Milestones include meetings with artists, music production, multimedia storyboarding, and CD mastering. Marketing would target independent artists through online and magazine advertising. The service aims to provide artists an affordable alternative to traditional press kits.
Emerging models of connected professional development with chrissi nerantziSue Beckingham
Learning happens everywhere and all the time. It always did. It was and still is free-range and open. It is owned by the individual. Is education, particularly higher education, now moving into this direction too?
Spotting and seizing opportunities around us to learn, feeds our curiosity and gives our minds wings to explore, engage and experiment, create and grow. Today 'around us' has perhaps a different meaning for those who have access to the Internet and the distributed digital technologies. The affordances of digital tools and social media, transform us into connected active participants and imaginative creators. 'Around us' has gained a pan-geographical dimension and stretches across the globe, across societies and communities, across cultures. This new state of distributed togetherness creates new, exciting and often transformative learning and development opportunities we never had before.
https://showtime.gre.ac.uk/index.php/ecentre/apt2015/paper/viewPaper/758
The document traces the path of music distribution from analog to digital, highlighting significant milestones. It discusses how traditional distribution involved record manufacturers, distributors, retailers, and clubs. The rise of digital downloading and online platforms disrupted this model. Major milestones included the popularity of MP3s and devices like the iPod, the introduction of download sales in charts, and using mobile phones for music. This path was shorter for labels and consumers compared to analog. Digital distribution created new opportunities for artists and labels, but also challenges around things like piracy and digital rights management.
The document analyzes the production techniques used on three songs:
1) "I Shot the Sheriff" by Bob Marley used basic equipment like an Helios desk and Urei compressors to record at Tuff Gong and Basing Street studios.
2) "Like a Virgin" by Madonna utilized digital recording with Nile Rodgers producing. Various microphones were used to capture drums and other instruments.
3) "Papua New Guinea" by Future Sound of London was experimental, utilizing extensive sampling and a variety of synths/drum machines at Earthbeat studio.
The document discusses effective training design for adult learners. It outlines conditions for adult learning, including that adults need to understand why they are learning something, learn best through hands-on experience, and see the immediate value of what they are learning. The document then presents three training module designs that incorporate these principles, with each module including a rationale, objectives, activities, and evaluation components. Design #1 on video story forms is proposed as an example that asks learners to assess an poorly designed video and provide feedback.
Siemens provides various training and development programs to help identify skills gaps and ensure employees have the necessary skills to achieve business objectives. Workforce planning enables Siemens to assess current employee skills and future needs in order to develop targeted training programs. Siemens offers apprenticeships, commercial academies, and graduate programs for entry-level employees to gain qualifications and experience. The effectiveness of training is measured through performance reviews where goals are set and progress is evaluated. Training helps employees gain new skills and adapt to changes, improves productivity, ensures long-term commitment, and attracts new talent, thereby allowing Siemens to achieve its strategic business goals.
Dina LaPolt: Building your Artist's Brand as a Business - exclusive white papermidem
It’s an obvious statement, but a brand cannot exist without customers. Artists must ensure that what they present to the world is of the highest quality attainable at that time if they expect to attract any early adopters. Too often, artists prematurely present their vision or message to uninterested business people and audiences due to a lack of analysis as to who their fans might actually be and the best way to approach them. It is unproductive for the “artist brand” to anticipate their target demographic is the entire world. The artist must give their own brand the respect it deserves if they ever expect anyone else to. Fans are the lifeline of the “artist’s brand” because without them the brand dies.
This topic can be addressed by discussing the members of an artist’s “core” executive team, using intellectual property and corporate entities to protect the artist’s brand, various ways of building the artist’s brand, the power of technology and social media, the effects these changes are having on the music industry and some areas ripe for litigation.
This exclusive white paper was written by Dina LaPolt, entertainment attorney at LaPolt Law - http://www.lapoltlaw.com - a boutique transactional entertainment law firm that specialises in representing clients in the music, film, television, merchandising and book publishing industries. It is brought to you in partnership with the International Association of Entertainment Lawyers (IAEL).
Vital Records is positioning itself as an independent record label on the East Coast that provides marketing strategies and career guidance to young, up-and-coming artists. The target market is musicians between 18-30 years old living in cities like New York and LA. Competition includes established labels like Manic Kat Records and talent agencies like Red Light Management. Vital Records aims to help artists gain exposure and attention while allowing them creative freedom, which some see as weaknesses of larger competitors.
The document provides an overview of the music industry exam, including aims, assessment, and tips for achieving different grades. It discusses the structure of the industry, dominated by the "big four" major labels (Sony, Warner, Universal, EMI) that control over 70% of sales. Other topics covered include independent labels, integration strategies used by major labels, and how digital technology has impacted industry players and audiences.
The document provides an overview of the music industry exam, including aims, assessment, and tips for achieving different grades. It discusses the structure of the industry, dominated by the "big four" major labels (Sony, Warner, Universal, EMI) that control over 70% of sales. Other topics covered include independent labels, integration strategies used by major labels, and how digital technology has impacted industry players and audiences.
The document outlines various job roles at a record label, including:
- CEOs who manage the overall business and make final decisions with the vice president.
- Vice presidents who oversee different departments like A&R, marketing, and sales.
- The business affairs/accounting department handles finances, payroll, and bookkeeping.
- The legal department drafts artist contracts and handles any lawsuits.
- A&R finds and develops talent, oversees recordings, and assists with promotion.
- Other roles include artist development, marketing, sales, online media, art, and publicity.
Dare and Defy aims to manage independent artists specializing in hip hop, R&B and neo soul. Its target market is 18-28 year old men of color in Orlando making $45,000 working in the service industry. Direct competitors like Olivia Management offer similar services but lack diversity. Indirect competitors like Dreamwalker Music Evolution provide artist development but have weak online presence. The independent music sector is growing but COVID negatively impacted live performances and touring which are major revenue sources.
A record label coordinates the production, distribution, and marketing of music recordings and videos. There are two main types: major labels and independent labels. Most recording artists rely on record labels to broaden their audience, promote their albums, and market their music and videos through various media outlets. The document provides tasks for researching record labels and their responsibilities, determining whether an artist would sign with a major or independent label, choosing the best existing label for an artist, and considering copyright implications when using music in media productions.
There are several key roles within a record label's organizational structure. The CEO or President oversees the day-to-day operations of the label. Vice Presidents focus on specific departments like business affairs, legal, marketing, and artist development. Accountants manage finances and ensure legal compliance. The legal team drafts contracts between artists and the label. A&R staff scout new talent, oversee recordings, and assist with promotion. Marketing develops sales strategies while online/new media focuses on digital promotion. Art design creates album artwork. Publicity obtains media coverage to help artists gain exposure. Sales representatives drive physical and digital sales.
Here is an example goal breakdown:
Yearly: Release 1 EP, perform 50 shows, gain 10,000 new fans
Monthly: Record 2 songs, perform 4 shows, gain 500 new fans
Weekly: Promote on social media daily, practice 2 hours, gain 50 new fans
Daily: Post on social media, practice 30 minutes, gain 5 new fans
This breaks down the overall goal into achievable smaller steps.
64
Step 3: Create Action Plan
- List specific actions needed to achieve goals
- Assign deadlines
- Determine who is responsible for each action
- Review and adjust plan regularly
Example actions:
- Record 2 songs per month
- Book 4 shows per
The document outlines the typical job roles at a record label. It discusses the CEO/President who oversees the overall direction of the label and genres, approves departments' work, and must understand music distribution and hiring. The Vice President delivers the CEO's strategy through meetings. Other roles include business affairs/accounting who handle finances; legal who manages contracts; A&R who finds and works with artists; artist development who markets new artists; marketing who develops strategies; and sales who ensures retailer stock of albums.
W!ZARD Records is a record label and talent management company founded by James Gilmore. It has various departments like A&R, sales, marketing, and promotion that work together to develop and promote artists. The label focuses on international talent management, growing artists' fanbases in the UK. Show:Me Publishing is the label's subsidiary that handles publishing deals and distribution. It provides services like placement, licensing, networking, and promotion to help artists manage and release their music.
What is music marketing? | Virginie Berger, Don't believe the hype | MIDEM ex...midem
Music strategist and founder of marketing and promo agency Don't believe the hype's Virginie Berger explains why marketing is important for all artists. With case studies... and without exceptions!
This seminar discusses the changing music industry and business models for artists. It uses the band Enter the Haggis as a case study to examine how they have adapted their strategy over time. The seminar covers the evolution of how consumers access music and the rise of free streaming options. It also evaluates whether Enter the Haggis would have been better served pursuing a major label contract in the past or continuing with their independent approach emphasizing free music and touring revenues. The session solicits participants' thoughts on alternative strategies for the band.
The document outlines various job roles at a record label, including:
- CEOs who manage the overall business, determine distribution methods, and hire management staff.
- Vice presidents who oversee different departments like business affairs, legal, art, and marketing.
- The business affairs department handles finances, bookkeeping, and payroll. Accountants in this department need skills in accounting, auditing, business administration, and finance.
- The legal department drafts contracts between the label and artists and handles any lawsuits.
- A&R finds and develops talent, oversees recording, and assists with promotion and marketing.
- Marketing creates promotion plans and coordinates with other departments on campaigns.
This document discusses the rare and valuable skills that musicians possess and how those skills can transfer to an entrepreneurial mindset. It argues that the skills needed to be a successful musician, such as assembling a team, creating a product or experience, and marketing, are the same skills needed to be a successful entrepreneur. The document provides tips for musicians on developing their own unique style, understanding the music industry business model, and thinking metaphorically about how skills in other industries can apply to a music career. Overall, it encourages musicians to think of themselves as the CEO of their own career and focus on continuously creating value for their audience.
Final protecting the interests of local artistes in international (1) copy (1)Yahaya Maikori
Nigerian artists signing international record deals need to protect their legal interests. Lawyers can help by registering intellectual property, reviewing contracts, and advising on deal types like distribution, production, major label, and 360 deals. Contracts should clearly address issues like copyright, royalties, exclusivity, territory, and dispute resolution to avoid red flags. Overall, lawyers are expanding their role to help artists navigate the complex legal and business issues surrounding international music deals.
This document provides a business plan for a recorded music company. It outlines the company's mission to generate revenue through single sales, music licensing, concerts, merchandise, and endorsements. It describes the necessary platforms, including copyright registration and online presence. Financial projections estimate $36,000 in revenue the first year, growing to $280 million in year 5. Expenses include production, software, contractors, and advertising. The company will operate out of a shared office in Brooklyn, sourcing suppliers for booking, production and more.
The CEO oversees the overall direction and strategic vision of the record label. They make final approvals on departments' work and delegate responsibilities. The Vice President is responsible for delivering the CEO's strategy by holding meetings with department heads and overseeing key tasks. The Business Affairs department handles finances, bookkeeping, and legal advice. The Legal department focuses on contracts with artists and vendors and responds to any lawsuits. A&R finds and develops new artists by choosing songs, producers, and negotiating with studios. Artist Development plans artists' careers through promotion. Marketing focuses on street teams, design, and online promotion. Online/New Media uses social media to promote artists. The Art Department creates artwork and designs. Publicity/Promotions obtain
Implementing Tech Startup Principles To Music BusinessArio Tamat
Attempting to use methodologies often used in building tech startups into building a business based on music. Suitable for music business students, music industry practitioners, early-stage businesses as an introduction presentation.
Created for SAE Jakarta Open House, Nov 12th, 2017
There are several key job roles at a record label. The CEO oversees the overall direction and business of the record label company. Under the CEO, there are vice presidents who manage different departments like business affairs, legal, marketing, and artist and repertoire. Each department has specific responsibilities like managing finances, contractual issues, developing and signing new artists, creating marketing plans, and arranging publicity opportunities. Departments work together to manage all aspects of developing, promoting, and selling music.
The document discusses the music industry and the roles of record labels and companies. It explains that record labels scout for new artists, finance recordings, package/distribute music, and market/promote artists. Major record companies like Universal Music, Sony/BMG, EMI, and Warner Music control global production and distribution. Independent labels rely on distribution deals with majors. Record labels use various marketing strategies like radio, television, music press, and the internet to promote artists. Synergy, or collaborations between media organizations, is also used to reach wider audiences. Case studies of Fifty Cent and Bob Dylan show artists promoting themselves through different media institutions.
The Evolution of the Leonardo DiCaprio Haircut: A Journey Through Style and C...greendigital
Leonardo DiCaprio, a name synonymous with Hollywood stardom and acting excellence. has captivated audiences for decades with his talent and charisma. But, the Leonardo DiCaprio haircut is one aspect of his public persona that has garnered attention. From his early days as a teenage heartthrob to his current status as a seasoned actor and environmental activist. DiCaprio's hairstyles have evolved. reflecting both his personal growth and the changing trends in fashion. This article delves into the many phases of the Leonardo DiCaprio haircut. exploring its significance and impact on pop culture.
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Due to their ability to produce engaging content more quickly, over-the-top (OTT) app builders have made the process of creating video applications more accessible. The invitation to explore these platforms emphasizes how over-the-top (OTT) applications hold the potential to transform digital entertainment.
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The document provides an overview of the music industry exam, including aims, assessment, and tips for achieving different grades. It discusses the structure of the industry, dominated by the "big four" major labels (Sony, Warner, Universal, EMI) that control over 70% of sales. Other topics covered include independent labels, integration strategies used by major labels, and how digital technology has impacted industry players and audiences.
The document provides an overview of the music industry exam, including aims, assessment, and tips for achieving different grades. It discusses the structure of the industry, dominated by the "big four" major labels (Sony, Warner, Universal, EMI) that control over 70% of sales. Other topics covered include independent labels, integration strategies used by major labels, and how digital technology has impacted industry players and audiences.
The document outlines various job roles at a record label, including:
- CEOs who manage the overall business and make final decisions with the vice president.
- Vice presidents who oversee different departments like A&R, marketing, and sales.
- The business affairs/accounting department handles finances, payroll, and bookkeeping.
- The legal department drafts artist contracts and handles any lawsuits.
- A&R finds and develops talent, oversees recordings, and assists with promotion.
- Other roles include artist development, marketing, sales, online media, art, and publicity.
Dare and Defy aims to manage independent artists specializing in hip hop, R&B and neo soul. Its target market is 18-28 year old men of color in Orlando making $45,000 working in the service industry. Direct competitors like Olivia Management offer similar services but lack diversity. Indirect competitors like Dreamwalker Music Evolution provide artist development but have weak online presence. The independent music sector is growing but COVID negatively impacted live performances and touring which are major revenue sources.
A record label coordinates the production, distribution, and marketing of music recordings and videos. There are two main types: major labels and independent labels. Most recording artists rely on record labels to broaden their audience, promote their albums, and market their music and videos through various media outlets. The document provides tasks for researching record labels and their responsibilities, determining whether an artist would sign with a major or independent label, choosing the best existing label for an artist, and considering copyright implications when using music in media productions.
There are several key roles within a record label's organizational structure. The CEO or President oversees the day-to-day operations of the label. Vice Presidents focus on specific departments like business affairs, legal, marketing, and artist development. Accountants manage finances and ensure legal compliance. The legal team drafts contracts between artists and the label. A&R staff scout new talent, oversee recordings, and assist with promotion. Marketing develops sales strategies while online/new media focuses on digital promotion. Art design creates album artwork. Publicity obtains media coverage to help artists gain exposure. Sales representatives drive physical and digital sales.
Here is an example goal breakdown:
Yearly: Release 1 EP, perform 50 shows, gain 10,000 new fans
Monthly: Record 2 songs, perform 4 shows, gain 500 new fans
Weekly: Promote on social media daily, practice 2 hours, gain 50 new fans
Daily: Post on social media, practice 30 minutes, gain 5 new fans
This breaks down the overall goal into achievable smaller steps.
64
Step 3: Create Action Plan
- List specific actions needed to achieve goals
- Assign deadlines
- Determine who is responsible for each action
- Review and adjust plan regularly
Example actions:
- Record 2 songs per month
- Book 4 shows per
The document outlines the typical job roles at a record label. It discusses the CEO/President who oversees the overall direction of the label and genres, approves departments' work, and must understand music distribution and hiring. The Vice President delivers the CEO's strategy through meetings. Other roles include business affairs/accounting who handle finances; legal who manages contracts; A&R who finds and works with artists; artist development who markets new artists; marketing who develops strategies; and sales who ensures retailer stock of albums.
W!ZARD Records is a record label and talent management company founded by James Gilmore. It has various departments like A&R, sales, marketing, and promotion that work together to develop and promote artists. The label focuses on international talent management, growing artists' fanbases in the UK. Show:Me Publishing is the label's subsidiary that handles publishing deals and distribution. It provides services like placement, licensing, networking, and promotion to help artists manage and release their music.
What is music marketing? | Virginie Berger, Don't believe the hype | MIDEM ex...midem
Music strategist and founder of marketing and promo agency Don't believe the hype's Virginie Berger explains why marketing is important for all artists. With case studies... and without exceptions!
This seminar discusses the changing music industry and business models for artists. It uses the band Enter the Haggis as a case study to examine how they have adapted their strategy over time. The seminar covers the evolution of how consumers access music and the rise of free streaming options. It also evaluates whether Enter the Haggis would have been better served pursuing a major label contract in the past or continuing with their independent approach emphasizing free music and touring revenues. The session solicits participants' thoughts on alternative strategies for the band.
The document outlines various job roles at a record label, including:
- CEOs who manage the overall business, determine distribution methods, and hire management staff.
- Vice presidents who oversee different departments like business affairs, legal, art, and marketing.
- The business affairs department handles finances, bookkeeping, and payroll. Accountants in this department need skills in accounting, auditing, business administration, and finance.
- The legal department drafts contracts between the label and artists and handles any lawsuits.
- A&R finds and develops talent, oversees recording, and assists with promotion and marketing.
- Marketing creates promotion plans and coordinates with other departments on campaigns.
This document discusses the rare and valuable skills that musicians possess and how those skills can transfer to an entrepreneurial mindset. It argues that the skills needed to be a successful musician, such as assembling a team, creating a product or experience, and marketing, are the same skills needed to be a successful entrepreneur. The document provides tips for musicians on developing their own unique style, understanding the music industry business model, and thinking metaphorically about how skills in other industries can apply to a music career. Overall, it encourages musicians to think of themselves as the CEO of their own career and focus on continuously creating value for their audience.
Final protecting the interests of local artistes in international (1) copy (1)Yahaya Maikori
Nigerian artists signing international record deals need to protect their legal interests. Lawyers can help by registering intellectual property, reviewing contracts, and advising on deal types like distribution, production, major label, and 360 deals. Contracts should clearly address issues like copyright, royalties, exclusivity, territory, and dispute resolution to avoid red flags. Overall, lawyers are expanding their role to help artists navigate the complex legal and business issues surrounding international music deals.
This document provides a business plan for a recorded music company. It outlines the company's mission to generate revenue through single sales, music licensing, concerts, merchandise, and endorsements. It describes the necessary platforms, including copyright registration and online presence. Financial projections estimate $36,000 in revenue the first year, growing to $280 million in year 5. Expenses include production, software, contractors, and advertising. The company will operate out of a shared office in Brooklyn, sourcing suppliers for booking, production and more.
The CEO oversees the overall direction and strategic vision of the record label. They make final approvals on departments' work and delegate responsibilities. The Vice President is responsible for delivering the CEO's strategy by holding meetings with department heads and overseeing key tasks. The Business Affairs department handles finances, bookkeeping, and legal advice. The Legal department focuses on contracts with artists and vendors and responds to any lawsuits. A&R finds and develops new artists by choosing songs, producers, and negotiating with studios. Artist Development plans artists' careers through promotion. Marketing focuses on street teams, design, and online promotion. Online/New Media uses social media to promote artists. The Art Department creates artwork and designs. Publicity/Promotions obtain
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There are several key job roles at a record label. The CEO oversees the overall direction and business of the record label company. Under the CEO, there are vice presidents who manage different departments like business affairs, legal, marketing, and artist and repertoire. Each department has specific responsibilities like managing finances, contractual issues, developing and signing new artists, creating marketing plans, and arranging publicity opportunities. Departments work together to manage all aspects of developing, promoting, and selling music.
The document discusses the music industry and the roles of record labels and companies. It explains that record labels scout for new artists, finance recordings, package/distribute music, and market/promote artists. Major record companies like Universal Music, Sony/BMG, EMI, and Warner Music control global production and distribution. Independent labels rely on distribution deals with majors. Record labels use various marketing strategies like radio, television, music press, and the internet to promote artists. Synergy, or collaborations between media organizations, is also used to reach wider audiences. Case studies of Fifty Cent and Bob Dylan show artists promoting themselves through different media institutions.
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The notion of Dwayne Johnson kidnapping seems straight out of a Hollywood thriller. Dwayne "The Rock" Johnson, known for his larger-than-life persona, immense popularity. and action-packed filmography, is the last person anyone would envision being a victim of kidnapping. Yet, the bizarre and riveting tale of such an incident, filled with twists and turns. has captured the imagination of many. In this article, we delve into the intricate details of this astonishing event. exploring every aspect, from the dramatic rescue operation to the aftermath and the lessons learned.
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The Origins of the Dwayne Johnson Kidnapping Saga
Dwayne Johnson: A Brief Background
Before discussing the specifics of the kidnapping. it is crucial to understand who Dwayne Johnson is and why his kidnapping would be so significant. Born May 2, 1972, Dwayne Douglas Johnson is an American actor, producer, businessman. and former professional wrestler. Known by his ring name, "The Rock," he gained fame in the World Wrestling Federation (WWF, now WWE) before transitioning to a successful career in Hollywood.
Johnson's filmography includes blockbuster hits such as "The Fast and the Furious" series, "Jumanji," "Moana," and "San Andreas." His charismatic personality, impressive physique. and action-star status have made him a beloved figure worldwide. Thus, the news of his kidnapping would send shockwaves across the globe.
Setting the Scene: The Day of the Kidnapping
The incident of Dwayne Johnson's kidnapping began on an ordinary day. Johnson was filming his latest high-octane action film set to break box office records. The location was a remote yet scenic area. chosen for its rugged terrain and breathtaking vistas. perfect for the film's climactic scenes.
But, beneath the veneer of normalcy, a sinister plot was unfolding. Unbeknownst to Johnson and his team, a group of criminals had planned his abduction. hoping to leverage his celebrity status for a hefty ransom. The stage was set for an event that would soon dominate worldwide headlines and social media feeds.
The Abduction: Unfolding the Dwayne Johnson Kidnapping
The Moment of Capture
On the day of the kidnapping, everything seemed to be proceeding as usual on set. Johnson and his co-stars and crew were engrossed in shooting a particularly demanding scene. As the day wore on, the production team took a short break. providing the kidnappers with the perfect opportunity to strike.
The abduction was executed with military precision. A group of masked men, armed and organized, infiltrated the set. They created chaos, taking advantage of the confusion to isolate Johnson. Johnson was outnumbered and caught off guard despite his formidable strength and fighting skills. The kidnappers overpowered him, bundled him into a waiting vehicle. and sped away, leaving everyone on set in a state of shock and disbelief.
The Immediate Aftermath
The immediate aftermath of the Dwayne Johnson kidnappin
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Orpah Winfrey Dwayne Johnson: Titans of Influence and Inspirationgreendigital
Introduction
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Early Life and Backgrounds
Orpah Winfrey: From Humble Beginnings to Media Mogul
Orpah Winfrey, often known as Oprah due to a misspelling on her birth certificate. was born on January 29, 1954, in Kosciusko, Mississippi. Raised in poverty by her grandmother, Winfrey's early life was marked by hardship and adversity. Despite these challenges. she demonstrated a keen intellect and an early talent for public speaking.
Winfrey's journey to success began with a scholarship to Tennessee State University. where she studied communication. Her first job in media was as a co-anchor for the local evening news in Nashville. This role paved the way for her eventual transition to talk show hosting. where she found her true calling.
Dwayne Johnson: From Wrestling Royalty to Hollywood Superstar
Dwayne Johnson, also known by his ring name "The Rock," was born on May 2, 1972, in Hayward, California. He comes from a family of professional wrestlers, with both his father, Rocky Johnson. and his grandfather, Peter Maivia, being notable figures in the wrestling world. Johnson's early life was spent moving between New Zealand and the United States. experiencing a variety of cultural influences.
Before entering the world of professional wrestling. Johnson had aspirations of becoming a professional football player. He played college football at the University of Miami. where he was part of a national championship team. But, injuries curtailed his football career, leading him to follow in his family's footsteps and enter the wrestling ring.
Career Milestones
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Winfrey's career breakthrough came in 1986 when she launched "The Oprah Winfrey Show." The show became a cultural phenomenon. drawing millions of viewers daily and earning many awards. Winfrey's empathetic and candid interviewing style resonated with audiences. helping her tackle diverse and often challenging topics.
Beyond her talk show, Winfrey expanded her empire to include the creation of Harpo Productions. a multimedia production company. She also launched "O, The Oprah Magazine" and OWN: Oprah Winfrey Network, further solidifying her status as a media mogul.
Dwayne Johnson: From The Ring to The Big Screen
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In the early 20
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1. Independent Labels…
A better artist support
Miguel Rodrigues
Class number 2
Student number: 11351
Intake code: BRA0906
Industry perspectives / RA203
Seminar Presentation Report
Word count: 1327 words
2. Independent Labels… A better artist support
Table of Contents
Page
Abstract 3
Indies Objectives 4
Typical Structures 4
Finance 4
Deals 5
A&R 6
Marketing 7
CONCLUSION 9
REFERENCE LIST 10
2
3. Independent Labels… A better artist support
Abstract
We believe independent labels offer a better support for
artists. We chose this topic because we think that is an important
aspect for the development of the music industry and music in
general.
We start our research asking ourselves questions about
what objectives has a independent label, what are the typical
structures of Labels, how they deal with finances, Deals and
Marketing.
So, we did an enquiry with some questions and sent it, by email
to dozens of record labels with the help of the book “The
unsigned guide – UK edition one”.
Unfortunately, no one replied to our email.
We structured our research in several areas that we think
that are important when an artists or record label want to sell
records, always trying to make comparisons between majors and
indies to answer our question.
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4. Independent Labels… A better artist support
Indies Objectives
Independent Labels search for innovative and creative
artists as a way to bring relatively unknown artists or ideas to the
audience, this helps in creating a sonic image for the label as well
as a mean to refresh the music scene.
Indies are more on the lookout for newer market strategies,
as the necessity of growth, makes them search for new means of
marketing to outcome the major's strong financial power that
indies do not have.
Typical Structures
Indies have different managing approaches as they use no
conventional methods to manage their strategies, so the need of
a certain number of departments changes from case to case.
That is why it is so difficult to trace a common profile of an
Independent Label.
Finance
Investments in new artists are always a big risk and this
kind of investments are classified as an intangible asset because
banks have no warranties that loans will be paid off and that is
why it is so hard to get a loan from this type of institutions.
The solutions are private investment or licensing to majors
but, always on a later stage.
‘Traditionally what indies have done is to license their acts to
majors in Europe…Thou most majors financing indies end up with
the death of the indie’ (Lewis, 2002, p9, 2p, 4c, 1bw).
This type of actions gives the artists enough time to
develop their music.
4
5. Independent Labels… A better artist support
Deals
Regarding with deals, we researched about contracts,
royalties, profit-sharing deals, advances, exclusivity, options in
contracts, copyright and merging.
Royalties are usually bigger on an indie. Majors, usually,
offer a percentage between 10 to 15% of the standard retail price
(some times indies may try to imitate majors) and then they
deduct for packaging expenses, free goods and other items.
It is more common now, for indies to do profit-sharing
deals with the artist. ‘The advantage of profit-sharing deals is that
it is more understandable and it is a simple way of deal where the
money comes in, expenses comes out and the profits are split
between the artist and the label. The disadvantage is that more
expenses are taken out of the gross revenue before the profit-
sharing begins. In typical deals, costs of manufacturing, publicity,
marketing, and other such costs are not passed on to the artist
but are considered part of the label’s overhead. In profit-sharing
deals, all expenses are taken into account, so it might take a
while (if ever) for an album to show a profit, and, therefore, longer
for an artist to actually receive any share. Once an artist is more
successful, these deals become more lucrative for the artist.’
(Friends a, 2006).
Major’s advances are much bigger than what an
independent label can offer. The way that advances works have
advantages and disadvantages. The record company pays a sum
of money to the artist and then keeps the artist’s royalties until the
money is back to the record company. The process of keeping
the money to recover an advance is called recoupment and it is
recoupable from royalties.
‘The advantage of having a small or nonexistent advance
is that the artist will have less to pay back from his or her
royalties, and could be earning record royalties more quickly.
5
6. Independent Labels… A better artist support
The disadvantage, since there are so many costs for the
label to recoup before paying the artist their royalties, an advance
is often the only money an artist will see for some time. The size
of an advance can also depend on the artist bargaining power.’
(Friendsb, 2006).
Usually, independent labels do not include the term
‘exclusivity’ and artists are not bond to options in their contracts.
What independent labels do, is buy-out clauses, those are
sets of rules that will apply if a bigger label want to sign the artist.
This is a good exit deal for indies.
Some small indies lack of information on copyright laws,
thus they do not protect themselves or the artists. Copyright
protection is acquired automatically when a tangible copy of the
work is made and there is no need for registration.
The ‘sound recording copyright’ is a protection of the
sounds recorded and belongs to the record company who has
released the work.
Independent labels merge together to expand their market
and at the same time to support each other in order to maintain
their independence from the majors.
A&R
The A&R department of a label seeks and evaluates
potential talent for potential audience’s tastes but it is not all. They
also:
• Provide creative input and direction on artist's songs
• Find suitable producers and recording studios
• Plan the recording budget with the financial
department.
6
7. Independent Labels… A better artist support
On independent labels, the A&R department is closer to
artists, as they concentrate more on local artists and as Nick
Phillips, chairman of Warner Music said, ‘Independents are key to
finding good artists as part of the artist and repertoire (A&R)
process. They are a huge A&R source for everybody and the
music business is healthy when they are healthy.’ (Allen, 2006a)
Marketing
The marketing strategy of a record label is divided in four
areas: Artist and Product development, Promotion (Radio, TV and
Internet Airplay), Publicity and Performance.
Artist development deals with songwriting skills and music
development. They create a consistent and coherent image of the
artist. The artist development department also deal with copyright
and publishing, co-musician and band issues, recording and
mastering arrangements, as well as management and legal
needs.
Product development deals with all the issues that must be
consider after a record has been made: cover artwork (design
and printing), manufacturing choices, market research data, as
well as distribution and sales strategies. Product development at
a label means marketing strategy because it uses tactics and
strategies that help selling the release.
Promotion means Airplay. Radio, TV and Internet Airplay
are the most effective means of exposing music to the public.
It can be very competitive but the product development marketing
ideas and a significant investment are the tools to have any real
success.
Publicity is the press and media campaign. It consists of a
press release that contains materials like biographies, fact sheets,
cover letters, photos and press clippings. It becomes necessary
to have an effective campaign to get the music press to review
the releases, write stories about the band and their music, as well
as interviews. This campaign will act as a support for all others
areas of the music marketing.
7
8. Independent Labels… A better artist support
Finally, the last area of the marketing strategy of record
labels are live shows and touring plans or for other words
performance.
‘Playing live in front of your fans is the best way to develop
a loyal and dedicated fan base'. (Knab, 2006 a)
Promotion, publicity and performance act as a support for
artist and product development. All these areas are interrelated
and interdependent upon each other, in order to get your product
into mass distribution, the distributors want to know what your
promotion, publicity and performance plans are, or, in order to get
significant airplay the radio stations want to know what your
product development, publicity and performance plans are. Also,
in order to get publicity, the editors and writers at the magazines
and newspapers want to know what your promotion, product
development and performance commitment is, and to get the
better live performance gigs, the booking agents and club owners
need to know what success you have had with selling your
product, getting press support and any radio airplay.
Independent labels are very dependent on online
strategies, because they offer a cheaper mean of promotion,
having sometimes the same success as the majors marketing
strategies.
Indies have the capacity to create communities around the
artists or genres of music that the majors do not have the ability to
put that into practice due to a large variety of artists.
8
9. Independent Labels… A better artist support
CONCLUSION
The way that Independent Labels work, push cultural
boundaries creating space and market for new genres of music
and new artists.
On the other way, majors offer an office structure that is
more conventional and based on huge budgets. This allows
bigger and more intense coverage for a bigger artist catalogue.
Whether, on an Indie or on a Major, investing in an artist is seen
as an intangible asset. Obviously majors take bigger risks when
investing in an artist. Thus, majors consider marketing investment
more important and indies are “forced” to invest on intellectual
property and believe more in the music.
Indies tend to offer artists better royalties percentages with
no options or exclusivity. Smaller rosters and better deals create
more friendly and close relations between artist and independent
labels. And this relations help to overcome the huge amount of
problems that indies face throughout their “journey” such as
copyright matters, financing, deals, etc.
‘There is still much scope for independent labels and
publishers to carve a niche in an increasingly crowded
marketplace.’ (Music Week, 27-03-2004, p22-23).
In regards to the overall presentation of the group I
personally thing that the objectives of how to do a research
methodology were achieve and to conclude our research I think
that independent labels are a better deal for new artists than a
deal with a major.
9
10. Independent Labels… A better artist support
REFERENCE LIST
Books:
Loukes, S. and Donnelly, L. (2006) The unsigned guide UK
edition one. Manchester: mcr music Ltd., 2006
Magazines:
Garrity, B. (2006) Amp'd Mines The Indies.
Billboard; 7/1/2006, Vol. 118 Issue 26,
p8- 8, 1/3p, 1c
Are indie labels better at artist development?
Music Week; 10/29/2005, p12-12, 1/5p
Brandle, L. (2005) SONY BMG ADDS RED INK FOR EUROPE'S
INDIES.
Billboard; 12/3/2005, Vol. 117 Issue 49, p10-12, 2p
Bitar, F. (2001) Waiting For The Next Big Thing.
Billboard; 06/16/2001, Vol. 113 Issue 24, pLM-4, 2p, 2bw
Ashton, R. (2005) Indies call for chart delay over concerns they
are missing out.
Music Week; 4/9/2005, p5-5, 1/3p
10
11. Independent Labels… A better artist support
Paths to market for independent labels.
Music Week; 5/22/2004, p10-10, 1/3p
Indies in strong position as sync teams cash in on 'cool'
Music Week; 3/27/2004, p22-23, 2p
Lewis, T. (2002) Legendary indies put a price on independence.
Music Week; 8/31/2002 Supplement, p9, 2p, 4c, 1bw
Solomons, M. (1999) BPI Is Reshaping Itself.
Billboard; 10/02/99, Vol. 111 Issue 40, p12, 2p
Clark-Meads, J. (1999) Victory For U.K. Indies.
Billboard; 06/05/99, Vol. 111 Issue 23, p6, 1/3p, 1bw
Sexton, P. (1999) Britain's State of Independents.
Billboard; 05/22/99, Vol. 111 Issue 21, p64, 2p, 1bw
Solomons, M. (1998) U.K. report pegs indies as loss sector.
Billboard; 08/22/98, Vol. 110 Issue 34, p7, 2p
Garrity, B. (2004) Sony Connects To Indies.
Billboard; 7/31/2004, Vol. 116 Issue 31, p43-44, 2p, 1c
Legrand, E. (2006) THE INDIE WAY. (cover story)
Billboard; 4/1/2006, Vol. 118 Issue 13, p25-26, 2p, 4c
Ashton, R. (2004) Indies resolve dispute with iTunes.
Music Week; 7/31/2004, p3-3, 1/2p
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12. Independent Labels… A better artist support
Web Sources:
Knab, C. (2006) An Introduction to the "Four Front" Music
Marketing Concept
Music biz academy [Online]. Available at:
http://www.musicbizacademy.com/knab/articles/fourfront.htm
(Accessed: 01-12-2006)a
Knab, C. (2002) Copyright and Songwriting Basics
Music biz academy [Online]. Available at:
http://www.musicbizacademy.com/knab/articles/copyright.htm
(Accessed: 02-12-2006)
Knab, C. and Day, B. (2001) Deals That Await Successful
Independent Music Labels
Music biz academy [Online]. Available at:
http://www.musicbizacademy.com/knab/articles/deals.htm
(Accessed: 02-12-2006)
Allen, K. (2006) Indie record labels form unlikely alliances with the
corporations
Guardian Unlimited Business. Available at:
http://business.guardian.co.uk/story/0,,1935440,00.html
(Accessed: 30-11-2006)a
Allen, K. (2006) As record sales dwindle, indie labels form unlikely
alliances with the corporate beasts
Guardian Unlimited Business. Available at:
http://business.guardian.co.uk/story/0,,1935440,00.html
(Accessed: 31-11-2006)b
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13. Independent Labels… A better artist support
Knab, C. (2001) Inside Record Labels: Organizing Things
Music biz academy [Online]. Available at:
http://www.musicbizacademy.com/knab/articles/insidelabels.htm
(Accessed: 01-12-2006)
Friends, S. Independent Label vs. Major Label Contracts
Performer mag [Online]. Available at:
http://www.performermag.com/IndieVSMajorContracts.php
(Accessed: 01-12-2006)a
Friends, S. Independent Labels What's the Deal?
Performer mag [Online]. Available at:
http://www.performermag.com/IndependentLabels.php
(Accessed: 01-12-2006)b
Knab, C. (2001) The Business of Live Performance
Music biz academy [Online]. Available at:
http://www.musicbizacademy.com/knab/articles/liveperf.htm
(Accessed: 01-12-2006)
Knab, C. (2001) What is Artist and Product Development
Music biz academy [Online]. Available at:
http://www.musicbizacademy.com/knab/articles/artistdevelopment
.htm
(Accessed: 01-12-2006)
Knab, C. (2003) What A&R Reps Do
Music biz academy [Online]. Available at:
http://www.musicbizacademy.com/knab/articles/aandr.htm
(Accessed: 01-12-2006)
13