Eve Mendez: Rich and famous! I hear Clinton-Gates is boasting your Rich and Famous!
Clint-Love: Yeah! I heard on
YBG-Fillmoe (GetGameFromMe)!
Eve Mendez: So how do that make you feel…being a free lance writer and house dad! Basically a struggling recording/entertainer! Do you feel anything?
Clint-Love: I’ve been so busy with the house dad and all…(She interrupts him )
Eve Mendez: Well, I would be embarrassed! Do you know what the Rich & Famous is all about…Not the Porn Rich and Famous are Cribs…
But Lifestyles of the Rich & Famous Clint-Love you know the name of the show is also known as Lifestyles with Robin Leach and Shari Belafonte?
Clint-Love: I don’t feel embarrassed about it! I have all the products to make it happen!
My books will make me a Billionaire…Being bootlegged by these powerful organizations is going to make me a trillionire! The guy is just getting the world society ready before it happen! It’s going to happen…Clint-Love will be Rich & Famous! I’ll been seen on Lifestyles of the Rich & Famous or Lifestyles with Robin Leach and Shari Belafonte?
Eve Mendez: I just can’t see it happening without touring-music wise and book signing-book wise! People that made it to the Rich & Famous status worked their asses off touring-traveling! (Video’s) (He interrupts her )
Clint-Love: It’s like this… People in the entertainment business is hating on me…All rights reserved payoff… I’m Rich and Famous! It’s like the virtual…Let Clinton-Gates bring it to reality!
Changed the subject please!Eve Mendez: Honey…I’m here for you, Do not get mad! I would not trust
Clinton-Gates if I was you! Let’s pray for the law to uphold itself and reward you…That pretty penny you always spoke on in the past… making you RICH & FAMOUS.
For those that’s interested in the music industry (or music business) more info about it below and good look with your dreams in becoming a Star!
(Business structure)
The music industry is made up of various players, including individuals, companies, unions, not-for-profit associations, rights collectives, and other bodies. Professional musicians, including band leaders, rhythm section members, musical ensembles, vocalists, conductors, composers/arrangers, and sound engineers create sound recordings of music or perform live in venues ranging from small clubs to stadiums. Occasionally professional musicians negotiate their wages, contractual conditions, and other conditions of work through Musicians' Unions or other guilds. Composers and songwriters write the music and lyrics to songs and other musical works, which are sold in print form as sheet music or scores by music publishers. Composers and performers get part of their income from writers' copyright collectives and performance rights organization such as the ASCAP and BMI (or MCPS and PRS respectively for the UK). These societies and collectives ensure that composers and performers are compensated when their works are used on the radio or TV or in films. When musicians and singers make a CD or DVD, the creative process is often coordinated by a record producer, whose role in the recording may range from suggesting songs and backing musicians to having a direct hands-on role in the studio, coaching singers, giving advice to session musicians on playing styles, and working with the senior sound engineer to shape the recorded sound through effects and mixing.
Some professional musicians, bands, and singers are signed with record labels, which are companies that finance the recording process in return for part or full share of the rights to the recording. Record label companies manage brands and trademarks in the course of marketing the recordings, and they can also oversee the production of videos for broadcast or retail sale. Labels may comprise a record group — one or more label companies, plus ancillary businesses such as manufacturers and distributors. A record group may be, in turn, part of a music group which includes music publishers. Publishers represent the rights in the compositions — the music as written, rather than as recorded — and are traditionally separate entities from the record label companies. The publisher of the composition for each recording may or may not be part of the record label's music group; many publishers are wholly independent and are owned by the artists themselves.
Record labels that are not part of or under the control of the "Big Four" music groups are generally considered to be independent or "Indie" labels, even if they are part of large, well-financed corporations with complex structures. Some music critics prefer to use the term indie label to refer to only those independent labels that adhere to criteria of corporate structure and size, and some consider an Indie label to be almost any label that releases non-mainstream music, regardless of its corporate structure.
Record labels may use an "A&R" (Artist and Repertoire) manager to not just seek out bands & singers to sign, but to also help develop the performing style of those already signed to the label. A&R managers may organize shared tours with similar bands or find playing opportunities for the label's groups which will broaden their musical experience. For example, an A&R manager may decide to send an emerging young singer-songwriter with little live playing experience on a major tour with an established electric folk rock act from the same label, so that this person will gain more confidence.
A record distributor is a company that works with record labels to promote and distribute sound recordings. Once a CD is recorded, record distribution companies organize the shipping of the CDs to music stores and department stores.
When CDs sell in stores or on websites such as the iTunes Store, part of the money obtained by the record label for the sales may be paid to the performers in the form of royalties. Of the recordings which generate substantial revenues for the labels, most do so only for a short period after they are released, after which the song becomes part of the label's "back catalog" or library. A much smaller number of recordings have become "classics", with longstanding popularity, such as CDs by the Beatles or the Rolling Stones. These albums have continued to generate revenue for the labels and often, in turn, royalties for artists, long after their original release.
Successful artists may hire a number of people from other fields to assist them with their career. The band manager oversees all aspects of an artist's career in exchange for a percentage of the artist's income. An entertainment lawyer assists them with the details of their contracts with record companies and other deals. A business manager handles financial transactions, taxes and bookkeeping. A booking agency represents the artist to promoters, makes deals and books performances. A travel agent makes travel arrangements. A road crew is a semi-permanent touring organization that travels with the artist. This is headed by a tour manager and includes staff to move equipment on and off-stage, drive tour buses or vans, and do stage lighting, live sound reinforcement and musical instrument tuning and maintenance. The tour manager's tasks can vary widely depending on the type of tour and where the group is playing. The tour manager's typical tasks of ensuring that hotel, restaurant and travel arrangements are confirmed may expand into other tasks, if the venue where the band is playing does not have certain equipment. For example, if the venue lacks a grand piano or Hammond organ that the band needs for the show, the tour manager will be responsible for finding a rental instrument for the show and having it moved onstage. Or, if a band member needs an emergency instrument repair, the tour manager and/or the guitar tech will help to find a repair person or replacement instrument. The most high-profile celebrity performers may also have personal assistants, a chef, and bodyguards. Singers may hire a vocal coach to give them suggestions on how to take care of their voice or develop their singing range.
The music industry (or music business)
Sells performances of music, recordings and compositions. Among the many individuals and organizations that operate within the industry are the musicians who compose and perform the music; the companies and professionals who create and sell recorded music (e.g., music publishers, record labels studios, engineers, producers, retail and online music stores, performance rights organizations); those that present live music performances (booking agents, promoters, music venues, road crew); professionals who assist musicians with their careers (talent managers, business managers, entertainment lawyers); those who broadcast music (satellite and broadcast radio); journalists; educators; musical instrument manufacturers; as well as many others.
Its all about stage acts and giving shows (live music) has increased in importance. There are four "Major labels" that dominate recorded music — Sony Music Entertainment, Universal Music Group, Warner Music Group and EMI — each of which consists of many smaller companies and labels serving different regions and markets. The live music industry is dominated by Live Nation, the largest promoter and music venue owner. Live Nation is a former subsidiary of Clear Channel Communications, which is the largest owner of radio stations in the United States. Other important music industry companies include Creative Artists Agency (a management and booking company) and Apple Inc. (which runs the world's largest music store, iTunes Store, and sells the iPod and iPhone).
A multitude of record labels came and went, but a handful of label corporations prospered for decades. By the end of the 1980s, the "Big 6" — EMI, Sony, BMG, PolyGram, WEA and MCA — dominated the industry. In mid-1998, PolyGram merged into Universal Music Group (formerly MCA), dropping the leaders down to a "Big 5". They became the "Big 4" in 2004 when Sony merged with BMG.
(2000s in music industry)
In the 21st century, consumers spent far less money on recorded music than they had in 1990s, in all formats. Total revenues for CDs, vinyl, cassettes and digital downloads in the U.S. dropped from a high of $14.6 billion in 1999 to $10.4 billion in 2008. The downward trend is expected to continue for the foreseeable future—Forrester Research predicts that by 2013, revenues will reach as low as $9.2 billion. This dramatic decline in revenue has caused large scale layoffs inside the industry, driven music retailers out of business (such as Tower Records) and forced record companies, record producers, studios, recording engineers and musicians to seek new business models.
In the early years of the decade, the record industry took aggressive action against illegal file sharing, successfully shutting down Napster in 2001 (the leading online source of digital music) and threatening thousands of individuals with legal action. This failed to slow the decline in revenue and was a public relations disaster. Some academic studies have even suggested that downloads were not the true cause of the decline. Legal digital downloads became widely available with the debut of the iTunes Store in 2003. The popularity of internet music distribution has increased and by 2007 more units were sold over the internet than in any other form. However, as The Economist reports, "paid digital downloads grew rapidly, but did not begin to make up for the loss of revenue from CDs."
The turmoil in the industry has changed the balance between artists, record companies, promoters, retail music stores and the consumer. The leading music retailers are now box stores (Wal-Mart and Best Buy) and music-only stores are no longer a player in the industry. Recording artists now rely on live performance and merchandise for the majority of their income, which in turn has made them more dependent on music promoters like Live Nation (which dominates tour promotion and owns a large number of music venues.) In order to benefit from all of an artist's income streams, record companies are increasingly relying on the "360 deal", a new business relationship pioneered by Robbie Williams and EMI in 2007.At the other extreme, record companies can offer a simple manufacturing and distribution deal, which gives a higher percentage to the artist, but does not cover the expense of marketing and promotion. Many newer artists no longer see any kind of "record deal" as an integral part of their business plan at all. Inexpensive recording hardware and software has made it possible to create high quality music in a bedroom and distribute it over the internet to a worldwide audience. This, in turn, has caused problems for recording studios, record producers and audio engineers: the Los Angeles Times reports that as many as half of the recording facilities in that city have failed. Changes in the music industry have given consumers access to a wider variety of music than ever before, at a price that is gradually approaching zero. However, consumer spending on music related software and hardware has increased dramatically over the last decade, providing a valuable new income stream for technology companies such as Apple Computer.
According to the IFPI more than 95% of the total revenue from music in 2003 was derived from the 30 major countries in the proportions shown above. Albums sales and market value- In its June 30, 2000 annual report filed with the U.S. Securities and Exchange Commission, Seagram reported that Universal Music Group was responsible for 40% of worldwide classical music sales over the preceding year.
Music industry organizations
* Academy of Country Music aka ACM
* Alliance of Artists and Recording Companies aka AARC
* American Association of Independent Music aka A2IM
* American Federation of Musicians aka AFM
* American Federation of Television and Radio Artists aka AFTRA
* American Society of Composers, Authors and Publishers aka ASCAP
* Association of Independent Music aka AIM
* Australian Recording Industry Association aka ARIA
* British Phonographic Industry (BPI)
* Broadcast Music Incorporated aka BMI
* Canadian Recording Industry Association (CRIA)
* Country Music Association
* Federation of the Italian Music Industry (FIMI)
* Gesellschaft für musikalische Aufführungs- und mechanische Vervielfältigungsrechte (GEMA) in Germany
* Harry Fox Agency (for-profit branch of the NMPA)
* Indian Music Industry (IMI)
* International Federation of the Phonographic Industry (IFPI)
* Irish Recorded Music Association (IRMA)
* Mechanical-Copyright Protection Society (MCPS)
* Musicians' Union
* National Academy of Recording Arts and Sciences (NARAS)
* National Association of Recording Merchandisers (NARM)
* National Music Publishers Association (NMPA)
* PRS for Music
* Recording Artists' Coalition aka RAC
* Recording Industry Association of America (RIAA)
* Recording Industry Association of New Zealand (RIANZ)
* Recording Industry of South Africa (RISA)
* Society of European Stage Authors & Composers (SESAC)
* SoundExchange