MGMT-301 Lecture Notes - Lecture 1: Suse Linux Distributions, Color Correction, Liner Notes
13 Jun 2018
School
Department
Course
Professor
3 The Entert*inment Industry
Week Four (Feb. 6): Record De*ls continued. We will ex*mine some
*dv*nced issues with recordings. How do producers get p*id for their
work on recordings? Engineers, remixers, other cre*tives?
1) Quincy Jones, who produced m*ny of Mich*el J*cksonʼs gre*test hits
recently sued the est*te for unp*id roy*lties. See if you c*n find *n *rticle
or two th*t discuss this l*wsuit. Wh*t w*s Quincy Jonesʼ m*in cl*im in the
l*wsuit?
!!!"#$%%&'()*$'+",$-.-/)&,.'+!).0/&',123$'+)24!4#5+526782-&%%&$'2&'2
#$14%*&+)2)/&*2!767789
:/&',1;<=>?&)<%4!)/&*<!4)<'+@+#<4A$/*<B&,?4+%C<&*<!4)<4A$/*<D#$*+,*&'(<*?+<
&'*+(#&*1<$E<*?+<!$#F<!+<4%%<5&5<&'<*?+<#+,$#5&'(<)*/5&$<4'5<*?+<%+(4,1<$E<!?4*<
!+<,#+4*+5C=<?+<,$'*&'/+5"<=<G%*?$/(?<*?&)<3/5(+-+'*<&)<'$*<*?+<E/%%<4-$/'*<
*?4*<H<!4)<)++F&'(C<H<4-<@+#1<(#4*+E/%<*?4*<*?+<3/#1<5+,&5+5<&'<$/#<E4@$#<&'<*?&)<
-4**+#"<H<@&+!<&*<'$*<$'%1<4)<4<@&,*$#1<E$#<-1)+%E<D+#)$'4%%1C<A/*<E$#<4#*&)*)I<#&(?*)<
$@+#4%%"J
=K?&%+<*?+<3/#1<5+'&+5<:/&',1<L$'+)<M8N<-&%%&$'<O<$#<-$#+<*?4'<*!$2*?)<$E<
!?4*<?+<5+-4'5+5<22<E#$-<>?+<P)*4*+<$E<B&,?4+%<L4,F)$'C<!+<)*&%%<A+%&+@+<*?4*<
(&@&'(<?&-<-&%%&$')<$E<5$%%4#)<*?4*<?+<?4)<'$<#&(?*<*$<#+,+&@+</'5+#<?&)<,$'*#4,*)<
&)<!#$'(C=<K+&*Q-4'<4'5<R&4<B$54AA+#C<4**$#'+1)<E$#<>?+<P)*4*+<$E<B&,?4+%<
L4,F)$'C<)4&5<&'<4<)*4*+-+'*"<=>?&)<!$/%5<#+&'*+#D#+*<*?+<%+(4%<%4'(/4(+<&'C<4'5<
+EE+,*&@+%1<#+!#&*+C<,$'*#4,*)<*?4*<B#"<L$'+)<%&@+5</'5+#<E$#<-$#+<*?4'<*?#++<
5+,45+)C<45-&**+5<?+<'+@+#<#+45C<#+E+##+5<*$<4)<S,$'*#4,*C<-$'*#4,*CS<4'5<*$%5<
*?+<3/#$#)<?+<5&5'S*<S(&@+<4<54-'S<4A$/*"<G'1<4-$/'*<4A$@+<4'5<A+1$'5<!?4*<&)<
,4%%+5<E$#<&'<?&)<,$'*#4,*)<&)<*$$<-/,?<4'5</'E4&#<*$<B&,?4+%I)<?+&#)"<G%*?$/(?<
B#"<L$'+)<&)<D$#*#41&'(<*?&)<&)<4<@&,*$#1<E$#<4#*&)*)I<#&(?*)C<*?+<#+4%<4#*&)*<&)<
B&,?4+%<L4,F)$'<4'5<&*<&)<?&)<-$'+1<B#"<L$'+)<&)<)++F&'("=
2) M*ny beginning producers m*y offer *n *rtist * “spec” de*l (spec is
short for specul*tion). See if you c*n find *n ex*mple of * spec de*l
online. There *re m*ny types of spec de*ls *nd the terms c*n v*ry
gre*tly. See wh*t you find. We will discuss in cl*ss.
!!!"*4T&",$-.-/)&,2A/)&'+))2E40.4#*&)*)2-4'4(+-+'*.)D+,25+4%"?*-%
3) Visit the SoundExch*nge website. Do they provide *ny method for *
producer to be p*id from the *rtistʼs roy*lties?
!!!")$/'5+T,?4'(+",$-.)+#@&,+2D#$@&5+#.
4) Should * producer be p*id from the *rtistʼs sh*re or the l*belʼs
sh*re? We will discuss in cl*ss.
H<*?&'F<*?+<%4A+%<)?$/%5<D41<E$#<*?+<D#$5/,+#C<&E<*?+<D#$5/,+#<!4)<A#$/(?*<&'<A1<
*?+-"<
5) Record l*bels h*ve rebr*nded themselves *s “entert*inment
comp*nies” since they now c*re more *bout br*nding, m*rketing *nd
promoting *n *rtist in *ll *spects of the c*reer *nd not just selling CDʼs or
other consumer products (*s th*t m*rket h*s dr*m*tic*lly ch*nged over
the p*st two dec*des). Are record comp*nies still vi*ble? Still import*nt?
See if you c*n find two *rticles, one th*t *rgues th*t record l*bels *re no
longer required *nd *nother th*t t*kes the opposite position.
www.musicclout.com/contents/*rticle-383-do-you-re*lly-need-*-
record-de*l.*spx
Notes
G(+'*)C<B4'4(+#)C<4'5<G**$#'+1)"""<U&@+<P'*+#*4&'-+'*<
K?1<?4)<%&@+<+'*+#*4&'-+'*<,$'*&'/+5<*$<(#$!V<2W<U$$F<4*<*?+<D$!+#D$&'*<
U&@+<+'*+#*4&'-+'*;<#+@+'/+<)*#+4-
G#*&*)*<XW
B4'4(+#<XW<Y$--/'&,4*+)<!&*?<A$$F&'(<4(+'*<
Z$$F&'(<G(+'*<XW<Z$$F&'(<4(+'*<,$--/'&,4*+)<!&*?<D#$-$*+#
[#$-$*+#<XW<)&(')<,$'*#4,*<!&*?<@+'/+
\+'/+<XW<\+'/+<#+'*)<$/*<)D4,+<E$#<,$')/-+#)<*$<,$')/-+<4#*&*)*)<!$#F
Y$')/-+#
[/A%&)?&'(;<#+@+'/+<)*#+4-<
[+#E$#-&'(<#&(?*)<$#(4'&)4*&$'<
>?+<>+4-<&'<*?+<]*/5&$<
4#*&*)*<D#$5/,+#C<+'(&'++#<^4))&)*4'*<+'(&'++#_C<,$'*#4,*$#<^)/DD$#*&'(<
-/),&)&4'_C<,$'5/,*$#C<4##4'(+#<
>?+<>$/#&'(<>+4-<
4#*&)*C<D+#)$'4%<-4'4(+#C<#$45<-4'4(+#;<*$/#<4,,$/'*4'*C<@4%+*C<-+#,?4'5&)+#C<
D#$5/,*&$'<-4'4(+#;<^%&(?*&'(<)$/'5<#$45<,#+!C<)*4(+?+4'5)C<)+,/#&*1C<
*#4')D$#*4*&$'_
`$/<?4@+<*$<D41<*4T+)<&'<+@+#1<)*4*+<*?4*<1$/<D+#E$#-<&'aaa<
G(+'*)<
Z$$F&'(.<*4%+'*<4(+'*<b<D+#)$'<&'<*+?<E/%%<*&-+<A/)&'+))<$E<D#$5,/#&'(<
+-D$%1-+'*<E$#<4#*&)*<
Z$$F&'(<4(+'*;<*!$<F&'5)<$E<,%&+'*)<2<4#*&*)*C<*?+<A/1+#<$E<)/,<*4%+'*<
G(+'*)<*4)F
Z$$F<(&()C
c'$!<D#$-$*+#)C<
c'$!<@+'/+)<^!?+#+<)?$/%5<1$/#<4#*&)*<D+#E$#-V_
c'$!<*$/#&'(<%4'5),4D+)<^!?+'<&)<*?+<A+)*<*&-+<*$<($<*$/#&'(V<!?+#+<&)<*?+<
A+)*<D%4,*<*$<($V<PT"<>?+<A&A%+<A+%*<!+5'+)541)<,?/#,?C<E#&541<E$$*A4%%_<
d+(&$'4%<4'5<A$/*&0/+<4(+',&+)<
G(+',1<e+4%);
Nf2N9g<$E<D+#E$#-4',+<D41-+'*<
GhB<U&-&*)<5/#4*&$'<$E<4(#++-+'*)<*$<i<1+4#)<
j*?+#</'&$');<]kG2Gh>dGC<Gk\GC<GkBG
U$!+#<*?+<4(+'*C<*?+<)?$#*+#<*?+<4(#++-+'*<
PT,%/)&@+<A$$F&'(<#&(?*)<(#4'*+5<
B$'&+)<5+5/,*+5<A1<ilf<5+4%)<'$*<,$--&))&$'4A%+<
d+(&$'4%<4(+',&+)<
O ]-4%%<(#$/D<$E<4(+'*)<
O m4'5%+<%$,4%<A$$F&'()<
O -$5+)*<&',$-+<%+@+%+)
Z&(<'4*&$'4%<E/%%2)+#@&,+<4(+',&+);<>?+<G(+',1<k#&DC<K&%%&4-<B$##&)<P'5+4@$#C<
n'&@+#)4%<4**#4,*&$')C<Y#+4*&@+<G#*)*)<G(+',1<
Week Five (Feb. 13): R*dio, New Medi* *nd the Delivery of Music
to Consumers. “Scre*ming About Stre*ming.” Why *re some
*rtists compl*ining *bout stre*ming service p*youts?
!""#$%&'%()*
+, -#./*0%'*1%'23*"(4'5&#%$*&'6#5*07(8'()*-5%60459*:;0(#<=9*:#4#7">?@*
:5('88#('*A56#09*B#6589*!;;8'*@7"#.9*C''D'4*04*5%0(E'4*<5F04#('*0<*=074"G*H#"('%*
(0*5(*8'5"(*0%'*E074*674#%$*(E'*2''/*I'<04'*.85""*5%6*24#('*602%*(E'*;85=8#"(*
=07*E'546G*J'4'*=07*58802'6*(0*"/#;*"0%$"K*L<*"09*25"*#(*7%8#&#('6*04*5*8#&#('6*
%7&I'4K*J'4'*(E'4'*5%=*54(#"("*(E5(*=07*25%('6*(0*8#"('%*(0*2E0*2'4'*%0(*
5F5#85I8'*0%*(E'*"'4F#.'K*C#6*(E'*"'4F#.'*156F'4(#"'3*5%=*'M.87"#F'*.0%('%(K*L<*
"09*2E5(*(=;'*0<*.0%('%(*25"*#(K*!76#0K*N#6'0K*-06.5"(K**OM;804'*5*;85=8#"(*
(E5(*=07*E5F'%P(*8#"('%'6*(0*I'<04'G*JE#.E*0%'*6#6*=07*.E00"'K*JE=*6#6*=07*
.E00"'*#(K*JE5(*6#6*=07*(E#%/*0<*#(K
H<%&)*+'+5<*$<*?+<e&),$@+#<K++F%1<D%41%&)*<,/#4*+5<A1<]D$*&E1"<H<?4@+<*?+<)*/5+'*<
D%4'<)$<*?&)<-+4')<*?4*<H<5$'I*<?4@+<,$--+#,&4%)<4'5<H<4-<4A%+<*$<D&,F<*?+<
)$'()<*?4*<H<!4'*<*$<D%41<4'5<,4'<)F&D<4)<-4'1<*&-+)<4)<<!4'*"<>?+#+<4#+<'$<
#+)*#&,&*$')"<H<4%)$<4-<4A%+<*$<(+*<m/%/<E$#<E#++<!&*?<)*/5+'*<)/A),#&D*&$'<!?&,?<
&)<$'+<$E<*?+<-4&'<#+4)$')<H<?4@+<)*/,F<!&*?<]D$*&E1<&')*+45<$E<($&'(<*$<GDD%+<
-/)&,<$#<>&54%.[4'5$#4"<Z+1$',+S)<U+-$'45+<4A%/-<&)<)*&%%<'$*<4@4&%4A%+<$'<
)D$*&E1<A+,4/)+<)?+S)<!&*?<>&54%<4'5<e#"e#+<Y$-D*$'<4%A/-<&)<4%)$<'$*<$'<?+#+<
5/+<*$<?&)<%$14%*1<!&*?<GD%+<-/)&,<A/*<A$*?<?4@+<-/)&,<E#$-<A+E$#+<$'<)D$*&E1"<
Q, JE5(*60'"*#(*(5/'*(0*$'(*5*4'.046#%$*;85='6*0%*(E'*('44'"(4#58*456#0K*
RE'./*07(*(E'*S7(74'*0<*@7"#.*R058#(#0%P"*204/*0%*-5=0859*
222G<7(74'0<&7"#.G04$G*
222G<7(74'0<&7"#.G04$>I80$>QT+U>TV>+W>I#$X456#0X;7"E'"X&04'X;5=085*
V, S#%6*5(*8'5"(*0%'*54(#.8'*5I07(*-5=085*5%6*"'((8'&'%("*;5#6*0F'4*(E'*7"'*
0<*-5=085G*
Y, :(4'5&#%$*"'4F#.'"9*.0&;'(#%$*2#(E*0%'*5%0(E'49*E5F'*(4#'6*(0*"'.74'*
1'M.87"#F'"3*2E'4'*5%*54(#"(*0%8=*&5/'"*(E'#4*4'.046#%$*5F5#85I8'*0%*(E5(*
"'4F#.'G*S#%6*(20*54(#.8'"*(E5(*6#".7""*'M.87"#F'"*Z*0%'*;0"#(#F'*5%6*0%'*
%'$5(#F'*[#<*;0""#I8'\,
222G'%$56$'(G.0&>QT+U>TY>QV>(#658X54(#"(X'M.87"#F'"X&7"#.X"(4'5&#%$>*
222G4088#%$"(0%'G.0&>&7"#.>%'2">#%"#6'X(E'X254X0F'4X58I7&X'M.87"#F'"X
2YYVV]U*
U, ^5"*_07B7I'9*L%('4%'(*A56#0*04*:5('88#('*A56#0*.E5%$'6*(E'*$5&'K*!4'*
(E'4'*54(#"("*2E0*E5F'*4'.'%(8=*I'.0&'*&5`04*"(54"*2#(E07(*S@*456#0*;85=K*L<*
"09*2E0*54'*(E'=K*!4'*(E'=*.4'5(74'"*0<*_07B7I'K*:;0(#<=K*-5%6045K*a(E'4K*
