Thursday, August 21, 2008

Indie Labels Vs Major Record Companies

The music industry has been bemoaning its fate, as the costs of promoting artists and their songs soar while sales slump. It seems that it's facing a slow, self-inflicted implosion. It blames its demise on the Internet and the easy access that fans have to music that has yet to be released for public consumption. Independent record labels, on the other hand, are reveling in the public attention that the Internet brings to their artists. According to independent record labels, business is booming and prospects have never looked better.

An expense that major record companies have that Indie labels have been clever enough to avoid is playtime on commercial radio stations. Major labels have to pay from $400,000 up, in order to get one song on air. Indie labels tend not to even approach large commercial stations as they know that they can't afford all the promotion costs that are included in the deal. They prefer to work with college and public radio stations that are usually more receptive to music that is not mainstream and conformist.

Another marketing strategy that has helped to increase album sales for indie labels is that they target consumers who are still willing to pay for music. This group consists mostly of grown-ups who feel that they have to pay for what they own and don't have a "if I can get it for free I will" attitude. Adults have a greater sense of ethical responsibility and a respect for hard work, and are less likely to download music for free.

Many artists are adopting a more extreme independent approach by forming their own record labels. This allows them to have complete creative control over the record making process and is the ultimate in self-expression for any indie artist.

Most artists think that signing with a major label will be their ticket to the big time and that the money will come rolling in. In fact, artists have to sell about 1 million albums before they start seeing their share of the profits, as their studio time and all of the "perks" of the business, such as the limo rides, are charged against their royalties. Royalties might also be heavily weighted in favour of the label. Many artists are surprised to find that they earn only $1 per disc sold.

Compare that with an indie label, which with careful planning and budgeting, is able to keep marketing and overhead expenses within a manageable range. With expenses down, the profit margin is larger. They also have fairer profit sharing deals, often splitting profits equally between the label and the artist. When it comes to selling discs, indie artists can sell discs at a concert and make a decent profit from sales numbering in the thousands only.

One of the biggest and perhaps most distinguishing differences between indie and major labels is that indie labels let artists keep the rights to their work. Large labels have the option of not releasing any music an artist has recorded, and all the while the artist remains bound to them by contract and can't sign up with any other label. The artist is taken out of the public eye and effectively has his or her career terminated at the whim of the label.

Many experts involved in the music industry have predicted that major record labels are going the way of the dinosaur. They attribute this mainly to the large labels' inability to read and react to activity in the music market. Large labels create such huge promotional vehicles around their artists that it takes them too long to react to a drop in record sales, and change their marketing strategy. Conversely, if an artist's sales pick up after a slump, it takes the label too long to get a large promotional and marketing strategy off the ground. Indie labels, on the other hand, are ideally placed to take advantage of market movements, as they are small and can move quickly to capitalise on opportunities or invest in some damage control.

It's been said that big labels have forgotten what's important in the music industry, that the artists are the resource to be treasured and not the songs. Indie music and, as a product, indie labels have never forgotten this fact. Artists have always been recognised as respected contributors to the music industry. They have always been fairly counted into whatever profits there may have been. Indie labels do their best to adhere to the principles and culture upon which the indie scene has been built. By doing this, they have managed to achieve comparatively more success than the big boys in the industry. This must be a big blow to those who believe that non-conformists will never be successful in life.

Recommended site:

http://www.csmonitor.com/2003/0411/p13s02-almp.html

Sandra wrote this article for the online marketers Indy Music News indie music news one of the leading suppliers of news, trends and upcoming events in the indie news industry.

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Homeschooling - The 4 Main Reasons A Family May Choose to Home School a Child

It is estimated that more than 1 million children under the age of eighteen are receiving their education at home. It is impossible to know the exact number of families that choose to keep their children at home instead of sending them to traditional classroom settings. Part of the reason for this is that most states do not have an accurate count of these children.

Families may choose to home school their children for many different reasons. Sometime it is only temporary due to an illness or a cross country move. There are four reasons that children are being educated at home by their families:

  1. They are deeply religious and want the children to be educated with fundamentalist beliefs. Many of these families use the Bible as their main text and use it to teach reading, math, social studies, health, geography and science. Older siblings may help teach the younger children. Consistent beliefs and values are maintained throughout the family. The parents of these children want to ensure that no ideas from outside of the family are introduced to their children without their approval. In years past this group accounted for the largest number of home schoolers.
  2. The family may live in a remote area where schools are not easily accessible. There are quite a few sections of the United States and Canada where this is the case. It may be a two hour or longer ride to a school and some families do not want their children to be on the road for that long, especially when the weather is bad. Many of these children do not attend school until they are in high school.
  3. Children who have survived a traumatic event, those who are going through a serious illness, or a child who has experienced a catastrophic event either at school or at home may be taken out of school for an extended period of time and educated at home by family members. Some of these children return to school within a few months and others continue to be home schooled until they reach the age of majority.
  4. They believe that what they can offer their children is superior to what any formal institution has available. The children in these families may receive professional music or dance classes, sometimes travel throughout the world with their families, or may have a connection with one of the many private universities across North America that offer programs for young people. Many of these children go on to attend universities successfully before they are eighteen years old.
Many states require that you register your home as a home school, while other states require no such identification or registration. At one time it was typical for one adult family member to hold at least some type of teaching credential, but that is now a thing of the past. Textbooks are easily available to anyone who wants to use them in their home teachings. Resources such as libraries, local colleges and universities, and reliable internet information can now make teaching children at home an adventure rather than a chore. While the academic education of a home-schooled child may be enriched, many are concerned that the socialization of these children may be negatively impacted. However, according to the recent studies conducted by a variety of statisticians, the home-schooled child may have a higher level of self-esteem, have a highly developed set of social values and mores, and be more well- adjusted than children who attend regular day classes. Home-schooled children typically spend morning with academics and have afternoons available for organized sports, classes in music, dance, or art, and activities at their place of worship.

Choosing how and where to educate a child can be a decision with far reaching consequences. Much of this decision will be based on the needs and beliefs of the family, the individual child, and the educational system available to the family. By researching all of these factors, families can come to an intelligent decision that will be beneficial to all involved.

Connie Ragen Green is a motivational writer, speaker, and mentor. To find out more visit her at http://www.TheScienceoftheLawofAttraction.com .

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Immortal Patriotic Songs in Bollywood

By supporting the communal harmony and national solidarity, our film industry has all along the played significant part. During the decades, a certain number of films signicatifs with interesting of the nationalist topics were made, and some of these films started from a major impact on the viewers of the ' spirits. And also important is the fact that our finer patriotic songs came from such films - the songs which now became a part of our ethos national.

Less than one year after we carried out independence, a film entided 'shaheed ' was made by Filmistan Studios. It held the first role Dilip KUMAR and Kamini Kaushal. Today, one remembers mainly this film for his song patriotic, rah Watan of ki hamen the nau watan of ke jawan shaheed Ho.. this song was written by Rajah Mehdi Ali Khan, together in music by Ghulam Haider, and was sung by Mohamed Rafi, Khan Mastana and chorus. It is still played by AIR of the important national days.

In 1954, a film of the children entitled 'jagriti ' was produced by the same banner. Perhaps no other film appreciates the distinction to have so much several of its patriotic numbers becoming so popular. Wise popularity, these songs are: Di of 'Of hamen the bina of khadag of bina of azadi dhaal, the diya kar kamaal. of of you sant of ke of sabarmati.. ', of 'Hum of bush hammer of hain ke nikaal of kishti of of ventilator too, is bachcho ke. sambhaal of rakhna of KB of desh only. the and the bachcho of 'Aao tumhen dikhayen the ki of Hindustan of jhaki, is the hai ki. balidaan of dharti of yeh of karo of tilak of of mitti.. ' all these songs were written by Pradeep and were granted by Hemant KUMAR.

Raj Kapoor was known to make the romantic films in which there was little place to adjust patriotic songs. But in a less known film produced by him and directed by Amar KUMAR, carries Nahin de Dilli of 'Ab' (1957), there were charming patriotic songs written by Shailendra and together with the music by Daftaram. The song was, hai of apna of will hamara of Shaman of ''Yeh, is... of hai of raaj of apna of EP of desh It was a song singing merrily sung by Asha Bhonsle and chorus. Very few people remember film today, but the song is always completely popular.

In 1957 B.R Chopra made the 'Naya Daur ' Dilip KUMAR and Vyjayanthimala to hold the first role. There was patriotic song in this film which became a fury with the active masses of cinematography. And the song was hai of desh of 'Yeh transfer ka mastano of ka of albelon of ka of jawano, is... of kahna of kya of yaro of ka of desh ' It was placed in music by O P. Nayyar.

Naushad director of music and author Shakeel Badayun of song collaborated to give us three excellent patriotic songs in the 60s. These songs equal are heard today. One of them was 'Ganga Janma of film' -. chal of EP of ki of 'Insaaf of the dikhao dagar ke. of bachcho. It was sung by Hemant KUMAR in its rich baritone. The second patriotic song, meant for children, is film 'Its of India ' - hoon of rahi of munna of Nanha. sipahi hoon. of ka of desh. . It was sung by Shanti Mathur. The third patriotic song is 'Leader of film ' - the sakte nahin. of mita of hargiz of fredonnement of KB of azadi of Apni.. it was sung by Mohamed Rafi and chorus.

Bimal Roy made a film authorized 'Kabuliwala' inside. 1961. In this film there was a beautiful patriotic song sung by Manna Dey in his incomparably mlodieuse voice. By depicting a nostalgic love of the man for the his/her motherland when it is in a certain foreign country, this song is unsurpassable. And this song was, alone pyare of Ai watan, only Shaman of bichhre of AI, the EP kurbaan. diluted tuj.. ' this song was parked by the lyric author Prem Dhawan, together in music by Salil Choudhry.

Chetan Anand made (Haqeeqat ' inside. 1964. It was a film which A depicts our confrontation not successful with the Chinese inside. 1962. The film has some patriotic songs moving. But that which is pointed out that today equal is, sathiyo Kar fidda jano-bronzing of fredonnement of chale, hawale sathiyo. watan of tumhare of ab.. ' this ditty moving was parked by Kaift Aazmi and together with an air of obsession by Madan Mohan.

In 1965 a film with the 'sikandar-e-Azam came from title'. a song of this film became so popular that it on several occasions is played today equal where us cdebrate our day of independence or Republic. And the song is, will base chidiyan by daal daal 'Jahan of hain of karti, the hai will mera. of desh of OE Bharat.. ' this song was composed by director Hansraj Behl of music.

The films of Manoj KUMAR have a marked patriotic bending. In its film 'Upkaar ' (1967), there was a patriotic song of wellknown, ugle of sona of dharti of ki of desh of Mere, the ugle here moti... , which really reflected the bleached image of India like 'sone Ki Chidiya '.
Surprisingly, the patriotic song most popular which was written by a lyric author of film, was granted by a director of music of film, and was behind sung by a singer of play really appeared in any film. It is in fact made up for a special occasion and was sung by Lata Mangeshkar in front of an assistance of the thousands of people. The first Prime Minister Pandit Jawaharlal Nehru d' India , who was present on the stage at this occasion, was so much deeply moved by its interpretation in the voice pathetic-filled of Lata Mangeshkar which tears spouted out upwards in its eyes. The song, only logo watan of ke of Ai, paani bhar of WC of mein of annkh of will zara, unki of hain of tonality of shahid of OJ. . . this song was written by Pradeep and together with the music by C Ramchandra.

In current films, we seldom find songs patriotic. It is because the majority of films being made nowadays have hardly anything to make with patriotism. If time with other a patriotic film comes length and we hear a patriotic song in it, it, rather curiously, is forgotten soon. Why is it thus? Is because patriotism becomes now an out-of-date virtue? Or, the world moving now regularly towards its goal liked to make our planet is a generalized village and thus the national borders they slowly lose their statute of sacrosanct?

Perhaps it is true to a certain extent, but perhaps the principal reason is that we do not produce any more the songs of obsession which have in them the potential to live in our collective memory during decades together. The obsession of our director of music with stolen Western airs resounded the knell of died of our ragas traditional rich person on whom in the past the majority of the film songs were based. We can naturally still produce songs as the kishti toofan of of hain of bush hammer of ''Hum the ke that nikaal is ke sambhal... ''or... chidiyan daalpar 'Jahan of will only base hain of karti ' of bachcho of rakhna of KB of desh so only our directors of music turned to our own rich heritage of the classical music instead of imitating borrowed stupidly Western airs.

Archna Gupta is a veteran in the marketing of Internet and writing of the articles on the range of subjects. For any information on currently working on India Holidays and India Tour Operator

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Hep and Happening, Bottles & Chimney - Pubs in Hyderabad

What you see - With the boom in the social scene and a considerable increase in purchasing power, the metro finally got what it desperately needed with Bottles 'n' Chimney - an exclusive night-club with plush sofas, winding staircase and thumping music.

What you get - The first level of B&C (as it is popularly known) is a quiet lounge, while the ground floor has a lot more life in it. And the bar - bang in the center of the floor - is the obvious hub of activity. There are also two tiny dance floors, one on each level, with the music being played ranging from trance and club music to remixes and Indian theme music.

The club also has a large screen put up mainly for movies and sports. In fact during FIFA, the club was transformed into a football-lover's paradise. This tradition has continued through all the sporting events that followed. In fact this was the place which set the precedent in terms of starting the pub and cricket obsession in Hyderabad by putting up large screens. B&C also holds various events including concerts, food festivals and beer-guzzling contests, to entertain its guests.

Finally, for the uninitiated, Bottles & Chimney got its name from the surnames of its owners - Sanjay Batla and Sanjay Chimnani. Now how's that for subliminal self-advertisement?

The verdict - The crowd frequenting this place consists of working professionals in the age group of 25-35. Therefore, apart from good crowd, the assets of B&C are great music, affordability and a decent variety of drinks. However, the club could do with better lighting as it has too many corners plunged in darkness.

Hyderabad Pubs has been written by Shah Barkha for MetroMela

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"49" - A Great Time And Royalty Free

Community and educational theaters looking for an inexpensive play that will captivate their audience and stretch their actors skills have a hard time finding plays that can be produced for the entire family. Most of the good ones have been done over and over and it doesn't seem that many new ones have quite the fun-factor family audiences desire.

In 1975, an energetic young actress named Jane VanBoskirk discovered an 80 year-old play by Joaquin Miller. Miller, a poet of the late 19th Century, was designated "The Shakespeare of the Sierras" and wrote much about the gold rush. VanBoskirk scrounged a core of local actors and technicians and on a shoe-string budget produced and directed the smash hit of the Pacific Northwest. Touring the play to over 29 locations over a seven month period in 1976, the play was written up locally as "Beats the Freedom Train", and as the best good time in local theater in decades. Newspaper articles appeared as far away as the London Times where the English have long held Miller in high esteem. The play eventually secured grants from the American Revolution Bicentennial Commission of Oregon, and the Oregon Arts Commission.

Twenty years later, one of the original actors in VanBoskirk's production produced the play as an educational experience for local teens in Vidalia, GA. A minor grassroots arts grant helped fund the production. In addition to being a first acting experience for most of the young actors, it was the first look at American literature from that theatrical period. The most amazing experience was watching the young actors build, paint, create the scene settings, and discover that they could act on a stage with people watching.

The success of the productions is based on a solid script with a melodramatic ending, the inclusion of period music played well by local musicians on guitar, piano, and violin, and foot-stomping dance numbers. Period songs used as olios help set the mood. One line guaranteed to light up the audience is given when the villain is giving advice on winning the hand of the heroine to the young hero. He says, "Woo her, win her, wed her. Wear plenty of perfumery for few women can reason, but all women can smell."

Reviews of the VanBoskirk production were titled "Thar's Gold in this Show" and "Melodramas' Opening Night Beats the Freedom Train". Excerpts include "An assortment of colorful characters complicate the plot. A kindly, broken-down prospector, a total wreck of a drunk, and raucous barmaids had the audience stomping and hissing on opening night." "The cast dishes up a hearty helping of ham-n-corn, but the play is well adapted to this sort of excess. The actors have as much fun as the audience."

To sum it up, if you are needing a great play with loads of potential fun and appreciative audiences, "49" may be that nugget you've been digging for.

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