Amazon

Hardcover Available on Amazon – Get Yours Today!

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I have ‘hardcover’ news! Hardcover books for The Essence of the Music Business have arrived on Amazon’s selection. Hardcover is a big deal for the author – it is somehow more impressive. There’s absolutely nothing wrong with paperbacks, or e- and audio books.  They have their own abilities. But still, the hardcover is the thing!

This novelty is a book worth reading. I like the definition it has received – Modern Basics for Artists and Other Music Business Professionals. It’s this long-term knocking on almost every writing in the field today. This book focuses on how this is worth taking into account in everyday activities.

Get your own hardcover HERE!

This book is also available on Google Play Books and EBSCO for academic purposes.

Hardcover of The Essence of the Music Business: Strategy 2nd Edition ISBN: 978-952-69469-6-2

 

 

 

 

 

 

‘ The fully revised 2nd Edition is here. New examples have been added to better reflect the present time. Also, as a main focus, strategic thinking, the ability to create long-term plans and how to prepare for this in everyday activities are present in this book.

Understanding the importance of strategy is the basis for rational advancement. In the music business – strategies are not always perceptible. They are multi-layered, long-lasting, but also instantaneously effective. The ultimate goal often transpires along the way.

In order to understand tactics, one has to read between the lines. The reason why different pre-conditions and industrial expectations must always be taken into account is due to conflicts between artistic and economic goals. An artist’s progress often depends on their interest groups’ comfort to these aspects and is about maintaining the balance between music business objectives and the artist’s story.

This book deals with factors affecting the strategy and how it relates to the artist and their management. Although viable passive income generation in the streaming era is what is sought most after, no other aspect, including social media capital, should be ignored, as it is often even more important. All this has an impact on how an artist succeeds in other music business areas. This book illustrates the current state of things in light of new opportunities.

‘Strategy’ is the final chapter of The Essence of the Music Business trilogy from Mika Karhumaa.’

The Value of Being An Independent Artist

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If something has changed over the past few years, it’s how we understand of being independent, or more of the value of being independent. Being an independent artist is no longer combined with a second-class amateur business. No, today independence seems to be the main objective of artists. A state of being in which the artistic freedom and economic independence do well.

A few years ago, most of the contacts I had joined how to get a recording agreement, and to get along the groove. Nowadays independent artists can achieve seven or even eight digit numbers of streams – by DIY – do it yourself. They may not even need others to achieve that result. Managers are no longer sought for the needs of intercession know-how. No, it’s about strategic guidance how to tell your own story and plant it for SEO (search engine optimization) purposes. Or how to monetize things. It is also to establish the best possible organization of economic and copyright issues. Managers are more likely to approached for a field knowledge – to get access to knowledge that is out of reach for artists. In addition, especially at the beginning of the career, in its construction phase, the artist often avoid long-term attachments. Manager is acquired to handle some particular task and again can be moved forward. This happens to me more frequently – a new assignment takes place on an on demand basis.

The modern artist knows their value and knows more often what needs to do next. The purpose is to go as far as you can with your own resources and only when your own resources are not enough, in accordance with the goal – approaching future industrial partners. I like the current trend that artists retain the copyrights themselves and organize their releases through distributors and administrations in a way that requires no transfer of any rights. Of course, this is not so black and white. The record companies are still an important institution in the music business.

In the past, the record companies were the gateway to the market. Today it’s more about at which stage the record companies become topical – if they ever will. In addition, the artist’s own management is often able to organize the releases so that around them is possible to build a meaningful business. All this is dependent on the objectives of the artist. The larger the international distribution is to be achieved, the greater the probability that the record companies will be needed. Instead, if the artist wants to advance organically, depending on how popularity so permits, it should probably be done on an independent basis.

Anyway, this picture tells you a lot about where things are going. Here’s Chronoform. We go through their copyright issues and how to arrange their SEO so that it best supports their story. The management task will take as long as the job is completed – on an on demand basis and for the independent artist.

Chronoform is a great example how independent artist succeeds well.

 

 

 

 

 

For more information – get your own copy of this book

An excellent guide to independent artists

 

 

Understand the Strategic Side of the Music Business

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In its true essence, Friday seems to be a day of strategy. At least when it comes to successes in writing. Somehow, after just over five years of regular writing, lecturing and mentoring – it is starting to look ready. Intact. The whole trilogy. Although the subject area is broad, it narrows the more you learn to understand it.  You also learn to understand yourself, your strengths and your weaknesses. Sooner or later, you begin to focus on the essentials how to understand it.  This information is relevant to the strategies you use. And this year it is becoming a Second Edition.

Understand the Strategy on the Screen
The Essence of the Music Business: Strategy (2nd Edition)

 

 

 

 

 

 

 

 

 

 

When I begun this job, it really didn’t know what I wanted, or more precisely, what I wanted in it. Even though this is an update, the previous edition is just as valid. Each edition has its own emphases. Especially with this. This is the one book I will always write (including updates) in prima vista, trying to capture the moment. This will best take into account the trends that prevail at the time of writing. At the same time there will also be an estimated future, even if it cannot be known. In any case, from a strategic point of view it is important how to prepare, anticipate and create required pre-conditions, which are discussed in several sections of the book. Not to mention the interacting, congruent or divergent motives that may be associated with all the activities of the music business. In its own way – it’s about managing space – not so much the real thing but what happens at the level of thought.

The Second Edition received exactly 200 corrections or improvements and more than ten additional pages. I will not receive the exact number of pages until the layout of the book is completed. The nonfiction book is characterized by the fact that it improves with the Second Edition. By the time, it has already encountered its audience and the author has gained distance from the traces of first contact. It can be viewed more objectively. I believe that the corrections now made, with their new considerations shed more light on the strategic perspectives.

-Mika

New Year 2021

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Happy New Year to Everyone! I hope you are all doing fine. This is my tradition and fashion to welcome the new year.

The publication year 2021 looks interesting. Last autumn’s lecture series at Seinäjoki University of Applied Sciences sparked a variety of ideas. From the very first lectures I noticed that we are dealing with a new way of understanding the music business. Therefore, as on a structural level. Due to the activity of the students, I feel obliged to make a book about it. Duty though is a wrong expression here – it’s really about joy.

There will be several releases from the artists I represent coming this year. At least Delta Enigma, Melba Culp, Annika Nord and IRENE are releasing new material this year. Nevertheless, it gives room for writing. We have been doing groundwork throughout last year to make this year easier. We have got to know each other better, and there’s no need to take a meeting on every issue :).

In addition, more lectures are coming. Hopefully at some point the world will be open up again and we can do them live as well.

However, I am pleased to announce that this family will receive an increase when The Essence of the Music Business 4 – Artist Management goes into production. I haven’t started writing it yet as The Essence of the Music Business:Strategy needs a little update. Once this taken out from below, it is time for a new publication.

All you need to know about the music business in 2021

I want to tell you about the gift I received. I got a box of chocolate like this from Songtrust. Such a lovely gesture from them. I will use this as a prize. Whenever I successfully add a section to a book, I take one piece. There are 14 pieces in the box. I’ll let you know afterwards whether the writing happened faster or slower than before.

New Year's Box of Chocolate

Take care there and stay safe!

Mika

Libraries and Lectures

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Libraries have played a huge role in the promotion of my books. A relationship with libraries is something I want to cherish through life. I thought I could dedicate part of this Sunday to this appreciation. At the same time, I get to prepare mentally for the course on Management and Interlocutor Skills. Why do I bring up in this context? First of all,  without libraries my production would never had such a wide circulation. Consequently, the amount of lectures I give have increased considerably.

A series of lectures starting next week will make the issue topical in another way. Students have had time and opportunity to familiarize themselves with the course material in advance. Such an opportunity gives the lecturer more room. The body and content of the lectures can be colored from completely different starting points.

My main distributor for university libraries is EBSCO. Their e-book collection is impressive. The best thing about all this is that even a larger number of students can borrow a book. My upcoming course has 4o students. I use all three books as a course material. If only physical books were available, there would be a disproportionate number of physical books in the library to make enough for everyone. Regardless of the space they would take up.

This writing is not intended to discriminate against physical books. No, they are indeed just as important. Now it’s a question of purpose and the role of libraries in it. I am happy for every inclusion where the libraries take my books in their selections – whether it is physical, e-book or an audio book.

So on this Sunday again, I remember this appreciation. Thank you for creating the necessary pre-conditions for a successful lecture series. It is becoming a full 32 hours of teaching through Teams – plus assignments and the exam itself. When all this is timed within two months, consistency is the key. Easy access to books is something that facilitates not only navigation but also internalization of the matter. All the essential is immediately accessible and is not behind many gates. When the subject is management and mediator skills in the music business, it involves a lot of information.

Trilogy available for libraries
All three of them in Paperbacks

Distracting Signals

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Introduction

Distracting signals may be affected in many different contexts. This article reviews two easy-to-understand situations.

Artist promotion in its technical sense is a set of independent and interrelated measures aimed at career enhancement. Each such endeavor seeks external outcomes, for example, better streaming results, social media following, additional live performances, not to mention the business aspirations, increase in active and passive income. The better the artist performs on these forums, the better the management can be seen to have done.

When approached from a technical point of view, it doesn’t matter what the popularity results are. It is important that the steps are taken wisely. When this is done, it gives the artist’s music a chance.

I was thinking about approaching the artist promotion and related measures with precedence in mind. Bringing along some proactive points of views worth considering. Our focus is in time that precedes the potential successes. The cause-and-effect relationship is not always as clear as it seems. Although the success can be seen as a result of some distinctive measures, it would probably not be possible without the prior observations and interventions in the content and the presentation of order elsewhere. These preconditions and their establishment are of our interest now.

You are probably already familiar with the individual steps being taken to promote an artist. There are guides that illustrate how to best position your music on streaming services. What’s there to keep in mind. You must have read at least one book about how an artist is best at getting followers. Or stories how to approach music supervisors – in the hope that your music will sometimes be found on the movie or on an ad behind a brand that everyone knows. These placements and their plug-ins are the outer side of the matter.

Modern promotion emphasizes its instrumentality. Streaming services and other social media platforms have their own preferences how the artist-related information is best provided. The idea, on the other side, is to find the triggers that, when properly set, will produce the desired results. As social media and its platforms are constantly developing new functions for how the promotion could be implemented, the choice can cause problems. When there are many opportunities, it is difficult to choose where to be active and how.

The Point

The problem usually exists on the temporary effect and inconsistency. Communication reaches audience yes, but offers no grip. It easily begins to create hooks and tricks to get the audience interested in your subject matter. In order to achieve the desired results, such raptures often need to be repeated. It easily becomes a story based on what really is supposed to be an effect. Literally, it’s call-to-action at least in disguise.

Call-to-action is a delicate matter and should not be thought of as a mere technical performance. The artist is communicating in many different forums today. Let’s think that an artist urges people on Facebook to follow their site – directly or indirectly. For this purpose, paid campaign shall be made. The number of followers increases, but they are involved mainly from their own obedience. After seeing the proposal, they have clicked the Like-button. Once again, technically the operation is correct. In order to gain engagements, the artist has to pay attention to the message it conveys. If somewhere else on social media there are discrepancies or mixed claims about the artist and artist’s career or the promotion rides mainly on external accomplishments, we can be dealing with distracting signals. These disturbing signals are not only followed by the public, but also by the media and the industry.

If these distracting signals stay alive, they can complicate many potential operations. Before the artist’s story is sufficiently established, external achievements should be treated with at least reservations. Ironically, while success is something that is commonly sought, it is not always the most sensible topic to bring up. If an artist makes a claim to their current success, they are also exposed to the cyclical fluctuations of the claim. Success is never constant and it takes time for the story to reach a level where those fluctuations no longer matter.

When it comes to persuasive factors, they must never be left thin. If an audience is enticed to follow the artist on the basis of prevailing popularity, it must have muscles. One hit doesn’t yet create the foundation that could be trusted to have a mark in people’s minds.

If an artist’s song gains widespread popularity and the promotion content is largely based on the reasons and backgrounds why the song became hit, growing expectations for the next single will probably be in proportion. Now you should remember Google. All this information is recorded in the algorithms of Google and other search engines. It will probably achieve high rankings in search rankings. If a song is perhaps even deviating from the artist’s normal production, problems can arise at least from two reasons.

If success does not follow the artist, the only mark left on the artist may easily be this former success. Indeed, the new production may not stand out for that past success. If the audience still plays that artist’s biggest hit instead of their other production, the new production won’t get the attention it would require to succeed.

Of course, this is not quite so unambiguous. In some situations success claims are justified and even advisable. Such an act is easily enough as a reason to start following the artist. The question is what follows. I’m trying to say is that before the story has been rooted as it should, one should always leave the back gates. To the places that get attention elsewhere. At this point it is usually the artist’s story from which to draw the content. Promotion should never be based on mere external factors, although there is a great temptation to do it so today. Namely, external factors are never in your own hands, even though it may seem so right now.

Precedence seeks to avoid inconsistencies – as already mentioned. It is not irrelevant in what order things about the artist are told or brought out. If an artist starts a campaign around some of the themes relevant to the present, but things already found on Google contradict this message, we are in a collision course. This is something that should be taken into account at the earliest possible stage. Success claims are used as an example in this article. There are also other interfering signals. Such can be any factor whose effectiveness is capable of disrupting the natural narrative of an artist’s story.

There could have been more pages around the subject, but I think the point became clear. This topic came to mind as I was preparing for the upcoming fall’s lectures. You can read more about the subject from The Essence of the Music Business Trilogy – especially from its parts, Philosophy and Strategy.

Distracting Signals featured in this book

Distracting signals explained in more detail in this book

 

 

 

 

 

 

 

I wish a great September to everyone!

-Mika

Reader’s Guide to Philosophy’s 2nd Edition

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Hello there,

I am very pleased at the reception that 2nd Edition of ‘Philosophy‘ has received – even though the publication is only fair for two weeks. I have got a lot of comments from readers. I am particularly delighted by the fact that the book’s message has been heard. I was happy with the first edition of the book, but the reader, who later became my friend, mentioned one thing after reading the book. ‘ I liked the style in which the book discusses with the reader, but is not edited. Not edited, I couldn’t accept that :).

My own philosophy is that if something gets bothered, something needs to be done about it. As I began to think more closely, I came to the conclusion that the book itself also needed to be updated.  I also had to think of readers. At the same time, I came up with a solution that still feels good today. This 2nd Edition is even more hybrid than the previous one. By hybrid I mean that it takes into account the laws before and after the spread of streaming, but also prepares for the wider landing of the blockchain.

Now that the world has settled in the footsteps of the streaming revolution, eternal legalities of the music business are making a comeback – with the 2020’s application. Effects and technical insights no longer form the center of everything as it seemed at the time of transition. Now again, authenticity and story are flagged and promotion tactics and techniques play a supporting role, not the main thing.

From this premise, I made an edit in which the middle part of the book, pages 99-122, forms a kind of watershed. Note, if you are reading an e-book, it has a different pagination. By that I mean the book’s chapters from the Media Feed to the Functional Side of Biography. What makes this book hybrid is that it understands an old-school, contemporary development and modern technology as a whole and thus as an opportunity. The book moves back and forth through that watershed I mentioned. Such a structural solution within the book also makes the other literature in the field more palpable. It is easier to place different subject groups in their respective places and even larger entities becomes manageable.

This book is available on Amazon, Google and EBSCO for academic use.

To Amazon

 

 

The Contest and The Essence of the Music Business

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Here’s a contest we have been planning for some time. As the band is releasing its next single, Unreality, and I turn to my new book, we decided to arrange the contest now. Below are the rules to enter the contest. It takes place on Delta Enigma’s Official Facebook Page.

 

Delta Enigma arranges an “Enigma Box” giveaway contest!

Enter to win FREE mystery box of cool stuff delivered to you.

Everyone can enter! Here’s how to win the game:
1) Like this post.
2) Comment a random number between 1 and 10 and you’re in the game!
3) (optional) Share this contest.

You can participate the draw only once.

—————————————————————-

GRAND PRIZE: (1 winner)
“Enigma Box”
This mysterious box contains fantastic, epic, customized items/merch by Delta Enigma + something extra.
Some of the items are UNIQUE and the winner of the grand prize will officially become the only person to own them in the whole wide world.

BONUS PRIZE: (4 winners)
“The Essence of the Music Business – Philosophy” book.
Our manager has just finished the 2nd Edition of this International Bestseller.
The important teachings of his book also affect our band’s actions on a daily basis.
This book is considered extremely useful if you need a boost in your career of music or if you want to take a peek behind the scenes from the management perspective.

All winners will receive “The Essence of the Music Business – Philosophy” book with the band’s autographs!!

—————————————————————-

The contest will end on August 15, 2020 (CET, Central European Time).

Five lucky winners will be randomly picked in our rehearsal place in August and the event will be streamed.
This will be our first Meet & Greet ever.

The winners will be personally notified.

Stay tuned on our social media channels and feel free to share this contest!

This contest is not sponsored by, run by or associated with, Facebook.

 

Pre-Order the Modern Classic

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August 5th it will be published. Pre-order yours conveniently with one click. The piece, which has become a modern classic of music business books, received its 2nd Edition. Completely revised and several additional pages – featuring the latest innovations in artist promotion / marketing.

Pre-order The Essence of the Music Business:Philosophy

For academic libraries, it is already available on EBSCO’s collection.

The book can be pre-ordered on Amazon and Google. It will then auto-delivered to you on its publication date.

Here’s the link on Amazon.

Here’s the link on Google.

Cover – The Essence of the Music Business Philosophy – 2nd Edition

Second Edition of Philosophy – Publication Info

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Finally I can make an official announcement! The publication date is settled and the pre-sale started. Second Edition is available on August 5th through Amazon  and Google Books. It is already available for academic libraries on EBSCO because of their next semester needs.

Second Edition of The Essence of the Music Business:Philosophy

 

Back Cover –

‘This modern classic of music business books has received a second edition. The fully revised piece delves even deeper into the most important insight of modern music management – the endearing inter-dependence between the artist and the manager. In accepting this, it is possible to achieve strategically sustainable results – also in terms of music.

The music industry is an artist-centered business environment. Many operations are the result of an artist’s management or the artist themselves managing initiatives or reactions. This book deals with the environment and practices affecting it. Where the first volume of this book series dealt with agreements, this second part represents the realities and themes generally perceived to be worth pursuing.

The first volume intended to understand agreements, whereas in this book we try to understand the artist. Knowledge of the music industry is central. Reciprocity and understanding the needs of others is a cornerstone to successful operations. When the artist’s management and other background forces are able to imagine themselves in the artist’s position, it is easier to relate their own activities towards achieving common goals. On the other hand, when an artist understands their affiliates’ and their needs, it is easier for them to accept the measures they have to take.

The author of this book has had an over two-decade career as an international artist manager and legal advisor. His first book was considered widely throughout the world. This second volume deals with the same topic from another perspective. Although it is specially targeted for artists and managers, it is also suitable for general information needs. The book is well suited also for educational use.

The philosophy typical of Karhumaa, in which the latest innovations are presented on top of traditional laws, has taken on a more refined form. Add to that the insights gained from 25 of experience in the field and you have in your hands a 185-pages package of mere essentials’.

 

  • There’s a little bonus in this. How Delta Enigma relates to all this, become clear on 5th August.
We are featured in Mika Karhumaa's The Essence of the Music Business book
Delta Enigma – Line-up 2020

Online Appearance – Music Management Lectures

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We had a great lecture at Arcada. Online appearance is a topic that’s relevant to everyone – no matter what role you are in. I have recently had a lot to do with this subject. Not only because my new book deals with online appearance and its relation to SEO (search engine optimization) quite comprehensively.

It is valuable for the non-fiction writer to try out his methods in front of a live audience. A lot happens in those situations and in their interaction. Something that you find out later. The content and structure of by books tend to change as it is completed. I usually do one to five public lectures before I start packing the final script for proofreading and edit. This lecture on the online appearance was the last one of these.

Online appearance lecture with Jack McConnell
The Essence of the Music Business lecture with Jack McConnell at Arcada University of Applied Sciences

I cannot help myself, but attach an excerpt from my upcoming The Essence of the Music Business book. Let’s see how its content going to change or if it will remain so.

 

‘The SEO-foundation of the artist is internal and its purpose is slightly different than normal. It is about narrative logic and order of presentation. Usually the artist is searched for by name. It matters to the artist what is offered when the artist’s name is entered into the search. For example, when a record company does Google search for interest in an artist, it gets a lot of information about the artist’s career. If it comes first for an interview with a local newspaper, the company will know the artist is just beginning their career. If hits concern national or even international achievements, like for example tours, the situation is different. With this kind of information, the record company can estimate the amount of work they have on the artist – in relation to the support the company provides. Of course, the artist wants the best possible outcome before seriously considering the meeting. It is quite certain that the contract is more likely, the better the artist will perform here. An artist promotion in such a situation does not burden the company in the same way as it can be when the artist is in the very beginning. Since this book deals with artist management, the same principle applies to managers. The farther the artist has gone on his or her own, the easier it will be to become interested as a manager’.

Merry Christmas and Happy New Year!

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The year is coming to an end – so is the related movement.  I think I am about to start my Christmas Holidays now – when it becomes an opportunity. Christmas and this time of the year is a great spot for the review. When I think what has happened this year – I cannot be anything but grateful. I’ve got to meet great people – from different parts of the world and in many different situations. Because pictures are worth a thousand words, I decided to make a small-scale photo collage.

Jack McConnell's hand on The Essence of the Music Business book
The Essence of the Music Business

These book-in-hand photos became a cute phenomenon. They are still fun to get. If you happen to hit your hands on the book, I am more than happy to get a picture of it.

Liisa Tolonen with a course planner Mika Karhumaa
Planning moment before the semester start

There have been several moments in the past year and a half – planning moments with Liisa Tolonen for Arcada.

Christmas with Annika Nord
Round table meeting for Annika’s Debut Album release

I have known Annika for three years – right from the beginning of her solo career. Now it’s finally happening – the debut album will be released in 2020.

Dynamo the Finnish rock band with Mika Karhumaa
Meet Dynamo from Eastern Finland

Auditions are great to keep. The band traveled 600 kilometers for an audition. Second album coming next year.

Christmas with Spotify and Universal Music Germany
Music&Media 2019, Tampere, Finland

These guys made my Music&Media attendance very pleasant – w/Leonidas Chantzaras and Samuli Väänänen.

Christmas SeAmk's cultural management students in class room
Mika Karhumaa, Jack McConnell and SeAmk’s cultural management students.

This class was and is a pleasure. Even if I had to travel a few thousand kilometers in just over six weeks, it didn’t feel like it. The class atmosphere was so positive and inspiring.

Axel Thesleff and Oliver Obolgogiani present in a meeting with Mika Karhumaa
A business meeting w/ Mika Karhumaa, Axel Thesleff and Oliver Obolgogiani

One of the last meetings of the year – but not the least. I heard Axel‘s thoughts on his music and would have listened to it for several hours. Rarely four and a half hours go by that fast.

Finally, a much asked question. Is there a book coming. The answer is yes and no. I have been writing new material aside. The difficult decision is whether to include it as an addition to the earlier trilogy, or to make a whole new book.

I wish you all Merry Christmas and Happy New Year!

Back on the track on 7th January, 2020

-Mika

Behind the Scenes – Lectures and Practice

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Behind the scenes continues. This story came to my mind as I began preparing for next week’s lectures. There will be two of them in two different locations. Professionally, I like the audience changing around the same topic. Such a shift on consecutive days challenges the teacher. Things have been a little different for each group and dealt with in a different order.

I generally don’t like to give same lectures all the time. This is why I use my books as a basic course material. Some things are easier to go through by reading and thought, while others belong primary to lectures. Students, and no wonder, they like examples and the most concrete ones. When you can drop them in a consistent way, a four-hour lecture will not feel so heavy. When the homework is done well, it is easier to make targeted refinements and focused questions with lectures. The dynamics of a successful lecture is due to the fact that both the teacher and students are prepared well. One of the qualities of a good teacher is to facilitate the preparation.

I am constantly developing my set and lectures are the best place to test how my methods work. Everything starts with interaction. It is surprising the learning is only rarely complete with lectures. The lectures give more seed to the matter. Lecture intervals are an interesting spot. During those hours, my role is closer to being a coach than a teacher. How I communicate with students so that the lectures get a better understanding – in terms of their future profession and skills.

The next ratio is telling its own truth. If the total hours of lectures per semester is between 60-70, this mentoring rate is almost 400. The good thing about it is that it can be practiced almost anywhere. Already in my early days as a manager, I traveled with my artists whenever I could. During those journeys the greatest development took place, for all of us. We had to face ever-changing situations together and we also learned from each other’s routines. It is quite natural that I do the same with my students.

My previous post had pictures from Seinäjoki. Now it is time to meet the students of Arcada. As important the lectures, so are professional meetings. Here’s a little throw back before the next one is up.

lectures visit fair with international students
Music&Media, Tampere

 

Music & Media 2019

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I had a great two-day visit in Tampere. It was so nice to meet old and new colleagues. Tampere-talo provides a very functional facilities for the events like these. While the seminars were top notch and the quests were all the more pleasant – it becomes an experience.

The next stop in this respect is then By:Larm, Oslo. SXSV is also under serious consideration :).

 

Music Media Fair Spotify Universal Music Germany
Music & Media 2019 – Tampere, Finland w/Leonidas Chantzaras and Samuli Väänänen

Semester Start 2019-2020

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semester start planning with Liisa Tolonen

 

What goes next. Lecturing of course! It is this time of the year and room for different kinds of planning is always in order. We had a great conversation with my wonderful colleague Liisa Tolonen the other day. Looks like we are ready for the next season. So, we welcome each new Arcada Music Business student for the next semester. Opening takes place on September 3rd and see you there!

-M

How to Live with Uncertainty

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Uncertainty! This article has been requested for two years. It’s a difficult topic! I have started this article at least twenty times. Every time I have emphasized some other thing over the other. Now I am about to finish this. I decided to be more merciful to myself and just write things down – without any filters. I hope you find the end result useful.

Uncertainty is something we all are familiar with. You come across it in every area of life. You also often hear people say that you just have to live with it. Well, that’s how it is. Basically, it is how we deal with it, use the past experience and advice along the way.

I am talking about economic uncertainty that every music business aspirant have to react to. Instead of speaking it from a general perspective, I speak from my own experience. It seems to interest you the most. Secondly, a personal story is best known to you. It gives you the freedom to tell things without any restrictions.

The beginning of a career

It was 1995 when everything started. I was a first-year student in law school. At that time, resources were insufficient and life was like that. Moreover, time spent tasks was not regarded as sacrifice, but approached with curious, I am learning something new in mind. If I would give to 23-old myself an advice, it would be that always leave something in your pocket when receiving rewards. We’ll return to this below.

People often told me to focus on law and forget about music. As a lawyer, livelihood would be secured. Fortunately not everyone agreed with this. At a young age, you are more exposed. As a result, you could have made a different choices. I am lucky. I was able to attend a lectures of great teachers. One professor reminded us of copyright and how it could become more important in the future. Oh boy, he was right.

In my case, law school was the plan b – if everything had gone wrong. That knowledge in itself creates a sense of security. On the other hand, as you get older, you become more prone to worry. Every now and then I find myself wondering what if I had chosen otherwise. This is what I mean when I recommend starting everything at a young age. Later you will find it easier to place restrictions and excuses for yourself.

Knowledge Acquisition

Uncertainty is largely due to a lack of knowledge of the correct state of affairs, or how this business in general works. Lack of information usually manifests itself as hesitation. The hesitant mind, in turn, sees no opportunities. It is completely blind to them with its limiting elements.  Let’s move on.

You can fill this gap by reading music business books and articles, but also being in touch with music business professionals if that’s possible. Nothing however, beats the experience. It is always the best teacher. So let it be our guide. Entering the industry requires preparation. Without it, your journey becomes difficult.

For the sake of clarity – this article does not per se apply music professionals who are employed by companies in the industry. No, this article applies to those who operate independently in the industry.

In order to find your path, you need to know what you are after. That is why it is worth investing in those most uncertain years at the beginning of your career. At that very time, all kinds of experiments and changes in plans are easier to settle. If you’ve already become famous in some particular role, it’s harder to change it. It is not worth limiting yourself when you start this journey. I personally attended every meeting which came along the way when I was younger. It didn’t matter if the meeting made sense or not. Each meeting developed communication skills for different situations. For a manager, those skills are worth gold. The time when you start to think about economic value of your actions comes later. On a large scale, therefore. Trust me, you want to fill your data bank first. With that information you can easier to estimate what your path is – if it has remained unclear.

The better this footwork is done, the easier it will be live with prevailing uncertainty. You are bound to learn how this business works and what you should do there. Since the music business poorly suitable for part-time job, many end up as trainees in the industry. For those, who start from the beginning as self-employed, or as entrepreneurs, the situation is different. They have to start from somewhere, that is, to create their working facilities. It usually requires resources. Happy are those who have savings or other usable resources when they start out.

Earned Money

For my part, I proceeded as my knowledge from the field grew. This means I started as an agent – a task where success is realized immediately or at least with a really short delay. At this stage, we were not dealing with copyright – generating revenue as a source of passive income. The type of reward of the agent is commission for appearances.

However, this was a valuable time for collecting information. You get a reason to connect with the promoters and other operatives in the field. The commissions I received from these gigs also funded my studies. While I still worked as a substitute teacher, I got the necessary funds to gain early career knowledge and experience.  I did teacher’s substitute in music and that only slightly interfered with my real goal – to become a professional manager. Afterwards, I am happy with the choice I made – if it is considered in terms of knowledge acquisition.

Easy come and easy go. At that time, money came in surprisingly easy ways. I always had job that were paid. One thing I ignored.  Jumping from agent and surrogate teacher doesn’t happen overnight – at least if approached financially. If I were in the same situation now, I’d save most of my rewards for the future purposes.

As a manager, money begins to come into play when the artist’s actions make it possible. I started my career as a manager for new artists. It means that it takes time to produce and commercialize the production in an economically sound way. In addition, the beginning of every artist’s career requires time-consuming resources, which is difficult on a sideline basis. It is also the time when you make a name as a manager. Trust me – you want to do it well!

Derivative

Uncertainty is also created by industry derivative. As a manager, you are dependent on your artists and how their interest groups are doing their job. It is not uncommon for an artist, after all the preparation, not wanting to continue in the same way. At the beginning of a career, before any plan is realized, everything is more and less uncertain. This fact is good to consider when setting your bets. It is rarely worth putting all the eggs in the same basket – especially if your future income is dependent on the others.

I was already so advanced in my studies that I could offer legal services to others. I was pleased to see that most of the assignments came from within the industry. I was not as dependent as managers can be. It also made my relationship with my artists easier – the work was done voluntarily from both sides.

Reward

Reward is something you want to tackle as early as possible. The more obscure your financial figures are, the more uncertain will be your position. You need contracts for this. Basically, artists are in a better position. They have rights over their production from the moment it gets completed. It is up to them to decide how they are going to benefit from their output. When, in pursuit of their financial endeavors, they then sign away some these rights, the recipients obtain financial rights over the artist, in a way the agreement determines. WARNING! This paragraph is just an example and does not mean that you have to automatically give up your rights or some them to succeed!

I myself had a reservation about derivatives. At first I didn’t take anything from the artist, not because I didn’t deserve, but because my own motives were halfway elsewhere. By taking care of my artists, I got a reason to deal with the industry. I was also able to do it on a larger scale than just as an artist manager. It seemed unfair to charge artists the artist for getting that opportunity. If I hadn’t been in that role, I wouldn’t have got the information I have.

Secondly, I wanted to write the books I have written! Hardly any of my books would have been completed without this. Personally I started to include commission in my contracts from the moment I considered being ready for it, but also being as committed to the task as I should. In many respects, it is about believing yourself!

Investments

I’ve noticed routines to help with any kind of uncertainty. I myself start every Monday in the same way – answering to every contact I have received over the weekend. You would be surprised to know how many contacts an author can have and how it is that most of the new contacts actually take place when it’s weekend. These contacts form my weekly agenda for new assignments. When we add ongoing operations and agreed individual tasks, we are dealing with the agenda I am running through every day.

Now, let us return to what was the beginning of this article.  I always save some of the money I receive. This allows me to evaluate the amount of play that I have for my life and my mission. Part of the reward goes to the chosen funds with variable returns. By the way, it is interesting to see how they succeed.

The golden advice for entrepreneurs is to take good care of their cash flow and its sufficiency. Without it, all such spontaneous promotional steps will be missed. Here we come to the end game, the moment when the breakthrough is supposed to happen. We are also dealing with sacrifices that must be made before that very moment. You do not want to spoil today what is possible tomorrow. Sacrifices are also always about patience.

The Endgame

This is about mindset. Pretty much all of us have some idea or plan – in what kind of economic circumstances you’d like to do your life work. For my part, I was hoping to get one clear source of passive income – in terms of an economic goal I mean. The distance to that point has been a long one. It will take time before you can write books that really matter to people. Quite often, readers also require some level of experience from the author – especially when it comes to non-fiction books.

I have lived all my adult life in terms of this calling, if I can put it this way. It is surprising what kind of stretching ability you have when you want something hard enough. It is also about wanting and hunting the desired state of affairs – not at any cost though. When I was younger, I didn’t buy a house or car like most of my friends did. I thought all that would have restricted me. It would have driven the resources elsewhere. I needed them to accomplish the task. It is always about choices and they are unique to everyone. This article is not designed to prompt you to do the same. This is just about what I actually did.

When your work reaches a certain state of awareness among the industry, it makes it easier with derivatives and uncertainty. If an operation ends or it no longer seems to be meaningful, a new one comes into play. Still, it is important to keep risk ratio reasonable. Against investing in productions and projects that accumulate incomes in the long run and with delay should always be tasks that capitalize as they are done. If the funds are sufficient, you do not need to pay same attention on this.

After all, the breakthrough may not necessarily present itself as an economic one. Of course such is desirable, but it is also something else. It is the moment when your action takes its toll without active efforts. Although this is a mere hypothesis, it reflects the purposefulness of your actions. Accordingly, you have to condition each of your actions and choices before this condition is reached. Now the important question is, do you really want this. Or whatever you want from this industry. The answer to this gives you an idea of how much life you want to spend on this.

This is of course not so black and white. Like I said, it’s a mindset. The younger you start with footwork, the sooner you probably find what you really want from life. Youth is the best time for experimentation. It is worth taking advantage of and enjoying it. This concluding note because most of the requests to write this article came from younger people – so there is no intention in any way to discriminate against us older ones :).

I promised myself not to exceed 2000 words. Couldn’t follow the plan, it went 300 over. Anyway, thank you for reading this. I will return with articles when another subject comes in mind.

If you are interested in the subject, The Essence of the Music Business trilogy provides a great deal of information. Books are conveniently available on Amazon as in paperbacks or e-books. They deliver them in your home in a few days!

AMAZON US

AMAZON UK

More information about uncertainty in this book

‘In Hand’ Pictures

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These ’in hands’ pictures have become popular. Behind of all this is Victor A Baker from Chicago. He recently sent me a picture of one of my books in his hand. I then asked can I share it. He liked the idea and you probably guess what happened later on. I started getting similar images – from people who had read my books. I like these gestures a lot – that’s why I decided to publish this collage. I will also update this collage whenever so requested. That is, no picture will be published without permission.

The Essence of the Music Business book in hand from Chicago

Such interaction is also a motivator. Whenever such a picture appears in my mail, it reminds me why I am writing. I know this sound like a very much used expression – it is just hard to come up with other way to show my gratitude.

The whole trilogy in hand Austin Texas

Feedback is also an accelerator. It triggers processes that you might not have mastered yourself. This again makes you writing better books and updates when needed.

essence music business book series hand pesaro italy

The whole trilogy is fresh at the moment. Therefore it is relatively resistant to development. However, block chain entry may change the setting quickly. Not yet in practice, but with reservation. It depends on how the market responds to its potential and threats. Also music and tech is evolving. It is constantly creating new ways to enjoy music. All of these have copyright angles. These, on the other hand, require agreements, from the point of view of all those interested. The writer must be prepared for this. I try to keep release interval in line with the actual market situation.

two books in one hand river

I’ll come back to these pictures yet. They tell their own truths between lines. Book alignments have clearly found their target. The first part – Contracts – is read by lawyers, law students and managers – that is, the professional groups most concerned with the subject. The book has also been worthy for record companies, music publishers and agency’s staff. It is common that some of them at some stage in their career will continue to run it as an artist manager.

big mansion music business books in hand

The second book – Philosophy – was intended primarily for managers. However, it did not quite happen. It was embraced by the artists – by far its largest readers group. In retrospect, I’m really happy with the result. I got a lot of information included in it what artists need to know about the professional groups that support them. Some of the pictures where this ‘in hand’ is taken directly from the tour bus make me happy!

living room flower three books

Maybe the trilogy makes sense. On the other hand, it is about how you sing your song. You have to think about the content and how it is presented. Such a process also evolves. One cannot ignore the fact that next part can supplement and remedy the shortcomings of the previous ones. The last part of the trilogy – Strategy – benefited from this. It has become a popular book outside the music business as well. I bet the strategy in general is so fascinating globally that it attracts.

blue wall paper books steady grip

When you look at these pictures here – pretty many of them have all three involved. And no, this is not a cheap marketing trick. I think it is about consistent mindset– written by a same author. It is then easier to follow, even if the subject changes. So it is for those who started long before me – they have their own readership. I find it great to have a choice.

inked hand with music business books

If you ever hit your hands on some of my books and you want to take ‘in hand’ picture of them and feel free to send it to me. It is very possible that it will be published in a constantly updated collage.

Yours,

Mika

Ruisrock 2019

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Well. Yes, there were great festivals – and a fine line-up. Yet again. Ruisrock 2019 – it just gets better year after year! It was also their 50th Anniversary.

It was however, a pity that Travis Scott had to cancel the appearance. I really wanted to see the show. Next time then.

It has been a ‘vacation’ for almost a month. That means returning to work is a fact:). So, all of you who have contacted in the past month, now I am back to reach.

Mika Karhumaa at Ruisrock 2019

The Final Chapter of the Trilogy

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What a feeling. It is finally out, not in any negative sense. Waiting time is long. When I started doing this trilogy, I wanted to write first about the strategy. Before this particular subject can be approached, it must be guided. Otherwise there is a risk that the details that require understanding will be ignored. For this reason, ‘Contracts’ and ‘Philosophy’ had to be published first.

If however, you have not read the previous two ones – don’t worry. ‘Strategy‘ works well as in independent work. It is not the purpose of this trilogy to ‘force’ everyone to read it. Of course, after five years of writing, it becomes a wish that as many as possible would read the whole series – but this is not an end in itself.

The book’s availability has improved from the past. The whole trilogy is available in addition to Amazon, Google Books and EBSCO, from Ellibs as well.

 

Final part of trilogy - complete cover

BACK COVER – ISBN 978-952-69057-4-7

Understanding the importance of strategy is the basis for rational advancement. In the music business – strategies are not always perceptible. They are multi-layered, long-lasting, but also instantaneously effective. The ultimate goal often transpires along the way.

In order to understand tactics, one has to read between the lines. The reason why different pre-conditions and industrial expectations must always be taken into account is due to conflicts between economic and artistic goals. An artist’s progress often depends on their interest groups’ comfort to these aspects and is about maintaining the balance between business objectives and the artist’s story.

This book deals with factors affecting strategy and how it relates to the artist and their management. Since viable passive income generation in the streaming era is what is most sought after, management missions have also changed. Managers, record companies or music publishers are no longer patriarchs as before, but more like partners. This book illustrates the current state in light of new opportunities.

‘Strategy’ is the final chapter of The Essence of the Music Business Trilogy from Mika Karhumaa.

The Essence of the Music Business – Updates

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Contracts 2nd Edition Update coverStrategy's update coming 2021The Essence of the Music Business: Philosophy cover

 

A few things came to mind related to my books and affiliations. The Second Edition of The Essence of the Music Business – Contracts has found its way to many bookshelves. I get a lot of feedback right now, for which I am extremely grateful. Over the past few years, I’ve been having hundreds of conversations with my readers. I don’t know if this is because of my artist manager background – it feels very natural. One of the most important features of the artist manager is to be accessible – when the artist needs it. The lower the threshold to approach, the better.

I would love to show the best feedback I have received – as would be best for book marketing. However, all of this has a personal dimension. I am talking with readers also about other topics than the music business only. For this reason I want to keep confidentiality and not compromise it in any form. It is surprising how little the content of my work has changed from the artist manager to the writer of these books, lecturer and legal adviser. Quite many conversations like these have led to go-to-action in the lives of the readers.

The streaming era changed the job description of the artist manager, at least in some contexts. Strategic social media exercise is nowadays the cornerstone of successful action as we know. All this no longer requires any specific geographic location.

These three books have been written in the order most commonly encountered in the music business. It also facilitates future updates when the subject is approachable from the three different but interrelated perspectives. Since the structure of the book and most fundamental laws are not to be changed all the time, the updates can also be presented where they have the most essential meaning. I believe such a presentation would best serve its purpose. There is no need to read these books in any particular order – they are sufficiently independent. Nonetheless, in the last chapter of this trilogy – Strategy – specifies a lot of things that are dealt with in the first two parts. So, the projected order to read these books would be;

The Essence of the Music Business – Philosophy (for beginners)

The Essence of the Music Business – Contracts (more advanced)

The Essence of the Music Business – Strategy (more advanced)

Information on my production issues are constantly added to news updates. For those multiple inquiries – the final chapter of Trilogy will be published in these prospects on May 15-30.

Here’s the back cover;

‘Understanding the importance of strategy is the basis for rational advancement. In the music business – strategies are not always perceptible. They are multi-layered, long-lasting, but also instantaneously effective. The ultimate goal often transpires along the way.

In order to understand tactics, one has to read between the lines. The reason why different pre-conditions and industrial expectations must always be taken into account is due to conflicts between economic and artistic goals. An artist’s progress often depends on their interest groups’ comfort to these aspects and is about maintaining the balance between business objectives and the artist’s story.

This book deals with factors affecting strategy and how it relates to the artist and their management. Since viable passive income generation in the streaming era is what is most sought after, management missions have also changed. Managers, record companies or music publishers are no longer patriarchs as before, but more like partners. This book illustrates the current state in light of new opportunities.’

I hope a really nice Spring time to you all!

Music Business Management Studies 2019-2020

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It is a great pleasure to reveal some of the Curriculum for the next Semester. Next year’s music business management studies include at least following areas. More information about the location soon.

Visiting lecturers and industry representatives are also interesting. They will be added later.

music business book on top of stool made of teak

International Music Management                              

 Modules

Charasteristics of International Music Management

Music business management is commonly associated with artist management, management of the artist’s business. It is, however, much more. The business models adopted by the music business are widely used in other industries. The rise of streaming brought with it a new operating environment and new ideals. This requires new skills from management. As the level of demand increases, traditional negotiation-based activities no longer achieve the desired results. In this context, management competence up-to-date is a relevant issue. The music business is the industry where technology development is most rapidly taken for industrial use. Nevertheless, the basic idea of action has remained the same. The first module deals with the basic issues specific to the field, such as active and passive income generation, management’s tasks, responsibilities, and what kind of affiliations are included in each mandate.  

Copyright and Derivative

The music business is still an artist-centered operating environment. Relevant business always happens in the b-to-b sector. This is due to copyright and related (neighbouring) rights. In order to benefit from the production of performing artists and song-writers, the industry must obtain the consent of the right-holders. The second module discusses in detail the basic idea, content, derivative, and the importance of copyright in the field.

Medium of Exchange

Rights transfer instruments are contracts. Hardly any other industry has agreements that play such a key role as in business based on IPR (immaterial property rights). Without consent from rightholders, investments are unusable. This derivative also requires legal understanding. The third module presents the most important type agreements of the industry (manager agreement, agent agreement, music publishing agreement, recording agreement in various forms, and other agreements transferring rights from originators to industrial needs – to the extent that the professional manager must be aware of them.

Streaming and its impact to the Industry

Technological innovations of the 21th century brought with it a completely new music distribution channel and the associated platform for the implementation of the promotion. Although the laws are pretty much the same as 20 years ago, they are presented differently. This changed the focus areas and their indirect effects. In the past, sales of physical albums with extensive distribution networks as well as radio playing loop are now being sought for streaming services. Live business has also gone to electronic forums. The trend is from active to passive. This in turn affects consumer behavior – the new generation is increasingly going to the gigs on the internet and artists are seeking millions of people there. This module discusses the factors influencing the implementation of streaming distribution, how to get there, and the importance it has for artist and artist’s interest groups. Special attention is given to indirect effects – that is, how success in those forums is utilized in other business areas.

Strategic Social Media

Success in the music business always requires presentation. For this purpose, promotion is practiced. It happens in the spirit of time under conditions of social media. Although traditional media still have a foothold, promotional strategies require knowledge of mechanism of social media action. It is not indifferent what the artist’s metadata will be at any given time. This module reviews the interaction between content and form, but also how they should support each other. Also, tracking as a prerequisite for meaningful progression and factors affecting meaningful differentiation are presented to the extent they have an impact on the promotion.

Music and Tech

Technological advances bring with it new fields of activity and thus professional groups. Music supervisors and playlist curators are growing professional groups to name a few. Business around the synchronization as its only purpose is not rarity in the industry. The possibilities of block chain and the introduction of crypto currency are planned more every day. More and more successes are generated from the independent basis. Production is also being used in the most surprisingly contexts. This has created completely new career planning opportunities. It is not uncommon for an actor known as a performing artist to acquire a large part of income the other way as one could first imagine. This module introduces potentials of music and tech and identifies weak signals about where the future can lead.

© Mika Karhumaa and Liisa Tolonen 2019    

The Second Edition Has Been Published

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 The Essence of the Music Business : Contracts – Second Edition has been published worldwide on Amazon. Here are a few words about the content and its back cover. 

This book is about what you need to know about contracts, contracting and related management without being a lawyer.

Each contract should have a link to the artist’s story. The origin of the artist’s story does not actually change as a result of changes in popularity and circumstances. The contract should take this ideal into consideration – it should be left as intact as possible. All the external factors that interfere with that artist’s holy make it difficult for the artist to pursue their artistic freedom.

Instead, the conditions that are prone to prevailing popularity must be able to react to change. These require compromises to succeed, and the balance can be achieved in the agreement. This way the artist’s decision-making power remains in line between business and artistic goals. The question is how much power to decide on oneself and signing away copyrights it is reasonable to achieve the goal. Ideally, that goal in shared by all involved.

Each agreement creates limitations for its parties and requires consideration by the other. A good contract is one that binds only to its active lifetime – not passive in times of inactivity. This book deals with that confrontation and its meaning in achieving artistic and economic goals – from the point of view of agreements.

The second edition of The Essence of the Music Business: Contracts

 

 

 

 

 

 

Back Cover

‘The music industry in terms of business cannot be understood unless its agreements are understood. Derivative of copyright and related rights must be taken into account in all decision-making and operational planning. This starting point is also the basis of every agreement.

This book addresses understandably the problematic issues and the business that is formed around it. The main focus is on where it most intensively touches its authors – artists and their management – from where all the necessary licenses are ultimately granted. This book deals with what artists usually must arrange in order to achieve their goals – agreements with regards to their mutual affairs.

New examples have been added to the second edition to better reflect the present time. In particular, streaming and its impact on other business areas are the focus of attention.

The author of the book has over 20 years of experience in the international music business as a manager and legal advisor’.

Second Edition coming for TEOMB – Contracts

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I have good news. I know that this news has been expected. The first part of my trilogy has been under re-construction.The Essence of the Music Business – Contracts is going to have a second edition. I have done this update through the year and now it took for a review. I have added examples, and edited them more responsive for this day. As a writer’s happiness, fortunately the structure withstood the update well. However, I redesigned the total of 586 points. It was great to come back to Appropos Lingua Translation Company for proof reading services – just like with the first edition. They are great!

This news should not cause any confusion – in relation to my past posts. The third part of the trilogy – The Essence of the Music Business – Strategy – is on schedule and will be published in August.

I wish everyone a great spring time. This year also seems to be the year of new releases.

Mika

Happy New Year 2019

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Happy New Year to everyone! The year 2018 was more than I could expect – full of interesting encounters, new, accomplished and yet unfilled challenges. Although there has been a pleasant hurry here, I was able to keep two-week break for the end of this year – for writing. You don’t believe how great writing can be. When you get peace of mind to think about things, structure them on paper and let you insights take over your mind.

I started writing an article series on Christmas holidays. I’ll publish it next year. The first one of these deals with the new roles of management in the streaming era.

Lectures and also mentoring are coming at least as much as last year. So will legal and operational assignments. However, this time I would think I would be able to reserve time for writing as well. To be honest, I wasn’t prepared to have so much lectures or other book-related tasks.

One interesting thing about last year is especially in my mind. I have been able to meet face to face surprisingly number of readers. Thank you for your courage to talk. Nothing is better than getting hear from you. It makes writing and everything else more tangible. Thank you also for the good tips I get through the year.

One more thing. Lectures have received many inquiries. Wherever you go, or hear me giving lectures nearby, feel free to contact me. I try to get you on the spot.

About publications. This family will get a new member  next year. The Essence of the Music Business – Strategy has been in proofread for some time and I get corrected version next spring. I would think the novelty interests you, just because of its perspective. Stay connected as before and let’s continue from this.

Yours,

 

Mika

All the books so far on the couch new year

Lectures and Articles

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There are only a few lectures to give and then it is Christmas. This year has gone a long way and a lot has happened. I have some good news. The third part of ‘The Essence of the Music Business’ will be completed on time, though I haven’t yet decided the publication date. So many things affect it, and it is not entirely in my own hands.

I’m coming to mentoring students next spring in various academies. This allows me to write more articles. I am sorry that I have not been able to write as much as I would have liked. This has been entirely due to the timetable of this autumn. When you are teaching, you are in a completely different mode than what is required for writing. When the legal mandates that I am getting relatively regular on it are still being added, it is difficult to split up to two. Those obligations go ahead of everything else. On the other hand, it keeps up-to-date on all developments in the field. I’ve got a lot of new topics that I can write about.

Below is student’s photo taken from this week’s lectures at Seinäjoki University of Applied Sciences.

lecture trip at SeAmk door view

Hope you are all well! I’ll keep informing when something new will come up.

Kind Regads,

 

Mika

EBSCO

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I am happy to announce that both titles, The Essence of the Music Business – Contracts and Philosophy, can be ordered through EBSCOhost Collection Manager. Of course, this concerns mainly academic and public libraries. Still, this kind of improvement in availability is just what the writer hopes. Library access has been a question for the whole time that my production has been in the market. Now they are finally available there as well.

-m

Distribution agreement entered into with EBSCO

Cheers,

Mika

The Essence of the Music Business – Strategy

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It’s been a while since I was writing here last. Autumn has gone a long way and small holiday has been kept. I had promised to return when the promotion of the second book is about to end. Now is the moment. A few things have left unnoticed. Throughout the autumn I have received a lot of questions about my books. I am really grateful for that. The most common question has been the extension. Yes – The Essence of the Music Business gets the third part. It is titled as Strategy.

Feedback has come to direct requests to write about the things that are not immediately noticeable. This usually means strategic perspectives. I decided in the summer to face that challenge. This again is an indication of why reader’s feedback is useful. I got a point of view that would not come to mind immediately. I would like to highlight my supporter – The Association of Finnish Non-fiction Writers. They granted me a scholarship for half-a-year, which enabled full concentration. This also enabled me to do lecturing work in support of writing work. So I got reflections also from live situations, not just from the reader feedback. This contributed to the difficulty of the structure of the book and the selection of content, but it certainly brought elements that would otherwise have been ignored.

The most comfortable thing in this operation was and is that the basics are presented in the first two parts. I got straight to the point. Writing after that insight was essentially the choice of matters to be included, which makes it possible to write more of the sequel when a change in the field gives it the cause. Every writer would be happy about this kind of situation. What I am trying to say is that all of your feedback is valuable. It is much possible that some of them will have their own chapter in my production.

The Essence of the Music Business – Strategy will be released in spring or autumn 2019 – depending entirely on the completeness of proof-reading. I am pretty sure that this book is worth waiting for. When I was writing it, I had such insights that had not come to mind before. I got them all on the paper.

Yours,

Mika

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