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.
Here are a few things to my affiliations that come up regularly. I thought it was important to write about them.
Correspondence
Correspondence with readers on books begins to be extensive. It is not limited to readers alone. I am in daily contact with artists, managers, record labels, agents, music publishers and other companies in the field. Part of this is due to my work as a manager. However, quite often speech turns to my books. It is understandable – because of the attractiveness of the subject, not just because I have written those books.
The amount of Pages
Because the books are written with free narration, they contain a lot of pages:). The total number of pages in these three books is 525 pages. This is not to be frightened of. There are a lot of examples and that is why books can be read quickly. Despite the easy narrative, each book contain keywords and basic concepts. This the essential part of understanding. Terms that can be difficult to open are explained in a way they can be embraced. On the other hand, these terms can be hard to emphasize in some places – especially in the books. I have been able to supplement this deficiency in lectures, of course. The best outcome always takes place in bilateral discussions.
Results
I have achieved results with my readers, not only in theory but also in practice. Multiple recording agreement negotiations and other career advancement have begun as a result of our discussions -some of them also come to an agreement.
For example, the book on contracts have become a lot of praise. It has helped readers to understand the law in the field. It also helps to understand the backgrounds of things. Instead, ‘Philosophy‘, is a book that has been specifically taken by artists. It is found on the gig bus of numerous artists. I receive messages daily, how it has helped them in implementing their plans. Then this last part – Strategy. It has been taken as a study book, in several universities and other music business-oriented institutions. Nevertheless, the best results are obtained by a combination of a written material and related communication.
Basic Concepts
Any process can be understood by basic concepts. They have a similar meaning as functions have in mathematics. They can be used to assess priorities and relevance. At some stage, a particular action is more important than the other. When it is done, the weights also change. Each feed is followed by a response that again controls what should be happen next.
Each of us has a story. The story also reveals the goals of action. If the goals are made a top notion, there are necessities to do. The goal cannot be achieved without doing what is necessary to achieve it. In a business sense, quite often we are dealing with the accumulation and enabling of passive income. On the narrative side, we want to stick with consistency.
Although all of this has been dealt with in detail throughout the trilogy, finishing is easier when each structurally important concept is opened apart. Thus, the connection between them can be better understood. The basic concepts of the field are unique chess pieces on the board where the action takes place. The question of what, for example, a driver, necessity, consistency, passive and active income, your career claims or story in different contexts, is of great importance for understanding the matter.
Conclusion
You are probably reading my thoughts – why not do the same in a more general level. For everyone, not only for those who have approached me. I will therefore seriously considering Youtube channel for this purpose. Summer is a good time to think about implementation – what kind of content it would be looking for. Anyway – the title will be – how to read my books. Some things are more important to others, even if they affect each other. Video is a good way to highlight these points.
-Mika
Here are the whole trilogy from where they are most commonly purchased.
Feel free to follow here also:
This is what most of you have been waiting for – Facebook. Another inclusion on social media. This has also been requested a lot – as lame as it sounds:). I have just been waiting for the right moment. Reacting in the middle of writing books is more difficult than it is when the work is done. Ending the trilogy gives you time for everything else. Summer time is time for myself when it is good to learn something new. For me, this summer is creating and learning of the Facebook pages related to my books.
And yes – I know that I have used more LinkedIn. The question is not that it would be somehow a priority social media forum. No, it just somehow fits into the ‘phonics’ of writing. I developed my own routine how to deal with the outside world, both in private life, working life and in social media. However, I have had Facebook all the time in my mind. Now that the working situation as a manager, writer and lecturer has settled, it is time to add new features.
All the things that I feel worthy of saying will appear on this page. My greatest joy has always been live situations – in the same way as in lectures – or as a manager in negotiations. In such situations, there is something that attracts time and time again. That feeling is one of the reason why I do what I do. Depending on when I learn to use this page properly, I will include live parts here.
One thing to mention! I have visited numerous Skype conversations with my readers – according to the kind requested. It has been the salt for writing in many respects. At the moments when ‘composing’ seems lonely, a good conversation will liven things up. I am extremely grateful to these discussions.
I am very pleased, if you experience my book-related Facebook page interesting. Of course, it will not replace my other social media forum, although there will surely be overlaps.
I wish you all the best of Summer,
Mika
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.
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.
From this day on, The Essence of the Music Business books will also be available in e-books on Ellibs. I am extremely happy about this new distribution channel. Now my eBooks are available not only for academic libraries but also for public libraries.
Therefore, the network as a whole is now such;
and, of course, the wholesale of books, through which dealers can order books from Booky and Kirjavälitys.
Another current update is in place. The Essence of the Music Business – Strategy is coming out in the next few weeks. I cannot tell the exact date, but in June, however.
Some of you already follow my work on Linkedin. I have found it extremely functional forum. It is easy to add updates, but also to be in contact with my readers. Feel free to follow and connect.
I wish you all a great summer expectations. The next major news is then the release of The Essence of the Music Business – Strategy.
Yours,
Mika
Modern Music Business and Its Traditional Dimension
Today we talk a lot about modern music business and how it differs from the past. This is most often combined with streaming. Streaming has become the word of today, not only economically, but also from the point of view of promotion. The higher the streaming readings, the more often it will be claimed. This is also one of the desired conditions – improve the ratings on playlists and social media forums. Also, to be quoted, readings must support that argument. I like the word claim – it has many meanings in this article. First of all, it is strategically interesting whether the artist or artist management takes a stand on artist’s success or does the artist gives others to make a number on it. The question is what kind of statements you make regarding your career.
The current state gives the artist the opportunity to learn the field, structure their story and interact with public reactions in a way that was previously impossible. Anyone can upload their production to the internet, follow and respond to reactions.
Everything has become more transparent, there is no longer need for record companies or other players in the field to be seen. This, of course, does not mean that these actors are unnecessary. No, it is not the purpose. The purpose is to explain the changed situation, or new opportunities. Earlier, the record company was an enabler, the gateway through which the music was made available to a wider audience. This affected management – the biggest pressure was on contract negotiations. This also influenced the artist’s career plans. The most important operating object was to get a recording contract. The same is still true – albeit somewhat different in content and reservations. The question is now how far the artists can reach their own. The recording company is perceived as being topical at a time when growth is no longer possible by its own means. If we think of it as a purely economic matter.
On the other side – the record company is waiting more and more completed operations. Those who already have some level of fan base and active social media. Such an artist does not have to spend so much time and money. This is not so black and white now, but as management earlier was preparing for contract negotiations, all the time today goes to make artist as attractive as possible for social media visibility and popularity. Record company negotiations are no longer considered topical before they are backed up by those readings. Another consideration is what kind of weight those readings should be given. For some artists it is good to get recording agreement right from the start of their career, while others benefit from being able to start their own efforts first.
About Search Engines
Streaming success usually requires good playlist positions, we all know that. Let’s think about it a bit from another perspective. Let’s not forget the importance of SEO as it may well have indirect effects that support success.
The role of the artist is to provide the story roots. The root of the story is the thing that cannot be neglected. It is good to note that search engines with their artificial intelligence and algorithms start working on day one. At the time when you start making first statements about your career. When remarkable streaming numbers are a goal today, one dimension is easily overlooked. It is consistency. Search engines ranks hits based on their weight, public reliability, and popularity. If the early career promotion is aggressive, it will probably work on the search engine scales. It is not irrelevant what the search engine first offers. Even though the artist’s website is commonly the first hit, the same laws apply in that regard. What is the first thing your website tells from the artist. If the music or artist is not yet familiar, then the first insights will be created on the basis of these weightings. If the artist’s early promotion has been successful, it may have more weight than newer content here.
Content of the Story
Strategically interesting is whether these contents are to be featured in the future. If the artist’s story mainly reflects the importance of high streaming readings of the importance of finding a record company, the artist will certainly be assessed on how those projects are. It is therefore a very meaningful thing what kind of claims the artist gives at various stages of their career. One good advice is to include at least some kind of narrative reservations in all communications. These can be seized at moments when the story of the artist, for example, start repeating something of the same old pattern. These substantive reservations can be included in keywords and back links for any type of promotion. The more consistently it is, the easier it will be to use in the future. In addition, search engine artificial intelligence may realize the same.
It doesn’t change much when the story is viewed from an economic perspective. Then it is about finding meaning for content. If the artist, music and the story is of interest, active and successful promotions can result in a passive income stream. This is the point where the artist’s activity is of industrial importance. The better the performance the artist achieves or the higher the expected value for the artist, the more likely it is to succeed in the contract negotiations important to the artist.
Hence, the artist’s story contains two main story lines. One is independent of the financial result, the artist’s story, and how it is actually understood. It may be quite possible for the artist and the public to see each other in a completely different way. In this case, the artist’s communication has a collision. The other half of the story focuses on economic essentials, those priorities that have economic significance. These story lines should be in harmony with each other, as well as costume design. When an artist makes an artistic claim or measure, it should take into account its economic impact and vice versa.
To be continued..
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!
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.
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 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.
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’.
The Essence of the Music Business – Contracts (2nd Edition) – waiting for the release. Kind of happy this happens well before the summer.
The Essence of the Music Business – Strategy!
This is how it looks when the second last step of the book-writing is behind. Back cover finished! Only checking the proofreading is left. The Essence of the Music Business – Strategy is soon ready to get published.
Cheers,
Mika
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
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.
Hope you are all well! I’ll keep informing when something new will come up.
Kind Regads,
Mika
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
Cheers,
Mika
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
The e-book is available on Amazon. From the link below you can get it anywhere in the world. The e-book is also for country-specific Amazon units. You should try it out there if you find it more convenient.
The book is also available on Google Play if you prefer to make your purchase there.
There is an interesting agreement I entered into – it concerns academic libraries. Soon the availability of the books will be significantly improved in this area as well. More information is coming when this can be disclosed. Stay tuned.
A few questions have arisen during this early autumn. There have been inquiries after new articles. Maybe this explains silence in this regard. I started writing the third and last part of The Essence of Music Business – series in the summer. It has taken an exceptional amount of time, even though writing has proceeded well. Because this is the final part of the series, I want to focus on its consitency. It should also be able to summarize the first two, but still provide new content. Maintaining such a thought structure is a full-time job. Writing a loose article on this topic is so difficult in the midst of everything that I haven’t been able to do. I do have material for those yes, but it is this structuring. When this finishing period is over, more articles are coming. When writing a book, it comes material that cannot be included in the book. Such texts on my computer can be found much. I find it important, however, the same consistency to bake these texts too. If I were to add them here, I would probably have to fix them later. There is also another reason. The fear of the writer is that the thought gets lost. So maybe it would happen if I focused on something else. Therefore the book goes ahead of the articles here.
The second question relates to the previous one. My release timetable may seem like causing difficulty of breathing – three books in less than two years. It would be so, but I started this job four years ago. It took its time before a large number of texts were given a functional structure and perspective that would be useful. When I came up with how things will be presented, the end has gone more easily.
An extraordinary number of lectures have been booked for the autumn. Also the publication of the second book keeps busy. That is one reason more why I cannot be active in the same way with articles. I hope you understand it. When those breaks come, I will add articles.
One thing that has been asked for is blogs. I have taken them into consideration:). It might be nice to tell about affiliations without actually switching to the subject itself. We’ll see.
Have a Nice Autumn Everyone,
Mika
The second volume of The Essence of the Music Business – Philosophy is to be published officially on September 12th. The preliminary interest of schools in this book has been great. Since the estimated time of publication was too late for the autumn lecture plans, the publication was forwarded as appropriate. Thus, the book was brought up as a teaching material for the needs of the next semester. An earlier publication in this regard opens up the same opportunity for others. The e-versions of the book will be released as planned, but paperback is already available on Amazon.
You can easily get the book through the following link.
https://www.amazon.com/s?url=search-alias%3Daps&field-keywords=mika+karhumaa
More information about this is coming in the near future.
Cheers!
Mika
I am happy to annouce that The Essence of the Music Business – Philosophy can be pre-ordered on Amazon. The official release date is September 12th.
It is still summer:) More information is coming later.
What a festival – once again. A warm atmosphere, people and nice weather make a man smile. When the artists are top notch – yes it’s worth it. Dua Lipa, Clean Bandit and many more..
Hi everybody,
It’s been four years since I opened this site. Many things has happened and water flowed in the river:). It is incredible that this is the case now. Two books have been written along with all the practice. It took a surprising amount of time. It’s not about writing in every hour, but the reactions that those books produced. A few moths ago I thought this is it, I mean writing around this same subject. But what still. The idea of a third book came as a flash from the bright sky. Throughout this year I have been responding to the reader’s feedback, made assignments related to it and also traditional management has been practiced. Partly that thought, thus, came from those lectures, assignments and readers. In general, background strategies and the exploitation of social media seems to be at the moment of greatest interest. Because my previous production has introduced this industry generally, it is time to move on to the strategic perspectives. Therefore, ‘Strategy’ was chosen as the subtitle of the third book.
Even if the next book is to complete the trilogy, I no longer make a promise not to write any more:). All this has brought nice by-products and follow-ups, not to mention that relation between theory and practice makes it more enjoyable. Meeting new people as well, which I have had an access, make this very rewarding.
The image below will be attached by at the request of the public:). I wish everyone a great summer and let’s enjoy every second of it.
Mika
It was a nice vacation. It became four years since I traveled abroad last time, if work is not concluded. Thanks to Eloise Mikkonen who completed the proof reading so that I could take a break. Two weeks in Italy does good to anyone. We stayed at Hotel Bellevue, in Pesaro, with an incredible staff that made our holiday an experience.
Sights, architecture, sea or nature I could talk a lot, but the best part were people. The Italian way of caring for and taking into account their own and their guests made an unforgettable impression. From the moment you landed at Rimini International Airport, you will experience the kindness of these people. I had interesting conversations with the locals during our stay even though we did not always speak the same language. The mixture of English and Italian and expressive behavior is surprisingly far-reaching. From this ecstatic I promised to learn Italian. And yes – we will visit this country again.
I’ve had time to think about the publication schedule in peace. Last summer I didn’t have the same opportunity. Lecture requests have become more than before, so I am probably going to publish the second volume of the book early in the fall. Also new texts have emerged during this writing. I have been interacting with the field closely and came to contact with the latest innovations. This means that The Essence of the Music Business will get a third volume – Strategy. Its release is due for 2019, so the book series will eventually become a trilogy.
I want to wish everyone a great summer – let’s enjoy it. More articles are coming as long as I can have breaks in the middle of everyday life – or from the management that I used to practice.
Best,
Mika
The cover has just came out of the box. Also proof-reading and edit is completed. The estimated publication will take place in August or September – depending completely on practical issues and other arrangements.
When you get completed something like this, you are happy. Being in the middle of this large writing process is a puzzle. You are tied in it, you breathe it and you live it. It is where you focus is on. The thing that this actually got finished before the summer was the most rewarding thing. Now I can take some rest and still be confident that this is coming out.
Stay tuned!
Mika
If the artist’s intention is to tell his or her story, the strategic considerations must be taken into account in the narrative. It is not one and the same thing what the artist tells, if the story aims to influence the artist’s prospects or the artist’s image requires it. Part of that strategy is guided by the artist’s own ambitions and the other part is driven by necessity. Some parts of the story line requires a certain kind of response, while in other respects the artist is free to decide what is being produced at any given time. It is clear that some parts of the story are trying to create and open new grooves while the other parts are intended to confine the story and its content.
It is of great importance where the artist is in his or her career stage. At the beginning of the career the narrative aspirations are different from the situation where the artist has already created the relevant career. If the artist is world-renowned and there is no need to struggle to improve awareness or with the feed rates, the main focus is probably on the content issues. Instead, the artist who is just entering the industry and maybe gained some foothold in their home country, the situation is different – if it is to reach wider market. In this situation, in storytelling, it is hardly worth going ahead. The events around the artist and the success achieved create its own unique frame for the story. Pop music news flow has an essential part of the pursuit of success. Just for this reason, it is hoped to be included in the story of an ever-increasing number of artists – either directly or indirectly.
The best thing is always to stay in truth and practice what you preach. In the early stages of the career staying in this ideal is difficult if your music cannot find the listeners and your success is to be done under the terms of your story. This does not mean that the artist should color the story at the expense of truth. No – it’s more about giving efforts to improve the attractiveness of the story.
Earlier the greatest desire was to get the music to the widest possible public play in radios and television and tell the story to this end. Success in those channels would boost the sales of album and increase other copyright derivatives. The same goal is still being pursued today. However, there must also be success in the provision and presentation of streaming service providers. In the past, the commercialization of marketing was to bring the artist’s albums to the record stores and preferably, well-presented. In the streaming era, this same idea is to get the artist music to the best possible positions on the streaming supply, in their internal playlists and as quickly as possible to click. Before the artist has achieved the desired market position, the story must support these efforts. Therefore, the business reasons may limit but also dictate the narrative of the story if it has given such status.
The artist often uses different versions of the story in different geographical and market areas, depending on the feedback they receive in there. In many situations, this is even necessary. At this stage it is worth recalling the need for coherence. Bearing themes should not much differ from each other. So much to the public should not strive to influence that each market area would have a different story – the story that is appropriate for that area.
If the artist is just landing to some particular market area, no big achievements should be included in the story – they are not yet happened in this area. In this situation, the story could emphasize some other components, for example, artistic perception or artist’s personality. Of course, if success in some other geographical area has been so significant or noteworthy that it could have an effect outside that area, you should consider incorporating it. If the artist has achieved platinum sales, for example in some remarkable market, it may be relevant in another market area too.
The artist’s story must take note the structural aspects as well. The artist’s story is well written if it indirectly brings with it the elements such as those that the industry can capture. This is crucial at a time when the artist is still unknown to the general public. When the story of the artist reveals expectation-worthy factors, the recording contract will be considered in a different way than in a situation where there is still no evidence of this. If the artist is getting a television performance or own spot at some relevant festival – this is worth pointing out in the story. If something abnormal happens in the artist’s communication system, it is also worthwhile to include in the story, even if it seems insignificant. They for sure bring their own twist in the story. It is not uncommon for some genre to be particularly impressive in some particular geographic area. If the artist’s music goes through an area where the artist’s style is not usually popular, it is almost an obligation to point out. All this brings the value to the artist’s story and makes it interesting.
It is good to note that story lives all the time, even if its core would remain the same. A very few artists can pass through the story by dictating the terms of it. The public and industry’s reception makes it impossible. Especially during the early stages of the operation, all kind of monitoring is important when the artist is waiting and searching for the place to go through. If the popularity for some reason is growing or decreasing, the reason for this would be good to locate. If the number of audience or fans to a new artist is increasing from one thousand to ten thousand, and this change takes place in a short time, there is probably some reason for that. At this stage, in storytelling, it is worth focusing particularly on those factors and the channels in which that growth is taking place – even though the artist’s story would require something else. You can leave that back-to-back action and activate it when the current hype starts to fade. Especially the new artist must take advantage all the moments in which awareness of their existence and music grows.
The same is true in another direction. If something makes the artist less attractive or lowers the number of listeners, there is no point in targeting energy. It is good idea to change the plan and focus on it elsewhere. The attention should be taken to the places where the artist and the artist’s story seem to be more interesting. It is important for the story to continue and never stop.
Hence, the story of the artist is the root theme – a stone-based designation to respond to everything around. On the other hand, it is also the popularity and the business that is built for that purpose. It is characteristic that it changes in the artist’s career at different stages.
Your story may require a disclosure of some matter. Even your own desires may require this. However, if events around it do not support that decision, it is worth moving to a better time. Some specific theme around the artist is always framed the most. Importing a new episode may mess up previous patterns and cause confusion. As a rule, one could say that a new season cannot start until the previous one has been exhausted. Strategically interesting is the moment when the artist moves forward in the story or changes the emphasis.
There are two things to follow in particular – the hit accuracy of your own feeds and what people are really interested in. This makes us wonder what the artistic freedom is and whether it always exists at all. Fully strategically, proper communication may turn into plastic if it is obediently followed. It is good to note that it is life that happens within all this – with all its mistakes, successes and failures. It is these distractions that make the story interesting and thus a success in achievement.
The artist’s story has many narrators, one of which is the audience. A good story begins to live a life of its own. The more popular the artist is, the more the artist usually has resources to invest in this task. If somebody else is writing your story, make sure you can bear it. The music industry is characterized by the fact that the story of the artist is told partly by other facets than the artist him- or herself. There are reasons for this. The artist is not always the best interpreter of his or her story. For example, in the contract negotiations, the subject matter and the essential things is often presented by the artist’s manager. Internal communication in the field is a completely different matter as it is to the public and media. Still it is about the same story. In these cases, the root story does not always play the main role. That’s why it is important that the management speaks on behalf of the artist in forums where other vital details of yours are to be expressed than the story itself. Skillful management can place the promoting and selling arguments so that the story of the artist does not suffer.
What I am trying to say – it is usually necessary to share experiences, feelings, and of course to promote oneself to get the answer. Some of these feeds have some cool lively stories, vitalizing elements. Others are again invented ideas and perceptions that are not fully thought out. It is important to understand that all those messages form the image that you give about yourself. In an ideal situation, it is balanced with your goals and takes into account your needs and aspirations at any given time. Sometimes it is not in harmony with your story. The harmony might get broken as a result of some external matter, your own actions or the reaction of the public.
Tracking and analyzing your own communication is a professional way to deal with it. A well-designed operation may fail completely. In this situation, your choices are often the cause. Once this unbalanced state is set to return, it is important to remain faithful to the root of the story, the idea that everything is based. It is usually about finding a new or alternative display to return the course. Anyway – the experience is the best teacher. The story tells you how to develop. Mistakes should not be frightened. In the era of electronic media, its communication can be quickly changed and repaired – it can also react quickly.
The artist’s story requires it to be told all the time while the artist’s career is at the active stage. Sometimes it is written by the artist, sometimes someone else. Other noteworthy things than what this article demonstrates are there. It would have, however, longed the already long article. The purpose was to bring perspectives on this constantly topical issue.
We had an interesting lecture on the strategic use of social media and the artist’s story at HEO on 23th of April. The first public lecture after the book release – yes it feels good again. The summer will be in the construction of a new book’s promotion. The Essence of the Music Business – Philosophy is scheduled for release in August. Lectures have been booked for the autumn season and more is coming. Some of these lectures are open to the public and will be further informed later.
There have been some inquiries whether I am doing any legal assignments. The answer is yes. The contacts are more than desirable – in other matters as well. I wish a joyful spring for everyone.
-Mika
The book can also be purchased from Lex Libri’s bookstore. It is exceptionally priced with student discounts. Go and check out.
‘The Essence of the Music Business – Philosophy’ has left to the proof-reading. The first manuscript of the book was already available when the first part – ‘Contracts’ – was released. However, I wanted to see the reaction that the first part is generating. Good that I did this. I soon noticed that a few points required clarification. I added three chapters, based on the reader feedback – topics that seemed to be a lot of interest.
The pages came a bit more than in the first part. If I am quite honest, I did not think that the first part gets such wide attention. When writing it, I assumed the reaction time was longer – there would be no hurry. I did not think that the book was found so fast.
People read their books fast. This created a little hurry to the second part. Fortunately, the structure already existed. The first part was intended to be an introduction to this sequel. The aim was to provide adequate legal background information for the sequel’s perspectives and analyzes. That is why I am trying to publish the second book as soon as possible. The contents of the first book will be opened in a completely new light. It is made to supplement the book number one. Even though I will be introducing a different kind of terminology, The Essence of the Music Business – Philosophy is written so that the problems and their effects can be located and found in both of the books. Management and understanding this business is a multi-dimensional maze where it is easy to get lost. Comprehensive understanding makes it easier to fix the details and locate the problems. For this purpose these books are made.
© Mika Karhumaa 2018
Footwork in this context does not mean the true meaning of the word – it is more of an association. Footwork is the easiest aspect to present as one of the most important phase of a career in the early stages. Footwork is synonymous with the responsibility of everyone their own career. In the music profession, the business of an artist is typically first a presentation, especially by the professional groups supporting the artist. There is nothing wrong with this technique, however such a presentation is likely to mislead people in terms of footwork, which is the artist’s own responsibility. Footwork entails things done by the artist themselves, either being onsite or otherwise ensuring that the project under construction is moving forwards. One important starting point to consider in the music business is that your dreams are yours – not anyone else’s. Generally, outsourcing is usually needed to achieve them – but not as a matter of course.
Professional thinking assumes that self-titular authorship manages its plot with the same intensity that the necessity of a task requires. It would be an ideal situation if that were the case. Everyone would simply choose their goals and concentrate their full energy and passion on it. Everyone would be well prepared and practiced in their skills so that they can respond to each request of help coming out of the box. With such an equation comes structural problems. It would require each participant to experience the operation as their own, with financial benefits. Only a real professional can concentrate and engage with the necessary care when dreams and work-related compensation are not met, which is perfectly understandable.
Hence, a professional thinking only dictates what should be done and whose responsibility it is. Because we all have our own dreams and goals, and we cannot always implement them ourselves, we must compromise and rely on the help of others. In this context, agreements will be entered into in exchange for these mutually important elements. As an example, an individual may be a social media master that with correctly timed operations and feeds that support the artist’s career, the artist and their existence may become quickly known to the general public. This requires continuous monitoring and analysis of input power. It is not enough for the first feeds to be done impressively, and then deteriorate, which is the most common mistake in this case. Another big mistake is to assume that an expert would willingly continue working without any incentives. It is quite possible that, without a reply, the aid provider sees no other possibility than to continue in other contexts than with the story of the artist. Commitment is sometimes difficult to achieve when it comes to other peoples’ dreams. Each dream must be somehow included in each pattern of effort so that the goal of success is maintained throughout.
Most often this motivation is acquired with money. The obvious problem being that there is rarely enough capital at the beginning of a career. That support therefore needs to be acquired in some other way and when nothing large is on offer – you are not able ask a lot. The artist should also note that even a couple of unfinished projects can attract remarkable interest. Bringing the artist and their production to a point where it really begins to produce takes time and resources. Even though such cynicism is fortunately not always true, it should always be taken into account. At the time when there is nothing to offer to the public, projects cannot be left to someone else, at least not entirely.
At this stage it is good to return to the idea of your own responsibility. It is not realistic to expect anyone to do the lion’s share of the project if they are not entitled to a share of the resulting income. The previously mentioned master of social media showing their flavor through the production of an artist, combining their own personal motives – bringing the knowledge into a favorable environment and raising awareness to the public in a professional manner. Nothing prevents these ‘free employees’ from using their contribution as a springboard for their own personal dreams.
A social media master needs something that reflects his or her skills. This is also the case with other professional groups supporting the artist. In the music business, it is difficult to be a relevant factor without music and artists.
In principle, there is nothing wrong with this. The music industry’s livelihood is based on independence and free will. On the tactical side however, problems arise if the artist’s success counts on such cooperation. Thus if such an attempt to move forward fails, the artist will be in trouble.
The artist easily relies on those who provide feedback and encouragement. It is not uncommon at all for someone to comment on the first demos on a regular basis. Because industry circles are a difficult equation, or at least the belief is such, the artist can become locked in a challenging trap, both in fact and mentally. This should also be understood by professional groups that support the artist.
The person who evaluates the demos may actually be at a point in their career/situation where nothing available at that moment is interesting. From the artist’s point of view, one should consider whether such a person is the right person to give feedback in all matters. It is a completely different matter to give feedback from a general point of view compared to putting one’s own assets into a project. Such a situation, and especially the longer it continues, is bad for the artist – particularly in light of footwork. The artist likely goes astray wasting energy to assure the ‘feedback agent’ with a new demo. This kind of motivation may in turn make it harder to continue the work. It also excludes a lot of other options and closes other doors to the artist. The time that an artist should harness their social skills in other forums, is now wasted on this single judge’s opinion. Worst of all, it is perfectly possible that the recipient of your demos may one day find the artist/project he or she has been looking for and thereafter have little or no time and energy to provide even the slightest feedback.
These two situations are educational examples of what happens when footwork and self-responsibility fall short. It is completely polite to answer questions and give feedback, even though a commitment might not follow.
A man I did not always like told me to always trust your stomach. I cannot confirm the accuracy of that assertion but quite often in my own career it has held true. Not all people are meant for each other in such a delicate branch as the music business. The sooner this fact is accepted, the easier it is to move forward. The pursuit of a meaningful career can sometimes be in the midst of work and pain, and there are no shortcuts to it. You also have to remember that only a few compositions will last forever – people change. It is quite possible that some unexpected event might even bring you together with your worst enemy.
Artists must understand that some things must be done themselves, even if they have external help. The most effective artist organizations are when participants are aware of the special skills and available resources of each member. If a manager handles 70 percent – you should consider whether they can also handle the remaining 30. It just slows down the operation. The organization can find another operator who performs the task easier with less effort. For reasons of professionalism, it is not worth increasing the workload over resources – no matter what professional titles say. An artist’s affiliates tend to admire the artist’s organization as a whole – not always whom it belongs to. Such a thing may be left uninterrupted because other things are so well taken care of. An operator who is working hard to do something is not the person you want to blame.
Solidarity is good. Such implementation requires an open discussion. A group is may be unknowingly ignorant of the motivation and resources of the participants. Due to copyright, the artist and other copyright holders are ultimately held responsible for everything – whether these tasks are delegated or not. Many things are related to career advancement elsewhere and are often a prerequisite for success. Since the artist does not yet enjoy public awareness, it is difficult for an artist to make a break unless the matter is first presented to the public. The question is when you should seriously consider outsourcing activities and become lazy. The answer is certainly never – but the idea is clear. In an ideal situation, the artist’s organization would work in a differentiated manner, with each department performing in accordance with the artist’s wishes and instructions, so that the story of the artist remains consistent.
Let us consider a social media master getting hype in Australia with some ingenious post of his or hers. If the artist does not have anything more important on, the artist’s management should take advantage and already begin to make inquiries about a possible Australian visit, for example TV-shows and gigs. It is extremely important to take a stand whether the performances will promote the success the artist has achieved or something else, for example related to the initial hype created by the social media master. The answer to this lies in whether the artist takes part in the cost itself, or are they already aiming for an income stream when visiting. In general both occur, but in the first phase of promotion this decision is of great importance. Sometimes it is worth taking part in the costs yourself if the expectations are realistic or the visit otherwise fits the artist’s story. Quite often such a project is left unattended or is not even seriously considered, because the artist or management feels they don’t have the resources to make the vision possible. This is a big mistake. Simply emailing rarely leads to any desired outcome, but is preferable than doing nothing. A trip can be made at your own cost if it is expected to be favorable. The promotion of the artist is about reacting.
The main rule is that hype should be utilized, or at least the artist needs to become mobilized in some way. That moment will never return in the same way, and it only lasts a short time. A new artist needs a story and the audience’s interest is the best way to get people to listen it.
A horror scenario of this situation would leave the Australian hype situation totally ignored or not used to its full advantage. The resulting hype is mainly enjoyed by the band’s inner social circle and bragging to friends and domestic media. Perhaps the artist’s management comes to the conclusion that no visit should be made, which can be a sensible decision due to analyses showing resources and interest were in fact not sufficient to make the visit profitable. But let’s think about it from another point of view.
What if the artist had taken advantage of the Australian hype opportunity?
Let’s think about this matter from a passive situation. An artist’s actions should be internally aligned so that outsiders can also detect it, making it easier for people to contact the artist. Even if the artist has outsourced management, the artist’s website should also have the artist’s contact information, especially at the beginning of their career. This is not a no-confidence motion for management – it is just that contact may concern a variety of things and the artist should be aware of all possible contact opportunities. Hence, if the artist has reassigned operational responsibility too early, or is simply lazy and/or careless and ignores potential advantageous situations, many easy-to-follow or act-on things may be completely missed and not implemented.
In the situation where the artist is directly contactable, the Australian trip can be accomplished at a later date and the situation still be taken advantage of, even after the initial hype may have died down.
These situations tend to occur when the artist’s activities associate with economic value, or at least some kind of expectation value that the industry acknowledges. Before this, the artist does not want to make any far-reaching plans with anyone without justified grounds. It is also unwise to grant any rights at any level until it is clear that the music will be released and the organization is set up enabling passive income entry. Up to that moment the artist should be self-sufficient, even if supported by other people. Someone’s commitment cannot be defined if there is no guarantee of desired outcome, thus this is the period in which the participants are living in more or less uncertain circumstances.
The main rule here is that if you question whether something is being dealt with on time or proposals or initiatives are reaching the recipient, you should take care of primary contact yourself. During the time when no one has economic motives acting for the project, many things can be easily left untouched.
In the promotion of an artist, the most important thing is to connect the music with the artist, so people know who they are when they hear a song. The wider this knowledge spreads, the more successful the promotion. Footwork should not be stopped or neglected before this position is achieved. It is up to the artist, how they ensure this is happening, which also requires monitoring of the situation. Here we come to the area where the limits of responsibility for requesting and providing support are met. What is reasonable? When very strong commitment from others is awkward to expect, the artist should be mainly responsible for the progress of projects. It should also be noted that although the operation works together, the horizons are the combined personal goals of everyone involved. These are not always consistent even if cooperation has already begun, which is the reason why it is important to study the basics of the industry carefully. Then it becomes easier to evaluate what to expect from others and what to pay attention to when mapping the need of external assistance.
I want to tell you how I choose the contents of my books. There is a lot of literature on this subject, some of which are converging. It seems unnecessary to start dealing with these things with a great devotion because these subjects are already so well written. I leave some of the essential things to a lesser extent, but take the matter out. Instead, I try to bring my books to the situations where the most common problems occur. Surprisingly yes, they are pretty simple. We are dealing with the gap between theory and practice. It is often a question about experience and its amount. A few things can speak expertly, unless one has ever had one.
It can have an extensive knowledge of the industry, but ‘virginity’ is inscribed. This knowledge is not yet tested in practice. In accordance with this assumption, I try to bring readers to the situations where they most likely to end up with. It is my intention to confirm the information already available to them, but also to bring out the perspectives that are not immediately imminent.
Such a bi-directional rearrangement will help less experienced to get the basic knowledge of what you should at least know. On the other hand, it helps the more experienced to strengthen their own opinions on their own solutions. Behind the lines is therefore hidden a lot. I believe in learning by doing. Whenever one or two alarm clocks are entered in the text as it becomes appropriate, the reader will be able to evaluate their progress also in a busy schedule. That’s what this is all about.
It is completely different to do something for the first time as doing it a tenth time. It is also a different matter to be self-involved as to track the event from the page. In general, it is relatively easy to answer how a bid should be addressed. It sees it from the general level quickly, which conditions are appropriate and which ones do not. But when the same offer comes in a situation where you are responsible, it is not that easy. In such situation it will have to take a stand on the meaning of the agreement in many different dimensions. It will have to think about what the artist can do if she or he does not agree the offer. It will have to consider the consequences that will arise if one or more conditions are changed. It also has to consider the option of accepting an agreement as such, even if it may be possible for the artist to get a better offer next month. When your own contribution and related remuneration are added to calculation, we are already dealing with quite a large equation.
One task of the literature on this subject is to highlight the alternatives that would be available in that situation. However, it is not always advisable to copy all the solutions from the books, but to make your own applications. I try to include my books with the theme that enables the reader to reach essential points. Since there is so much information available about the subject, it is so easy to lose the story. There is no single correct decision, but every decision will have to take the responsibility. In some circumstances it may well be sensible to accept an unreasonably impressive condition if the contract otherwise balances this. In principle, however, it is not sensitive to act against the most influential laws in the field, such as transferring economic rights in the early stages of the career in exchange of having a bigger budget for the first album.
I usually highlight the situations that have repeated over years on several occasions. Even though the technology develops and, as such, issues change shape, it is often the same concern. From the side of the artist, they almost invariably return to their own freedom of choice and how to maintain it in a sensitive level. The artist has a dispositive power due to copyright for their own output. When it is meant to acquire a living, it is often necessary to transfer these rights. In order to succeed in that task, those rights must also allow to be engaged by other parties.
On the other hand, professional groups and businesses supporting the artist must be able to secure their share in the whole. Their rights, due to intellectual property rights, takes place behind the artist’s right. Since many sources of income in the industry allow accumulation of passive income, it is clear that rewards will be distributed in the long-term and with a delay. Well, intermediaries may change and often change during this progress. Here we come to the heart of the difficult matter. How long and how much the artist’s supportive action is relevant to justify the contribution from the artist’s rewards. Secondly, it is about the decision-making power as to how the related catalog should be organized if the parties are no longer in contact with each other.
Films provide a good and understandable example of this. Movie producers and its actors may set up a separate company for one movie only. When doing this movie, they work closely together. After the release and promotion, everyone continue their lives and work in other contexts. All the money produced by the film to its creators will be distributed in proportion to the shares that the parties have defined in their mutual agreement.
Almost every book of mine reflects on this problematic, at least in some respects. I believe that only internally strong organizations will endure a patina of time. If it is clear in advance that this will not happen, this should also be reflected in the artist’s actions and plans. Knowing to lock at the right time and knowing to keep the options open is a difficult equation to implement. I try to encourage everyone to make their own position first, but also to listen to more experienced people. In the next book, the same subject will be presented in another perspective. However, I will endeavor to take account of the issues already discussed when presenting a new one.
© Mika Karhumaa 2018
The Essence of the Music Business – Contracts has been published. The book is available at least from the following Distributors. More is coming and each Amazon Unit has a book in its catalog. You can also purchase the book from Google Play.
AMAZON
https://www.amazon.com/dp/B07872SGWY
AMAZON – Author’s Central
https://amazon.com/author/mikakarhumaa
GOOGLE PLAY
BOOKY
https://www.booky.fi/tuote/mika_karhumaa/the_essence_of_the_music_business/9789529393220
ADLIBRIS
https://www.adlibris.com/fi/haku?filter=author:mika%20karhumaa
RECORD SHOP X ( World-Wide Delivery for Hardcover )
https://www.recordshopx.com/book/karhumaa_mika/the_essence_of_music_business_contracts/#559541
