Contributions of Siddhartha Gautama to Buddhism

Contributions of Siddhartha Gautama to Buddhism Ilinca Stingaciu Siddhartha Gautama, later known as the Buddha, is considered the founder of Buddhist religion. Many buddhist beliefs and teachings are based on the Buddhas discoveries and teachings. One of the most important ways in which the Siddhartha Gautama influenced Buddhism is by actually spreading the religion, and spreading this teachings to people, which drew in followers who continued to further spread buddhism (Alldritt, 2004, p. 25). After reaching enlightenment, Buddha found the answer to suffering, which is also referred to as the dukkha in religious scripts. Based on his realizations, he founded the Four Noble truths of suffering, an important concept in Buddhist teachings. The first of the truths, known as the Truth of suffering, essentially states that everything in life leads to suffering. The second truth, that of where suffering comes from, explains the realization that suffering stems from selfishness and cravings. The third truth teaches of the cessation or elimination of suff ering within ones life, and to let go of all cravings or desires that cause suffering (Gethin, 1998, p. 59).The fourth truth teaches what to do be able to eliminate suffering, essentially teaching followers how to come about attaining nirvana (Gethin, 1998, p. 80). The eightfold path, a common concept and symbol in Buddhism, was also established by the Buddha based on fourth of the Noble truths. This outlines eight concepts on how to live life, which guide a person to end suffering, and find fulfillment (Gethin, 1998, p. 82). Meditation is a key practice within Buddhist religion, one that like many, can be traced back the the Buddha. He taught followers how to meditate in order to separate themselves from their personal thoughts and emotions (Hope Van Loon, 1999, p. 38). He encouraged ideology that enlightenment and meditation is personal, so each person must find their way to enlightenment on their own (Ross, 1980, p. 4). Born into royalty, Siddhartha Gautama was raised in a life of luxury, sheltered from the realities of pain and suffering (Ross, p. 5). After one day going against his Fathers orders to stay within the palace walls, Siddhartha was given a tour of the city, where he learned of the three sufferings (Ross, 1980, p. 6). Outside, the prince saw the realities of illness, aging, and death. Siddhartha was scared of the fate of pain and death which awaited everyone, and no longer saw a purpose in anything after (Hope Van Loon, 1999, p. 13). He found no more value in wealth he had and in the pleasures of life, as he realized that it would all go to waste in the inevitability of suffering and death (Gethin, 1998, p.15). Siddartha wanted to find out how to find happiness, regardless of inevitable suffering (Ross, 1980, p. 6). He isolated himself from everyone, and sat under the Bodhi tree, until he fully understood suffering (Hope Van Loon, p. 19). Further inspiration came after Buddhas enlight enment. After discovering the true meaning of suffering, and how to accept it within ones life, he made it his mission to help others find this awakening, and understand the truth about suffering (Gethin, 1998, p.15). Although Buddha had attained Nirvana, he chose to stay on earth to teach others how to reach enlightenment just as he had. He believed everyone should have equal right be followers and learn the teachings of their religion (Ross, 1980, p. 5). This was his inspiration to spread Buddhist teachings, rather than to keep his awakening to himself (Ross, 1980, pg. 18). He drew in followers who continued to further spread Buddhism (Alldritt, 2004, p. 25), and encouraged followers to question everything he said in order to find a path to enlightenment on their own, in lieu of only following his word (Hope Van Loon, 1999, p. 7). He did not want to be seen as their religious leader, but rather as a teacher on how to reach enlightenment (Ross, 1980, p. 4). `All created things perish, he who knows and sees this becomes passive in pain; this is the way to purity. (The Dhammapada, verse 277). Through this quote are reflected many core buddhist teachings, as many teaching surround the idea of transience, from one life to the next. It exemplifies how in order to reach enlightenment, and to be free of pain and suffering, one must realize what suffering truly is, and why it is present within all life. Buddha saw that suffering stemmed from greed and desire. This belief was outlined through the second of the Four Noble truths, realizing where suffering comes from. He believed that in order to end suffering, one must give up materialistic and selfish desires The quote can be translated back into the ideology of the Four Noble truths, as these truths outline the meaning of suffering within ones life, truths that must be realized in order to find enlightenment (Gethin, 1998, p. 59). The quote alludes to the need for this clarity and knowledge of suffering to achieve enlightenment. One of the many teachings of the Buddha are the three Marks of Existence. The first is dukkha, which is suffering. The second is the teaching of impermanence known as anitya, stating that nothing lasts, as everything is a transition into something else. The third, anatman teaches to be selfless, in the sense that a person does not live forever, so nothing considered to be part of ones personality will live on. Analyzing these teachings, they can be related to the idea set out in the quote, that of continuity and the inevitability of dukkha, or suffering. Out of these, the anitya, the second teaching, provides the clearest link to the meaning of the quote.ÂÂ   Anitya teaches that nothing lasts forever, just as the quote states that everything ends and this must be realized, which are in part done by understanding the Three Marks (Alldritt, 2004, p. 24). References Alldritt, L. (2004, October). Buddhism. Retrieved from ebooks.infobaselearning.com/View.asp x?ISBN=9781438106380InstID=7469 The Dhammapada, (n.d.). Full books. Retrieved from www.fullbooks.com/The-Dhammapada. html Gethin, R. (1998). The Foundations of Buddhism. Retrieved from search.ebscohost.com/logi n.aspx?direct=truedb=nlebkAN=12334site=ehost-liveebv=EBppid=pp_59 Hope, J. Van Loon, B. (1999). Introducing Buddha. Cambridge, UK: Icon Books. Ross, N. (1980). Buddhism: A Way of Life and Thought. Location:Vintage Books.

Coles Sales Promotion Essay

Pacific managing director of Nielsen Consumer Group, saidâ€Å"It’s no surprise that consumers are increasingly concerned about their household budgets in response to such fluctuating economic conditions, and the cost-saving strategies currently being employed by consumers are likely to continue well into the year. †(Jessica Kennedy,2011)Due to the rising concern of the current unstable economic condition in Australia, the people have developed a tendency to save or spend only what is necessary. There is also a concern for the rising food and fuel prices and more and more people are looking for good deals and bargains for the basic necessities required to run a household. If this holds true to the working population then this will hold true even more to the student population in Australia who perhaps only have a part time job and live on a fixed budget. Market analysis: The student population contributes a lot to the economy of Australia. In 2008, the total tertiary student community in Melbourne was around 208,800 people and international tertiary student population numbering was at least 28,150 (Melbourne City Research, 2010). These numbers have steadily risen in the past years and will continue to do so. From this situation analysis, it can be derived that it would be a successful venture if fresh and frozen fruits and vegetables were offered at a discounted price by Coles to students in Melbourne for a limited period of time. And if the response is successful in Melbourne it can be an option to expand to other cities as well. Sales promotion pitch: Offering a 15% discount to students from the 1s of July to the 31st of July on all of Coles’ fresh and frozen fruits and vegetable line. SWOT analysis : Strengths:The current economic condition will help the response to a sale if it is held. It will attract the customers and increase revenue. It is also a healthy campaign as fruits and vegetables are being offered at a discount to students to encourage them to eat healthier and will boost the image of Coles. Weaknesses:The risk that the response may not be as enthusiastic as predicted from the target audience. Also that it is targeting a very specific segment of the market and that can be risky to the campaign if the response is not as predicted. Opportunities:The option to hold this sale every half year or more frequently if response is good and also in a larger number of cities. Threats: Competitors like Woolworths and Aldi may also put their items on sale to compete with Coles. Target Segment Demographics: Treating the market as heterogeneous, as all the people of Melbourne are not being targeted and they don’t have similar wants, the target profile for the campaign would look like the following : * Age|* Late teens and above| * Gender|* Male and female|Geographic area|* Melbourne| * Occupation|* Students| * Household size|* Living alone or with housemates| * Lifestyle and Habits|* Lives on a budget, tends to look forthe most reasonable prices, prioritizes saving andhas a slightly more healthy lifestyle. | The typical profile of the segment being targeted would be a College student who Lives alone or with housemates or in a dorm and who purchases their own groceries. Within the target audience there will be differen t views and attitudes about fruits and vegetables. The types of opinions are usually four in kind. They are: * The appreciators: will be the portion of the target market that like eating healthy and enjoy eating lots of fruits and vegetables. These people may be more health conscious and aware of the fact that fruits and vegetables are a very important part of the diet. â€Å" I love fruits and vegetables! They are a part of almost all of my meals for the day†* The acceptors: are the segment of students that eat a moderate amount of fruits and vegetables but also prefer meats and other food items.I like fruits and vegetables but I don’t like including them in all my meals, I prefer meat†* The resistors:this segment is not very fond of fruits and vegetables but eat them on occasion. â€Å"fruits and vegetables are ok but I would rather eat something else†* The rejecters: This portion of students is strongly against adding fruits or vegetables to their daily meals and would most definitely eat other foods ins tead. Insert refrence pg. 206 One of the purposes of the campaign is to try and get the percentage of the resistors and the rejecters to convert to either the acceptors or the appreciators. Time frame: The promotion will last for one month. Starting July 1st and ending July 31st. The duration chosen is during the offseason period where there are no big sales held otherwise. This will make it easier to persuade the target market to purchase their groceries at Coles as it will be cheaper to do so. It gives them an incentive to buy. 20 specimen subjects from Chisholm College that fit the target profile completed a survey about why they picked a particular store over another. Four fixed options were asked and the results were as follows: More than half, i. e 11 people out of 20, said that the main reason they choose a store was because of its low prices. 6 people said they choose a store according to how conveniently it’s located, 2 said it was because of loyalty to the store and 1 said because of good customer service. This further emphasizes the fact that if a sales promotion was held, the response would be enthusiastic and the campaign would be successful. Main Objective: * Increasing the sales of fresh, frozen and canned fruits and vegetables by 5 to 10 percent in the month of July. Initially only in Melbourne with an option to expand to other cities if the response is positive. Additional objectives: * Enhance customer loyalty * Create new customers * To reinforce brand advertising * Encouraging students to eat healthier Perception – achieve at least a 65% increase in awareness of the sales promotion in the firstweek Cognition – Achieve recall of discount period at Coles by at least 80% of the students in Melbourne Persuasion – Make the target audience want to go to Coles for their groceries rather than its competitors Emotion – Induce humor and fun through the advertisement Association – Associate Coles with the most reasonable prices and quality goods Behavior – Persuade at least 3% of the customers that shop at Woolworths, Aldi and other competitors to switch over to Coles Approach: The type of approach to be used for this promotion is the emotional approach and a soft sell strategy. Humor will be used a medium in the advertisement to allow students to relate to the campaign easily and for retention of the message to create the need to buy fruits and vegetables at Coles. An anonymous survey was conducted using 20 students in Chisholm College that fit the target audience. They were asked to state what kinds of advertisements they remembered the easiest out of a given three choices. Out of 20 students, 15 said humorous advertisements were the easiest to remember, 2 said informative and 3 said shock advertising. Pull promotional strategy: ‘ In a pull strategy, the manufacturer directs the majority of its promotional effort towards the ultimate consumer in an attempt to get them to pull the products through the marketing channel. ’ (McColl – Kennedy, JR, 1994) A pull promotional strategy creates a high degree of awareness amongst consumers and implants a desire and an interest for the product. This makes the customers to go to the retail store with the determination to find the product to purchase it and if it is not available they urge the retailer to stock up on it. This is the strategy that Coles is aiming at following as the message will be sent directly to the ultimate consumers who are in this case the students, urging them to purchase frozen, fresh and canned fruits and vegetables. And when the demand exceeds the supply, it will cause the Coles retail stores to urge the wholesalers and other links in the product chain to acquire the product causing a pulling effect through the marketing channel. Communication: In order to inform the potential customers about the promotion, effective and efficient advertising must be carried out. The use of Television, the internet, newspapers and magazines help in doing so. Since the target market is only students, it would also be productive to display the advertisements on social networking sites on the internet. To further reach students fliers can be put up on the notice boards and in the college magazines. Point of purchase displays also helps as it improves in store branding and keeps the customer informed. Having sales signs near the product also can lead to impulse buying. The key message sent out here would be that it is cheaper to buy your groceries at Coles than at any other supermarket. Eliciting the desired response: The main reason for fierce advertising and promotions is due to the reason that the sales promotion will be carried out for one month only. During this time period, Coles seeks to attract as many customers as possible to their stores in Melbourne. It is true that the potential customers go through a behavioral or psychological process before purchasing a product called a response hierarchy. The Coles advertisements and promotions seek to fulfill all the steps in this hierarchy chain.

How important was the fear of Trotsky becoming leader in explaining Stalin’s victory in the power struggle in the years 1924-1929? Essay

Everyone believed Trotsky would take leadership after Lenin died, even if they didn’t want him to. No one thought it would be Stalin. Therefore, Stalin felt he had to defeat Trotsky in order to become leader. However, the fear of Trotsky becoming leader isn’t the only factor in explaining Stalin’s victory in the power struggle. Lenin died, January 21 1924. This is when the Lenin Legacy begun. Stalin took it upon himself to give a speech at Stalin’s funeral; he personally swore to carry on the work of Lenin. As General Secretary he supervised the Lenin Enrolment (expansion of the party in tribute to Lenin). He published a book â€Å"Foundations of Leninism†, a basic understanding of Lenin’s ideas for the uneducated. Stalin emphasised his commitment to Lenin by dishonoring Trotsky and other Bolsheviks by saying they were unfaithful. Stalin used the Decree against Factionalism to accuse opponents of disloyalty to the memory of Lenin. Stalin used the Lenin Legacy to his advantage all the way through the power struggle. In 1924, when The Lenin Enrolment was announced, the party increased from 500,000 to over 1 million members by 1926. The new members were young, in-experienced and lacking education. This meant Stalin could easily influence them. Zinoviev and Kamenev both feared Trotsky’s power more than Stalin. They teamed up with Stalin, in order to over-throw Trotsky. He was unpopular as he was extremely arrogant. Thus when he missed Lenin’s funeral due to Stalin telling him the wrong date, he became even more hated. In a Marxist fashion, Trotsky travelled the world, informing people of world revolution. This meant Stalin could build a good relationship with Russia, persuading everyone he would carry on the work of Lenin. In December 1924, Stalin spoke of â€Å"socialism in one country† Trotsky strongly disagreed and as a result he was accused of Factionalism. In January 1925, the Central Committee removed Trotsky from the War Commissariat. From 1928 onwards Trotsky lived his life in exile before being murdered in 1940. Stalin had allied with Zinoviev and Kamenev but after Trotsky’s defeat they were concerned that Stalin had too much power within the Party. Kamenev was defeated, his lost control of the Moscow Party. However Zinoviev fought back, he held onto the Leningrad Party and attacked the NEP policy. They argued that it was capitalist and it was time to introduce rapid industrialisation. However, they also questioned Socialism in One Country, which meant the attack was also against Bukharin. They realised that without an international revolution they wouldn’t reach Marxism Utopia, as the economic backwardness of the country would destroy the Soviet Union. Therefore, Stalin and Bukharin united. Once again, Stalin accused Zinoviev of Factionalism. Bukharin’s popularity and Stalin’s control of the delegates allowed them to defeat Zinoviev. At the 14th Party Congress in December 1925, angry delegates shouted down the slander of Stalin and defeated the programme of Zinoviev and Kamenev by 559 votes to 65. 1926, Zinoviev lost control of Leningrad to be replaced as Chair of the Comintern by Bukharin. Following this, Zinoviev and Kamenev tried to form an alliance with Trotsky (he had spoke out about the NEP policy in 1924) but there was little trust between them. In 1926, they released copies of Lenin’s Political Testament but it didn’t work, they were seen as Factionalists. They were removed from The Central Committee and secret police were used to stop the Political Testament being published. They were sent to exile. Stalin had defeated the Left wing of the politburos; he now planned to attack the Right wing. By 1926, the Soviet Union was effectively ruled by Stalin and Bukharin. Stalin saw the NEP as a compromise with the peasantry. Ironically, he now agreed with the United Opposition’s policies to introduce rapid industrialisation. He turned against Bukharin, Rykov, and Tomsky. In November 1929 Bukharin lost his position in the politburo. Stalin used his powers as General Secretary to purge the trades’ leadership thus Tomsky losing his post on the Central Council of Trades Union and his place in the politburo in 1930. 21 December 1929, Stalin’s 50th birthday, Pravda call him â€Å"the Lenin of today†, Stalin had finally won the power struggle. When looking at all of the factors for why Stalin won the power struggle, the fear of Trotsky coming into power seems a small influence. However, it was the difference in personalities and different views for the county that kick started the power struggle. Trotsky did not fight for power; he simply fought for what he thought was right. Even though he was an ex-Menshevik, he kept closest to the theory of Marxism. For example, when he lost his role of The War Commissariat he didn’t fight back. He never believed he would be in charge because he was Jewish. While it was important, I do not believe the fear of Trotsky to be the crucial component in Stalin winning the power struggle. He was a vindictive creature that would go to the extremes to get what he wanted. His political genius was much more vital. Without it I don’t think he would have got where he did. He was cunning in the fact that he was able to not only defeat the bodies of the politburo but also, use their skills to his advantage and then turn against them. As well as this, being General Secretary was a big advantage, it allowed him to keep the Political Testament a secret. The Lenin Legacy was also extremely important. When he expanded the Bolshevik party, I believe he brainwashed many of the new members. He used their lack of education against them.

Risk factors in the transmission of alcoholism from parent...

Alcoholism is a major contributor to dysfunction in families today. Research has shown that children who are born to an alcoholic family are adversely affected by alcoholism in their development (Baker and Stephenson, 1995). Children of alcoholics possess a greater risk of acquiring alcoholism as a result of their parent ¡Ã‚ ¦s alcoholism (Reich, 1997). Within the body of this paper, this thesis will be supported. The text of this paper will list and describe risk factors in the transmission of alcoholism from parent to child, both specifically related to alcohol use and influences of a psychosocial nature. It has been speculated for some time that alcoholism has biological roots, being passed down to children from generation to†¦show more content†¦Ellis and Zucker believe genetic risk factors play a role in the acquisition of alcoholism, such as physiological responses to alcohol, and the process of metabolization. They feel inherited biology is a significant area where familial influence can influence a child in developing alcoholism. However, Ellis and Zucker go on to say that the child ¡Ã‚ ¦s psychosocial environment cannot be ignored, since there is much familial influence in this realm as well (Ellis Zucker, 1997). Family has a vital role in molding a child ¡Ã‚ ¦s future drinking behavior through the parents ¡Ã‚ ¦ behavioral example in using alcohol. Ellis and Zuckerman also cite the importance of the ways in which the parents sort out, understand, and teach their children the norms and standards of the general public in regards to alcohol. Ellis and Zuckerman wrote,  ¡Ã‚ §Accordingly, the modeling of parental drinking behavior, the development of alcohol expectancies, and ethnic differences in drinking practices all make up the environmental family influence that are related to children of alcoholics alcohol use ¡Ã‚ ¨ [electronic version]. 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Gilgamesh The Epic Of Gilgamesh - 1400 Words

The Epic of Gilgamesh Introduction The Epic of Gilgamesh is the story about Gilgamesh, the King of Uruk and Enkidu, their friendship, how Enkidu dies, how Gilgamesh mourns the death of his friend and finally he understands enlightened truth . Most of this story is narrated from Gilgamesh’s point of view. The story is set in Mesopotamia and the portrayal of Gilgamesh is ironical. He is described as a king of immense vigor and strength who is not benevolent with his subjects. He befriends Enkidu who is of equal valor. They embark on different conquests together after which Enkidu gets dreams with message of his impending death . Enkidu subsequently dies with illness . With the death of his friend Enkidu, Gilgamesh is shattered and also becomes obsessed with his own life and so he embarks on a quest to find Utnapishtim, who is bestowed with immortality by the Gods. He believes that he would get eternal life from Utnapishtim, who had received eternal life from the Gods . The story’s theme throughout is relat ed to how man evolves through various incidents in his life and finally realizes that immortality for a human lies in doing good work for others but not in the conquest of death. The entire story revolves around how Gilgamesh, obsessed by life yearns for eternal life and how it eludes him even though he undertakes dangerous quests to find it . The thesis statement is that humans can attain immortality by the acts and deeds they perform. SummaryShow MoreRelatedGilgamesh And The Epic Of Gilgamesh988 Words   |  4 PagesThe maturation of Gilgamesh and his desire to acquire wisdom throughout his journey is quite apparent. By overcoming difficulties such as upholding Uruk, becoming friends with Enkidu, and various other scenarios, Gilgamesh proves that he did in fact grow up throughout the epic. As the epic starts, Gilgamesh is portrayed as a self-centered, self-admiring leader who believes that he is the only individual that can lead the city of Uruk. 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The epic of Gilgamesh goddesses and scared harlots wild men who cavort in the fields with the gazelles kings who are descended from gods. The Urban Revolution was recognize the elements of our own world by

Comparison of Business Technologies - 1239 Words

A Comparison of Early 20th and 21st Century Business Technologies Introduction Once a common sight in virtually any American office, the electric typewriter is now a thing of the past. In fact, the century between 1910 and 2010 witnessed both the introduction and the obsolescence of the electric typewriter to the dismay of old school typists who are now forced to find second-hand models if they still want to use them. To determine how the electric typewriter rose and fell within such a relatively short period of time, this paper provides a review of the relevant literature concerning the history of electric typewriters and what happened to cause their obsolescence by 2010. A summary of the research and important findings concerning these issues are presented in the conclusion. Review and Analysis Comparison of 1910 Technology to Current Technology: The Typewriter It is one thing to have sales of a product decline even precipitously, but it is quite another for an entire industry to collapse and disappear in a matter of a few short years, but this is precisely what happened to the electric typewriter. According to a report from Wasserman (2012), Joining other discarded technologies of late, including the Flip video camera, Kodachrome, and the humble floppy disk is the typewriter, which will no longer be produced anywhere in the world (p. 2). Like the last buggy whip manufacturer, the last company manufacturing typewriters anywhere (Godrej and Boyce in Mumbai,Show MoreRelatedBus Admin Lv 2 Unit 31422 Words   |  6 PagesSection 1 – Understand the purpose of information technology in a business environment 1. 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Music Business Management Essay free essay sample

Management Sometimes thought of as the single most Important person In career of artiste. A good manager can expand an artistes career to Its maximum potential a bad one can rocket an artist to oblivion. What they generally do is most of the things the artist either cant be bothered to do or doesnt know how to do they do these things usually in exchange for a percentage of the artists earnings, this is called commission. A few of the roles of the typical manager include Helping with career decisions which record deal? Which publishing deal? How much etc.?Helping with he creative process selecting a producer, deciding which songs to perform/record, selecting photographers or band members etc. Promotion by hyping to everyone helping co-ordinate publicity campaign, etc. Assembling and heading professional team introducing lawyers, business managers and agents, etc. overseeing their work. Coordinating tours by working with agents to make the best deals. Hounding the record company of the artiste coordinating record company advertising and marketing campaign for artistes records making sure these are treated as priorities by the record company, cringles and parallels. Generally being a buffer between the artiste and the outside world. Managers typically get between 15% and 20% of artists gross earnings with the majority earning 15%. However, during touring this means more than you might think. If the artist is a band with five or more members, the managers 15% could easily be more than any members share. First issue is the managers percentage. Most try to keep it to 1 5%, although some managers might argue that the risk of taking on a new act Is worth 20%. It Is possible to arrange the deal so that It starts at 20% then changes to 15% after a certain time or when a certain amount has been earned. Sometimes managers earn a percentage of net as opposed to gross, which is better for the artiste. Net deals sometimes mean the manager will ask for limits on expenses. So for example a manager might agree to be paid on net tour proceeds, but that the expenses on the tour cant exceed a percentage of the gross. With absolutely huge superstars, the manager might Just be on a salary with no percentages. This salary can run Into six figures! It Is sometimes possible to exclude or reduce certain earnings. For example, the manager might get 15% of touring money but less of the artistes song writing royalties, maybe even none of it.If a manager is excluded from certain monies you cant expect him/her to work in this area. Some monies are customarily deducted before working out the managers cut non-commissionaire. It is a good idea to spell these out in the contract to make sure. Recording costs money paid by the record company for recording should not have a cut In for the manager. They are not really earnings, they just pass through the artistes hands to the studio. Money paid to the producer Same as above. Tour support this is money paid by record company to offset losses from touring.Commissioning tour support is controversial and some managers think t should be commissionaire, but most will agree that it is loss compensation and therefore UN-commissionaire. Costs of collection. If an artiste has to sue someone to get paid, the cost of suing should be deducted before making the managers cut. Pay a support act, this is not commissionaire as it merely passes through the artistes hands. The average term of management is generally three to five years. An artist Ants this to be a short as possible, the manager wants it to be as long as possible.Most common compromise is to say that if the artist doesnt earn a certain amount, e or she can terminate the agreement early. Or it can be set up as a shorter deal Inch carries on if certain earning target are reached. Even after the term has ended, say after five years, the contract might say that the manager continues to earn some commission after the term has finished if theyre generated under contracts entered into or substantially negotiated during the term. This means; 1 . As to records made during the term, the manager gets a commission from sales after the management deal has ended. 2.The manager is paid on records made after the term of the deal if he records are recorded under a recording contract signed during the term. This means the manager could be getting paid long after the term has finished, however there are ways to prevent this, known as clauses. There are a few measures to cut back on after term commissions these are. .. 1. Records The manager gets paid only on records recorded and released during the term and not on any others. This is best for the artiste. (b) Half commission after the term. 2. Publishing The manager is paid only on songs recorded and released during the term.This is best for the artiste. (b) The manager gets half commission on songs recorded after he term. Agents Agents usually operate somewhere between the artist (or the artists manager) and the promoter. Agents take on a number of artists and try to sell their live act to promoters, in return for a commission from the artiste on the earnings from the live Nor acquired. When promoters are looking for acts to use for promoting live events it is agents who they will turn to for the high earning potential acts. The responsibilities of the manager include most of those of an agent, I. E. Eating work for the artist, however the agents responsibilities are much narrower. Upon the appointment of an agent personal live appearance becomes his or her responsibility. Managers will a substantial amount of time with the artist, working with the act and the music, etc. , whereas the agent will deal with live work enquiries. The power of an agent largely concerns the roster of clients, all of which may have different managers. One person acting as both agent and manager will not have time to take advantage of all the opportunities which can be generated through the broader contacts of a separate and independent manager. The agent is always employed by the artist, although he may be chosen and appointed by the manager. An artiste has an agent to take advantage of specialized knowledge and contracts. Employment is obtained by him for the artiste, in return for a commission (10-15% of gross), being a percentage of gross earnings of the artist arising from all personal appearances of the artist during the agents exclusive contract period, and within the agents exclusive territory, whether or not generated by the agents efforts. The agents main responsibilities are to seek out and negotiate contracts for personal appearances Ninth promoters.No contract should be committed to without the artists approval. Artist at that time. Market values may change, such as where booking and its fee are confirmed for a date some way in the future, and in the meanwhile a record by the artiste gets into the charts. An experienced agent who has studied the development of the artiste, and who is fully informed of hid record release schedule, can Judge his future to take advantage of potential increases in market value. The scope of an agents authority to act on his own initiative depends on the agreement.An agent cannot commit the artiste to fulfill any engagement unless he has the authority to do so. The artiste may get an adverse reputation with promoters, unless the agent is able to act with some authority to negotiate contracts with the minimum of delay. Ere artiste should be fully consulted, and should see and sign each performance contract prior to being committed. The more successful the artiste, the more impractical it may become due to the lack availability while touring, recording or holidaying. The artiste may delegate the signing of appearance contracts to his agent, subject to prior approval by the artists manager. There are generally 3 things Inch are needed in order for something to be regarded as a gig or concert or night; an ARTIST, a VENUE, and a DATE. Along with these essential ingredients there are a host of others which will vary in importance from event to event. These are: PA or sound equipment, lights, tickets, fliers and posters, etc. Ere idea of promoting a band and style of music that the promoter enjoys has always been one of those leading philosophical, ethical and moral questions often discussed in music circles.It is seen partly as a duality with little compromise, or at times, it has been seen as an extravagant loss-leader for the promoter. If profit is the main motive the promoter should be led by market forces and punter needs rather than personal asset and choice. Personal choice is a temptation you must overcome if making enough money to continue promoting is your aim. The institution of personally based band promotion decisions have resulted in the demise of many concert promoters and promotion companies, especially in an economic climate where the promoter has to be very careful about the economic viability of each attempted promotion.When selecting a band in each different musical genre, the same rules apply. A great deal of thought and research should go into the final decision of whether to promote a band or not. The decision has to be based on several key factors. Has the band been around long enough to have built up an audience large enough to sustain a tour of the length planned? Is the band at present a new club favorite? Has the band attained a cult status? Or make value Judgments, the promoter must first find out as much information as possible. This will come from the agent, record shops, other promoters and the music press.The type of information needed by you, as a promoter, includes the number of dates planned for the tour. If only 5 dates are planned, or there is only one, and the band is reasonably popular, it may not matter to much about a reduced local fan ease. This is because if only a few dates are planned, an audience will travel to see the band in question. Linked with this is the amount of publicity are receiving at the present time. You need to establish whether the current publicity will be sufficient in the run up to the concert to ensure a capacity audience.If the band have already built up a large following, you should ascertain whether or not too many dates on the may include some areas on close proximity to the venue in which your promotion is taking place. This may mitigate against their audience coming to your promotion. If his is the case then further negotiations with the agent may be necessary to ensure; that your concert is the only one in the area that there are not too many dates on the tour. Record Contracts If it is impossible to negotiate on these matters then another band or venue are alternatives.Although they do vary and have got more and more complicated in recent years, record contracts have a basic character. Essentially the record company agrees to advance an artiste an amount of money, and some royalty payments on the sale of the artistes records once the advanced sum has been recouped from the artistes earnings. It is a bit like a tax free loan which must be paid back if the artiste is successful. In return the artiste has to produce a number of acceptably high quality recordings during the period of time the contract runs for.The contract could run for as long as 5 or 7 years, but will contain an option clause meaning that the record company has the choice of whether to keep the artiste on or not every year or so. Every time the record company keeps the artiste on it has to pay another advance. Most contracts are structured so that advances and percentage royalty points increase with each new contract period. This implies that the record company must achieve a degree of success to make it commercially viable to retain an artiste and pay out further royalties.In principle this is to safeguard against a company which might sign and retain an artiste on an exclusive contact without investing in them. Ere company is placed in a position where it is financially committed to an act, so it can either work to establish that artiste and generate a return on investment, or it save money and free the artiste from the contract to go elsewhere. The days of excessively exploitative contracts are by no means over, but they have now become less widespread as the music industry has consciously attempted to cultivate a more professional image.It has become standard practice for contracts to stipulate that the artiste must have received professional legal advice before signing. Most of the m ost exploitative contracts are offered by small, inexperienced, or Just incompetent companies involved in signing poorly advised acts. Artistes are now accredited with being more commercially minded and aware of what the contractual relationship Ninth a record company entails. Artistes are also surrounded by business advisors, lawyers, accountants, who may engage in some quite sophisticated signing strategies.Recording contracts appear to be the most desirable ambition of most musicians. They are extremely difficult to get, and arguably, at best only of limited benefit to the artiste. One of the first things which must be sorted out before a recording contract is agreed is whether or not the artiste has had any contracts in the past which still have an effect on his/her career. The artist must warrant that there are no such restrictions. The record company should try to find out if the artiste recorded music under an old contract which was never released. When negotiating contracts artists should make sure there are no skeletons in the cupboard from old contracts, particularly with respect to unreleased material recorded during that contract. The new record company will need to know about any other contracts and company needs to know whether there were undelivered recordings under a previous contract because; The old record company might release material from that contract if an artiste begins to be well known under the new one.This could cause some damage with respect to the reputation of the artiste by the marketing of an old album which was not released at the time because it was not good enough; royalties on the old album may be less than the new contract and the artiste can do nothing about it if the contract was not adequately terminated. ; the release of the old album may coincide with the release of a new one which may prejudice the marketing and promotion of the new one even though the old record company will benefit greatly from the advertising done for the new record; The old record might be a completely different style to the new one.All recording contracts are exclusive. The concern of an artist with a record company in which he does not have complete confidence is that it may not release his recordings or promote his records to his reasonable satisfaction. In this case the artiste does not have the right to find another company to do the Job, unless things are so bad that the lack of company effort amounts to a breach. The wording of contracts makes it so that the record company has all rights to all recordings of the artist during the period of contract for the purpose of making an selling records.This means even recordings which the company do not release. Exclusivity clauses are drawn as widely as possible, but must take into account other activities of the artiste, for example an acting career, or a theatre stage show career in which a stage show album may be recorded by a company other than the main company in this case there would be arrangements made for an override royalty for lending the artiste for the recording. Royalties are calculated as a percentage of the retail price of the record after making certain deductions. Some record companies have based their rates on wholesale price.Those calculated on wholesale tend to be one and a half and double those done on retail price. Retail price is recommended as being more reliable and impartial than publisher sealer price (wholesale). It is also very difficult to work out royalties from actual selling prices as they vary too much. The usual deductions from the retail price are taxes (VAT and sales tax) and the costs of the packaging of the product. The deductions should not include payments to third parties, such as copyright royalty payments which may be deducted from the gross fee before being divided between artiste and company.