‘PLATINUM BY DEFAULT’ EDITION: ALBUMS CURRENTLY IN RECORDING PROMOTE CREATIVE EFFECTS OF GATSBY & LAUREN(WARE )

As published on Music Industry Information Network (www.mi2n.com):

‘ Ivan Gatsby and Isaac Lauren, composers, producers, sound engineers and designers, performers and business toure de force, have revitalised their efforts to create a full-scale milestones in any genre of ‘Classic Pop-Rock Music“.

This is why they penned a double one-off deal with a minimajor on January 27, 2008.

The identity of minimajor is to be stashed as business secret until the date of the opening Gatsby and Lauren’ album“ release becomes due.  It is believed to be from Austria, though.

Following a stream of delays, Gatsby and Lauren have just completed recording of what is conceived to be ‘the most superior debut album ever’, as well as ‘an all-time instant-classsic album’ –namely ‘The World We Are A-Changin’.

The album previously having been announced in this portal features 13 songs of megahit and hit value, empowering outstanding masterpieces of art country, sympho-rock and BritPop genres.

This album notwithstanding, Gatsby and Lauren are ready to record their first dadaistical in-house band DA!DA! (formerly: DAta!DAta!), the one falling into Electro Pop subgenre -‘Tabloid Techno Pop’.

The album, at demo version status for the time being, has been reported as a ‘a gem of the lightweight yet distressing bubble-gummy type of radio-friendly music’.

The album is titled ‘Daily News Café’.
Gatsby and Lauren’s journey into the realm of Electro Pop has not been entirely unexpected, for Ivan Gatsby might have written the first-ever electro poppish song ‘I Am the Computer. You Are the Machine’ back in 1969, which is why David Stone, Gatsby’s associate at that time, ‘calls him the grandfather of Robot-Pop’.

“Ivan (Gatsby) used to put drops of motor oil into the milk while we were composing the songs to be featured on the album”, said Lauren at the rushily organised press conference at the Intercontinetal Hotel on January 24,2008, “He was doing so because he wanted the critics and audience to feel the new dimension in the music. The album we can send to the outter space as the landmark of our mass media achievement. I know that Daily News Café and it’s 13 fantastic, irresistible, magic-grabbing and time proof songs shall deliver the bias of melodies correspondent to the music belonging to whatever being underpinned under the term ‘electro pop’”.

In an off-beat ambient, Gatsby and Lauren displayed the album’s demos to the invited public, and reportedly most of the guests were fascinated by a insightful and deliciously infectious infotainment.

The cynism, a trademark of Gatsby and Lauren’s opus,is to be mitigated at times by the themes such as ‘Kiss Me Automatic..It’s So Chic’, ‘The Art of Bla-Bla-Bla’. Yet, cynism interwines again throughout the album, procyclicaly reappearing thru the words and comments of information-equipped computers and robots, who happen to comment the affairs in the world.

Gatsby and Lauren speak their views on ‘The World We Are A-Changin’ wherein subtle protests travel in between the lines.

‘Daily News Café’ shall present the robots, charged by internet knowledge, questioning the values of the world nowadays.

The album ‘Daily News Caffe’, ‘ which would have sold tripleplatinum in the preinternet age’, as an music industry insider remarked, delivers radio flavoured megahits ‘Kiss Me Automatic.. It’s So Chic’, ‘The Art of Bla-Bla-Bla’, ‘Life Goes On’ ‘Proud To Be Catholique’, backed by the likes of ‘ABC of Singing-So Far Away’, ‘Tell Me What’s Going On’, ‘Paris, London, Amsterdam’, ‘They Used To Be Robots (But We Are Robots No More), ‘The Believers’, ‘How Electric We Can Get’, ‘All Night Hallo’, ‘Das is Mein, Das Kapital ‘, ‘ The Air That We Need’ , ‘ This Very Night’, ‘Unzipped Memories’ and ‘popcornish’ instrumental for SMS generation ‘Wishing by Numbers’.

There is no doubt that these songs shall awash the waves and bytes EUwide, launching the finest of sophisticated music kitsch.

Despite the genre, the album is reported to be noiresque, and abundant of surprises to the naďve and openhearted public.

“The scope of DA!DA!’s project is to complete the scope of Kraftwerk, German and Synth disco, Hot Butter and any derivatives thereof”, states Gatsby. ”The opening album, to be followed by the ‘One Forever After’, additional bundle of megahits and hits in Tabloid Techno Pop, shall by the rule of thumb nominate the Project as the ultimate one in the genre”

“Never forget, each of the abums to be issued at Gatsby and Lauren ‘Platinum by Default Edition’ is projected as the very best of each genre,and which poses the achievement of mankind”.

The press asked Gatsby what made him so certain that the next ‘advanced form of artificial living on Earth’ would be Catholics’, as claimed in the song ‘Proud To Be Catholique’, the one having been refused at the four national contests for Eurosong 2007.

“Unlike humans, robots are supposed to be well informed and intelligent. If you are informed and intelligent, what else can you be?”

Robots Catholics? Will they be the only Catcholics left in, say, 100 years?

INTELLECTUAL CAPITAL ASSETS – STARTUP OF MEGAHIT CATALOGUE 2007-2012

Dear visitors to this Blog, Investors and Label-Distributors!

We, Ivan Gatsby and Isaac Lauren* hereby link you to the notations/lyrics of the songs to be comprised on the debut GATSBY & LAUREN’s album THE WORLD WE ARE A-CHANGIN’, as well as the bubblegum noir (and sugarfree!!!) extrahit single KISS ME AUTOMATIC…IT’S SO CHIC / PROUD TO BE CATHOLIQUE to be performed by an innovative Techno Pop / Dream Noir Pop duo DAta!DAta!

LINK TO THE NOTATIONS OF THE SONGS WHICH ARE ACCESSIBLE AT URL: http://notationsnow.wordpress.com

THE EVER UPGRADING GATSBY & LAUREN MEGAHIT CATALOGUE, BACKED BY THE COMPLEMENTARY BUSINESS AND CREATIVE VALUES, SHALL BE UTILISED AS THE START-UP ASSET WITH AIM OF FINANCING THE OPENING ALBUM AND THE BONUS ISSUES.

Read the post hereinunder to get a more precise idea about the unaparalelled offer by GATSBY & LAUREN.   

Album: THE WORLD WE ARE A-CHANGIN’

Song: MESSAGE TO THE PEOPLE

Link:    http://notationsnow.wordpress.com/2007/04/23/message-to-the-people-principal-melodyharmony-lines/ 

Song:  WALK ON BY (AND NEVER STOP)

Link: http://notationsnow.wordpress.com/2007/04/23/walk-on-by-and-never-stop/

Song: ANYWHERE YOU SEEM

Link: http://notationsnow.wordpress.com/2007/04/23/anywhere-you-seem-principal-melodyharmony-lines/

Song: CONFESSIONS OF A TRAVELLER

Link:  http://notationsnow.wordpress.com/2007/04/23/23/

Song: THE STORM A-COMIN’

Link: http://notationsnow.wordpress.com/2007/04/23/the-storm-a-comin-principal-melodyharmony-lines/

Song: DON’T WORRY, MA, NOTHING IS GONNA BE ALRIGHT

Link: http://notationsnow.wordpress.com/2007/04/23/dont-worry-ma-nothing-is-gonna-be-alright/

Stream / Download: www.megahit.wordpress.com (follow instructions and read info thereby)

Song: SECRETS OF MY LIFE

Link: http://notationsnow.wordpress.com/2007/04/23/secrets-of-my-life/  

Stream and download: www.megahit.wordpress.com (follow the instructions and read info thereby)

Song: A TOWN WITH NO NAME

Link: http://notationsnow.wordpress.com/2007/04/23/a-town-with-no-name-principal-melodyharmony-lines/

Song: THE PERFECT NOBODIES

Link:  http://notationsnow.wordpress.com/2007/04/23/the-perfect-nobodies-principal-melodyharmony-lines/

MORE TO COME!

BROTHERS-IN-BLOOD… Become One! 

OPPORTUNITY!

Complementary to the Investors ans Label-Distributors! 

Get for Free All the Profits with the Songs Hereinunder: 

Act/Performer: DAta!DAta! HITS:

Song: KISS ME AUTOMATIC…IT’S SO CHIC

Link:  http://notationsnow.wordpress.com/2007/04/23/datadata-kiss-me-automaticits-so-chic-principal-melodyharmony-lines/

Song: PROUD TO BE CATHOLIQUE

Link: http://notationsnow.wordpress.com/2007/04/23/datadata-proud-to-be-catholique-principal-melodyharmony-lines/

The songs hereinabove, supported wih the permanent flow of Pop-Rock hits and megahits, comprised on the innovative and globally viable multimedia releases, guarantee you nonstop profits!   

Please, contact us immediately  for more information of your interest at: business@megahits.biz . We will provide with substantial  answer within 24 hours.    

And now, for more basic info about GATSBY & LAUREN’S PROJECTS, keep on reading the previous  posts.

SERIOUS INVESTORS, PARTNERS AND DISTRIBUTORS: GET A MILLION SELLING BUBBLEGUM MONSTER-HIT FOR FREE!

THIS OFFER QUALIFIES  ONLY  FOR:

a)  GENUINE INVESTORS (EQUITY VCs ; BUSINESS ANGELS);

b)  SERIOUS LABEL-DISTRIBUTORS;

c)  STRATEGIC BUSINESS PARTNERS (FINANCIAL SOLUTION PROVIDERS; BUSINESS MERGERS):

OUR HIGH-END CONTENT OFFER GURANTEES  THE INSTANT FLOW OF PROFITS AND STARTING IT ALL UP AT LOW-COST!

OUR SONG AND  INNOVATIVE,WIDELY APPLICABLE BUSINESS / MARKETING LOW-COST / HIGH-END SOLUTIONS  RELATING THERETO ARE AVAILABLE FOR FREE! 

YES, TRULY  FREE! 

NOT  A FAKE ‘FREE’ !!! 

GATSBY & LAUREN, A NEW MEDIA—BUSINESS FINANCE BRAND, COMMENCES THE ARRAY OF MEDIA PROJECTS  ACTIVITY WITH  A HIGH-END, FULL-SCALE ALL –TIME CLASSIC ALBUM TITLED  ’THE WORLD WE ARE A-CHANGING’, FEATURING HITS AND ALL-TIME SONGS ELLIGIBLE FOR THE CHARTS IN THE USA, EU, JAPAN… 

LINK TO THE SONGS NOTATIONS AND STREAMING (AS OF APRIL 16,2007) 

THIS IS NOT ALL, HOWEVER!

GATSBY AND LAUREN OFFER (WITH NO COSTS WHATSOEVER AT THIS STAGE)  A TECHNO ELECTRO POP  BUBBLEGUM  MONSTER HIT  (YET SUGARFREE AND RATHER NOIR)!!!

A NEW BUBBLEGUM MEGA HIT  TITLED:‘KIS ME AUTOMATIC…IT’S SO CHIC’, AS PERFORMED BY ‘DAta!DAta!’, AN IN-HOUSE GATSBY & LAUREN ACT!

 ‘Kiss Me Automatic…It’s So Chic’ shall be available in English and German language versions. Alternatively, a ’B-Side’  song might be an anthem, turned down by the seven  Broadcast Houses for EUROSONG2007 contests,  titled  ’PROUD TO BE CATHOLIQUE!’. This very song has been  supposed to be placed in TOP5 according to HIT POTENTIAL METER software calculation of the  EUROSONG-voting paramethers!!!! 

LINK ONTO THE SONG (AS OF APRIL 16,2007)

THOSE PUBLIC BROADCAST HOUSES HAVE  THEREBY CAUSED THEIR COUNTRIES A CUMMULATIVE LOSS  AMOUNTING TO EUR200 MILLION! 

Can you afford it to yourself?  To cause the loss of profits somebody else shall for no or little opening cost  at all?

A&R people, Major Label-Distributor managers… You have made too many mistakes which the Buyer has been compensating. You have missed good acts, alloted bad acts with ultra expensive marketing campaigns…You sell imbecile  videos and dumb photo-stories instead of music, supposed to make up for creative imagination the youth are supposed to cherish and develop.

IT IS , THEREFORE, HIGH TIME  THAT ALL OF YOU GOT ABOARD THE FUTURE OF MEDIA AND MUSIC AND RELATED BUSINESS SERVICES.

React immediately! Send a mail of informative pre-interest (not obliging) suiting your business policy  to: business@megahits.biz.

We will answer you immediately.Ivan GATSBY and Isaac LAUREN 

THE WORLD THEY ARE A-CHANGIN’: BRIEF INFO UPON GATSBY AND LAUREN

Listen Now! www.betarecords.com/gatsbyandlauren

DON’T WORRY, MA, NOTHING IS GONNA BE ALRIGHT / SECRETS OF MY LIFE                 

Ivan Gatsby and Isaac Lauren, the perfect media and business profilers, besides being widely hailed as the premier  creative force, are finally honouring the public with their debut album heralding GATSBY & LAUREN MEGAHIT CATALOGUE (2007-2012), as well as their PLATINUM BY DEFAULT* e-DITION, featuring the acts, created in vitro (in-house) and developed by GATSBY and LAUREN. The acts  shall  perform the songs exclusively  composed, arranged, enginereed, produced and (co)performed by GATSBY and LAUREN.

Ivan Gatsby and Isaac Lauren are currently in the procedure of finalising their privately developed software relating to calculating the ratio of the hit potential and commercial efficiency of any song they create.

The Catalogue, a start-up IP ( Intellectual Property) asset featuring or to- feature more than 200 songs (upgradeable by 2008.) with hit and megahit potential by the parameters and logarhytms of a privately developed software engine, named for the purpose *Hit Potential Meter*, starts the string of releases to follow-up, kicking off with a to-be instant classic THE WORLD WE ARE A-CHANGIN’.

This album, currently in recording, has been propheted by those precious few who have witnessed the development thereof, to turn into an instant all-time classic and a commercially exploitable item up to it’s full capacity in years and decades to come. Gatsby and Lauren, having developed the Catalogue of potentially strong hit songs, lining up in-house act roster, as well as creating a sustainable business and marketing business designs applicable thereto, are deciding to step out into the music industry on their own, as a one-off performers.

Their albums to follow shall include TURN OF THE CARDS (2008) and (working title for the last release of the edition: PLATINUM BY DEFAULT (2009)- alternatively: BLOW-UPS ( provided PLATINUM DEFAULT title would still be used as the edition title), the latter projected to employ revolutionary voice processors (in-development at this stage).Their songs shall be performed live by the ARIEL tHE TEMPLAR, their pillar project, a stadium outfit who is expected to attain the ’social role next to Bob Dylan’s’ and The Beatles’ in the years to come.

The broad set of musical and otherwise targets Gatsby and Lauren have set thereupon, shall be by no doubt met with their unique repertoire, unifying the variety of genres and related subgenres applied thereto, the mission and and the purpose of their Project-Acts.

Up to this very point, the publicly-known outtings by Gatsby and Lauren’s were:
a) 1999: They scored TOP20 hit on mp3.com charts with their first-ever with their first-ever virtual all-girl group, namely TESLA GIRLS!
b)1978/1979: Ivan Gatsby participated in creating and arranging of a TOP10 (Germany) and a TOP20 (UK) hits, accompanied with his partner at that stage, David Stone.

c) 1989: as well as blockbustering the SEE media environment with the tabloid weekly (ST) which changed the history of Europe, desintegrated a state and introduced new values to the public perception.

Gatsby and Lauren’s story starts in 1997. when Gatsby, priorly having been hailed as a ‘grandfather of techno pop’ (1969), later to become an innovateur preceding forthcoming punk wave with a demo ‘The Laughing Hero’ (1975, recorded in London, supported by his partners David Stone aka Berndt Schneider), teamed up with a composer, performer, instrumentalist and sound engineer Isac Lauren, with aim of creating the very finest of commercial music releases ever. Currently recording in an almost state-of-art private studio (WHITELIGHT STUDIO!), demoing on their own home studio, Gatsby and Lauren are reported to be exceeding their primary goals with their opening album THE WORLD WE ARE A-CHANGIN’.

The songs derived therefrom, ‘DON’T WORRY, MA, NOTHING IS GONNA BE ALRIGHT’ and ‘SECRET OF MY LIFE’ are being streamed only on Betarecords.com and previewed/sold at Musisdock.net at the bargain price.

The album is to be followed by a Tabloid Melodic Punk project (COHEN, formely known as: THE TOUCHDOWNS) and Tabloid Techno Pop (DAta!DAta!), as well as the principal artists from their roster, such as ARIEL tHE TEMPLAR (Soft Rock/ Grand Epic/ Neo Brit Pop etc.),TESLA GIRLS! (Global Sympho Pop) and so forth.

Provided the required agreements about distribution and related issues are signed by March 21,2007, the hereinabove albums shall be issued by the end if 2007. THE WORLD WE ARE A-CHANGIN’, a soft and artsy hommage to American folk (protest and /country rock), unifies a variety of genres which Gatsby and Lauren have implemented into a unique Gatsby and Lauren’s style under umbrella term: AFTER POP / ROCK NOIR.

The songs on the album THE WORLD WE ARE A-CHANGIN’ absorb the best of all applicable genres and subgenres, blended into a unique Gatsby and Lauren’s format, not rarely counterpoiting (eg. Glam Rock vs Protest Folk harmonies), being lyrically divided (loosely) into four basic stories:
1. A young man from province, helpless, hopeless, wishing to modify the cirumstances he was born into, and seemingly imprisoned by (the songs corresponding thereto, a.o. :  ‘Secrets of My Life’;  ‘A Town with No Name’; ‘Storyteller against the Rain’;
2. Memorabilia of good ole West, fresh times, dreams we all cherished while being young and identified ourselves within parameters of the times and society (a.o.: ‘The Storm A-Comin‘; ‘Anywhere You Seem’; ‘After the Kiss…They Call Love’);
3. Welfare cause activities as once started by the KnightTemplars, followed and globalised by Masonic rites (comprised in the anthems such as, a.o.: ‘Brothers-in-Blood’; ‘Message to the People’; grand Nashville-based anthem ‘Walk on by (And Never Stop)‘;
4. Pink Floydish dark cynism,croos- collateralised with Leonard Cohen’s Jewish scepticism,both interwining through every song of the album, particurarly thru the bitter yet glamorously noble protest song ‘Don’t Worry, Ma, Nothing Is Gonna Be Alright’. As to it: ‘The Masterpiece! ‘, cried a noted 54-year old critic, after having listened to the rough-level demoes, the lyrics still having not been upgraded. ‘A Million Seller!‘, claimed the insider and manager in the music industry claimed, yet Gatsby and Lauren were fully unavailable for his offer.

Hence, the album THE WORLD WE ARE A-CHANGIN’, as well as Gatsby and Lauren’ brand, is a media/business opportunity, abundant of substance, catchy melodies and hooks, in-depth lyrics, selling and marketing unique points. The songs anyone can interpret and tailor to his/her circumstances, and at the end of day it is the album you would like to send to the space as a showcase of humankind to any extraterrestrial life on a higher mental level than we are.

‘It is like and epitaph, the highest achievement’, the critic concluded his view of what he claims, shall be a truly sensational album, one of the very best debut albums ever….
Holding hit after hit, THE WORLD WE ARE A-CHANGIN’ is destined to live for decades to come… Soft, decent, cool, genuinely sincere, a landmark of the upper style and manners. The album which provides identification.

 BEST  OF ALL, GATSBY AND  LAUREN  SHALL PROVIDE THE INVESTOR/ DISTRIBUTOR WITH COLLATERALS RANGING FROM MARKETABLE INTELLECTUAL PROPERTY; START-UP  INSURANCE POLICIES  WHEREVER APPLICABLE THERETO SUCH AS  COMPREHENSIVE GENERAL LIABILITY – HEALTH INSURANCE   -  DISABILITY INSURANCE – LIABILITY INSURANCE – PRODUCT INSURANCE – PROFESSIONAL LIABILITY (MALPRACTICE) – PROPERTY INSURANCE  AND  IF REQUIRED,  UMBRELLA INSURANCE,  COVERING ALL THE DUES  UNTIL THE FULFILLMENT OF AGREEMENT’S CONTENT.

At the end, let’s not forget to memorise the spectacular Gatsby and Lauren’s charity song BROTHERS-IN-BLOOD and the web site (www.virgin-euro.com; ceased to be active as of 2002.), both rush – released on September 13, 2001. God bless all the innocent mothers, fathers and he heroic innocent people who were the victims of the Islamic terror,the one we in Europe have been familiar with for more than 500 years.

THE WORLD WE ARE A-CHANGIN’ – Technical Data

Album THE WORLD WE ARE A-CHANGIN’ belongs to the class of high-end, extraordinarily profiled, commercially viable megalit albums containing the songs predicted to become all-time standards, as well as hits at the time of release.

Ivan Gatsby and Isaac Lauren are multitalented and CV-ed songwriters, arrangers, (co)performers, instrumentalists, sound engineers, producers, marketing and business designers, promoting new exotic financial instruments as to the start-up financing. Their talent, which has been essentially unutilised to the full limit to this date, is breaking out now with this album, rumoured to feature at least 4-5 to-be standards of modern music.

Album: THE WORLD WE ARE A-CHANGIN’

Act: GATSBY & LAUREN

Back-ups: GREGORIAN DEI CHOIR; The sound of MERSEYWIDE PHILHARMNONIC ORCHESTRA (opt.)

The genres: Cyber Acoustics, featuring Singer-Songwriters subgenres: County Sugar Pop Noir; Protest Folk Soft Rock, whererever applicable; Grand Epic, a style optimised for anthems, with the traces of BritPop

SONGS: BROTHERS – IN – BLOOD. A Grand Epic anthem, a hommage to the KnightTemplars. Originally issued on September 12, 2001 (on www.virgino-euro.com, now defunct website) as a charity hit after 11/9/2001. It is a call for KnightTemplaristic spiritual values to be adopted by every man with the goal of saving this planet from the climate and other relevant disasters threating the humankind, and to revive the White, Christian (Catholic) morals being wasted in new globalised conception of politic-driven and corporations-favoured states. A song to become a hymn to the football stadiums, and a TOP1 Ringtone hit. An identity icon! Generations’ gem!!!

ANYWHERE YOU SEEM. Eternal instrumental intro, a memory of the younger days of late 60s , 70s and early 80s. A superb matinee song., of times when we all dreamed and some still do.

SECRETS OF MY LIFE. Once you were a member of a school-rite. Then you wanted to change the world, within the limits of your unstable information opus. Very few have any chance of doing so. Once, after you have started to modify the environment, you may find out there is very little you can do on your own.

A TOWN WITH NO NAME. Locked within the boundaries of a small city in the middle-of-nowhere, listening to the folk-music celebrities, while being in love with a person who dreams of the persons in the world outta there, having no sight of any road to your town which practically does not exist on the atlas, what can you do?

WALK ON BY ( AND NEVER STOP). Being marginalised, you watch from your window in a block of Bronx people walking down the street, carrying their attaches or themselves in the carrier bags, stepping down the subway arcadium, and never coming back. The next morning, you see from your window another group of people who resemble so much of the group a day ago, walking the same direction, and never returning . Is there anything you can do, supported by the homeless people down there noone cares for? Of course, there is! You gotta just walk on by to your goal, no matter how small or great your goal might be, and never stop. We should all walk on by to the right goal, inspired by the welfare cause and we should never stop until we make it true.

DON’T WORRY, MA, NOTHING IS GONNA BE ALRIGHT. The subtle protest gem of the 21st century! Cool, hopeless, yet elegant and noble. The islamist have decided to kill mothers and innocent people, aboard of the planes, to promote and export the greatest of humanly produced dangers ever – Islam - into the territories of the Catholics, Christians and White Men. The people die… And actually noone really cares thereabout? Every terrorist has human rights. Those who have been killed don’t have any. Who is responsible therefor? What are exactly human rights? Who do the so called Human Rights refer to? And who is human, by the realistic criteria? Are the humans all those creatures made up of piles of flesh, clad in clothes, having hair, who technically look like people?

MESSAGE TO THE PEOPLE. Once upon atime, the KnightTemplars renovated Europe by the roads, Gothic buildings, cheques…They were excincted later by a French King who owed them money and did not want to return. Centuries thereafter, the groups of FreeMasons started their activities. This is a story of them…

THE PERFECT NOBODIES. You dream of achieving a social, emotional and materialistic success, whichever suiting you better. Then you open your eyes and walk the roads od many. And turn into a man every politician stands for, does nothing for, and who cannot say a word without being humiliated. Welcome to becoming a Perfect Nobody. Unless you have not been one, already. In either way, sing this song with us. And remember: Never give up if your targets are worthy. Walk on by (and never stop).

THE STORM A-COMIN’. Wild West. Heroes dead and gone, the saloon by the road virtually open. The people working on the farms. However, we all feel something is a-comin’. A storm, another storm is spotted on the horizon, black massive clouds close to the ground. Shall we survive another storm a-comin’ to us?

CONFESSIONS OF A TRAVELLER. Our Lord, embodied in the Holy Son Jesus Christ has been travelling thru our souls, and the world the Wholy Father has created, for more than 2.000 years. This could be one of his confessions, if He were physically with us, as once when He was embedded in the flesh and blood of Jesus Christ. We all should be worried at our Lord’s comments. God was thrown out of the EU Constitution. Who remained?

STORYTELLER AGAINST THE RAIN. The little city, deep down in the West, modelled at it’s creation solely of the wooden houses, is rusted and gone now. It’s been a ghost town ever since the people discovered there was no gold-mine at all around. We were proud to live in those few wooden-houses. A storyteller, the man who seemed to be writing books, but never having issued one, still lives there. And keeps record of our love, forgotten and erased by the sands. A song figuratively announcing the new album titled COMMUNICATION LOST to be performed by the Tabloid Melodic Punk outfit COHEN (known also as: THE TOUCHDOWNS) .

RESUME: The songs feature an on-going structure of catchy; hook-based melodies and harmonies, the lyrics contributing to the noblety and credibility of the product substance. Each of the songs herein posseses the quality of a standard; instant hit; all-time evergreen, which we will be discovering through the years and decades to come. The original and often lushy arrangments, unique interpretations, the genres contrasts (artglam – folk/protests etc)…

Gatsby and Lauren, although mainstream, glamourous, often luxurious productionwise, do promote AFTER POP ROCK Noir style implemented thereinto, a cynical approach (wherever it happens to be valued as tasty and semantically valid…

MAKING OF THE WORLD WE ARE A-CHANGIN’ (2) – METADATA

Ivan Gatsby And Isaac Lauren shall provide the Investor / Label-Distributor with all necessary Legal and Metadata issues, such as:

Agreement Between Members of Group.

The performing artist for the opening album are Ivan Gatsby and Isaac Lauren.They are both owners of the Artist name: GATSBY & LAUREN, in equal share (50-50). The in-house named and studio session backing perfomers such as GREGORIAN DEI CHOIR shall be paid on a fixed basis, with no any further rights as to the issue, just as any other backing-vocals to be utilised thereby.

Investors

Ivan Gatsby and Isaac Lauren shall prepare the documentation tailored and optimised to the Investor’s/ Label-Distributor’s policies. The documents on the Incestment Agreement, containing the values, exit and rights acquired therewith are prepared and shall be refined, provided so required, in order to comply with relevant State laws.

Distribution and Promotion Strategy

Ivan Gatsby and Isaac Lauren shall develop the low cost-full efficiency marketing program for each of the projects therein involved.

Copyrights, Related Rights

Ivan Gatsby and Isaac Lauren are the owners of copyrights to be comprised, as well as all the rights deriving therefrom, which creates the perfectly suitable commercial Intellectual Asset for collaterising any resource of financial support. No samples are used throughout the labum, so no Sampling clerarance is required to be obtained..

Work for Hire Agreements

Agreement of  ‘Work for Hire’ shall be signed prior to any studio and otherwise engagements with any session talent Gatsby and Lauren select hire to preclude any possible future claims by that session talent that they are owed royalties or that they have ownership rights in the masters.

Producer Agreement

Ivan Gatsby and Isaac Lauren are sound engineers, producers, arrangers. No outside producer shall be used.

Production Credits

All the production credits listed in the liner notes–for session people, producers, and others–conform to any contractual requirements. There shall be no “Courtesy Of” engagements.

Liability Releases/Permission Forms

The designer selected by Ivan Gatsby and Isaa Lauren shall create the final original artwork for the label and associated material applicable online and offline. No photograph, logoartwork under liability of the Third Party shall be used thereby.

Copyright Notices for Songs

Album shall contain the correct copyright notices for all of the songs on the record. Each song credit shall correctly state for each song the name of the song’s publisher and the publisher’s performing rights society (i.e., ASCAP, BMI, etc.). Ivan Gatsby and Isaac Lauren are their own, DIY publishers at this stage, planning to register a LTD. company titled ‘MI2 MUSIC’, to deal exclusively with commercial activities relating to the songs from Gatsby and Lauren’ s ever evolving MegaHit Catalogue.

Copyrighting Original Material

Ivan Gatsby and Issac Lauren shall comply copyrights with the best practices in the industry. They have done so using the public notary and public song timeline up to this stage. Once the Pre-Seed/Seed funds have been acquired, and the album recorded, Gatsby and Lauren shall register songs through the copyright applications for recordings and original songs.

Trademark Notices/Registrations

Ivan Gatsby and Isaac Lauren have the legal right to use the group name and label name, and hence shall consider the advantages of filing trademark applications for those names.

Obtaining A Bar Code or Universal Product Code (UPC)

Once the Album has been completed and is ready for release, Barcode and Watermark, required for tax/chart elligible selling and roayltiy payments, shall be obtained after the agreement with the Investor / Label-Distributor. Since the significant sales are anticipated, Gatsby and Lauren shall register with SoundScan and other servicers of the kind of the global level, for SoundScan compiles record sales data based on the scanning of bar codes from sales at retail stores and then sells that information to its subscribers, which include all of the major record companies.

In accordance therewith,

GATSBY AND ALUREN SHALL PROVIDE THE INVESTOR / LABEL-DISTRIBUTOR MEATADATA WHICH ARE INTEGRAL PART OF AN ALBUM’S RELEASE:

Such metadata enable the royalties expected and the payment thereof.

The codes required are: Universal Product Code (UPC): This is also known as a “bar code” and it is attached to nearly every packaged product available in retail stores. Each product has a unique 12-digit number, encoded in the bars, which are scanned upon purchase and allow for the tracking of inventory and sales. Gatsby and Lauren shall obtain the best price barcodes trackable in every region of the world.

ISRC (International Standard Recording Code): Gatsby and Lauren shall obtain this relatively new international identification system for sound recordings and music DVDs. Peter Spellman of Music Business Solutions writes thereabout: “ The 12-character alphanumeric ISRC functions as a digital “fingerprint” for each track. Each ISRC is a unique and permanent identifier for a specific recording, to help identify recordings for royalty payments. It is assigned per track, not per CD. Unlike UPCs, the ISRC is tied to the track, not the carrier of the track. No one knows which code will end up being the universal identifier for digital music tracks, but the ISRC is a good start (even though the RIAA runs the program). It’s smart to identify your recordings this way. They are embedded in the metadata of your CD during the mastering phase. Make sure you let your CD manufacturer know these codes are in your master. If your CD manufacturer doesn’t know about ISRCs, find one that does. ISRC codes can be obtained by both large and small music companies, even single artist labels. The full application process can be performed online and via email. Those based in the U.S. can download forms and get further information at: www.riaa.com . If you are based outside the U.S., visit http://ifpi.org/isrc for the information you need.”

CD Text: Gatsby and Luren shall fully provide information about the release that can be encoded as a separate file on an audio CD. It stores information like the album and song titles. When playing back an audio CD containing CD Text information on a CD Text-enabled player (usually an LCD screen), the listener will be able to read this information on the display panel. It’s displayed only on CD or DVD players, not on the desktop of most computers. One fast-growing space for these displays is satellite-radio-enabled cars.

CDDB (CD Data Base) : Assuming the imporftance of the online developing sales, Gatsby and Lauren shall provided CDDB, a database for software applications to look up CD information over the Internet, identifying CDs and tracks listed thereupon.

MAKING OF ‘THE WORLD WE ARE A-CHANGIN’ (1)

 

THE EQUIPMENT (TO-BE) UTILISED AT THE DEVELOPMENT AND RECORDING OF THE ALBUM ‘THE WORLD WE ARE A-CHANGIN’:

As a proof of professionaly developed and executed product, the studio equipment for any phase of the product development and execution, supported by relevant software, which Ivan GATSBY and Isaac LAUREN currently utilise is listed hereinunder. The list, however, displays only selection of the full-capacitity equipment Gatsby and Lauren use.

Selected list of the equipment employed thereby:

LAUREN HOMESTUDIO FOR COMPOSING, DEMOING:

1. Mackie Sound Mixer 24/8
2. Sampler E-MU ESI 4000
3. Proteus 2000
4. Alesis Quadreverb Q2
5. Lexicom 100
6. Sehnheisser Mic’s
7. Roland HD18880
8. Yamaha, Tannoy Studio Monitors
9. Tascam CD700 Recorder Master,

As well as other devices and applicable software, for the upadating and upgrading of th equipment has been a permanent process with aim of achieving the perfect professional sound within the limits of Gatsby and Lauren’ current financial capabilities.

WHITE LIGHT STUDIO EQUIPMENT:

1. Mackie D8b (x 2)-
2. Focus Right Preamps
3. TVBE Tech…
4. TL Audio Preamps
5. Lexicon PCM 91
6. TC Electronic 2000
7. Mackie Studio Monitors
8. Sony LCD Monitors (x 4)
9. Apogee WorldClock Cards
10. Mogami Cables
11. Mackie Hard Disc system
12. Cubase 3.0 Software

THE TIMELINE OF GATSBY & LAUREN’S CREATIVE PROCEDURE:

A)
Drafts of melody/harmony lines, lyrics, and related contents are rehearsed, filtered out and defined by Gatsby and Lauren through the sessions in their Sound Atellier located in a highly sophisticated urban environment.

B)
The melodies, harmonies, lyrics are synchronised, hooks elaborated in their substantial entirety, the final fixing of the lyrics, titles. The rough demoes (guitar,piano, vocals) are made, in the projected dynamics, and are processed by their private HIT POTENTIAL METER software for evaluation and possible correction.

C)
Most of the songs created are recorded in their rough shape, melody-,harmonywise. The songs of more complicated structure are demoed for the sake of refining each bit of it.

D)
Songs are recorded in the studio within the free terms, often thru the night. This is why Gatsby and Lauren would like to accomplish the deal/agreement with a serious investor/ label-distributor: to utilise their benefits as to the studio, and book it for a month at bargain price to complete the recording of album THE WORLD WE A-CHANGING’, the Choir and other bonuses inclusive, and to develop the basic tracks and sound design for ther project to follow-up, such as: 1. DAta!DAta! – Kiss Me Automatic…It’s So Chic / Proud To Be Catholique (Eurosong 2007 ex-candidate, a superb marketing story thereabout), 2. COHEN – Hallo. How Are You? / They Always Come Back / Have You Seen Anything At All, a.o. as SUPER eP (EP), announcing COHEN’s album COMMUNICATION LOST, as a Gatsby and Lauren’s issue after their debut album as producers, composers, soundengineers, arrangers, performers, marketing and business designers relating to the niche positioning of the Brand and Acts featured therein, as well as online-offline comprehensive commercial platform projected to serve the cause of product and service development and finalisation of the projects involved, both media-; and business-wise.

E)
Mastering; mixing; enrichening the song and enhancing it’s potential, placing it as magically driven anfd fully commercially viable art of commercial work.

TIMELINE OF THE MUSIC PROJECT DEVELOPMENT:

MARCH 2007:

The recording of Gatsby and Lauren’s debut album THE WORLD WE ARE A-CHANGIN’ , whose mission is to set standards of Gatsby and Lauren’s artwork, commercial targets and introduce them as credible creative and business partners referring to HIT INDUSTRIA Programe (Music; ePress, Film Development, Original books publishing, New Media investment, Media business services relating to the financial instruments used thereby etc.) as well as their business development projects, such as forming a VC company as the founder of the ‘plusBANK’, plusINVEST’ etc., the strategic project within the realm and policy of SEE countries Ivan Gatsby participated in. The recording shall be executed with the perfomance of an in-house choir, named for the purpose GREGORIAN DEI CHOIR, a 14-vocals strong unit, as well as the software featuring a well-known Philharmonic Orchestra. The lead vocals shall be performed by Isaac Lauren, backed up by a female vocals whenever so required.

Some rough drafts as to the albums covers of Gatsby and Lauren roster are displayed hereinunder:

MARCH /APRIL 2007:

Mastering, Mixing, MetaData Enabling for the album THE WORLD WE ARE A-CHANGIN’, the online site platform being developed and created, as well as the marketing materials such as video spot (Brothers-in-Blood). Singles by DAta! DAta! Recorded, mastered, mixed. Their identities created and unique marketing scheme released. The contracts with the outosourcing creative partners as to basic track/sound design under set paramethers deliverance are signed

MAY/JUNE 2007:

Recording of COHEN’s debut album COMMUNICATION LOST, following the SUPER eP issued earlier. Developing TESLA GIRLS! single ‘Summertime Cola’ / ‘Alert on Planet Earth’ , projected to be a SummerHit of 2007 around the world. Developing and recording DAta!DAta! album ONE FOREVER AFTER. Announcements of the principal project ARIEL tHE TEMPLAR are made.

JULY/SEPTEMBER 2007:

Mixing, mastering of COHEN’s and DAta!DAta’s albums, all metadata readied. Recording of ARIEL tHE TEMPLAR’s album WORLDS INSIDE (alt. FROM THE SHADOWS THEY CAME).

SEPTEMBER /DECEMBER 2007: Gatsby and Lauren display their MegaHit Catalogue, containing cca 200 songs, majority of which posses hit;megahit potential, primarily used and to be used by their in-house acts. The recording, mastering mixing of ARIEL tHE TEMPLAR’s debut album, as well as TESLA GIRLS! album AN EVENING ON EARTH, to follow relaease of AtT’s album. Marketing and business designes for TG!.

JANUARY-FEBRUARY 2008:

Development and recording Gatsby & Lauren’s second on-off album, featuring up to 16 songs, TURN OF THE CARDS. Mastering, mixing.

NOTE: Each of the hereinabove stages implements the related activities of marketing, acts’ full-capacity design, related business activities, etc.

DRAFTS OF LYRICS TO BE FEATURED ON ALBUM ‘THE WORLD WE ARE A-CHANGIN”

Note: Hereinunder are displayed rough drafts and final versions (such as, a.o., SECRETS OF MY LIFE and DON’T WORRY, MA, NOTHING IS GONNA BE ALRIGHT) of the lyrics to-be applied onto the songs being recorded or having been recorded.

The songs shall be featured on the GATSBY & LAUREN’s debut album THE WORLD WE ARE A-CHANGIN’, expected out on April 10, 2007, provided all the required arrangements have been completed.

The Album is a debut of Gatsby and Lauren’s as brand producers, performers, sound-engineers, songwriters, business and marketing designers and act developers.

The procedure of songwriting, arrangments, lyrics, and the like, is a permanently upgradeable procedure by Gatsby and Lauren’s until the final mix, for they want to utilise the finest options applicable.

Warning!: WORDPRESS is a software which never copies the fonts, structure etc. as in the original.It depends on the template,either, for some process fonts, letter sizes, graphical structure very badly.

Therefore, the lyrics you see hereinunder is just a clumpsy graphical body of the original text. There is no way to command the fonts or sizes, so we are hoping that those hundreds of ‘programmers’ will solve such an elementary problem instead of delivering complicated Tutorials.

THE LYRICS (drafts and final lyrics):

FINAL LYRICS!

(streaming on http://www.betarecords.com/openframeset.php?content=/gatsbyandlauren)

DON’T WORRY,MA, NOTHING IS GONNA BE ALRIGHT

Lyrics and Music by Ivan Gatsby and Isaac Lauren

Verse 1: No more heroes anymore / As we are driving / Our way from shore to shore / The Sun is falling, it’s getting cold / Once we tried to change the world / No more pictures in the frames / Of ‘69, and all the protest games / An’ there are no more good alibis / Dear friends, it’s time to rise

Bridge: All I want from you / Is all that I can get / The mission has been/ Already set

Refrain: Hey Hey Hey Hey/ Don’t worry, Ma/Nothing is gonna be alright

Verse 2: The people, getting board of the planes/Children waving them goodbye/ Hundred dreams will burn/ Of one-way saints with no return

Bridge (repeat)

Refrain (repeat)

FINAL LYRICS! (streaming on www.betarecords.com)

SECRETS OF MY LIFE

Lyrics and music by Ivan Gatsby and Isaac Lauren

Verse 1: I was looking for / The secrets of my life / They were searching for / The meaning of my love / Why she never came / Noone ever knew / A call in the night / There was something we had to do

Bridge 1: The world, as an empty shell / (The) Ceiling coming down

Verse 2: I was looking for / The secrets of my life / They were waiting for / A Messiah with the light / From town to town / We came to every store / Whatever we did / They would ask for more

Bridge 2: The crowds still wave / In the search of love

Refrain: What I have been looking for / Are the keys to every door / The masters you can see / In magazines, on TV

Verse 3: I was looking for / The secrets of my life / They were searching for / The meaning of my love / Why she never came / Noone ever knew / A call in the night / There was something I had to do

Bridge 1 (repeat): The world, as an empty shell / (The) Ceiling coming down

Refrain: What I have been looking for / Are the keys to every door / The masters you can see / In magazines, on TV.

FINAL LYRICS!

MESSAGE TO THE PEOPLE

Lyrics and Music by Ivan Gatsby and Isaac Lauren

Verse 1: The Masters sat in the chambers room. Then I heard somebodies’ laughter. By the light of the rising Moon. They knew what we were after.

Love. Faith. Prosperity. And the Great Architect. Followed by the men. Who tried to understand.

From the City of London.To the castle in Bel Air. Come on, come on, come on. Find the road to welfare.

Refrain: Message… Message…Message to the people, people, people. Everywhere.
Message…Message…Message to the people, people, people. Find your share

Verse 2: It’s dark now, darker than ever before. As I wander in your dream. Will they ever open the door. Only virtue and no scream. Smile. Life. And the F uture. Building it anew. With our minds. We’ll do it only for you!

I see people talking to the rain. A prophet crying in the cold. Come on, come on, come on. It is not the end of the world.

FINAL LYRICS!

BROTHERS-IN-BLOOD (Charity Hit-Song as of September 12, 2001)

Lyrics and Music by Ivan Gatsby and Isaac Lauren

Verse 1:

Towers in flame. Thousands sealed. Terorists on plane. With aim to kill.

Centuries ago. Holding the cross. The Templars sailed. Sailed with cause.

Refrain:

We are Brothers- in-Blood. In the ages of time. Staying alive.

We are Brothers-in-Blood. Down by the seas. We’ve learned to survive.

Verse 2:

Written on stone.The world going wild. We were alone.The morning they cried.

Smoke on the street. Their names on file. Madmen’s beat. Lasted for a while.

Refrain: Repeat:

We are coming back. With arms and books.We’ll always stand for you…

FINAL LYRICS!

AFTER THE KISS … THEY CALL IT LOVE

Lyrics and Music by Ivan Gatsby and Isaac Lauren

Verse 1: Nothing ever looks like it does. It’s like waiting on a late night bus. Nothing ever looks like it seems. As you parachute thru your own dreams.

You are so afraid of the (white) polar ice. As the lightning somewhere up there strikes. Nothing ever looks like it was planned. So many dances you did in vain.

Refrain: After the kiss…they call it love. In you heart. And in your mind. After the kisss…they call it love. Like in the summer. Of 1989

Verse 2: Nothing ever looks like it does. As your love is traced in the moonlight snow. Nothing ever looks like it seems. Some people there sit in the first row. Nothing ever looks like it does. As the broken hearts silently fall. Nothing ever looks like it seems. And you’ll never understand this world. At all.

Refrain: Repeat

ROUGH DRAFT!

WALK ON BY (AND NEVER STOP)

Lyrics and Music by Ivan Gatsby and Isaac Lauren

Verse 1: I lean by my window, I do it every day. See people walk down the street by somenone’s call. They go from the west to the arch of the rusted subway. And noone (ever) returns, not even when the night falls.

Bridge: An old man,’ think it was the old Cody, Cody man. He knows all the answers by the heart. He had many  thousands of  fans. And he says now ’cause he is so smart. ‘For our love. We must go on. For our love (children). We must never stop.’

Refrain: Walk on by, And never stop. Walk on by, And never stop. (Find love. Find love.)

Verse 2: Baladeers came from the storm. Like the ghost sailing to the Moon. The faces into the world were thrown.  You may get down there very soon.

Opt: Walking down the street is all they do. And every morning they do it anew.

Bridge: They have no hope, no, even not a dream. Yet the oldman whom noone sees, and all read of  in many a book. Keeps saying to all the people who, oh so so softly scream.’ Change your direction and be proud of the way you took’.

Refrain : Repeat

Optional (Opt.):

Verse 3:  Heartaches flow, people turn to stone. Every man carries a church from within. Cards of solitaire rust at home. Nothing  now seems to be real. It’s like a nightmare, not a dream .

VERY ROUGH DRAFT !!

CONFESSIONS OF A TRAVELLER

Lyrics and Music by Ivan Gatsby and Isaac Lauren

(‘It’s so dark, darker than ever before’We are all now, turning into a dot.comAnd men try to call me, by the means of cellular phone.)

Verse 1: For thousands years, I’ve been watching history. The private lives and the faith of Jews (world’s views). I followed every soul,’n’ tried to make them see. Blinded by (the) Dark Ages, and now by the Breaking news.

Refrain: With angels I’ve travelled for so long. Thru the play people tried to create.Taken by the weather now.It seems I’ve come down too late.The galleys awaiting by the shore. Of the knights you never to pray for.

Verse 2: I was away for too long. People have done so many things wrong. How long will it take, before you’ll understand. That the Captain lost his way. But he will come back from the sand.

Verse 2a: My Father let them grow, and tried to make them free. Yet I do feel wars, and a lack of any prays. Some prophets came here long after me. Causing the Earth’s last days.

Refrain: Repeat

Verse 3: I watched many a loser, and many a TV show. Joys of gay boys, and listened to the radio.I saw many a cowboy, and I liked them quite a lot. Not a crazy English king, murdering all of his wives. Getting my church out, to save his own plot.

Refrain: Repeat

Verse 4: Knight Templars. Noone ever talks of them now. Back in their time, they followed their star.And now it is your duty ,to spread the truth out.Now when when life is so near, and everything else so far.

ROUGH DRAFT !!

THE STORM A-COMIN’

Lyrics and Music: Ivan Gatsby – Isaac Lauren

Verse 1: Now,the last heroes open the door. Of a saloon on the long and winding road. For so long having been closed. And for so long being gone. Every ghost having come  there. They are  still comin’  so alone. In the world they hardly knew. There is nowhere (else) they can go to. Recalling the times they knew so good. And all the the chords they understood

Bridge: Find a way. A place to hide. Find the way. When the wind blows. Stand up again (keep your pride). Against the storm that’s a- comin’

Refrain:  Are there any reasons to live any more. Are there any reason to be so sour. Is there anything we can do. For our country and My Lord, for you.

Verse 2:  The saloon’s been closed for so long. ‘The myth is over’, the barman just said. Now and then we we can only hear a song. Wyatt and Doc have been long dead. Life here is not kind, you may return home. After the storm is gone.

Bridge:  Mark you way. As they are riding in the rain. Find your way through. If you wanna meet them all again. The storm is a-comin’. An’ their faith is due.

Refrain: Repeat

Verse 3:  A farmer says, ‘The wind’s turning wild’. ‘We’ve used to be good people’. An’ used to work hard’. We have done it for our wife and child. We just pulled out the wrong card. No there is no mirror and heaven. Don’t understand why there is much fuss. No secrets of number seven. Just the storm a-comin’ to us.

Refrain: Repeat

FINAL LYRICS (updating possible)

ANYWHERE YOU SEEM

Lyrics and Music by Ivan Gatsby and Isaac Lauren

Verse 1:  ‘All for One’ was our dream. United heroes on the scene. Dancing away anywhere you seemed. As we were stumbling in. None of us was wrong that night. (As) Long as I could see the light. Diamonds are forever, I know. Double feature and the Picture Show.

Refrain:  Can you hear me crying ? Can you hear me crying out? We are sealed under, under the cloud. And I am gonna dream for everyone. Anywhere you seem. In the wind.

Verse 2:  You’ve got a friend, you always knew. Guitar Man was always meant for you. Wind of Change was then somehow true. To a man, coming Out of Blue. More Than a Feeling was the rhyme. Of souls lost in the bridge of time. Waking up is so hard to do. And this song is only for you.

Refrain: Repeat

VERY ROUGH DRAFT !!

THE PERFECT NOBODIES

Words and Music by Ivan Gatsby and Isaac Lauren

Verse: We’ve been (the) Perfect Nobodies. The politicians always play with. And whom noone ever sees. Yet we’ve changed the world from behind. Using our hands . And by the force of our mind. When the night is gone. Comes the end of a tale. There is noone else we can lie to. As dawn breaks. And our faces look so pale. With amibitions ruined. It’s time to face the truth.

Bridge: We’ve never stolen any money. From a man or a state. All the time it must’ve been funny. Now we find it out, now when it is too late

Bridge 2: There is noone in us to save. Noone will ever cry at our graves.

Refrain: There are no headlines. And there are no stories. No gossips or lines. No joys or worries. No melody or just a simple beat. About us. The people from underneath. We are the Perfect Nobodies

Verse 3: The midnight has been passing by. It’s snowing now but it’ll all soon be dry. People wander, stepping out from the dark. Witho no idea of tomorrow. Or any new Arc

Bridge: They watch shows and TV news. They vote shut down in their blues.

Refrain:  Yet we are the Perfect Nobodies. Perfect Nobodies for all times. We are the Perfect Nobodies. Living our life between the lines.

ROUGH DRAFT !!

A TOWN WITH NO NAME

Lyrics and Music by Ivan Gatsby and Isaac Lauren

Verse 1: Life was so hard to live. No time to go and dreamweave. Just the work. In a town, a town with no name. No talk of wealth or a fame. Tamed by the duties, we had to do. I wished on a star, and I wished only for you. Far away, far away from any road. Wanted to flee out, just couldn’t dig the code.

Refrain: Tell me,why are you so good now? Tell me, by the sound of our crow. How long, shall we live in a town with no name

Verse 2: The pockets empty, we had to try. We waited, and none of us ever cried. It was shame. We just got rusted. Wrapped up, with the load of our lies.

Refrain: Repeat

Verse 3: Locked down, in our valley. Shadows on, we climbed the tree. Maybe out, out there in the world. It would be better. If only we could find the road.

 

 

 

 

 

 

 

VERY ROUGH DRAFT !! THE SONG SHALL BE A CONCLUSIVE PSALM-LIKE RECITAL,

ANNOUNCING, A.O., THE NEXT PROJECT BY GATSBY AND LAUREN

STORYTELLER AGAINST THE RAIN

Words and Music by Ivan Gatsby and Isaac Lauren

There was a man I hardly ever knew. Once he brought a purple bouquet, And left it to the lady who pefectly sewed. I never knew who that man was. The lady told me about his reasons and a cause, An’ I could not beleive that was true. In our city of people mining for the gold.By the rain, snow, draught and early in the dawn. There was a man coming with blizzard and water cold. Noone else ever came afterwards, And even fewer left their homes. My mother told me when I was only four. Fly the plane with your hands, use your mind. Think it is all real and you will open the door. At a place of the corner, Or some place in our city behind the time. Nothing ever happenned there that I saw.

They mined and mined and never found out, What they were looking for. Other drank bottles into dusk, And the women always feared to show. And noone wrote us a letter from out there,

Somewhere in the world. I loved you so much that I could say. I loved your body and what you failed to do. The storyteller landed from the stardust. And he started writing about someone else’s love, And he wrote about you. He wrote that our love was too immense to fake. And he never wrote a word thereafter. He just closed himself in a house with a mistake. And all we could hear since then was just his laughter.

 

 

Refrain: Framed within realities of the slum. He started all over again. This a story of the storyteller against the rain. Rising our world to other level. Then he was claimed insane. Storyteller against the rain.The drops coming out. And falling down. Washing away his name.

He was a storyteller against the rain.We could see more of him. When he could not think of fame. Maybe he sank in his last dream.

Verse: He used to be in the war, then with Salvation Army order. He saw the kings on the throne and the ladies beneath. He never lived his life but his books started folders. They had never told him if it was a miss or a hit. He was writing lines of the bones. In the graves of some other people who hardly ever lived.

He was researching the files of the precious stones.Some other people held and would never give. One day he made a snowman out of the mud, He made him out of his pain. Then he lay in his house for ages afterwards.The only time he would go out was against the rain.And noone was sure if it was by the ordeal or by reward. The roads emptied, the houses died. And people left the place.

Everyone stopped living there anymore. But the man who came out against the clouds of disgrace. I hear he now lives in a saloon on the first floor. He writes on the empty sandy road,About the band to come out with a drum and so on. He wrote that this would be great, But he never wrote anything else until the next storm.

I still love you more than you could ever know. We moved to some other town but nothing has changed. People go to mine wherever the other waters flow.The peace never stops but everything is the same. My life has gone by,and I want to read a novel and a story.

Where is the Storyteller who wrote phrases of you and me. A few chapters oh how we were happy about and how we worried. This is all what some lonely people from next generations will see. And I still think of how the Storyteller. Lined up against the sky.He must’ve known the secret of our lives. But the rain certainly erased his words,And thoughts he sent to the sky.

Now paper covers a torn out street without a single line.

STORYTELLER AGAINST THE RAIN: Draft Recital PALE SORT OF BLUE

No money to pay bills come due. Ghost faces soaring in the living room. I can’t see any door out. The path guiding me to you. Lost and confused,my life turns to stone. I locked my self in a church. I was alone there with Jesus above the altar. Then I locked the church within. And i spoke to the Heaven.Twenty-four hours a day.

It was like an interview. About what was I had been through.

Ref: My Lord, are you still trying to figure out. What belongs to me and what belongs to you. We both know know there is no way out. Of this pale sort of blue.

Verse: I saw a man talking to himself. On the street after the Sixth Avenue. Then I heard a woman behind the window. Speaking holy words of love and fidelity. I looked upon the board.And there was noone with her…

ONLINE MUSIC SALES EXCEED USD 1 B in 2006

2006 U.S. Music Purchases Exceed 1 Billion Sales

Source: Mi2N (www.mi2n.com) 2007-01-14

Nielsen SoundScan, the entertainment industry’s data information system that tracks point-of-purchase sales of recorded music product, Nielsen BDS, the music industry’s leading music performance monitoring service, and Nielsen RingScan, which tracks mobile ringtone purchases, have announced their 2006 U.S. year-end sales and airplay monitoring data for the 52-week period January 2 through December 31, 2006.

OVERALL MUSIC SALES (01/02/06 – 12/31/06)
(ALBUMS, SINGLES, MUSIC VIDEO, DIGITAL TRACKS – IN MILLIONS)
UNITS SOLD 2006 2005 % Chg.
1,198 1,003 19.4%

TOTAL ALBUM SALES (01/02/06 – 12/31/06)
(INCLUDES CD, CS, LP, DIGITAL ALBUMS – IN MILLIONS)
UNITS SOLD 2006 2005 % Chg.
588.2 618.9 -4.9%

DIGITAL TRACK SALES
(01/02/2006 – 12/31/2006 – SALES IN MILLIONS)
UNITS SOLD 2006 2005 % Chg.
581.9 352.7 65%

OVERALL ALBUM SALES (01/02/06 – 12/31/06)
(INCLUDES ALL ALBUMS & TRACK EQUIVALENT ALBUMS – IN MILLIONS)
UNITS SOLD 2006 2005 % Chg.
646.4 654.1 -1.2%

INTERNET ALBUM SALES (01/02/06 – 12/31/06)
(Physical album purchases via e-commerce sites, In Millions)
UNITS SOLD 2006 2005 % Chg.
29.4 24.7 19.0%

DIGITAL ALBUM SALES
(01/02/2006 – 12/31/2006 – IN MILLIONS)
UNITS SOLD 2006 2005 % CHG.
32.6 16.2 101%

2006 GENRE ALBUM SALES REPORT
(01/02/06-12/31/06)
—————————————————————–

Genre 2006 2005 % Chg.
—————————— ———- ———- ——–
Alternative 109,672 120,797 -9.2%

Christian/Gospel 39,715 39,211 1.3%
Classical 19,447 15,875 22.5%
Country 74,886 75,327 -0.5%
Jazz 15,720 17,139 -8.3%
Latin 37,774 35,907 5.2%
Metal 61,557 64,473 -4.5%
New Age 3,412 4,412 -22.7%
R&B 117,005 143,392 -18.4%
Rap 59,534 75,062 -20.7%
Rock(a) 170,726 NA
Soundtrack 27,177 22,849 18.9%
(Note: Titles may appear in more than one genre.)
(a) Rock was a new genre in 2006.

CURRENT VS. CATALOG ALBUM SALES
(Sales In Millions: 01/02/06-12/31/06)
———————————————————————-

Overall Albums 2006 2005 % Chg.
———————————— ———— ———- ———
Current 363.9 389.4 -6.5%
Catalog 224.2 229.5 -2.3%
Deep Catalog 158.2 157.5 0.4%

Physical Albums: 2006 2005 % Chg.
———————————— ———— ———- ———
Current 345.3 379.8 -9.1%
Catalog 210.2 222.8 -8.1%
Deep Catalog 148.4 152.7 -2.8%

Digital Albums: 2006 2005 % Chg.
———————————— ———— ———- ———
Current 18.6 9.6 93.7%
Catalog 14.0 6.7 108.9%
Deep Catalog 9.8 4.8 104.2%

2006 YEAR-TO-DATE RECORD COMPANY MARKET SHARE
(1/02/06 – 12/31/06)
(reflects the market share for the entire entity, including sub- distributed companies)

TOTAL ALBUMS (Catalog & Current Titles)
CURRENT ALBUMS CATALOG ALBUMS
————————– ——————— ———————
2006 2005 2006 2005 2006 2005
—— —— —— —— —— ——
UMG 31.61% 31.71% UMG 34.37 34.82% UMG 27.14 27.72%
BMG 11.95% 11.78% BMG 13.71 13.16% BMG 9.08 10.54%
SONY 15.49% 15.67% SONY 14.42 14.55% SONY 17.23 15.77%
SONYBMG SONYBMG SONYBMG
Total 27.44% 27.45% Total 28.13 27.71% Total 26.31 26.31%
———— ——- ——-
WMG 18.14% 17.28% WMG 16.85 16.02% WMG 20.25 20.66%
EMI 10.20% 10.38% EMI 9.23 9.21% EMI 11.77 12.14%
OTHERS 12.61% 13.18% OTHERS 11.43 12.24% OTHERS 14.52 13.17%

2006 YEAR-TO-DATE RECORD COMPANY MARKET SHARE
continued…(1/02/06 – 12/31/06)
(reflects the market share for the entire entity including sub- distributed companies)

DIGITAL ALBUMS DIGITAL TRACKS
———————————- ——————————-
2006 2005 2006 2005
——– ——– ——– ——-
UMG 27.35% 29.78% UMG 32.96% 33.27%
BMG 10.25% 11.75% BMG 12.21% 13.22%
SONY 13.75% 12.47% SONY 13.45% 13.39%
RSONYBMG Total 24.00% 24.22% SONYBMG Total 25.66% 26.61%
————— ————–
WMG 23.29% 21.57% WMG 19.69% 18.26%
EMI 9.99% 11.44% EMI 7.93% 7.84%
OTHERS 15.37% 12.99% OTHERS 13.75% 14.02%

Year End Factoids:

* Overall music purchases in 2006 exceeded the 1 Billion sales plateau for the second consecutive year; 1.2 billion (2006) vs. 1 billion (2005).

* The last two weeks of 2006, music sales exceeded 47.4 million (week ending 12-24) and 45.0 million (week ending 12/31), representing the 2 biggest weeks in the history of Nielsen SoundScan. The previous record was Christmas week 2005 with 44.7 million music purchases.

* More than 580 million digital tracks were purchased during 2006, an increase of 65 percent over 2005.

* In the final reporting week of 2006 (12/25/06 – 12/31/06) the following sales records were broken:

-- Digital track sales blew away the previous sales record with a new record high of 30.1 million track sales (previous record was 19.9 million, week of 12/24-1/1/05).

– Digital album sales reached the 1 million plateau for the first time with sales exceeding 1.2 million (previous record was 12/24/06 with 855,000 sales).

– Beyonce’s “Irreplaceable” track sets the mark for the biggest selling week for an individual Digital Track, with sales of 269,000 (previous record was Justin Timberlake’s “Sexyback” at 250,000 sales).

– Three different songs broke the previous mark for the biggest selling week for a Digital Song (combining all versions of the same song) with Fergie’s “Fergalicious” setting the new record with sales of 295,000. Both Beyonce’s “Irreplaceable” (269,000) and Akon’s “Smack That” (252,000) had greater sales than the previous record set by Justin Timberlake’s “Sexyback” (previous record was 250,000 sales).

* Rascal Flatts was the biggest selling artist, with nearly 5 million physical album sales and nearly 4 million digital track sales.

* “High School Musical Soundtrack was the top-selling album of year with sales exceeding 3.7 million units. The first Soundtrack to sell more than 3 million units in a year since the 8 Mile Soundtrack in 2002, and the first time since 1998 that a Soundtrack was the best selling album of year (Titanic Soundtrack – 9.3 million).

* For the first time, a Digital Song broke the 2 million sales mark in a year: “Bad Day” by Daniel Powter (2,015,000)

* 22 Digital Songs exceeded the 1 million sales mark for the year compared to only 2 Digital Songs in 2005.

* Internet album sales reached a record high of 29 million unit sales; an increase of 19% over 2005 sales total.

* 41% of all albums purchased were at a Mass Merchant outlet compared to 40% in 2005 and 38% in 2004 (35% in 2003 and 34% in 2002).

* Chain music stores accounted for 41% of all album sales, compared to 45% in 2005 and 48% in 2004.

* Independent music stores accounted for 6% of all album sales compared to 7% in 2005 and 9% in 2004.

* Non-Traditional music outlets accounted for 12% of all album sales, compared to 9% in 2005 and 5% in 2004 (4% in 2003).

* Latin music sales exceeded 37 million units, breaking the previous sales peak of 35 million in 2005. Latin album sales grew 5% from 2005.

* Both Soundtrack albums and Classical albums gained in sales, up 19% and 23% respectively.

* Overall Album sales (including Albums and Track Equivalent Album sales) declined 1.2% compared to 2005.

* Total album sales declined 4.9% compared to 2005.

* Consistent with the previous two years, 20% of total album sales occurred during the Holiday Season (last 6 weeks of year).

Nielsen Broadcast Data Systems (Nielsen BDS), the music industry’s leading music performance monitoring service, has announced the most played songs at radio, at video, as well as Internet music streams for 2006.

Nielsen Mobile (Nielsen RingScan) has announced the Top Selling Mastertones (partial year) and Polyphonic ringtones for 2006.

MUSIC BUSINESS DATA FOR INVESTOR (1)

Data hereinunder are selection of the copyrighted data referring to the practice in the music industry. The sole purpose thereof is educative, therefore the data are being used in fair practice. The links to the selected  sites are listed within the ‘LINKS’ area of this blog, and the visitors to this blg are strongly advocated to read the web sites pages and information therein to complete his/her understanding of what music business is,and how it functions. Original grapgics of the texts/tables displayed hereiunder affects the elegant visual expereience of this blog as a whole, but the essential purpose of this blog and alternatively the offer is to fully and in-depth  inform any investor not familiar with the practice of the music industry.  

“COST STRUCTURE OF MUSIC BUSINESS AND ALBUM (CD) RELEASE:

1. Calculation for a pop album

(sponsored by the AMM Music Group)Based on very decent sales in Germany – other countries have similar costs (but scaled to the sizes of these markets).The assumption behind those figures is that the musician is locally known or extremely promising, but not established yet.

Item	Cost in US-$	Remarks
Studio cost and advance for musician	60,000
Basic minimal administrative expense	10,000	very variable depending on company size and structure, mainly personnel costs for meetings, sales meetings, planning.lawyers etc. .. calculated for a large company
Radio , TV and print promotion	30,000	on the low side
Video clip and presentation video	120,000	(for 2 clips)
Photos and other PR materials	5,000
Cover design	5,000	can be lower for smaller companies etc..
Print advertising campaign	150,000	(music magazines, some teenie magazines some general interest magazines etc.) very variable – but could range from anywhere between 60,000 to 1 Million
Point of sales advertising campaign	20,000
Radio- and TV advertising and co-operative campaigns	160,000	can be much higher – or smaller
Posters and tour support	70,000
Total basic investment:	630,000	of which 185.000 can be shared for several countries, since they are the basic album recording and video investments

Lets assume that the album sells about 100,000 copies – which should (if the timing is right and everything is happening exactly at the right time) also mean that the album reaches a middle chart position sometime during the first year of sales for a few weeks minimum.In this case the income and costs will look like this:

Item	Cost	Remarks
Income from sales	1,300,000	taverage price to retailer in Europe at US-$ 13.00
Income from radio airplay	20,000	about 1,650 broadcasts at US-$ 6.00 per broadcast (this would not apply in the USA, since the record company/label does not get anything from US-aiplay)
Total income:	1,320,000
Manufacturing	- 130,000	110,000 units (since promotion copies etc. have to be made .. and there will be about 10% over-manufacturing, because some CDs will be returned
mechanical royalties to composers and publishers	- 130,000	some might go to the performing musician if he is also composer on some songs
Royalties to musician	-10,000	can vary a lot – but assuming 10 % of PPD (US-$ 13.00) minus the advance paid – the advance being the costs of recording and at least half the video .. the royalties would be 130.000 – but half of the video and the full cost of the record master tape are deducted, so the musician get only US-$ 10,000.00 as payment
Distribution cost	-350,000	manpower, wharehousing, sales – administration, transportation etc. based on the calculations of pure distributors about a 27 % of the sales income is cost of these factors.
Miscellaneous charges	-10,000	internal administration, accounting etc..
Interest on investment	- 70,000	10 % interest payment on investment plus some financing costs
Total costs:	- 700,000
Income:	620,000
First year profit/loss	-10,000	Operational income (if the second half of the video cost is seen as cost)

The investment is not recouped completely so far – but will make a small profit with the sales in the following years. But this investment is not interesting – unless the album can be sold in very good numbers in other countries too.
About a third to 50 % of the well-marketed albums with budgets like these only reach these numbers. Another 25 % of albums with this kind of marketing budget will not even sell these numbers – and about 25% will sell much better. In a case as this example, the real money will be made by the rights in future uses and further sales. It will be OK, but not great.If the next album by this artist is selling twice as many copies at the same investment in marketing – or the next album sell at least as many with a much lower investment in advertising and other marketing expenses, the overall project could become profitable – even if it is limited to one country as large as Germany.
If the artist can be established, then additional income can be generated from the use of the songs in compilation albums.So farit is clear that everyone will make a bit of money from his work or investment, but not a lot – in contrast to the usual opinion of music journalists. Actually, the musicians who worked on the album for a flat fee have typically made a good income for their time, the star and the record company did make almost nothing. If the album has a chance to be sold in other countries, then it will definetely make money – but it will make decent profit margins like in any other normal activity – and not the excessive ideas of profit that people think is being made in music.As can be seen, the risk is rather high – it is not as risky as films (where you hardly make any money if the film does not really hit big in the movie theatres and the investment in marketing is extremely expensive too), but still quite risky. The success chances for albums with marketing budgets of this size is considered currently to be about 25 to 30 % with high quality musicians that can actually play live.Success means in these cases that the albums reach more then 200.000 album CDs – and in these cases they are very profitable as can easily be seen.On the other hand most albums are released with much smaller budgets (for marketing) or with good-looking but incompetent musicians as stars. In these cases the chances for an economic success are normally considered 10 % (often at a lower level though) – but personally I would rate the chances in these cases as even lower – probably about 5 %. People only loose a bit of money in these cases – but they can almost be sure to loose it. To have a chance to have successfull project in Pop, Rock or Hip-Hop means serious business.If a product is not competitive with the best worldwide, then it should not be there on the market under todays circumstances. For new musicians or amateurs the best way to test their potential is to just do their album on their own and try to sell it at concerts. There are some companies that will also handle such projects – but most of them will not tell the musicians the real situation, instead trying to convince them of their great potential – just to make a few bucks as convinience record labels. These always end as financial disasters (mostly for the musicians).By the way – these values are the results of statistics of the IFPI chapter Germany and a private study of our company about the marketing expense and the chart positioning and approximate sales figures for new album CDs in the years 1997 and 1998. Some data sources are confidential – and most are commonly available by tracking announced marketing campaigns in “Musikwoche” and “Musikmarkt”, correlating them with the media advertising buying prices – and checking the results of the campaigns. (the latter data are not commonly available).The overall situation is one of the reasons that record companies are pressing for several things today:

• higher income from radio (radio profited most from very low rates for giving music away) Probably the first step to a better situation will be the Europe-wide adoption of the rate of income from rate that is paid in Ireland today – 9 % of the radio stations income goes to the music business. (according to Fiancial Times data) versus typically 2% to 4.5 % in most other european countries
• Strong fight against CD-R copies – or the introduction of an acceptable fee for these
• No theft of music with MPEG-audio files

2.

Is This A Business Or A Game?

By: Allen Johnston, The Music Specialist (Contributor) 2006-03-19 Karl, the owner of Show Off Records, has made a lot of money. He has worked long and hard to obtain and maintain his money, family, lifestyle and power. Now he believes in the American dream and feels that his “crew” is beyond a doubt the most talented group of producers and rappers in the game. He forms Show Off Records and is determined to make his label the greatest Rap label in history. He calculates and determines that the yearly SOURCE Awards in Miami is the place to launch his label, so he makes sure that he is prepared. He first buys a full-page ad in the Special Awards issue of the SOURCE magazine and two Platinum tickets each for himself, his partner and three artists. Now he is guaranteed a chance to walk the red carpet and sit near the front of the auditorium. He buys two used motor coaches to transport his 60-member crew in, rents a mansion on “Millionaires Row” for three days to house part of his crew and to have a place to hold an exclusive private party. Knowing that the real ballers need to be seen, he rents five rooms at the Loews hotel for three days just for himself and four trusted lieutenants. His three acts must look good, so he gives each act a clothing allowance budget and sends them out to shop. Having seen how the greatest rap artists party, he rents the VIP room at the hottest clubs in town for three nights and makes sure that he has plenty bottles of Moet, Grey Goose and Dom available for his guests. He has setup performances by each of his acts every night, and partnered with the club owner to have a major recording artist “after party” in the club while he hosts their VIP area. Within his crew are his Street Team members, who will drive two wrapped vans around the event and make sure the city is saturated with flyers, posters and mix CDs. His lieutenants have visited the main strip clubs in Miami, and now he knows that he will have beautiful people at his private party. His party plans are a huge success, and he now knows that his label will be the talk of the weekend.

Let’s look at his total expenses:

Transportation: Motor Coaches: $100,000
Drivers: $1,600 (per diem, driving charge)
Gasoline float: $500
Additional cars: $10,000 (2 used Wrapped Vans)
Gasoline: $250
Parking : $150

Housing
Mansion: $15,000
Hotel: $4,500
Club Rental:$15,000 (3 nights $5,000 each)

Food
Mansion: $2,000 (2 cooks in crew)
Hotel: $1,250 (room service charge)
Club: $1,500 (VIP snacks)

Liquor
Mansion: $2,000
Night Club: $6,000 ($2,000 per night)

Promotion
Street Team: $1,500 (hotel, food, misc.)
Flyers: $3,000
Posters: $1,200
Mix CDs: ($10,000)
Source Ad: $10,000 (full page color ad)
Radio Advertising: $5,000 (3 days on 2 stations)
Artist Clothes: $9,000 ($3,000 each)

Entertainment
Platinum Tickets: $30,000 (10 x $3,000)
Limo: $1,000

Shopping
Clothes: $6,000
Jewelry : $12,000 T

TOTAL: $245,950 This does not take into consideration studio costs, producer fees and individual artist costs. What has Karl received for his money outside of a wonderful, fun-filled weekend in Miami? Ř Show Off Records’ name has been blasted over the radio every night, but none of the Show Off Records music has been played. Ř Hip Hop Industry attendees and some Miami fun seekers now have copies of the Show Off Records mix cd, which they may or may not listen to. Ř Some industry notables now understand that Show Off Records throws a mean VIP room party, and a few may have even seen there acts perform in the club. Ř Karl has personally met a few major recording artists, but doesn’t know their management team, booking agent or record label executives. Ř The majority of his promotional materials have found their way to Miami Beach & Miami Dade County Sanitation Bureau because his material was just one of several hundred labels’ material that was promoted during this weekend. Ř The organizational structure of Show Off Records has not been created; there are no products ready for sale and no plan to create either.If Karl has an accident or for some unforeseen reason cannot function as the head of the label, who will take over and save his investment? – The creation of a written document outlining the agreement among partners should have been one of the first things he did. - Next, the organization of his office environment should have been instituted where all mailings, billings, invoices and correspondence can be collected, sorted, acted upon and filed. – A central phone number and a computer-based office system should have been formed. How will he keep in contact with the many different individuals and companies he and his crew have come in contact with? Ř Incorporation of the business will give Show Off Records the tools needed to create a corporate bank account, savings certificates and a corporate credit card. Additionally, it will also give him the basis for paying his taxes and the ability to keep open and honest legal documents. - The entertainment industry is based on communication, so a strong, ever-increasing database of radio, retail, publicity and industry executives should be started. Every good song needs distribution, and in order to obtain a decent distributor, Show Off Records should have an established marketing and promotional plan available with some type of radio or club play prior to acquiring distribution. Most important of all is the staff that Show Off Records must utilize to accomplish the type of marketing and promotion they will need to place product into the mainstream. Ř Staffing should consist of a primary industry professional (consultant), an office manager, and at least three office workers, all who should be computer literate. - Duties will include: communication between retail, radio, pools, clubs, publicity and industry contacts on a weekly basis; the ability to get promotional product out and to follow up on the product sent; the ability to get information on upcoming shows, festivals, events, parties and station promotions, disseminate it to the staff; and keep the lines of communication open between record label and ALL others. Unfortunately, what I am finding more and more of this the young entrepreneur who really only desires the fame and popularity associated with the entertainment industry, and not the basic business acumen needed to initiate and maintain a viable entertainment business. “BALLIN” has become a game of one-upmanship to see who has the brightest “iced out jewelry,” the biggest most expensive cars, and the latest fashions, who can market themselves into a major deal, yet not have any professional team available to maintain a deal. Recently, I spoke at a conference and during a private networking session, I was asked how to just “jump over” all that old fashioned business and go directly to having a major record deal. My response was that it would be really easy to do if you have met someone in the position of power at the major labels that wanted to immediately sign you and spend their money on making your career. The only issue I can see would be how you would keep a deal of this magnitude without chosen individuals around you that know the business, have connections, and will work on your behalf to ensure your continued success and well being. In other words, where is your trusted team? Why not develop the business structure you will need now, acquire your trusted team, develop your database of industry connections, and prepare yourself for success?

Here is a basic Record Label startup expense sheet based for a six (6) month plan. The difference between the two expense sheets is phenomenal. Office
Rent: $9,500
Lights: $1,200
Multi phone line with paging/intercom/hold system:$3,000
5 lines with account codes: $1,500
DSL: $600

Hardware
Microwave oven: $200
Coffee Pot: $50
Stereo system: $1,000
DVD system with monitor: $1,000
Copy machine: $250

Computer 5 each, $5,000
Pentium 3 or better
40 gig hard drive
17” monitor
Laser printer
Multi function printer/flat bed scanner/fax
3D accelerator
Sound cards with speakers
Microphone Video camera
DVD/CD player
DVD/CD burner
Server system for marketing, promotion teams

Software
Microsoft Office XP Professional: $800
Right Track royalty/accounting: $3,000

Salaries
Professional Consultant: $50,000
Office Manager: $19,500
Office Workers (3): $39,000

TOTAL: $142,600 This does not take into consideration studio costs, producer fees and individual artist costs, but now you still have money to create product, test it, sell it, market and promote. So my question becomes, IS THIS A BUSINESS OR A GAME? Why venture into the entertainment industry if what you really want is your personal 15 minutes of fame? The duties of a record label are to produce, manufacture, market, promote, sell and collect monies on the music that is created by the company. Anything less is not a record company!

3.

Digital music is moving into the mainstream of consumer life

John Kennedy, Chairman & CEO, IFPIThe biggest challenge for the digital music business has always been

to make music easier to buy than to steal. At the start of 2005, as the legitimate digital music business moves from a niche market into the mainstream of consumer life, that ambition is turning into reality.As the IFPI Digital Music Report 2005 report testifies, 2004 has seen an amazing change in the digital music landscape. And the market will grow apace in 2005. Here are some key highlights from this report:· Record companies have digitised and licensed over a million songs. In 2004 the available catalogue on the biggest online services doubled from around 500,000 to around one million tracks · The number of online services where consumers can buy music has increased four-fold to more than 230 worldwide – and over 150 of those are in Europe · Services like iTunes and Napster have become household names internationally – but local repertoire services in many countries are also developing fast · The digital download market is growing geometrically – in 2004 downloaded tracks rose more than ten-fold to over 200 million in the US, UK and Germany combined · Record companies have seen their first year of significant revenues from digital sales – from practically zero to several hundred million dollars. Jupiter thinks this will double in 2005 · Digital sales could rise to as much as 25% of total sales in five years, according to some record companies and third party analysts · Consumer attitudes are changing – the latest IFPI European survey shows increasing awareness of, use of, and intentions to use, legal download services Legitimate online music services have done what some thought only a year ago was unthinkable: they have proved that they can take on the unauthorised free alternatives. Online music today offers unbelievable value for the consumer: for 99 cents in Europe – the price of a loaf of bread, a bus fare, a can of Coke – you can download a piece of music that will stay with you for life. For those who claim they took music for free because there was no digital legal alternative, there is no longer any excuse.However, making the catalogue available is only one side of the story. We can’t just promote online music, we have to protect it as well. Today’s legitimate digital music market is evolving in such an extraordinarily adverse climate that it is almost a miracle that it has been able to grow at all. What other business has had to break into a 100% pirate market?Anti-piracy enforcement is a critical part of the recording industry’s digital strategy. And it has proved an effective one too. By sending the simple message that unauthorised file-sharing is illegal and could lead to significant financial or even criminal penalties, we are helping to create the breathing space the legitimate services need. In 2004 the industry launched over 7,000 legal actions in North America and Europe. There will be a lot more cases in more countries in 2005.As an industry we are embracing technology on one hand while fighting the abuse of technology on the other. The start of 2005 sees record companies discussing with technology firms the best way to harness peer-to-peer for commercial use. If a legitimate and viable commercial business results, based on the payment and permission of right holders, this could be a very exciting development for the online music business in 2005.Another major development will be the wider consumption of music on mobile phones. Some estimate that 50% of mobile content revenues will be from music.One important problem that hinders growth of the online music business is the lack of interoperability between services and devices. The danger is of wide-scale consumer confusion and wasted opportunities in a market which has extraordinary growth potential. There is no easy solution, but all players in the online market need to work harder to solve this problem in 2005.If 2004 was the year record companies digitised and made available their repertoire in bulk, then in 2005 our industry priority is simply this: we must market, promote and sell music, for download, hire, subscription, wherever and whenever we can. Record companies want to license the music – to as many services, for as many consumers, on as many formats and devices for use in as many places and countries as they can. There are straightforward conditions: the business must be legitimate; the music must be correctly licensed by its rightholders, and record companies and other right holders must get properly paid.I am confident that in twelve months’ time the digital music market will have grown very significantly around the world. A sector that currently accounts for a very small percentage of the industry’s revenues is poised for take-off in the next few years. At long last the threat has become the opportunity.

© IFPI. All rights reserved.

4.

The Digital Music Report 2006 – Facts and Figures

Copyright: IFPI

19 January 2006

Record company revenues (trade revenues) reached $US 1.1 billion in 2005 showing a threefold increase on 2004 ($US 380 million).
Digital music (online and mobile) represents approximately 6% of overall music sales
Mobile music sales are not far behind online, with revenues roughly split (60-40 as at H1 2005).
420 million single tracks were downloaded in 2005 globally – more than double the number downloaded in 2004 (156 million).
US: 353 million single tracks downloaded (up from 143 million) [Nielsen SoundScan]
UK: 26.4 million single tracks downloaded (up from 5.8 million) [OCC]
Germany: estimated 21 million single tracks downloaded (up from 6.4 million) [IFPI Germany]
France: estimated 8 million single tracks downloaded (up from 1.5 million) [SNEP]
The number of users of subscription services, such as Rhapsody and Napster, increased from 1.5 to 2.8 million globally in 2005.
Online song catalogues doubled to over 2 million tracks on the major services.
Globally there are now over 335 legitimate online services, up from 230 in 2004 and 50 two years ago. In Europe alone the number of services reached 200 in 2005, up from 150 in 2004.
Mobile sales in Japan totalled $US 211 million, or 96% of digital sales in the market, in the first nine months of 2005. Single track downloads reached 4.3 million during the period.
Mobile phone subscriptions reached 1.5 billion in 2005 – a 50% increase on 2002.
Globally there is an estimated 70 million subscribers to 3G. Jupiter estimates that by 2010 3G penetration will reach 60% in Europe.
Satellite radio subscriptions reached over 9 million in the US alone – three times as many as the number of global subscription services users. Over 475 million people globally receive Digital Audio Broadcast services (DAB).
The number of infringing music files available on the internet at any one time is estimated at 885 million. This is slightly up on January 2005 (870 million) but down compared to June 2005 (900 million). By contrast, broadband uptake rose by 26% in the past year. Total infringing music files are down 20% on the 1.1 billion peak in April 2003.
Copyright: IFPI

5.

Alternative Sales Sources for Your Music

By: Kenny Love (Associate Writer) 2005-05-05 www.musicdish.com

The following is a list of alternative sources that may be interested in carrying your music for sale for their particular clients and customers, if only they were aware of your music. Most of the clients and customers are already “captive” audiences who are waiting on a product or service, so why not promote (and sell) to them as they wait? Additionally, if these sources have their own in-house music system (which many do), you should also speak with them regarding adding your music to their own in-house “playlist.” In some instances, I have also suggested certain genres that I feel will lend themselves best to the particular businesses below; however, it will also depend on the business owners personal tastes, as well. 1. Music retail stores (Any)
2. Bookstores (Mostly soft, Jazz, New Age, but depends on store)
3. Flower shops (soft Folk, New Age, Jazz)
4. Boot stores (Country, Americana)
5. Western wear (Country, Americana)
6. Restaurants (Any, but depends on restaurant)
7. Church stores (Gospel, Christian)
8. Christian bookstores (Gospel, Christian)
9. Doctors’ offices (Soft Rock, Pop Rock, New Age, Jazz)
10. Convenience stores (Any)
11. Airport gift shops (Any)
12. Bus station gift shops (Any)
13. Train station gift shops (Any)
14. Electronics stores (Any)
15. Office supplies (Any)
16. Corporate/company cafeterias (Jazz, New Age, Soft Rock)
17. Jewelry stores (Soft Rock, Jazz, New Age)
18. Barber shops (Any)
19. Beauty shops (Any)
20. Nail salons (Any)
21. Sports shops (Any)
22. Health clubs (Rock, Dance, Electronica)
23. Apartment management offices (Any)
24. Variety stores (Any)
25. Game arcades (Rock, Dance, Electronica)
26. Bed & Breakfast Inns (Jazz, New Age, Soft Rock)
27. Bridal consultants (Jazz, New Age, Soft Rock)
28. Bridal stores (Jazz, New Age, Soft Rock)
29. Tuxedo shops (Jazz, New Age, Soft Rock)
30. Bridal services (Jazz, New Age, Soft Rock)
31. Clothes cleaners (Any)
32. Mainstream clothing stores (Any)
33. Shoe stores (Any)
34. Coffee houses (Jazz, New Age, Soft Rock)
35. Computer stores (Any)
36. Eyeglass stores (Any)
37. Consignment shops (Any)
38. Farm supply stores (Country)
39. Flea markets (Any)
40. Swap shops (Any)
41. Formal wear stores (Any)
42. College bookstores (Any)
43. College music stores (Any)
44. Gift shops (Any)
45. Hardware stores (Any)
46. Hospital gift shops (Any)
47. Hotel gift shops (Any)
48. Insurance companies (Any)
49. Massage therapists (Jazz, New Age, Soft Rock)
50. Cellular telephone services (Any)
51. Motorcycle shops (Any)
52. Night clubs (Depends on the genre)
53. Party supply stores (Any)
54. Pawn shops (Any)
55. Cosmetic stores (Any)
56. Satellite dish stores (Any)
57. Thrift shops (Any)

OPENING DATA FOR INVESTORS / LABEL-DISTRIBUTORS

AN ABSTRACT:  

Album THE WORLD WE ARE A-CHANGIN’ (further: ‘THE ALBUM’) displays a high-end investor’s opportunity in terms of the relevant criteria employed hereby. First of all, the Album contains globally exploitive songs, mastered and tailored for every media market and related source of income on the global level.

The Album is expected to find its way, without immenese marketing campaign, onto the charts of:

1. USA
2. GERMANY / AUSTRIA
3. NORWAY / NETHERLAND
4. UK
5. ITALY
6. AUSTRALIA
7. SOUTH AMERICA

For the very fact is is not only an album for teenagers but for the generations grown-up on the mature rock and folk, who cannot identify and enjoy with almost any of the releases put on the market at the time being, due to the lack of the high-class songs featured on the albums comprising mostly fill-up songs or the sophisticated social engagements. The lyrics of those issues range between ‘gansta criminal’, empty cliches and struggle for the ‘human rights’ relating to,a.o.: a) homosexuals to marry and grow children; b) Muslims who have never heard of such rights in their domicile countries they fled from, and now want them at the expense of the West. No Muslim wants to return to their countries,though…Unless they are returned within the realm of the circumstances tol be attached thereto.

PROFIT – COST/EARNING RATIO:

The Album, including the full-capacity commercial exploitation of the songs and related values – SOURCES OF INCOME LISTED IN THE POSTS ON GATSBY & LAUREN DATA (English) -mAS WELL AS IN STRATEGIC BUSINESS PLAN (Croatian) – is expected to sell online and on physical markets (CD; Customised CD; On-Demand CD etc.), referring to the profit acquired by a ROA (Return-on-Assets within the defined period) thanks to the low-cost album production and business cost (marketing inclusive) selling 2,5 (TwoMillionFiveHundredThousand) Million copies worldwide.

The Gross Profit expected within the period of 5 (Five) Years as of the Album’s release, both online and as a physical unit, complimented by the standard and evolving miscallenous sources of the IP income, is expected at cca USD11 (Eleven) Million; Net Profit for the Label or Investor owning the Rights for a defined period of time is expected at cca USD5,4 (FiveMillionFourHundredThousand) during the hereinabove period.

The profits are expected to be more variable by the utilisation of the external misc. resources of income, including the collaterals derived by the Buy-Out Agreement.

THE COST OF MAKING ALBUM/ MARKETING / BUSINESS PLATFORM: The low-cost labour of Gatsby and Lauren’s, honoured by the assortiment of the applicable models, ideas and design, guarantees the Investor / Label-Distributor the full-return of the capital invested by stages. Gatsby and Lauren require capital for the research and development at this stage, honouring the further practical work in media and business, and therefore are ready to sign the PreSale Agreement relating to the Buy-Out of the ready-to-release album THE WORLD WE ARE A-CHANGIN’, with all required metadata, rights, marketing plans, business designs, development of the business platform for displaying and distributing of the Gatsby and Laurenšs Media and Business products.

The Album should be priced at USD5,99 – 6,99 for the online sale (mid-price) and USD9,99 -12,99 for the physical CD purchase, either as an On-Demand release or in the physical stores, to stimulate the public to Gatsby and Lauren’s brand. In association therewith, the expected total profits for the Investor or Label during the period 2007-2012 (commencing as of the Releases’s date) should be in size of USD4.600.000,oo-5.400.000,oo.

Gatsby and Lauren welcome hereby any Investor or Label-Distributor willing to sign a Buy-Out Agreement (to be added to the blog as of February 16,2007), at favourable terms as to the payment installments during the period of the Agreement.

The Agreement shall be signed to the total of:

USD1.118.957,oo (OneMillionOneHundredEighteenThousandNineHundredFiftySeven),

the installments of payment thereof tailored to the Investor’s or Label-Distributiors’s best interests, containing a small advance for Gatsby and Lauren’s:

R&D and production/mastering of the Album,

as well as production of the further releases: Song Catalogue updating, the Brand enhancement etc.

Since the most of the Investor’s / Label-Distributor’s committment shall be in the written liabilities and not in the money advance, it is possible for the Investor / Label-Distributor to sell the Agreement to the Third Party and engage additional resources of the profits .

Secondary collaterals shall be featured in the Agreement as to relevant insurance, Right-Options, new project discounts and so forth.

SUSTAV MEDIAMATIC* + FINANCIJSKE PROJEKCIJE

                                                       MEDIAMATIC*

sustav temeljen na intelektualnom radu kao stvaranju novih komercijalnih izvoznih vrijednosti u zatečenim okvirima;   SCENARIJ ZA POSTAVKE I ALGORITME PLATFORME U CILJU ORGANIZACIJE STANDARDA ZA USPJEŠAN KREATIVNI POSTUPAK, USPOSTAVLJANJE INOVATIVNE POSLOVNE I PROMIDŽBENE ORGANIZACIJSKE STRUKTURE; POSTIZANJE KOMERCIJALNIH UČINAKA NA DEFINIRANO CILJANIM I GLOBALNIM TRŽIŠTIMA  UPORABOM DERIVATNIH EGZOTIČNIH FINANCIJSKIH INSTRUMENATA U SEKURITIZACIJI ORIGINALNE INTELEKTUALNE IMOVINE KAO  TEMELJNOG KAPITALA PODUZETNIŠTVA U RANOJ SJEMENSKOJ / POČETNOJ DOBI

PROJEKT: HIT INDUSTRIA, projekti i program medijskih uradaka; razvoj i komercijalizacijia istih izvozom i korištenjem cjelovitih resursa optimiziranja kapitalnog učinka. PRAVNI STATUS u sjemenskom razdoblju: HIT INDUSTRIA – NET LABEL, obrt (ili slobodna djelatnost), za proizvodnju zvučnih medijskih uradaka, razvoj i produkciju medijskih djela, izvoz i srodne poslovne radnje 

POČETNI / PROBNI (MEGA)PROJEKT ČIJI ZAVRŠETAK REALIZACIJE TREBA FINANCIRATI: Izdanje: PLATINUM BA DEAULT* (oznaka za izdanja glazbe i podataka koja će po metrodama izračuna zarade i prodaje svjetske glazbene industrije (IFPI; RIIA; SOUNDCAN; GEMA  i dr.) svojim komercijalnim učincima unutar očekivanog trajanje komercijalne eksploatacije na svjetskoj razini, putem fizičkih nosača zvuka/podataka ili elektronskih, ostvariti u ukupnoj prodaji, odnosno  po kriterijima pojedinačne  KATEGORIJE (ALBUM; SINGLE; PJESMA /TRACK/; RINGTONE- ZA ZVONO MOBITELA I SL.) koja će  OSTVARITI SLUŽBENI PLATINASTI STATUS U  KUMULATIVNOJ PRODAJI: A) U POJEDINOJ ZEMLJI ILI KONTINENTU;B) NA FIZIČKIM ILI ELEKTRONIČKIM TRŽIŠTIMA ALBUM: globalno komercijalno eksploatativni glazbeni/podatkovni album megalitnog profila u odnosu na ciljano svekoliko tržište (mainstream) naziva: THE WORLD WE ARE A-CHANGIN’ (Svijet kojeg mijenjamo) u izvedbi ‘Gatsby & Lauren’ pod etiketom HIT INDUSTRIA, a kao dio kataloga pjesama s  IZRAČUNATIM hit i mega hit potencijalom radnolg naziva: ‘Gatsby & Lauren Megahit Catalogue 2007 – 2012′.  

POSTOJEĆE MELODIJE, HARMONIJE U ZAJEDNIŠTVU S RIJEČIMA, I ARANŽMANSKIM JEDINSTVENOSTIMA  TESTIRANE SU PUTEM PRIVATNO RAZVIJENOG I JOŠ NEDOVRŠENOG   SOFTVERSKOG ALATA KOJI RABI  SINTETIČKE LOGARITME  RADNOG NAZIVA ‘HIT POTENTIAL METER’ (mjerač hit potencijala pjesama) ČIJA JE ISKLJUČIVA SVRHA   ZA IVANA OSTOJU I MARIJA MERDŽANA, KOJI SU SKLADATELJI, TEKSTOPSISCI, ARANŽERI, STUDIJSKI INŽENJERI, PRODUCENTI I (KO)IZVODJAČI                                        KORIGIRANJE  FREKVENCIJA ZVUKA (PRODUKCIJE; ZVUČNE SLIKE) SIMULIRANJEM REAKCIJE MODELA TZV. PROSJEČNOG SLUŠATELJA KOMERCIJALNE POP-ROCK–AKUSTIČNE (TZV. MAINSTREAM  GLAZBE) U ODNOSU NA OČEKIVANU KVALITETU I RASPON STVARANJA UGODE MELODIJA I HARMONIJA MJERENIH PREMA ODABRANOM UZORKU DOSADAŠNJIH USPJEŠNICA SA TOP-LISTA GLAZBENE INDUSTRIJE U SVIJETU U ŽANROVIMA ALBUMA ‘THE WORLD WE ARE A-CHANGIN”.  

SVRHA  OVOG SOFTWAREA NADALJE JE  KOREKCIJA HARMONIJA I MELODIJA U PJESMI, SUODNOS ISTIH, ODNOS TEKSTA PJESME PREMA OČEKIVANIM PARAMETRIMA KOEFICIJENATA ‘PRIVLAČNOST’I  KOD  KATEGORIJA SLUŠATELJA NA GLAVNIM SVJETSKIM TRŽIŠTIMA PREMA STATISTIKAMA STOŽERNE ORGANIZACIJE ‘INDUSTRIAL  FEDERATION OF FONOGRAPIC INDUSTRYA’ (ifpi, WWW.IFPI.ORG) KOJI SU OZNAČENI PO DOBI, OBRAZOVANJU, STUPNJU INFORMIRANOSTI, PODRIJETLU, BOJI KOŽE, PRIHODIMA,  EKONOMIJI  ŽIVLJENJA I SL.  MEDIAMATIC* JE UKUPAN SUSTAV KOJI  SE RABI PRI KOMERCIJALNOM POSTUPKU STVARANJA AUTORSKIH DJELA, PATENATA I SL.,  NADOGRADJUJE I OPTIMIZIRA POSTUPAK  U SADRŽAJU I  INPUTU/OUPUTU (TROŠKOVNIKU, ISKORISTIVOJ TRŽIŠNOJ EKSPLOATACIJI itd.) STVARANJE, RAZVOJ, REALIZACIJU I KAPITALIZACIJU MEDIJSKIH PROJEKTA I PRAVNIH OSOBA), TE JEDINSTVENIM ALGORITMIMA PODRŽAVA NAJPOVOLJNIJU SINERGIJU SVAKE  DOBI I ČIMBENIKA RADNJI. ISKLJUČIVA FUNKCIJA SUSTAVA MEDIAMATIC* JE:OBJEKTIVNA  ANALIZA  KVALITETE I KOMERCIJALNOG POTENCIJALA SADRŽAJA, KAO I PRIKLADNE  TEKSTUALNE, GRAFIČKE I MARKETINŠKE AMBALAŽE ZA ŠTO VIŠI STUPANJ STVARNO MOGUĆE ISKORISTIVOSTI  INTELEKTUALNE IMOVINE, KAKO U MARKETINŠKOM TAKO I KOMERCIJALNOM RASPONU;

USTROJAVANJE POSTAVKI ORGANIZACIJE OBAVLJANJA POSLOVNIH I KREATIVNIH RADNJI U OPTIMIZIRANOM TROŠKOVNOM OKRUŽJU U ODNOSU NA ZATEČENE  OKOLNOSTI I  INDUSTRIJSKE PROFESIONALNE STANDARDE;

STVARANJE I RAZVOJ PROIZVODA I USLUGA TEMELJENIH NA JEDINSTVENIM PRODAJNIM I PROMIDŽBENIM OSOVINAMA KOJE SU KOMERCIJALNO INOVATIVNE, ALI PREPOZNATLJIVE  CILJNIM GRUPAMA VJEROJATNIH I POTENCIJALNIH  KONZUMENATA.  UVODOvaj  Plan (Scenarij) treba smattrati integralnim dijelom Blogova: www.hitindustria.wordpress.com (na kojem su očitovane sve potrebne informacije) i www.megahit.wordpress.com (na kojem se obavlja prodaja digitalnih roba),  kao i OKVIRNOG ŽURNOG STRATEŠKOG PLANA HIT INDUSTRIA, obzirom da su  u  navedenim odrebama i načelima Plana definirani parametri u prvoj dobi stvaranja, razvoja, realizacije i komercijalnih radnji kapitalizacije INTELEKTUALNE IMOVINE (u ovom slučaju: Autorska i srodna komercijalna prava; Zaštitni znakovi; Izrada primjenjivih i održivih varijabila  modela uspješnog razvoja poduzetništva ili projekta u ranoj dobi, uključujući i njihovo cjelovito financiranje od udjelnog do dužničkog, u dobima od pred-; sjemenske nadalje) čime se potiče na usredotočenje poslovne i institucionalne zajednice na SADRŽAJ i NAČIN IZVEDBE PROIZVODA/USLUGE projekta ili poduzetništva te na dokazivi i tržišno mjerljivi INTELEKTUALNI KAPITAL izvodjača umjesto na rutinu i krajnje neintelektualnu BIROKRATSKU PROCEDURU koja je deprimirajuća za poduzetništvo i pogubna sadašnjosti i budućnost svake države(Info: http://poduzetnici.blog.hr;   http://projekti.blog.hr;  http://plusbanka.blog.hr )Birokratska postavka svijeta; nerijetko zastarjela i neaplikativna za dobrobit zajednice kojom državne strukture trebaju služiti (a ne vladati),  kao i važeći zakoni i propisi,  zamijenila je uporabu intelektualnohg kapitala u državnim, bankarskim i tzv. korporativnim strukturama, promičući time  mediokritetstvo kao kriterij  u pogodovanom  poslovnom i gospodarskom radu administrativnih struktura.PROJEKT: HIT INDUSTRIA stubokom će promijeniti optiku uporabljivih kolaterala za dužničko (kreditno) finnaciranje novih poduzetništva/projekta temeljenih na Intelektualnom kapitalu, poglavito onim čija je početna imovina autorska i srodna prava, patenti, zaštitne marke koje su tržišno dokazive po proučavanju uvjeta na tržištu i mjerenju/usporedbi  sa sličnim proizvodima i uslugama u varijabilnim okolnostima u odnosu na inovativnost, demografiju, kupovnu  moć, (ne)obrazovanost i (ne)informiranost stanovništva i ciljanih grupa, stanje tržišta i inovativnosti u postupku proizvodnje, prodaje, marketinga i ukupne  elektronične infrastrukture koja je potrebna da bi se proizvod / usluga predočio javnosti i omogućio najširoj javnosti bez obrzira na kupovnu moć, ostvarenje kupovine tog proizvoda / usluge putem interneta ili mobilnih telefona.Za PROJEKT: HIT INDUSTRIA potreban  je prije svega razum onih koji uopće odlučuju o izvedivosti i isplativosti sadržaja ponudjenog projekta ili poduzetništva, obzirom na kritičnu točku praga negativne selekcije u službama koji zbog nerazumijevanja i neinformiranosti nisu u sta0nju prepoznati ništa osim onog što je već passe i stoput provedeno.Stoga,  ovim ukupnim  zapisom (Blog: www.hindustria.wordpress.com) na kojem su izneseni svi materijali (na hrvatskom i engleskom jeziku) s Strateškim okvirnim planom (Master Plan),  simulaciji SWOT analize u stalno promjenjljivoj svjetskoj  diskografskoj i medijskoj svjetskoj industriji u odnosu na razvoj internetskih i mobilnih alatki za skidanje i kupovanje sadržaja, molimo naslov kojem je dostavljen ovaj dopis kao integralni dio ukupnh materijala na Blogu kao i onih koji će biti stalno isporučivani, za hitru asistenciju u području stvaranja stvarnih mogućnosti za:-          Završetak snimanja i produkcije komercijalno-potencijalnog glazbenog albuma  THE WORLD WE ARE A-CHANGIN’ u izvodjenju GATSBY & LAUREN (Proizvod je 100% IZVOZNI proizvod!),  stvoren je i proizvodi se u Hrvatskoj od A-Z, te kao takav, uz brojne inovativnosti koje sustav njegova promidžbe  i vrsta prodaje na svjetskom tržištu  donosi, predstavlja vrhunac ponude hrvatskog intelekta i kreativnosti koja je sustavom skladanja pjesama, izrade melodijskih i harmonijmskih obrazaca,  te riječi, kao i interpretacije, araranžmana, produkcije, te  novi niskotroškovni standard u svijetu s profesionalnim rezultatima.-         Izradu elektronske platforme (miniportala s mobilnim alatkama) za informiranje, multimedijsko predstavljanje i prodaju proizvoda i usluuga, uključujući i poveznice na poslovne usluge poslov nih projekta,-        Niskotroškovnu promidžbu putem press kitova (materijala) za medije, maksimalno profesionalnim video i standardnim uratcima koji se upotrebljavaju u svjetskoj diskografskoj industriji, uz obilje inovativnih rješenja za stvaranje ukupne javne svijesti o proizvodu, stratifikacijom interesa kao i načina prodaje i mikro-; nano-naplate koji su dostupni svakom  stališu neovisno o dobi, području, materijalnim mogućnostima  i sl.Prije kraja snimanja koje će biti gotovo u roku od 40 dana  po odobrenju jamstva, kredita, poslovnog partnerstva, projekt kao i cijeli GATSBY & LAUREN MEGAHIT CATALOGUE 2007-2012 će biti preuzet od ozbiljnog investitora ili  diskografskog distributera, čime će se jamstvo u okviru RAZUM-a, odnosno sredstva uzložena u gorenavedene djelatnosti višestruko isplatiti, obzirom da MEDIAMATIC* sustav omogujćuje ostvarenje  projiciranih rezulata po cijeni koja je višestruko niža od one u standardima  svjetske diskografske industrije u odnosu na projekt i sadržaj iste  ili slične vrste.IZVODJAČI  PROJEKTA (PRINCIPALS):Ivan Ostoja i Marijo Medržan, oboje iz Zagreba,  za  medijski brand (etiketu)  GATSBY & LAUREN; GATSBY AND LAUREN imaju prijavljena imena IVAN GATSBY i ISAAC LAUREN , dok je navedeni  Brand  od 1998. godine, od nastupa sa prvim uratcima na www.mp3.com,  poznat kao GATSBY & LAUREN  MEDIA FINANCE ; GATSBY & LAUREN MUSIC ; i sl. 

Ostoja i Merdžan nisu prijavili poduzetništvo do ovog trenutka radi plana da se uratci ponude  tzv. Poslovnim angjelima  i diskografskim distributerima u svijetu, pa da se tek onda prema dogovoru s interesentom odluči o statusu pravne osobe u cilju ostvarenja najboljeg interesa investitora ili poslovnog partnera za PROJEKT: HIT INDUSTRIA (npr.: d.0.o., LTD., LLC)

Kako je zanimanje  GLAZBENI PRODUCENT; SKLADATELJ i sl. u okviru kategorije slobodnih zanimanja, koji su knjigovodstveni  ekvivalenti obrtništvu, razmatrali smo i tu mogućnost za početnu (sjemensku)  dob razvoja projekta i poduzetništva čija je bit fokusiranje na sadržaj rada,  a ne pravnog oblika udruživanja, posebice u okolnostima medostatnog kapitala.Razmatramo takodjer i otvaranje trgovačkog preddruštva, odnosno i prijavu obrta HIT INDUSTRIA, za proizvodnju zvuka, kreativne i poslovne usluge ukoliko je pravna osoba  preduvjet realizacije podrške. U današnje doba, distribucija i prodaja putem Internet i mobilnih servisa (za mobitele) izjednačila je, osim u marketinškoj snazi, tzv. nezavisne (indie) i velike (major) diskografske kuće  i nakladnike. Činjenica da s minimalnim kapitalom potrebnim za postavljanje platforme mini portala (www.megahits.biz) , te dosadašnjih i skorađnjih poartnerstava, u DRM (Digital-Rights-Management: upravljanje digittgalnim autorskim, mehnaičkim i srodnim pravima)jamči prodaju na pet kontinenata, putem više od 60 elitnih servvisa prodaje glazbe,10.000 servera , kanale za promidžbu video spotova i drugih standardnih i inovativnih  posrednih i neposrednih načina koji se prakticiraju u svjetskoj glazbenoj industriji, te ukupna doseg putem tridesetak načina plaćanja (kreditne, debitne i prepaid kartice; telefonski računi; mobilni telefoni; uplatnice; čekovi; PayPal i sl. agregatni sustavi itd.), uz  minimalni marketinški prag novčanog kapitala, uz postojanje originalniih inovativnih rješenja za penetraciju u ciljano tržište, internet diskografske kuće stavlja u vrhunski i izvozni položaj.Naime, robe i usluge su digitalne, a fizički nosači zvuka podataka (CD-ovi itd.) dupliraju se i tiskaju po tzv. sustavu CD-po-narudžbi (CD-on-Demand) u svakoj zemlji svijeta, odnosno zemljama najbližoj potencijalnoj publici/kupcima radi smanjenja troškova i vremena potrebnog za ispostavu. HIT INDUSTRIA će u Zagrebu koristiti usluge dupliranja KVARK d.o.o., odnosno drugog hrvatskoh duplikatora za zgotovljenje prvog  izdanja. Glede biografija i sposobnosti Ostoje i Merdržana u ostvarenju predočenog projekta, kao i razvoja ukupnog poslovnog i medijskog programa temeljenog na inovativnim rješenjima, vidljivo je iz dostavljenih biografija o medijskim i inim postignućima, kao i nemogućnosti ostvarenja velikog broja projekata zbog krivnje Republike Hrvatske (sudovi; nerazumijevanje institucija i sl.), komercijalna vizionarnost Ivan Ostoje koja je uostalom višekratno dokazana.Kao dokaz kapitala kojeg unose, osim onog NEVIDLJIVOG  KAPITALA (Intelektualni kapital po definiciji, koji je odista teško vidljiv u velikom broju politokratskih i sličnih organizacija), Ostoja i Merdžan u Projekt/Poduzetništvo unose sljedeće tržišno mjerljive  vrijednosti:I.Ostoja i Merdžan će se služiti sljedećom opremom u pripremanju snimanja (HOME STUDIO):

1. Mackie Sound Mixer 24/8
2. Sampler E-MU ESI 4000
3. Proteus 2000
4. Alesis Quadreverb Q2
5. Lexicom 100
6. Sehnheisser Mic’s
7. Roland HD18880
8. Yamaha, Tannoy Studio Monitors
9. Tascam CD700 Recorder Master,

i drugi.

 II.Daljnji ‘nevidljivi ‘ ali tržišno isplativi kapital kojeg Ostoja i Merdžan unose je privilegiran status u odnosu na cijene zvučnog studija, ustroja cijene  i naplate iznajmljenih vokala te potrebnih stručajaka na realizaciji Projekta / Poduzetništva, poput  vrhunskog profesionalnog web site dizajnera za www.megahits.biz – prodajnu platformu, cijene ukupnog kapitala u usporedbi s uobičajenim standardima i sl.

Pri snimanju albuma THE WORD WE ARE A-CHANGIN’, kao i drugih glazbenih uradaka u okviru GATSBY & LAUREN branda, Ostoja i Merdžan će se služiti vrhunskom (state-of-art)  opremom WHITELIGHT STUDIJA  u Zagrebu  koji služi isključivo za kreativne privatne svrhe vlasnika  po cijeni koja pokriva održavanje pogona.

 OPREMA WHITE LIGHT STUDIJA:

1. Mackie D8b (x 2)-
2. Focus Right Preamps
3. TVBE Tech…
4. TL Audio Preamps
5. Lexicon PCM 91
6. TC Electronic 2000
7. Mackie Studio Monitors
8. Sony LCD Monitors (x 4)
9. Apogee WorldClock Cards
10. Mogami Cables
11. Mackie Hard Disc system
12. Cubase 3.0 Software

i drugo

U Strateškom okvirnom (Master) planu su navedene komparativne prednosti kako u cijeni, tako i ukupnom učinku obzirom da jedan producentski sat u studiju slične opremljenosti u Beču stoji oko  EUR400,00,bez PDV-a, a pogledom na okvirni cjenovnik , spoznati će te da će cijeli album (THE WORLD WE  ARE A-CHANGIN’) U STANJU ZA PRODAJU BITI REALIZIRAN ZA OKO 60 PRODUCENTSKIH SATI!!!  (Inače,  standard je da za programiranje, snimanje i obradu jedne jesme otpada oko 25-30 studijskih sati,  ne računajući  pri tomu, napr. pripremu  kompliciranih  partitura za zborove, snimanje zborova i sl).

 III.Ostoja i Merdžan unose autorska i srodna prava za globalnu komercijalnu eksploataciju, kao  i nisku autorskih  i kreativnih rješenja u području novih medija, poslovnih projekata, potraživanja  i sl.Cilj je dokazivanje kako Intelektualna imovina, koja je tržišno mjerljiva u svom sadržaju ili usporedbi sa sličnim proizvodima / uslugama, mora biti prihvaćena kao kolateral, obzirom da su se kriteriji rada promijenili, te da umjesto rutinskog rada novu vrijednost stvara intelektualni rad, a izloženost riziku i upravljanje poslovnim odlukama u smanjenju rizika i  stvaranju postavki ostvarenja profita obavlja se putem kvalitetnog i  konkurentnog proizvoda/usluge na ciljanim tržištima;  učinkovite organizacije rada u kvaliteti, roku i troškovima; instrumenata kapitala poput predugovora, uvjetnih jamstava, egzotičnih financijskih tehnika kao što su repo-ugovori, zatvorene opcije ili drugi futuri; polica osiguranja (životne; protiv nezgoda; poslovne odgovornosti i sl.); factoringa, i dr.

Izvodjači će prema potrebi i dogovoru  otvoriti i unijeti standardne (u svijetu) police osigutranaj vinkulirane u korist davatelja kapitala (kredita; sudjelo vcanja u finnciranju; jamca) za vrijeme trajanja ugovora, odnosno dok se ostvare definirane kvalitete izlaska davatelja kapitala iz ugovora, a odnosi se na životno osiguranje, osiguranje protiv nesretnohg slučakj i bolesti, osiguranje od odgovornosti, osiguranje proizvoda te druga relevantna osiguranja koja se prakticiraju u glazbenoj industriji.

CIJENA

(CIJENA POČETNOG  IZDANJA – ODNOSNO POČETNIH  IZDANJA ALBUMA IZDANJA: PLATINUM BY DEFAULT* BRANDA  GATSBY & LAUREN:- 2007) –

HIT INDUSTRIA U SJEMENSKOJ DOBI

TROŠKOVI IZDANJA U PRVOJ GODINI (2007):

NAPOMENA: Troškovnik ne iskazuje cjelovite troškove izdanja koji su standardni u diskografskoj industriji nego troškove pripreme, realizacije, opreme i tiskanja prvog tzv. master izdanja koje se onda šalje distributeru za daljnje razmnožavanje (ukoliko je riječ o fizičkom – CD tržištu) odnosno puštanju izdanja u elektronsku prodaju.

TROŠKOVI PRIPREME I IZRADE KATALOGA PJESAMA
GATSBY & LAUREN MEGAHIT CATALOGUE 2007-2012
Valuta: EUR
Cijene su: NetoNAVEDENE SU MINIMALNE (ALI OPERATIVNO IZVEDIVE) CIJENE OBZIROM NA KOMPLEKSNOST PROIZVODA I CJELINU OBRADETroškovi snimanja /60  demo pjesama /Studio (najam, usluge, 100 sati minim.) 1200,oo
Inženjer zvuka (+ dodatne usluge)0
Producentska marža i  Mastering  0
Studijski glazbenici (prateći vokali i dr.) 0
Dodatni troškovi (vokali,aranžeri, zbor itd) 0Ukupno: oko EUR 1.200,00Cilj notiranih pjesama (melodija; harmonija; dinamike i sl.) s riječima, prijedlozima aranžmana i sl.) je očitovanje vrijednosti dokazivo kometrcijalno utržive Intelektualne imovine ( IP – Intellectual Property) kao početna i mjesečnom dinamikom unesena imovina trgovačkog društva HIT INDUSTRIA d.o.o.-         Intelektualnu imovinu čine prava, patenti, zaštitni znakovi (trademark; brand i sl.) itd. Njihova objektivna minimalna utrživa vrijednost može se uvijek procijeniti u odnosu na zatečeni proizvod ili stanje razvoja prema sličnim proizvodima, uslugama, sustavima i sl. u ciljanim tržištima plasmana proizvoda ili usluge.-          Za tzv. hit potencijal pjesama i pop-rock žanrovskom okružju postoji software ‘Hit Science’ koji izračunava logaritme pjesme u usporedbi s prošlim hitovima, no Ivan Ostoja i Mario Merdzan su za svoje potrebe izradili sustav MEDIAMATIC* čija je funkcija optimiziranje postupka skladanja i pisanja pjesama s objektivno najhitoidnije potencijalnom platformom unutar parametara pojedinačnih projekta, maksimiziranje niske troškovnosti postupka s ciljem postizanja visokoprofesionalnih standarda te izračun najpovoljnije financijske konstrukcije financiranja odredjene dobi procesa stvaranja, pripreme, proizvodnje itd. (kroz, napr. sustav situacionih algoritama radnog naziva INVESTOMATIC koji definira rizik, vrste disperzije rizika u financiranju projekta, marketingu, proizvodnji, plasmanu, naplati i sl.)-        U navedenom sustavu postoji i zasad jednostavan algoritam izračuna objektivnog hit-potencijal odabranih pop-rock pjesama – ‘Hit Potential Meter’. TROŠKOVI ALBUMA
GATSBY & LAUREN: THE WORLD WE ARE A- CHANGIN’
Valuta: EUR
Cijene su:NetoNAVEDENE SU MINIMALNE CIJENE OBZIROM NA KOMPKEKSNOST PROIZVODA I CJELINU OBRADE
Troškovi snimanja /do 11 pjesama/Studio (najam,usluge, 150 sati minim.) 4.000,oo
Inženjer zvuka (+ dodatne usluge) 800,oo
Producentska marža 0
Mastering 1200,oo
Studijski glazbenici (prateći vokali, zbor i dr.) 3200,oo
Dodatni troškovi (vokali,aranžeri, zbor itd) 1.500,oo
Zbor  čine 14 vokalista  po cijeni od 50EUR po pjesmi x 3 pjesme =1.200,00
DODATNI TROŠAK: EUR 400,oo za uporabu zvuka i naziva: LONDON PHILHARMONIC ORCHESTRATroškovi izradeDizajn omota i ukupnog projekta 500,00
CD dupliranje /2oo kom + Master+ Barcode itd) 400,00
Tiskanje naklade 150,00
Pakiranje
Troškovi proizvodnjeBruto: oko EUR24.600,00 (nisu uračunate izvozne olakšice i sl.)

Prodajna cijena (zavisi od distributera, ali elektronskom prodajom cijena može biti ultrakonkurentna – oko EUR4)

 U navedenoj cijeni uračunati su:- Prijava autorskih prava za pjesme zastupljene na albumi daljnim snimaka za svjetsku eksploataciju ;- Produkcija  eksplozivne video snimke za pjesmu BROTHERS-IN-BLOOD koja bi s pjesmom DON’T WORRY,MA,NOTHING  IS GONNA BE ALRIGHT trebala tvoriti prvu single  ‘ploču’ koja se kvalificira za službene  svjetske top liste (chart eligible)- Izrada web platforme za portal na kojem  se predstavljaju medijski i poslovni projekti GATSBY & LAUREN, a koji sadrži i jedinstvene načine  nano -; mikro naplate koji su razvijeni u Hrvatskoj iz licencijskog sustava i Projekta : PHONE4U/MICROPAYMUSIC iz 2000. godine, kao i oko tridesetak načina prodaje i plaćanja s kojim su Ostoja i Merdžan već uspostavili odnose i partnersku suradnju, poglavito u upravljanju prodajom glazbe (IODA) i digitalnim pravima (DIGITAL RIGHTS MANAGEMENT – DRM)- Rad na Katalogu (GATSBY & LAUREN MEGAHIT CATALOGUE 2007-2012 koji će se dnevno ažurirati novim pjesmama, melodijama harmonija, demonstracijskim snimkama, prije svega za izdanja GATSBY & LAUREN, a po potrebi i za vanjske izvodjače ukoliko isti jamče ukupan rast vrijednosti; - SNIMANJE, GRAFIKA I IZDAVANJE 2 DODATNE PJESME NAZIVA KISS ME AUTOMATIC…IT’S SO CHIC / PROUD TO BE CATHOLIQUE u izvodjenju GATSBY & LAUREN virtualne grupe DAta! DAta!- Pokretanje poduzetništva po dogovoru; financiranje kolaterala osiguranja  (životno, od nesreće, poslovne odgovornosti, niske osiguranja u glazbenoj industriji)** koje će biti vinkulirane na jamca,  kreditora, poslovnog partnera za vrijem trajanja ugovora, odnosno do zadovoljenja uvjeta ugovora,- Nastavak rada na sustavima algoritama za uspješan tijek poslovnog bi kreativnog procesa koji je temeljen na Intelektualnom kapitalu (MEDIAMATIC*; INVESTOMATIC*; BANKOMATIC* -  aplikativan za Projekt:PlusBANKA), i drugo po potrebi.

KOLATERALI SU DINAMIČKI I U SUGLASJU S LOW-DOC KREDITIMA I JAMSTVIMA NOVIM PODUZETNCIMA S IZVOZNIM PROIZVODIMA, A  PREMA PRAKSI SMALL BUSINESS ADMINSITRATION  (SAD):-         PRENOSIVA AUTORSKA I SRODNA KOMERCIJALNO ISKORISTIVA PRAVA ZA VRIJEME TRAJANJA UGOVORA, ODNOSNO PREMA UVJETIMA ODREDJENIM UGOVOROM;-          NISKA CIJENA PROIZVODA U ODNOSU NA  STANDARDE  SVJETSKE INDUSTRIJE  ČIME SE POSTIŽE PRVA RAZLIKA U TRŽIŠNOJ VRIJEDNOSTI;-          RELEVANTNA  OSIGURANJA ZA VRIJEME TRAJANJA UGOVORA** (Izvodjači će prema potrebi  i dogovoru  otvoriti i unijeti standardne /u svijetu/ police osiguranja vinkulirane u korist davatelja kapitala /kredita; sudjelovanja u financiranju; jamca/ za vriujeme trajanja ugovora, odnosno dok se ostvare definirani uvjeti  izlaska davatelja kapitala iz ugovora, a odnosi se na životno osiguranje, osiguranje protiv nesretnog slučaja i bolesti, osiguranje od odgovornosti, osiguranje proizvoda te druga relevantna osiguranja koja se prakticiraju u glazbenoj industriji) ;-         INTERESI I PONUDE INVESTITORA DALJNJIH DOBI (START-UP), DISTRIBUTERA (ZA PRODUCENTSKI ILI tzv. LABEL UGOVOR);-        OČEKIVANA I VJEROJATNA ASKONTACIJA DISTRIBUTERA/STRATEŠKOG PARTNERA  KOJA ĆE RASTI FINALIZIRANJEM SVAKE NOVE PJESMNE ALBUMA I KATALOGA, TE POSLOVNE PLATFORME; -        KOMERCIJALNA UČINKOVITOST U PROIDAJI ALBUMA, PJESAMA I DRUGIH KOMEPLEMENTARNIH PROJEKTA PROIZVODA/USLUGA;-          PRODAJA I USTUPANJE PRAVA IZ  GATSBY & LAUREN MAEGAHIT 2007-2012 KATALOGA;-         PRINCIP RADA SUSTAVA MEDIAMATIC*  TE RAZVOJ ISTOG U KOMPLEMENTARNE SUSTAVE ZA OČUVANJE PRFOFITABILNOSTI, SOLVENTNOSTI I LIKVIDNOSTI MATIČNIH PROJEKTA, POPUT INVESTOMATIC* I BANKOMATIC* ČIJA JE ISKLJUČIVA FUNKCIJA POSTAVLJANJE  NOVIH PROJEKATA TEMELJENIH NA INOVATIVNIM RJEŠENJIMA.

PREDNOSTI SUSTAVA MEDIAMATIC* ZA NOVE PROJEKTE/ PODUZETNIŠTVA:

HIT INDUSTRIA:

 A) POČETNA IMOVINA I IZVORI PRIHODA PROJEKTA: HIT INDUSTRIA:Temeljna, odnosno početna imovina Projekta (u ovoj sjemenskoj, početnoj dobi), odnosno trgovačkog društva (pravno u stanju predruštva pa trgovačkog društva radi smanjenja početnih troškova koje ne donose nikakvu prednost u R&D (istraživanju i razvoju – Research and Development) Projekta: Hit Industria sadržavala bi:A. autorska prava (autorska prava na pjesme, producentska i izvodjačka kada se iste dorade ili snime, te sva srodna komercijalno utrživa prava);B. unesenu vrijednost po kojoj je vrijednost snimljenih i produciranih pjesama, sa svim popratnim sadržajima, po posebno pogodjenim cijenama u odnosu na slične aktivnosti i kvalitetu u svijetu i do 80 (osamdeset) posto jeftinije;C. pro bono ili rad s odgodjenim plaćanjem sudionika u svakoj dobi projekta;  goodwill dosadašnjeg rada, znanja, kontakata i vrijednosti projekata u odnosu na situaciju u svjetskoj glazbenoj industriji i društvu općenito;D. potraživanja Ivana Ostoje prema Republici Hrvatskoj koja su sadržana u Ustavnoj tužbi; i drugi dogovorni kolaterali u odnosu na uloženi kapital i ročnost istoga u ugovornim pravima i obvezama.E. početni projekti u zatečenom stanju koji se razvijaju kao demo snimke ili polugotove snimke, koncepti, uz materijale glede marketinga, imagea, plasmana, financijskih konstrukcija i dr.F. relevantna i cjelovita osiguranja izvšitelja rasdova tijekom trajanja ugovora, uključujući i specifične police glazbene industrije, koji će biti vinkulirani na Drugu stranku Ugovora HIT INDUSTRIA, s brandom GATSBY & LAUREN u glazbi, medijima (tiskovna i elektronska izdanja, razvoj igarnih fimova, stvaranje i izdavanje originalnih kniga romana, razvoj net medija) i poslovnim uslugama na sljedeće načine ostvarivala bi prihode:- kroz idejno osmišljavanje projekata, pripremu, razvoj, proizvodnju (snimanje, produkcija), marketing, financijske i organizacijske konstrukcije stvarali bi nove (de novo) i in vitro (studijski, ‘laboratorijski’ stvorene) izvodjače koji bi publici bili predstavljeni u zadanim parametrima, a time bi autori branda stekli pravo na komercijalnu eksploataciju svih prava,uključujući i glazbeno nakladnička,
- kako su autonomno razvili projekte, nakon početnog albuma svakog od takvih izvodjača-projekata, nudili bi iste pojedinačno ili kataloški, što će ovisiti o kapacitetu i ugledu ponude zainteresiranog kupca na razne načine:A) Poslovnom aukcijom za svaki projekt, odnosno više projekata istog izvodjača kroz opciju ili definirani repo ugovor, za više najavljenih projekata branda Gatsby & Lauren s pravom izbora i prvokupa; ponudom opcija, licencije, kolicencije, fran distribucijskim ugovorom za odredjene teritorije, ugovorom o zajedničkoj suradnji (joint venture), leasingom otkupa udjela u budućim pravima i projektima, i dr., elektronskom prodajom putem svog portala (postojeća web domena: www.megahits.biz) na kojem bi se odmah po ostvarenju kreditnog aranžmana otvorila web trgovina s ponudom dvije početne sing-ploče uz album te najave skorašnjih albuma, informacije, bonuse kupovine unaprijed, tj. investiranja, poslovne prigode i dr. Web stranica će biti dizajnerski glamurozna, s 3D ilustracijom presjeka robne kuće na tri kata te izbora za razne vrste posjetitelja, od fanova, znatiželjnika, ulagača i sl.Svaki projekt će imati svoju aktivnu podstraniu sa svim alatkama, poput diretnog maila, foruma, newslettera. Dio web stranice će biti multimedijski pa će biti diretne snimke iz studija s melodijama na ponudi za licenciranje (publishing), izbora načina plaćanja, uz razvoj autonomnog sustava nano-mikro plaćanja ‘MicroPhone’, kao i specijaliziranim servisima za online prodaju robe (itunes.com, cdbaby.com, vitaminic.com i dr., a koji donose izmedju 75-85 % ukupnih  (gross) prihoda. Takodjer, planira se izdavanje uživo labuma kada započene ‘Gatsby&Lauren Final World Tour (2009-2010)’, s time da će se nakon izabranog broja koncerata u raznim vrstama i veličinama dvorana, stadiona, javnih prostora itd. izdavati posebno elektronsko izdanje – DVD i Uživo snimka, koja će biti masterirana ili nemasterirana.Potom:-         putem prodaje početnog izdanja GATSBY & LAUREN MEGA (ST)ART EDITION kroz specijalizirane distributere/ CDduplikatore u vodećim tržištima, koji se zasniva na pojedinačnim narudžbama, a koji mogu bez problema, uz ukupnu zaradu od oko 50% (pedesetposto) maloprodajne cijene, potrebno je manipulirati s početnom nakladom od 20.000-30.000 CD primjeraka albuma THE WORLD WE ARE A-CHANGIN’ i kasnijim albumom izvodjača i autora Gatsby and Lauren naziva TURN OF THE CARDS, te svakim daljnjim albumom;-         putem pretplata na nove pjesme na portalu radnog naziva www.megahits.biz koja će uključivati odredjene praktične ‘make profit’ bonuse, a najvažnije je da će pjesme u ranim verzijama (demo, bolji demo, gotova snimka, prva verzija snimke i sl.) biti dostupne prije albuma,kao da će iste pretplate na album ili broj albuma biti dostupne i kroz udjel u investicijskim fondovima naziva izvodjača,te portfelja doličnog profilu izvodjača (pr. aktivni – higrowth- fond: ARIEL AKTIVplus FUND- indeksni fond: DATA FUND i sl.);-         prodajom tzv. customised albuma (internet albuma od kupaca odabranih skladbi) koji predstavljaju i jednu od budućnosti prodaje glazbe u prodavaonicama: izaberu se željene pjesme nakon 15-sekundnog slušanja svake te se iste ‘zapeču’ se na poseban CD te tako prodaju po broju pjesama, bonusima, itd.;-          licenciranjem pjesama koje napišu Ivan Ostoja i Marijo Merdžan;-          direktnom prodajom, uz angažman postojećih telefonskih servisa, trgovačkih putnika i TV postaja; -         prodajom jednog od albuma za ultra-low budget price (niskom početnom cijenom) s mogučnošću rasta cijene s rastom interesa – napraviti vrstu trajne aukcije za prve koji rezerviraju ili kupe albume još u snimanju čime im se omogućavaju prava daljnje prodaje do odredjenog broja elektronskih kopija, aukcija kao metoda financiranja dijela provedbe budućih projekta dok su još u nastajanju (priprema, razvoj, produkcija, izrada master kopije, opreme, marketinškog materijala itd.), kao dodatnim albumom jednom postojećem u katalaogu distributera, odnosno kolekcijom pjesama iz branda GATSBY & LAUREN; -           prodajom verzija pjesama putem izdanja koje prodaju tiskovine;-           prodajom licencija, opcija na licencije pjesama;-           operativnim leasingom na ugovoreno vrijeme davati će se u zakup odredjeni album ili projekt (pr. The Touchdowns – tri albuma – ukoliko se isto ne bude kršilo s kolateralima početnih financijskih rješenja – jamstva, zajmova, kupovine udjela i sl. Projekta: Hit Industria (d.o.o.),-         organiziranjem vrijednosnog papira s osiguranjima ukolimo isto ne bude preskupo za ciljani kapital,-         akontacijom na kupnju slijedećih pojedinačnih albuma pojedinih izvodjača,kojom se stječe status članstva u virtualnim fan clubovima, kao i dijelovi ili udjeli u investicijskim fondovima koje će Ivan Ostoja ugovoriti s postojećim društvima za upravljanje investicijskim fondovima ili suosnivanjem novog društva za upravljanje investicijskim fondovima u Hrvatskoj ili u Svijetu čiji bi portfelji odgovarali temeljnom smislu pojedinog projekta (primjerice, izvodjač-grupa ARIEL THE TEMPLAR je welfare projekt; slijedom istog, fond ‘ARIEL AKTIVplus’ bi dakle bio fokusirani na poduzetništvo, tzv. hi-growth fondovi, u suglasju s zakonima i propisima);-          stjecanjem namjenskih sredstava za poticanje kulture, filmova, izvoza kulture i dr.
uvećanjem vrijednosti udjela u društvu HIT INDUSTRIA i kasnijim korelacijskim poduzećima prema imovini i poslovanju;-         prihodima ostvarenim izvodjenjem pjesama na radiju,internetu, javnim mjestima, cover verzijama, prodanim primjercima nosača zvuka i podataka, uključujujući kompilacije svih cjenovnih i izvodjačkih razreda, a do kojioh će doći zbog komercijalne neodoljivosti, sadržajnosti, inovativnosti i identiteta pjesama koje nose otmjeno distanncirane poruke, poseb ice ukod uradaka izvodjača Gatsby & Lauren i njihova autorskog projekta, grupe Ariel the Templar, koji će biti glasnogovornici životnih, urbanih,moralnih i templarskih stavova tvoraca branda Gasby & Lauren. 

PROJEKCIJE VRSTA PROFITA VALUTA:

HRK NAČINI PROFITA/KUPCI

U originalu: TABLIČNI PRIKAZ

 Repougovor / Re-repougovori : Potonji se odnose na zaštitu ulagača u slučaju da projekti ostvare u definiranom postotku/veličine vrijednosti veću konvertibilnu-tržišnu vrijednost od potpisane, tako da ih isti može otkupiti od repootkupitelja.  Repotkupitelj ima pravo na novi reotkupKreditor, Izdavatelj jamstva i sl. imati će definiran exit ugovor s dodatnom premijom ako je njihov izlaz iz Projekta s povratom uloženog i obeštećenja u obliku premije dogodi prije ugovornog roka. Red veličina: tržišna vrijednost uloženog kapitala od strane ulagača i fiducijarnog početnog vlasnika HIT INDUSTRIA  (pravne osobe, obrt ili u kasnijoj dobi d.o.o.):  + 10 % po kvartalnoj razini od trenutka početka rada Društva

RAZLIKE OD ULOŽENOG KAPITALA I NOVOSTVORENIH VRIJEDNOSTI U TEMELJNOM KAPITALU-IMOVINE HIT INDUSTRIA-e d.o.o. (vrijednost udjela u Društvu): Ivan Ostoja, podržan privatnim ulagačem iz Beča,  potpisati će Ugovor o reotkupu trgovačkog društva HIT INDUSTRIA d.o.o., odnosno isplate uloženih sredstava u PROJEKT ALBUMA: THE WORLD WE ARE A –CHANGING’ kao i drugih sadržaja, po dinamičkoj razini koja iznosi oko 10 % na uloženi kapital tržišne vrijednosti po kvartalnoj razini s tim da premijska kamata nije komforna nego fiksna i iznosi poko 40 % na godišnjoj razini.Prava Kataloga pjesama radnog naziva  GATSBY & LAUREN (GLOBAL) MEGAHIT CATALOGUE 2007-2012: Projicirana minimalna utrživa godišnja izdavačka (music publishing) vrijednost kataloga koji se stalno nadopunjav novim pjesmama s opće uporabljivim hit bi megahit potencijalomm kako za izdanja branda GATSBY & LAUREN, tako i za vanjske izvodjače, od oko 100 pjesama na engleskomm jeziku s više od 80 mega i hitoidnih pjesama od dana medjunarodne objave kataloga s drugim pravima: ukupni projicirani  godišnji prihodi od 2008 -  HRK180.000,oo Ukupni popis izvodjača i početnih projekata: GATSBY & LAUREN / DAta!DAta! /ARIEL tHE TEMPLAR / TESLA GIRLS! / THE TOUCHDOWNS/ NINA PICASSO & THE MODELIERS / ADRIAN GOLD AND HIS ELITE CAFÉ ORCHESTRA/ DREAM COMMITTEE/ EUROZONE i drugi in vitro izvodjači s marketingom, imageom i dr. vrijediti će svakog tjedna više od 10 % uloženog novca kako se albumi budu zgotovljavali.Rukopis na engleskom jeziku romana-satire o uspjehu i administrativnom paradoksu – ‘Dead-22 Principle’-Sinopisi,scenariji i story-board na engleskom jeziku ‘Gate to the Shadows’.

INFORMACIJA! (U svezi komercijalnih učinaka intelektualne imovine)

KAKO SE UPRIHODJUJU TANTIJEMI OD AUTORSKIH I SRODNIH PRAVA (IZBOR)

U originalu tablični prikaz

Osnovni izvori profita su stoga: 1. profiti na pravima prodanih nosača zvuka/podataka ; 2. licencije na izvodjenje pjesme (performing rights license);  3. za tiskanje pjesme u notnom i sl. obliku;  4. inozemne licencije;  5. tzv. sync (sinkronizacijske) licencije koje označavaju uporabu pjesme ili dijela pjesme u drugim medijima (tv reklama,igranom filmu i sl.).

Generatori zarade tantijema Objašnjenje

Primjer: Autori/Izvodjači-  GATSBY & LAUREN;   Pjesma: BROTHERS-IN-BLOOD

Izvodjač -  Osoba ili grupa koja su potpisala za diskografsku kuću (label) : GATSBY & LAUREN
Pjesma:   Riječi i glazba, bez ritma i aranžamana: BROTHERS.-IN-BLOOD
Snimka – Zvučna snimka pjesme Snimka:  BROTHERS-IN-BLOOD
Izvedba na snimci  - Snimljena izvedba glazbenika – Gitaristički riff i zborske harmonije  na pjesmi
Korištenje pjesme na nekom od medija -  Uporaba snimke pjesme u javnosti BROTHERS-IN-BLOOD koju svira radio postaja, jukebox i sl.
Izvedba pjesme uživo -  Izvedba uživo pjesme BROTHERS-IN-BLOOD  (napr. na festivalu)
Izvedba pjesme – Izvedba pjesme od bilo kojeg izvodjača
Shodno gorenavedenom, treba istaknuti da će izvodjač (GATSBY & LAUREN), Gatsby i Lauren  kao autori pjesme, diskografska kuća koja posjeduje snimku, te izvodja uživo pjesme biti plaćeni na razne načine.
Plaćanje svakom vlasniku autorskog prava (copyright) zavisi zašto se njihov autorski uradak koristi. U praksi glazbene industrije postoje različite tarife (primjerice, mehanička prava za zvukove zvona mobilnog telefona razlikuju se od mehaničkih prava za CD-ove. Primjer:Vlasnici prava -  Obrazac  zarade
GATSBY & LAUREN – HIT INDUSTRIA- autorski prihod
BROTHERS-IN-BLOOD > Nakladnik (publisher)  > Prodaja notiranih papira (sheet music), sinkroniziranih licencija za što širu uporabu
Snimka BROTHERS-IN-BLOOD > HIT INDUSTRIA > Licencije za uporabu tzv. mastersa (završne snimke)
Snimljene gitare i vokali : Naknade Agencija koja kontrolira i skuplja naknade za izvedbe pjesme na javnim mjestima i medijima (U RH toje ZAMP)
Snimka BROTHERS-IN-BLOOD na jukeboxu i sl. > HIT INDUSTRIA dobija  naknadu od licencije lokala
i izvedbi uživo
Izvedba pjesme uživo HIT INDUSTRIA > Nakladnik Gatsby and  Lauren > Prihod od licencija koje koncertne dvorana ili mjesto izvodjenja pjesme mora uplatitiGorenavedena je shema kategorizacije i uprihodjivanja (važno za informaciju, obzirom da se početna imovina temelji na pravima i snimkama – izvedbi navedenih prava).Definicija termina ‘izvedba’ (perfomance)

Pojam ‘izvedba’ može služiti za razne svrhe poput:·izvedba pjesme ili skladbe (kompozicije) uživo, na smici ili medijima (TV, radio itd.);  izvedba bilo kojeg glazbenika, uključujući pjevače, uživo;  izvedba bilo kojeg glazbenika ili izvodjača koja je snimljena;  izvedba pri kojom se upotrebljava već snimljen materijal;  zvukovi zvona na mobitelima  koji se šalju i ‘skidaju’ putem interneta

a) Prihodi od glazbenih snimaka i prava

 Plaćanja za prava snimaka su komplicirana, jer su snimke zapravo uskladištene izvedbe originalnog izvodjača te stoga postoje barem vlasnika prava za svaku snimku:a. Vlasnici autorskih prava — riječi i glazbe, odnosno nakladnik (publisher) što zavisi o ugovoru izmedju autora i nakladnika;b. Vlasnici praca snimke (recording copyright)— izvodjači ili diskograska kuća, što zavisi o ugovoru zmedju izvodjača i diskografske kuće;c. Izvodjači na originalnoj snimci — izvodjači (umjetnici, artists) i drugi (studijski itd.) glazbenici.

Razni su izvori plaćanja nakladnika i autora (licencije te putem MCPS,PRS i sl.), diskografske kuće su plaćene od strane prodavača nosača glazbe i podataka (veleprodaje, maloprodaje te servisa za elektronsku – internet- prodaju), putem licencija i javnog izvodjenja (PPL) Izvodjači su plaćeni putem diskografske kuće ili putem servisa koji kontroliraju i sakupljaju – odredjuju prema zadanim kriterijima – prihode.

Svako postojeće autorsko pravo (copyright) ili pravo na snimku može biti registrirano prema volji vlasnika prava. Standard svakog izdanja na CD-u ili drugom nosaču zvuka, nadalje, nalaže da autori/izvodjači-umjetnici, tj. potpisnici producentskog, tzv. label ili sličnog ugovora s distributerom trebaju pravno zaštiti i registrirati:- Pjesme (iako to nije uvjet jer autorsko djelo je zaštićeno svojim nastajanjem, zbog izbjegavanja sudskih prijepora o danu nastanka autorskog djela, te radi pozicioniranja prava kao definirane, utvrdive i dokazive vrijednosti, autorska i srodna prava se registriraju /prijavljuju na jedan od postojećih standardnih načina.

- Naziv izvodjača-umjetnika treba biti dokazivo originalan i registriran. Pseudonimi unutra kojih se autori, izvodjač- umjetnik, izvodjači i sl. predstavljaju prema javnosti trebaju biti potvrdjeni kod bilježnika ili ureda za zaštitu intelektualne imovine ukoliko se ista upotrebljavaju u svrhu zaštitne marke, branda i sl.
- Svaki izvodjač na pjesmi, ukoliko isti postoje, trebahju biti regulirani ugovorom s producentom u svrhu

 b) Odakle dolaze prihodi tantijema  (U originalu je  tablični prikaz)-Tantijemi se plaćaju izvodjaču-umjetniku, primjerice, GATSBY & LAUREN, kao registriranoj glazbenoj grupi (s članovima koji su vezani ugovorom i čine tu grupu), autorima, vlasniku snimke i izvodjačima za uporabu njihova rada u komercijalne svrhe.-Tantijemi koji se plaćaju izvodjaču-umjetniku), izvodjaču i autoru;- Tantijemi za izvodjače (umjetnike-artists)  - Tantijemi za izvodjače(studijski glazbenici i sl.);- Tantijemi za autore (pjesme);- Diskografska kuća (label): Tantijemi izvodjača–glazba) ; Dio nakladnikovih prihoda od tantijema ostvarenih izvedbama pjesama (tzv. PRS i MCPS tantijemi). 

KAKO SE TANTIJEMI PLAĆAJU AUTORU I UMJETNIKU-IZVODJAČU

(U originalu je očitovan tablični prikaz)

 Tantijemi mehaničkih i srodnih eksploatativnih prava biti će plaćeni u 100%-nom iznosu autoru bez nakladnika, odnosno 50% autoru koji je vezan ugovorom za nakladnika;Za javno izvodjenje (PPL) plaća se 50% vlasniku snimke, 50%  izvodjačima: izvodjaču-umjetniku (65%) i drugim izvodjačima (35%), ukoliko ugovorom nije drugačije odredjeno.

Što znače ‘Mehanička prava’: Prihodi koji se ostvaruju prodajom CD-ova, i drugih nosač zvuka. Mehanička prava se odnose i na prihode koje pjesma posredno ostvari putem: A)     Glazbenih video spotova B)      Prodaje zvukova mobilnih telefonaC)      Plaćenim ‘downloadiranjem’  snimakaD)     Kompjuterskih igara E)      Glazbenih igračakaF)      Izdanja putem tiska, itd.Mehanička prava pokrivaju (i) svaku zvučnu snimku koja je postignuta mehaničkim putem bez ljudi izvodjača.

c) Ostale licencije u svijetu kao izvori profita komercijalizacije prava

- tzv. Združena licencija (Joint Online Licenses) koja pokriva  mehanička i izvedbena prava. Ova licencija dozvoljava web stranicama da sviraju glazbu i prave kopije za ‘skidanje’ (downloads),- licencije tzv. samplirane glazbe,- licencije za zvukove zvona na mobilnim telefonima,- licencije za tzv. digitalne disc jockeye koje spadaju u klasu ‘zvučnih licencija za kopiranje (umnožavanje)’    a  ne u licencije izvedbe,- licencije koje se dobbijaju putem naplate na autorska prava (paušalno, u većini zemalja) na ‘prazne medije’ (CD-ROM,DVD i dr.),- licencije za medije , odnosno poduzetništva u odredjenim uvjetima uporabe i umnožavanje originalne pjesme (dubbing copyright),- Master licencija predstavlja licenciju za autorsko pravo snimke. Ova licencija za derivatnu uporabu originalne pjesme (filmovi, reklame, tv serije, sampliranje) dogovora s po potrebi s vlasnikom autorskih prava i autorom zvučne snimke),- Sinkronizacijska (Sync) licencija je zapravo nakladnička (publisher) licencija koja obradjuje implementaciju originalne pjesme u filmsku glazbu, televizijski program i reklame, i ugovara se prema potrebi. No, ova licencija iziskava i drugu vrstu tantijema, primjerice ukoliko se pjesma izvodi na javnim mjestima,- licencija za tzv. Velika prava (Grand Right Licence) koja se dogovra izmedju nakladnika i kazališta ukoliko je riječ o pjesmi ili glazbi napisanoj posebno za predstavu i sl. U ova prava ulazi i postotak prihoda prodanih ulaznica,- prava za filmsku glazbu se uglavnom kupuju unaprijed, te se dogovaraju izmedju prethodnih vlasniak prava (autora, nakladnika i sl.) i novih vlasnika za komercijalnu eksploataciju autorskog rada.d) Tko upotrebljava i plaća komercijalne licencijeKako su radovi branda Gatsby & Lauren upravljeni prema glavnim tržištima glazbe i medijske potrošnje u svijetu, potrebno je biti okvirno informiran tko koristi glazbena autorska djela i za isto plaća licencije, koji su Izvori prihoda autoru i izvodjaču-umjetniku kroz prodaju, licencije i dr. te koja društva služe za sakupljanje naknada. Obzirom da je Intelektualna imovina temelj Projekta : Hit Industria važno je raspoznati  vrste naknade za uporabu autorskih i izvodjačkih prava  koje dobijaju diskografska kuća (label) umjetnik-izvodjač.Javna mjesta u kojima se glazba upotrebljava: Kafići, disco-klubovi, prodavaonice, zračnew luke, izložbe itd… Potom:  TV i  radio postaje, satelistski i kabelski operateri usluga / Opskrbljivači juke-boxovima Distributeri i prodavači audio i video uradaka / Licencije za sampliranje, kompilacije i medjunarodnu komercijalnu eksploatacijue) Sinkronizacijska prava i prava na izvodjenje

Filmske i izdavačke kuće – Nakladnik
Kazališta (Velika prava)
Medjunarodna eskploatacijska prava

 f.) Daljnji bitni izvori prihoda putem komercijalizacije autorskih, izvodjačkih i srodnih prava su:- prodaja pismenih notnih zapisa i najma istih,- sinkronizirane licencije za filmove, video i reklame,- licencija za diskografske kuće na drugim terotorijima od on ekoja zastupa nositelj izvodjačkog prava, odnosno originalne zvučne snimke,- korisnici tzv. knjižničarske glazbe i glazbe koja služi u svrhu stvaranja ambijenta na odredjenom prostoru, koji je u suglasju s funkcijom objekta,i drugo sukladno razvoju medija, te multimedijskih komercijalno iskoristivih aplikacija.

Stoga, komercijalna učinkovitost glazbe se realizira (i) na na sljedećim  mjestima

1. Prodavaonicama za prodaju glazbe
2. Knjižarama
3. Cvječarnama (poklon uz cvijeće povodom neke prigode)
4. Jeans dućanima
5. Restorani ma(Fast food i sl.)
6. Ordinacijama
7. Dućanima za poklone (zračne luke, kolodvori)
8. Prodavonicama elektronike

i dr.INTELEKTUALNA IMOVINA – PJESME S NOTACIJOM I RIJEČIMA ZA ALBUM :THE WORLD WE  ARE A-CHANGIN’:Notacija pjesama sadrži pregled harmonija i melodija u stihovima (verse), mostu i refrenu pjesama BROTHERS-IN-BLOOD (Charity Hit-Song as of September 12, 2001)

Lyrics and Music by Ivan Gatsby and Isaac Lauren ©1998

 Verse 1:Towers in flame. Thousands sealed. Terorists on plane. With aim to kill.Centuries ago. Holding the cross. The Templars sailed. Sailed with a cause.Refrain:We are Brothers- in-Blood. Thru the ages of time. We’ve stayed alive.We are Brothers-in-Blood. Down by the seas. We’ve learned to survive. Verse 2:Written on (the) stone.The world going wild. We were alone.The morning they cried.Smoke on the street. Their names on a file. Madmen’s beat. Lasted for a while.

Refrain (Repeat)

 Verse 3:

We are coming back. With arms and books.We’ll always stand for you…

NOTACIJA:DON’T WORRY, MA, NOTHING IS GONNA BE ALRIGHT

Lyrics and Music by Ivan Gatsby and Isaac Lauren ©1997

 Verse 1: No more heroes anymore / As we are driving / Our way from shore to shore / The Sun is falling, it’s getting cold / Once we tried to change the world / No more pictures in the frames / Of ‘69, and all the protest games / An’ there are no more good alibis / Dear friends, it’s time to rise Bridge: All I want from you / Is all that I can get / The mission has been/ Already set Refrain: Hey Hey Hey Hey/ Don’t worry, Ma/ Nothing is gonna be alright Verse 2: The people, getting board of the planes/ Children waving them goodbye/ Hundred dreams will burn/ Of one-way saints with no return Bridge (repeat)

Refrain (repeat)

NOTACIJA / STREAMING PJESME:

SECRETS OF MY LIFELyrics and music by Ivan Gatsby and Isaac Lauren ©1999Verse 1: I was looking for / The secrets of my life / They were searching for / The meaning of my love / Why she never came / Noone ever knew / A call in the night / There was something we had to do Bridge 1: The world, as an empty shell / (The) Ceiling coming down Verse 2:  I was looking for / The secrets of my life / They were waiting for / A Messiah with the light / From town to town / We came to every store / Whatever we did / They would ask for more Bridge 2: The crowds still wave / In the search of love Refrain:  What I have been looking for / Are the keys to every door / The masters you can see / In magazines, on TV Verse 3:  I was looking for / The secrets of my life / They were searching for / The meaning of my love / Why she never came / Noone ever knew / A call in the night / There was something I had to do Bridge 1 (repeat): The world, as an empty shell / (The) Ceiling coming down

Refrain: What I have been looking for / Are the keys to every door / The masters you can see / In magazines, on TV

NOTACIJA PJESME/ STREAMING PJESME

MESSAGE TO THE PEOPLE

Lyrics and Music by Ivan Gatsby and Isaac Lauren @1999

 Verse 1: The Masters sat in the chambers room. Then I heard somebodies’ laughter. By the light of the rising Moon. They knew what we were after. Love. Faith. Prosperity. And the Great Architect. Followed by the men. Who tried to understand. From the City of London.To the castle in Bel Air. Come on, come on, come on. Find the road to welfare.

Refrain: Message… Message…Message to the people, people, people. Everywhere.
Message…Message…Message to the people, people, people. Find your share

Verse 2: It’s dark now, darker than ever before. As I wander in your dream. Will they ever open the door. Only virtue and no scream. Smile, life,and the future. Building it anew. With our minds. We’ll do it only for you.

Refrain: Message… Message…Message to the people, people, people. Everywhere.
Message…Message…Message to the people, people, people. Find your share

Verse 3: I see people talking to the rain. A prophet crying in the cold. Come on, come on, come on. It is not the end of the world.

NOTACIJA PJESME:

AFTER THE KISS … THEY CALL IT LOVE

Lyrics and Music by Ivan Gatsby and Isaac Lauren ©2000

 Verse 1:Nothing ever looks like it does. It’s like waiting on a late night bus. Nothing ever looks like it seems. As you parachute thru your own dreams. You are so afraid of the ice. As the lightning somewhere up there strikes. Nothing ever looks like it was planned. So many dances you did in vain.That’s why…

Refrain: After the kiss…they call it love. In you heart. And in your mind. After the kisss…they call it love. Like in the summer. Of 1989

Verse 2: Nothing ever looks like it does. As your love is traced in the moonlight snow. Nothing ever looks like it seems. Some people sit there in the first row. Nothing ever looks like it does. As the broken hearts silently fall.  Nothing ever looks like it seems. And you’ll never understand this world. At all.

Refrain: (Repeat)

NOTACIJA PJESME:

WALK ON BY (AND NEVER STOP) – A DRAFT!Lyrics and Music by Ivan Gatsby and Isaac Lauren (2007)  

Verse 1: I lean by my window, I do it every day. See people walk down the street as if by someone’s call. They go from the west to the arch of the rusted subway. And noone (ever) returns, not even when the night falls. Bridge: An old man,’ think it was the old Cody, the Cody man. He knows all the answers by the heart. He had many  thousand a  fan. And he’s sayin’ now ’cause he is so smart. ‘For our love. We must go on. For our love (children). We must never stop.’ Refrain: Walk on by, And never stop. Walk on by, And never stop. (Find love. Find love.) Verse 2: Baladeers came from the storm. Like the ghost sailing to the Moon. The faces into the world were thrown. You may get down there very soon. Opt: Walking down the street is all they do. And every morning they do it anew. Bridge: They have no hope, no, even not a dream. Yet the oldman whom noone sees, and all read of  in many a book. Keeps saying to all the people who, oh so so softly scream.’ Change your direction and be proud of the way you took’.Refrain : Repeat Optional (Opt.):

Verse 3:  Heartaches flow, people turn to stone. Every man carries a church from within. Cards of solitaire decay at home. Nothing seems to be real now.. It’s like a nightmare, not a dream.

NOTACIJA PJESME:

ANYWHERE YOU SEEM

Lyrics and Music by Ivan Gatsby and Isaac Lauren @1999

 Verse 1:  ‘All for One’ was our dream. United heroes on the scene. Dancing away anywhere you seemed. As we were stumbling in. None of us was wrong that night. As long as I could see the light. Diamonds are forever, I know. Double feature and the Picture Show. Refrain:  Can you hear me crying ? Can you hear me crying out? We are sealed under, under the cloud. And I am gonna dream for everyone. Anywhere you seem. In the wind. Verse 2:  You’ve got a friend, you always knew. Guitar Man was always meant for you. Then, Wind of Change was somehow true. To a man, coming Out of Blue. More Than a Feeling was the rhyme. Of souls lost in the bridge of time. Waking up is so hard to do. And this song is only for you.

Refrain: (Repeat)

NOTACIJA PJESME:

THE STORM A-COMIN’  - A  DRAFT!

Lyrics and Music: Ivan Gatsby – Isaac Lauren ©2007

 Verse 1: Now,the last heroes open the door. Of a saloon on the long and winding road. For years having been closed. And for so long all being gone. Every ghost having come  there. They are  still comin’  so alone. To the world they hardly knew. There ws nowhere (else) they coould  go to. Recalling the times they knew so good. And all the the chords they understood Bridge: Find a way. A place to hide. Find the way. When the wind blows. Stand up again (keep your pride). Against the storm that’s a-comin’ Refrain:  Are there any reasons to live any more? Are there any reason to be so sour? Is there anything we can do? For our country and My Lord, for you. Verse 2:  The saloon’s been closed for so long. ‘The myth is over’, the barman just said. Now and then we we can only hear a song. Wyatt and Doc have long been dead. Life is not kind here,  you may return home. After the storm is gone. Bridge:  Mark you way. As they are riding in the rain. Find your way through. If you wanna meet them all again. The storm is a-comin’. An’ their faith is due. Refrain: Repeat Verse 3:  A farmer says, The wind’s turning wild. We’ve used to be good people’ An’ used to work hard. We have done it for our wife and child. We just pulled out the wrong card. No, there is no mirror and heaven. Don’t understand why there is much fuss. No secrets of number seven. Just the storm a-comin’ to to our God and to us.

Refrain (Repeat)

NOTACIJA PJESME: 

THE PERFECT NOBODIES

Words and Music by Ivan Gatsby and Isaac Lauren ©2007

 Verse: We’ve been (the) Perfect Nobodies. The politicians always play with. And whom noone ever sees. Yet we’ve changed the world from behind. Using our hands. And the force of our minds. When the night is gone. Comes the end of a tale. There is noone else we can lie to. As dawn breaks. And our faces look so pale. With ambitions ruined. It’s time to face the truth.Bridge: We’ve never stolen any money. From a man or a state. All the time it must’ve been funny. Now we find it out, now when it is too late Bridge 2: There is noone in us to save. Noone will ever cry at our graves.Refrain: There are no headlines. And there are no stories. No gossips or lines. No joys or worries. No melody or just a simple beat. About us. The people from the underneath. We are the Perfect Nobodies Verse 3: The midnight has been passing by. It’s snowing now but it all soon will be dry. People wander, stepping out from the dark. With no idea of tomorrow. Or any new Arc Bridge: They watch shows and TV news. They vote to  shut down their blues.

Refrain:  Yet we are the Perfect Nobodies. Perfect Nobodies for all times. We are the Perfect Nobodies. Living our life between the lines.

NOTACIJA PJESME:

A TOWN WITH NO NAME – A DRAFT! Lyrics and Music by Ivan Gatsby and Isaac Lauren ©2007

Verse 1: Life was so hard to live. No time to go and dreamweave. Just the work. In a town, a town with no name. No talk of wealth or a fame. Tamed by the duties, we had to do. I wished on a star, and I wished only for you. Far away, far away from any road. Wanted to flee out, just couldn’t dig the code. Refrain: Tell me,why are you so good now? Tell me, by the sound of our crow. How long, shall we live in a town with no name Verse 2: With the pockets empty, we had to try. We waited, and none of us ever cried. It was shame. We just got rusted. Wrapped up, with the load of our lies. Refrain (Repeat)

Verse 3: Locked down, in our valley. Shadows on, we climbed the tree. Maybe out, out there in the world. It would be better. If only we could find the road.

NOTACIJA PJESME:

CONFESSIONS OF A TRAVELLER – A DRAFT!

Lyrics and Music by Ivan Gatsby and Isaac Lauren (2007)

(‘It’s so dark, darker than ever before’. We are all now, turning into a dot.com.And men try to call me, by the means of cellular phone.) Verse 1: For thousands years, I’ve been watching history. The private lives and the world’s views . I followed every soul,’n’ tried to make them see. Blinded by (the) Dark Ages, and now by the Breaking news. Refrain: With angels I’ve travelled for so long. Thru the play people tried to create.Taken by the weather now.It seems I’ve come down too late.The galleys awaiting by the shore. Of the knights you never to pray for.Verse 2: I was away for too long. People have done so many things wrong. How long will it take, before you’ll understand. That the Captain lost his way. But he will come back from the sand.Verse 2a: My Father let them grow, and tried to make them free. Yet I do feel wars, and a lack of any prays. Some prophets came here long after me. Causing the Earth’s last days. Refrain: Repeat Verse 3: I watched many a loser, and many a TV show. Joys of gay boys, and listened to the radio.I saw many a cowboy, and I liked them quite a lot. Not a crazy English king, murdering all of his wives. Getting my church out, to save his own plot. Refrain: Repeat

Verse 4: Knight Templars. Noone ever talks of them now. Back in their time, they followed their star.And now it is your duty ,to spread the truth out.Now when when life is so near, and everything else so far.

NOTACIJA PJESME: DODATNE PJESME:KISS ME AUTOMATIC…IT’S SO CHICWritten and composed by Ivan Gatsby and Isaac Lauren©2006Kiss me…Kiss meROBOT CHOIR: Kiss me kiss me  automatic…Kiss me kiss me it’s so chicKiss me kiss me  automatic…Kiss me kiss me it’s so chicHUMAN-LIKE VOICE:Nicole  I like you soNicole  I need you soROBOT 2: But she saidNICOLE:Take a flight tonightOooooooooTake a flight tonightROBOT 2: She saidNICOLE:Take a flight tonightOooooooooTake a flight tonightROBOT 1:Brothers, we should help our master Before his mind falls apart                                                                         ROBOT 2:This night we’ve got   the  mission  Of saving  his sacred heart                                                                                                          REFRAIN:ROBOT CHOIR:Kiss me kiss me automatic…Kiss me Kiss me it’s so chicKiss me kiss me automatic…Kiss me Kiss me it’s so chicHUMAN-LIKE VOICE:People…Getting more and more lunatic.    ROBOT VOICES:Kiss me kiss me automatic…Kiss me Kiss me it’s so chicROBOT 1:The issue is, we will repair the past                                           As our master is lying on his bed                                         ROBOT VOICE 2:I’ve checked all the mails he’s never sent                                 Telling us what’s going on in his head.                                     NICOLE:Fly back tonightOoooooooFly back tonightROBOT 2:She would   sayNICOLE:Fly back tonightOoooooooFly back tonightROBOT 1:We’ll get Nicole close to him  ROBOT 2:And fix his broken heart again                                 GAY ROBOT:Nicole,  enter our machine  Stay there, enjoy your moments of fame                                                                   REFRAIN (repeat)________________________________KISS ME AUTOMATIC … IT’S SO CHICThe BackgroundThis song, an infallible brief  and content-rich bubblegum saga (yet, sugarfree), belonging to the media genre which is generally void of any (common) sense whatsoever, commences a new subgenre of all-public pleasing music, defined as TABLOID TECHNO POP.Decades strong Bubblegum mega hits, such as ‘Sugar Sugar’, ‘Yummy Yummy (or something rogering that)’, ‘Smoke on the Water’ etc., owe their immense popularity due to the acute reduction of the meaning, and any deeper messages or revelations rising therefrom,  respectively.‘Kiss Me Automatic..’ is therefore a fashion of hommage to the electro style of music, including the celebrities like Kraftwerk, Brit Electro Pop duets of the80, and particurarly to the (grand)father of devastatingly-appealing techno/electro tunes, Ivan Gatsby, who had composed, supported by his associate at the time, David Stone,  a hugely overlooked tune ‘I Am a Computer. You are a Machine’ (1969) or in original robotique language ‘Ja sam kompjuter. Ti si masina. Imat cemo velikog sina’, which had in its own way foretold the age of samples, vocoders, simplified harmonies and melodies…‘Kiss Me Automatic…’ has inherited some basic features from ‘I Am a Computer…’. Hence it is a step back into the future. Kiss Me Automatic…, initially projected as an 8-minute album saga about the desperate young net surfer  trying to communicate his love to a girl (Nicole), and the robots (androids) powered by  the organic software wirelessly connected to the PC,  attempting to help the young man to fullfil  his emotional load, has gotten  limited to appx. 3- minute instant hit.The song plot, featuring  the robots all over the world getting together by network with the  aim of finding formula how to help the young man who wrote the mails in vain because he did not even dare send them to his beloved girl Nicole, has been minimised into the short scale en face action.A young boy or a man, which is irelevant, from ‘I Am A Computer. You are a Machine’ is still helplessly and silently in love with Nicole who doesn’t credit his heartbeats too intensively. The computers and robots have found out that night (although some of the robots even at this very stage are self reproducing entities)  that love problems should be overcome by the magic (e)motion- kissing.  The robots, filled up by the information from the net and their own defaults in effect, enter the night transmitting the feelings of the young man to Nicole, who appears to be despising the young man. (Therefore: Take a flight tonight…).The robots occur to be persuasive and Nicole is somehow subject to the magic and glamour of the kisses (Therefore the modication of her attitude : Fly back tonight…).The robots, not fully convinced in the feasibility of their performance, and charged with the variables of the set values, release their comments, too (Hence: People… Getting more and more lunatic, etc.).The song, despite belonging to the  lightweight cathegory of one-off hits, challenges you as a Noir song, utilising the very finest of the techno pop/electro pop manners relating to the structure of melodies and harmonies (‘Kiss Me Automatic..’ boasts of 5+1 in total!!!), as well as the  acute shortage of any optimism you would expect in such issues  as  a default.‘Kiss Me Automatic…It’s so Chic’ is  a global radio/chart TOP 20 par excellance hit, no dispute thereabout.The songs following it, to be comprised on the opening album ‘One Forever After’, shall find a niche  public to DAta!DAta!, in vitro project band, who not rarely explore the platform of dadaism, and implement it into the music whenever seductively possible.WHY THERE IS NO VIDEO TO ‘KISS ME AUTOMATIC..’ I CAN’T FIGURE OUT THE SONG WITHOUT A BLOODY VIDEO! I WANT A VIDEO!Oh yes, there are two video-clips in making to the song, yet we strongly beleive that the young population should train their brains to interpret the songs and visualise them by their own optics. Experiencing songs, books, films et. within the fra,meworek of individual circumstancials compliments  the intelect, and advances the mind. Thi is not valid for hip hop, (c)rap and other non-white audio articulations, for there is no intelect to be engaged  thereby. What can you fancy when you hear, ‘I am a  mothaf— nigga…/ I wanna kill  ‘n’ fight/ I wanna f… the chicks every night/ I wanna sell pills’?‘Kiss Me Automatic…’ should be regarded a  a medicine for the very young people because they get audio cake  void of  sugar, and bearing  extremely civilised taste for the low-form genres as electro/ techno pop are. WHY DOES  IT COME TO BE:  TABLOID TECHNO POP?Tabloid!Ivan Gatsby has been one of the pioneers in the explosive tabloid commercial and investigative journalism, the editor who set apart communistic regime and a state alike at the heart of Europe in 1990. He  has started graphical redesign of mediascape introducing dynamic tabloid-like patterns into the press and electronic media. Gatsby and his associates redefined the role of the media into a remarkable seductive voice of public conscience, selling thereby the weekly he created and edited in hundred of thousands copies in  arelatively small market.Tabloid paramethers are generated by the songs themselves, thus sparing the listener of DAta!DAta!’s debut audio effort ‘One Forever After’ empty  cliches, both lyric-/and melody-wise, generally  masking the lack of talent, and propelling new enthusiasm into a marginal genre. DAta!DAta! strike you with power, to be wholly experienced  while listening to ‘One Forever after (expected out on November 14,2006) . The album, currently in the recording phase,  is still presumed to be avalaible solely as an e-edition(e-njoy! Edition), with a pile of bonuses  attached thereto, just like any Gatsby & Lauren Global’s releases  to follow.  

Despite falling into bubblegum area, the song Kiss Me Automatic… hits the air just as the first-class tabloid front page would:  no breaks, attractive melodies and harmonies interweaving, leaving you breathless.

NOTACIJA PJESME:  IZVEDIVOST SUSTAVA MEDIAMATIC* U NOVOM RASPOREDU PRODAJE GLAZBE:1.       Album THE WORLD WE ARE A-CHANGIN’ je napravljen kao obrazac za kasnije glazbene produkcije GATSBY & LAUREN branda s ciljem, misijom i operativnom funkcijom premošćivanja nedostatka kapitala u sjemenskoj dobi razvoja i realizacije projekta. Stoga je MEDIAMATIC* svoju profitabilnsot izgradio na brzo rastućom tržištu prodaje glazbe putem interneta i mobilnih telefona, te novim okolnostima  koje usporavaju piratsko skidanje glazbe s interneta, nedovoljna zakonska i praktična zaštita intelektualne imovine ,te ponajviše u okolnostima kada se mijenja način očitovanja, preslušavanja  i kupovanja glazbe, koji postavlja odnos izmedju autora, izvodjača i publike bez posrednika (diskografskih kuća; CD proizvodjača; distributera i sl), čime se pojeftinuje i ubrazava ukupan proces.2.      MEDIAMATIC* prije  svega razmatra uporabljivost kreativnog postupka stvaran ja prema zadanim algoritmima s ciljem stvaranja kvalitetnog sadržaja koji je komercijalno utrživ,  platforme upravljanja digitalnim pravima te njezinim nedostacima koji utječu na protočnost i jednostavnost kupovine i slušanja glazbe za kupce. Stoga, DRM (Digital-Rights-Management – upravljanje digitalnim pravima)  tehnologija, kao i načini plaćanja i kupovine koji moraju biti cjeloviti, jeftini i uvažavati sve kategorije ljudi te im omogućiti da smjesta kupe pkjemsu ili neki drugi sadržaj (kreditne, debitne  i prepaid kartice; telefonski računi; plaćanje mobitelom;  čekovi; virtualni računi i clearance privremen i računi) SHEMA LANCA PRODAJE GLAZBE FIZIČKIM I ELEKTRONIČNIM NAČINOM PRIKAZANA JE NA BLOGU: www.hitindustria.wordpress.com 1.      HIT INDUSTRIA, kao Net Label,diskografska kuća na internetu kao mediju distribucije i pšrodaje,   stoga počinje putem svog portala www.megahits.biz  u kojeg će implementirati vieš od trideset načina plaćanja i kupovine, od postojećih (PayPal; Worldpay;  gateway za kreditne kartice i dr) do inovativnih prilagodjenih licencija za nano; mikro plaćanje putem telefona)2.      MEDIAMATIC* se razvija od temeljne premise da je zaintersiranoj publici kudikamo uputnije ponuditi cijelu nisku pogodnosti, beneficija (sinergičnih s drugim projektima od kojioh neki nude i mogućnost poslovne zarade) i niskih stvarnih cijena  od visokih troškova velikih diskografskih kuća koje time postavljaju standarde cijena i potiču piratstvo. Zbog toga danas kod internetiziranih  sljedbenika glazbe nedostaje potrebne lojalnosti i morala.3.      Tzv. P2P servisi, zbrka i nepostaojan je industrijskog standarda u formatu i načinu prodaje glazbe putem interrneta ili mobitela, a posebice visoke cijene i nepostojanje jeftinog i praktičnog sustava nano plaćanja, problem je koji se uporno izbjegava čak i definirati, nekmoli riješiti. MEDIAMATIC* vodii računa o cijeni novca, čak i smanjenju troškova kupcima putem  kupnje unaprijed u aktivni fond čiji prfihodi umanju cijenu proizvodu,  akupovcu osi+guravaju prvu opciju na kupovinu udjela nakon što mu se isporuči unaprijed uplaćen roba po diskontnoj cijeni.4.      Takav način rada koji se temelji na novostvorenim vrijednostima predstavlja vrlo dinamičan model ukupne participacije i linearnosti ukupnog postupka, kako se zapravo postupka odvija po horizontalnoj hijerahijskoj liniji, umjesto doktiriranoj kakva je bila (do)sad.5.      Diskografske kuće su nažalost dosad bile monopolisti, obzirom da su rezervirale sve medije za svoje proizvode te visokom cijenom marketinga onemogućili poštenu tržišnu bitku manjim izdavačima. 6.      Isto se odnosi i na pretjeranu adminsistraciju oko zaštite autorskih i srodnih prava, ali bez konkretnih učinaka. Takav kartelski odnso umanjuje odgovornost onima koji jednostavnio ne kupuju glazbu, nego je raznim ilegalnim načinima dobavljaju ili slušaju. Sve je navedeno još čudnije jer CD-ovi su bili zapravo najnezaštićeniji oblik za daljnje kopiranje. Zbog toga treba razumjeti revolt kupaca glazbe koju istu žele kopirati na svoj kompjuter, CD player, IPOd i sl.,  a isto ne mogu napraviti zbog ograničenja postavljnih u sustavu DRM-u7.      Stoga se grupe mlad(j)ih potrošača glazbe može rasporediti po njihovu  odnosu prema medima (CD i mp3);: A) oni koji su ranije kupovali CD-ove kupiti će  album glazbe u mp3 formatu koja nije DRM zaštićena; b) kupovati će pojedine pjesme  u mp3 formatu  umjesto CD-ova; C) oni koji kradu glazbu putem Internet p2p i drugih servisa MEDIAMATIC* prilazi problemu stvaranja kreativnog proizvoda (album THE WORLD WE ARE A-CHANGIN’, kao i cijeli Katalog hit i megahit pjesama branda GATSBY & LAUREN) prema najboljim načelima kreativne industrije u svijetu, te izradu orighinalner mreže / platforme komercijalizacije kreativnog proizvoda putem predujmova za fizičku prodaju ili korištenja autorski i srodnih prava te putem Internet /mobilne prodaje kreativnog proizvoda, usliuga i komplementarne ponude. Pri tomu, MEDIAMATIC* uzima u obzir postojeće parametre troškova servisa za prodaju glazbe (napr. iTunes,Rhapsody itd), sustava za ponudu i DRM (poput IODA i sl.), troškove razvoja licencija koje će se razvijati kao jedna od originalnih opcija prodaje i plaćanja  te marketinških direktnih, indirektnih te ciljanih jedinstvenih troškova.
IZRAČUN PROFITABILNOST IZDANJA (FORMATI: CD –mp3).Napomena: Nisu uzeti u obzir nakladnički i autorski prihodi koji se ne odnose na direktnu prodaju nosača zvuka/podataka.PROFITABILNOST IZDANJA (NETO PROFIT) PJESDAMA / IZDANJA U mp3 FORMATU   MJERI SE PREMA SLJEDEĆOJ FORMULI:/B(n)*/C(p) – T (v)) – FT(f)/  + /DRM (n 9* / C(pf)/ – /DRM (vt)/ + /DRM (vt) / MP3 (pc) – MP3 (vt)  / – MP3(ft/B(n): Broj CD-ova koji su prodani
C(p): Prosječna cijena za CDFT(f): Fiksni troškovi povezabni za prodaju CD-ova
T (v) : Varijabilni troškovi povezani za prodaju CD-ovaDRM (n): Broj CD-ova sa DRM zaštitom koji je prodan
C(pf): Prosječna cijena za pjesmu ili album na internetu kao skup podtaka u mp3 formatu  (file)
DRM (ft): Fiksni troškovi povezani s DRM prodajomDRM (vt) : Varijabilni troškovi povezani s DRM prodajom
DRM (vt): Broj pjesama / albuma iu mp3 formatu koji su prodani  u obliku grupe podataka (file)
MP3 (pc): Prosječna cijena pjesme / albuma u mp3 formatu
MP3(vt) : Varijabilni troškovi prodaje pjesama / albuma u mp3 formatuMP3 (ft) : Fiksni troškovi povezani s priodajom pjesama / albuma u mp3 formatuFormati su u interelaciji obzirom da je broj očekivanih prodanih primjeraka u jednom formatu ( u ovom slučaju: CD i mp3) zavisi od broja prodanih primjerakau drugom formatu, čime se može utjecati na maksimiziranje profita ostvarenog elektroničnom prodajom.STANJE NA TRŽIŠTU:-          pjesme na internetu se prodaju u iznosu oko USD1,oo, ne računajući kartične i ine troškove na zasad neučinkovitoj mikro; nano naplati skinutih digitalnih sadržaja; -         zbog smanjenja troškova dupliranja CD-ova, omota, transporta i te ukupnih troškova distribucije, Internet bi trebao postati otvorena prodavaonica za svaki stališ ljudi u svijetu daljnjim smanjenjem troškova, kjao i ubrzanjem  pristupa internetu;-          CD-ovi s edanas dupliraju u svijetu po sustavu C-O-D (CD-on -Demand ili CD po narudžbi što  doprinosi mobilnosti  plasmana  i ukidanjem troškova skladištenja;-          još uvijek je statički dvojhbeno da li mp3 fileovi s pjesmama koji se ilegalno skidaju doprinose povećanju ili smanjenju ukupne prodaje nosača zvuka i profita diskografske industrije, obzirom da je Internet proširio spoznaju i veličinu ukupnog tržišta . U ovom trenutku, gubici u profitu su vidljivi, ali isključivo zbog strukturne inertnosti diskografske industrije; -        Naime diskografske kuće prosječno zaradjuju okmo USD2,80  po primjerku  albuma koji se prodaje po normalnoj cijeni (kao CD), dok kod prodaje album a na Internet servisima zaradjuju kumulativno oko 65+%. Stoga je usporedba da diskografske kuće trebaju 4 do 8 plaćenih skidanja (downloadiranja) za kompenzaciju jednog prodanog albuma u fizičkom CD formatu.MEDIAMATIC* uzima u obzir sve navedene okolnosti, obzirom da su glavni feed   (izvori podataka) sustava  MEDIAMATIC* za očitovanje i sintezu podataka  odabrani izvori dostupni putem interneta, te se sustav niskotroškovne ukupne organizacije poslovanja u početne četiri (4) godine, te po svakom projektu kao zasebnojh kreativnoj i komercijalnoj cjelini, oslanja na projekcije razvoja elektronične trgovine čije će glavne poslovne karakteristike biti:-         proširenje dosega ponude i naplate razvojem  i pojeftinjenjem poslovnih i bankovnih Internet usluga;-          uporabu najkonkurentnije softverske tehnologije;-          smanjenjem potrebnog kapitala za postupke  i usluge (kao što je  napr.  gateaway za plaćanje) putem interneta;-         razvoj mobilnih telekom mogućnosti (povećanja kapaciteta i polivalentnosti mobilnih telefona, ručnih kompjutera i sl.);-          24-satni dostup u svakoj okolnosti;-          povoljne cijene dostupa i medija;-          najvažnije, mogućnost izbora za kupca koji je dosad bio prisljen kupiti skupi album za jednu ili dvije pjesme koje su najmu vrijedile. Ostale pjesmes u na većini originalnih pop-rock albuma  obično čisto kreativno smeće. GATSBY & LAUREN brand će nuditi albume i izdanja koja će sadržavati  viskokvalitetne  komercijalne uratke koji će sadržavati hit do hita, unutar žanrova i podržanrova izdanja. HODOGRAM AKTIVNOSTI:

IZRAČUN TROŠKOVA POČETNIH  GLAZBENIH IZDANJA BRANDA GATSBY & LAUREN  (IZRAČUN IZ STRATEŠKOG AKCIJSKOG PLANA (12.2006):

(COST OF THE OPENING RELEASES – 2007) – HIT INDUSTRIA  ENTITY AT PRE-SEED / SEED STAGE

TROŠKOVI IZDANJA U PRVOJ GODINI (2007.):

NAPOMENA: Troškovnik ne iskazuje cjelovite troškove izdanja koji su standardni u diskografskoj industriji nego troškove pripreme, realizacije, opreme i tiskanja prvog tzv. master izdanja koje se onda šalje distributeru za daljnje razmožavanju (ukoliko je riječ o fizičkom – CD tržištu) odnosno puštanju izdanja u elektronsku prodaju.

TROŠKOVI  DODATNIH ALBUMA (NETO PROJEKCIJE)

TROŠKOVI ALBUMA:
DAta!DAta!: ONE FOREVER AFTER
Valuta: EUR
Cijene su: Neto

NAVEDENE SU MINIMALNE CIJENE OBZIROM NA KOMPLEKSNOST PROIZVODA I CJELINU OBRADE
Troškovi snimanja /10 pjesama odabranih od predloženih kandidata/

Studio (najam,usluge, 130 sati minim.) 2600
Inženjer zvuka (+ dodatne usluge) 800
Producentska marža 0
Mastering 1200
Studijski glazbenici (prateći vokali i dr.) 1500
Dodatni troškovi (vokali,aranžeri, zbor itd) 2500

Troškovi izrade

Dizajn omota i ukupnog projekta 500
CD dupliranje /2oo kom + Master+ Barcode itd) 400
Tiskanje naklade 150
Pakiranje
Razni troškovi proizvodnje

Neto: oko EUR11.245

Bruto: oko EUR14.261

Prodajna cijena (zavisI od distributera, ali elektronskom prodajom cijena može biti ultrakonkurentna) – oko EUR4

Total: Troškovi snimanja
Total:Troškovi proizvodnje (CD-a)
Total: Promidžba (zavisi od distributera, inače se provodi niskotroškovna posredna promidžba

Maloprodajno se trebaju prodati oko 8.000 komada da se pokriju troškovi (ostvari break-even) – aukcijskim putem direktnom elektronskom prodajom uključujući CD-ove.

TROŠKOVI ALBUMA

COHEN (alt. THE TOUCHDOWNS): COMMUNICATION LOST
Valuta: EUR
Cijene su: Neto

NAVEDENE SU MINIMALNE CIJENE OBZIROM NA KOMPLEKSNOST PROIZVODA I CJELINU OBRADE
Troškovi snimanja /12 pjesama /

Studio (najam,usluge, 100 sati minim.) 2.000
Inženjer zvuka (+ dodatne usluge) 0
Producentska marža 0
Mastering 800
Studijski glazbenici (prateći vokali i dr.) 3000
Dodatni troškovi (vokali,aranžeri, zbor itd) 1200

Troškovi izrade

Dizajn omota i ukupnog projekta 500
CD dupliranje /2oo kom + Master+ Barcode itd) 400
Tiskanje naklade 150
Pakiranje
Razni troškovi proizvodnje

7.400 oko EUR

Bruto: oko 9.800

Prodaja putem pošte (Troškovi)

Prodajna cijena (zavisi od distributera, ali elektronskom prodajom cijena može biti ultrakonkurentna) – oko EUR4

Maloprodajno se trebaju prodati oko 6.800 komada da se pokriju troškovi (ostvari break-even) – aukcijskim putem / direktnom elektronskom prodajom uključujući CD-oveVeleprodajno se treba prodati oko 19.200komada da se ostvari povrat troškova – licencijski izvor prihoda.

TROŠKOVI ALBUMA
TESLA GIRLS!: AN EVENING ON EARTH
Valuta: EUR
Cijene su: Neto

NAVEDENE SU MINIMALNE CIJENE OBZIROM NA KOMPLEKSNOST PROIZVODA I CJELINU OBRADE
Troškovi snimanja /12 pjesama /

Studio (najam,usluge, 170 sati minim.) 3400
Inženjer zvuka (+ dodatne usluge) 600
Producentska marža 0
Mastering 800
Studijski glazbenici (prateći vokali i dr.) 2500
Dodatni troškovi (vokali,aranžeri, zbor itd) 3000

Troškovi izrade

Dizajn omota i ukupnog projekta 500
CD dupliranje /2oo kom + Master+ Barcode itd) 400
Tiskanje naklade 150
Pakiranje
Razni troškovi proizvodnje

Neto: oko EUR 12.350

Bruto: oko EUR 16.050

Prodaja putem pošte (Troškovi)

Maloprodajno se trebaju prodati oko 19.000 komada da se pokriju troškovi (ostvari break-even) – aukcijskim putem / direktnom elektronskom prodajom uključujući CD-ove. Veleprodajno se treba prodati oko 31.000komada da se ostvari povrat ukupnih troškova – licencijski izvor prihoda.

TROŠKOVI ALBUMA
ARIEL tHE TEMPLAR: WORLDS INSIDE
Valuta: EUR
Cijene su:Neto

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(ARHIVA) STRATEGIC PLAN FOR THE PROJECT: HIT INDUSTRIA (Croatian)

U Zagrebu, 01.10. 2006

Naslov dokumenta:
Žurni strateški / provedbeni plan za Projekt trgovačkog društva s ograničenom odgovornošću HIT INDUSTRIA kao izvršitelja Programa.

Svrha dokumenta:
Ovim se dokumentom odredjuje Plan provedbe Projekta Hit Industria te ukazuje na Opće uvjete u koji su povoljni u trenutku pisanja Plana i unutar kojih će se Program i Projekt razvijati. Program je pretežito izvoznog profila, tako da u obzir uzima zbivanja na svjetskom tržištu glazbene industrije, tiskovne industrije, filmske industrije, razvoj tehnologija (komunikacije, software, cijena dostupa i dr.) i opću socijalnu situaciju na glavnim svjetskim tržištima danas, recentno te projicirano buduće stanje obzirom na ukupne uvjete (ekološke, klimatološke, učinci globaliziranja proizvodnje u resursima, radnoj snagi i sl.). Ovaj Plan donosi postavke prema kojima će se naknadnim detaljnijim Poslovnim planovima obradjivati projekti i pravni entiteti koji će rezultirati radom Projekta: Hit Industria (d.o.o.)

Oznaka:
GL – 1809-57-12-06

Autor:
Ivan Ostoja
10000 Zagreb
Kontakt: 099 34 34 554 Email: ivan@megahits.biz; / business@megahits.biz

Status:
Informacija za ozbiljne interesente, na temelju koje će autori isporučiti Poslovni plan u suglasju s poslovnim mogućnostima i željama interesanata čije prve reakcije budu uzete u obzir kao pogodne za stvarni razvoj Projekta i Programa.

Datum verzije:
23.11.2006

Autorsko pravo:
Sva prava teksta, naziva i projekata predstavljaju vlasništvo autora, osim dijelova teksta, odnosno Priloga Planu koji sadržavaju informacijski materijali o shemama funkcioniranja industrije glazbenih prava u SAD, koje su zaštićene autorskim pravima trećih osoba, a u ovom Planu, odnosno Prilogu, očitovani su isključivo iz edukativnih razloga radi temeljitijeg upoznavanja s principima rada industrije glazbenih autorskih prava, kao i glazbene industrije EU, SAD i ostalim relevantnim tržištima na Svijetu (Daleki Istok, Južna i Srednja Amerika itd.) .

Svrha Plana:

Informiranje potencijalnih ulagča i interesenata o izvanrednoj poslovnoj mogućnosti s višestrukim materijalnim i marketinški generiranim profitima. Po vokaciji, potencijalni interesenti su ulagači u rane dobi poduzetništva > Poslovni angjeli; Jamstvene organizacije; Davatelje poduzetničko-kolateriziranih financijskih rješenja na temelju vrijednosnih papira kao početne imovine – utrživih prava, pisma namjere/predugovora s kredibilnom medjunarodnom kompanijom, životnih osiguranja, iskustva, goodwill vrijednosti ostvarenih projekta i potraživanja kao kolateralima za novo poduzetništvo. Plan s Prilogom (koji je većinom na engleskom jeziku) takodjer informira o trenutačnim strukturnim promjenama u svjetskoj glazbenoj i medijskoj industriji, te upoznavanje s kvalitetnim, inovativnim i globalno-utrživima proizvodima i uslugama Ivana Ostoje i Marija Meriana, obojica iz Zagreba, pokretača Projekta: HIT INDUSTRIA (d.o.o.):

Plan ima za operativnu i trenutačnu funkciju ostvarivanje nastavka financiranja početnih projekata Ivana Ostoje i Marija Meriana čija je stvarna vrijednost u pravima i izvedbi tržišno trenutačno u trenutku nastajanja i finalizacije veća od uloženog za koeficijent od najmanje x 2.7 prema svjetskim industrijskim standardima običaja poslovanja, troškova, prihoda i odnosa povrata na investiciju i povrata na imovinu (ROI; ROA).

Plan je radi zatečene situacije kreativnog zamaha, obznanjivanja branda GATSBY & LAUREN u uglednim internet medijima koji se odnose na svjetsku glazbenu industriju, dosadašnji uspjegha Ivana Ostoje u medijima, kako u Hrvatskoj tako i Europi (TOP 10 single ploča Kevina Keegana 1979. godine; TOP10 projekta Tesla Girls! Na www.mp3.com 1998/99 itd.), poglavito aplikativan za hrvatske opportunity (prigoda) ulagače i ulagače u medije na svakoj razini
a) poduzetničko–venture-ulaganje od početne dobi projekta,
b) logistička podrška,
c) strateško ulaganje,

obzirom da je Projekt kojim počinje program trenutačno komercijalno isplativ ako se uzme u obzir razlika u vrijednosti koju stvaraju niski početni troškovi rada, opreme i dr.

Početni kapital je potreban radi završetka snimanja navedenog albuma, izrade aktivne web stranice s cjelovitim funkcijama 20 načina prodaje (web shop) i oko trideset najrelevantnijih servisa na internetu, te postupnog guerilla-marketinga koji koristi taktiku posredne i neposredne reklame.

Jedinstvene poslovne i marketinške osobine Plana:

I. Plan predstavlja inovacije u odnosu na medijske sadržaje i kapitalizaciju istog, posebice u načinima poslovne aukcije i pretprodaje albuma i drugih medijskih uradaka iz radionice hrvatskog izvoznog branda GATSBY & LAUREN u području osmišljavanja, razvoja, proizvodnje i distribucije uradaka, te niske poslovnih rješenja u cilju postizanja sinergičnosti etapnog angažmana kapitala proizvodjača i kupaca, kao što može biti,primjerice, tzv. junk obveznica (za: OTC-Over the Counter – neslužbeno tržište vrijednosnica). Obveznica se može temeljiti na vrijednosti intelektualne imovine i projiciranim profitima uporabe iste, uz dodatne konvertibilne kolaterale;
II. Program Projekta: HIT INDUSTRIA odnsoi se na sva područja medija (glazba, igrani film, tiskovna i elektronska izdanja, novi mediji, produkcija sadržaja, poslovne usluge) te na poslove pripreme, financiranja i plasiranja izvoza medijskih i kulturnih proizvoda i usluga;
III. Program se fokusira na izradi vlastitog sustava za mikro plaćanje kao i omogućivanja uporabe sustava za plaćanje preko interneta (sustavi za nano- i mikro- plaćanje) koji su dostupni, jeftini i jednostavni svakom čovjeku neovisno o njegovom poznavanju informatike i interneta;
IV. Projekt: HIT INDUSTRIA  započinje s komercijalnim albumom glazbe i podataka koji sadrži dvije super single izdanja koja su pisana za ulazak u barem TOP40 služebnih top lista. Uz to treba naglasiti dvije početne SUPER DOUBLE-A singlice i početnim albumom koji će instantno naći mjesta na top listama zbog svog sadržaja i posrednog marketinga;
V. Pjesme Ivana Ostoje i Marija Meriana pod registriranim pseudonimima (pennames; likenesses) ‘Ivan Gatsby’ i ‘Isaac Lauren’ obiluju fantastičnim i komercijalno neodoljivim harmonijama, melodijama, riječima i ukupnim rješenjima koje će svatko izdanje automatski pokrenuti na relevatne industrijske top liste najprodavanijih pjesama i albuma elektronskim i klasičnim putem (prodajom nosača zvuka i podataka, uprilagodjenim (customised) izdanjima i sl.
VI. Projekti su marketinški posve prilagodjenih trenutačnim i budućim okolnostima vulgarizacije i degeneracije melodija i harmonija kao i ukupnog civilizacijskog stila glazbe kroz pravce poput ‘rap’ glazbe; povratak ponude zahtjevnijoj publioci izmedju 20-7o godina kojima nedostaje povoda za identifikaciju; pjesme su, osim poetske prizornosti, smještene u svijet klimatskih i životnih apokalipsa, teror islama i demografsku katastrofu autohtonih naroda u zemljama EU, SAD i šire, te tomu i relativizacija ljudskih prava, vulgarizacija ciljeva politike te uspjeha u životu.

Sadržaj Plana:

SADRŽAJ 5

SAŽETAK UVODA 6
UVOD (INFO-SHEMA) 7
POJMOVNIK PLANA 8
VRSTE ANGAŽMANA I STVARANJA PROFITA / NOVIH VRIJEDNOSTI 9
POČETNE RADNJE PROJEKTA HIT INDUSTRIA (D.O.O.) 10
TROŠKOVI IZDANJA (GLAZBA) U PRVOJ GODINI (2007) 18
KRATKI SAŽETAK-PROJEKT: HIT INDUSTRIA (D.O.O.): POSLOVANJE 25
PROJEKT: HIT INDUSTRIA (D.O.O.) : POSLOVNA STRATEGIJA 27
PROJEKT: HIT INDUSTRIA – MISIJA (UZ MULTIMEDIJSKE PROJEKTE) 28
PROJEKT: HIT INDUSTRIA – PLANIRANJE PRORAČUNA (IZVORI PRIHODA) 30
HIT INDUSTRIA (D.O.O.) : DJELATNOSTI (TRGOVAČKOG DRUŠTVA ) 34
RAD NA KATALOGU, IZDANJIMA… BRANDA GATSBY & LAUREN 35
PRVI PROFIT-…RAZLIKA U CIJENI 36
PRAVA – INTELEKTUALNA IMOVINA 38
SHEMA ZARADE PUTEM AUTORSKIH I SRODNIH PRAVA U SVIJETU 39
HIT INDUSTRIA (D.O.O) -PROJEKCIJA POČETNIH TROŠKOVA I BILANCE 41
HIT INDUSTRIA (D.O.O): OKVIRNI TEHNIČKI TROŠKOVI DRUŠTVA 44
POČETNA IMOVINA I IZVORI PRIHODA PROJEKTA: HIT INDUSTRIA 46
SIMULACIJA POČETNIH PROFITA PROJEKTA: HIT INDUSTRIA 48
POČETNI MARKETING BRANDA GATSBY & LAUREN 51
PRIHODI OD TANTIJEMA I LICENCIJA U SVIJETU (SHEME I PRIMJERI) 52
PREDNOSTI SUSTAVA PROJEKTA: HIT INDUSTRIA 59
PROJEKT: HIT INUSTRIA GOODWILL I POČETNE UNESENE TE SKRIVENE VRIJEDNOSTI 60
BRANDOVI PROJEKTA: HIT INDUSTRIA 61
USTROJ GLAZBENE INDUSTRIJE I TRŽIŠTA 62
PROJEKT : HIT INDUSTRIA – DALJNJI GLAZBENI PROJEKTI 65

PRILOG 1: KATALOG PJESAMA BRANDA GATSBY & LAUREN 67
PRILOG2: GOODWILL I DRUGE POČETNE VRIJEDNOSTI PLANA (DETALJNIJE) 75
PRILOG 3: ŽIVOTOPISI POKRETAČA PROJEKTA: HIT INDUSTRIA 78

SWOT ANALIZA – SJEMENSKI STADIJ PROJEKTA: HIT INDUSTRIA 83

Sažetak Uvoda

U Planu su navedene osobine Program, kao i početnih proizvoda i usluga za trgovačko društvo HIT INDUSTRIA d.o.o. (u pokretanju) koje će proizvoditi globalno komercijalno utržive medijske uratke, po obrascima niskih troškova u odnosu na unesene i novostvorene vrijednosti;
Početne djelatnosi odnose se na područje komerijalne glazbe s za globalno tržište, u dobi kada svjetska glazbena industrija prolazi kroz najveću strukturnu promjenu u predstavljanju i prodaji glazbe, kao i medijima glazbe.

Vrijednost svjetskog glazbeno tržište procjenjuje se na oko 40 milijardi USD godišnje, s visokim potencijalom koji će oblikovati učinkovitija prodaja putem interneta nakon štos e riješi problem mikro i nanonaplate.

Program HIT INDUSTRIA i Projekt HIT INDUSTRIA (d.o.o.) novelirati će hrvatsko tržište funkcijom (izvozna agencija za medijske i kulturne proizvode), proizvodima (GATSBY & LAUREN MEGAHIT CATALOGUE, kao i derivatima istog poput moguće obveznice, kolaterala i sl.) izdanjima, sadržaju i obliku proizvoda te načinima kapitalizacije intelektualne imovine.

HIT INDUSTRIA promaknut će se i prije svog osnutka, kao obrt za intelektualne usluge i proizvodnju zvuka- optimalno za tzv. DIY izdavače (Do-It-Yourself = Uradi to sam) , odnosno preddruštvo (d.o.o.), u izvoznika hrvatske intelektulne imovine koja će biti plasirana javnosti na medijski izložena mjesta. Hrvatska je mmonetarno i medijski okupirana, a taj status je uzrokovan konsolidacijom banaka novcem poreznih obveznika, neosudjivanjem gospodarskih kriminalaca i njihovih političkih suradnika, kao i nepovratu nastalih šteta od istih (Tisak, Slobodna Dalmacija i dr.) čime su političari kao vrh moralne vertikale u društvu činjenično legalizirali kriminal kao modus vivendi i modus operandi u ovoj zemlji, onemogućujući financiranje hrvatskih medijskih projekata pri ministarstvima za poduzetništvo, kulturu i prikladnim fondovima.

Nositelji Programa su Ivan Ostoja i Marijo Merien iz Zagreba

Isti uz; prava i imovinu koju unose u imovinu Društva; pripremaju realiziraju i prodaju sve svoje glazbene i druge medijske uratke.

Početni projekt HIT INDUSTRIA-e predstavlja komercijalni glazbeni album koji sadrži dvije SUPER DOUBLE-A SIDED SINGLES (super singlice za intenet i fizičku prodaju):
1. SECRETS OF MY LIFE / DON’T WORRY,MA,NOTHING IS GONNA BE ALRIGHT u izvodjenju GATSBY & LAUREN
2. KISS ME AUTOMATIC…IT’S SO CHIC / PROUD TO BE CATHOLIQUE u izvodjenju ‘dadaističkog’ studijskog projekta branda GATSVY & LAUREN – DAta!DAta!
3. Početni album s megahit potencijalom za trajnu komercijalnu eksploataciju na svjetskim tržištima naziva THE WORLD WE ARE A-CHANGIN’ u izvedbi izvodjača GATSBY & LAUREN.

UVOD (INFO SHEMA) :

PROJICIRANA SHEMA PRAVNIH ENTITETA PLANIRANE GRUPACIJE SA SJEDIŠTIMA U ZEMLJI I INOZEMSTVU(2007-1010):

HIT INDUSTRIA postat će, a što ponajviše zavisi od dobre volje i razvoja početne suradnje s distributerom, dijelom financijsko-medijske grupacije u pripremi radnog naziva: ‘plus’,-/ ‘Premier Media’ koja sadrži nematerijalne (intangible) vrijednosti (prava, brandove, radove, goodwill) temeljem kojih će se osnivati daljnja trgovačka društva ili sudjelovati o pokretanju poduzetničke internet mikrobanke i dr. Planirani spin- off projekti su:

Agencija s blagotvornim i komercijalnim ciljem potppune podrške malom i srednjem poduzetništvu, poglavito poduzetnicima u ranoj dobi :plus!AGENCIJA ZA FINANCIRANJE HRVATSKIH PODUZETNIKA d.o.o. — plus!BANKA ZA MIKROFINANCIJE, PODUZETNIŠTVO I RAZVOJ d.d., prva mikrobanka u RH/banka za poduzetnike/net-multi channel banka (Nastavak Projekta: BMP) — plus!MEDIA >plus!MUSIC: EuroVirgin Ltd. – MI2 Music Ltd. -plus!FILM AND VISION plus! PRESS & BOOKS i dr. prema okolnostima, — plus!INVEST, društvo za upravljanje investicijskim fondovima:AKTIVfond / PREMIERfond/ *PREMIERextra FONDARIELplus FOND*TESLAplus FOND*GOLD plus FOND i drugi zatvoreni odnosno Venture ili Business Angels fondovi

*Naglasak u portfeljiranju proaktivnih fondova, na projiciranim poduzetničkim novostvorenim vrijednostima plus! INVEST d.o.o., trgovačko društvo za strateške poslovne usluge.

Trgovačko društvo koje će grupaciji obavljati poslovne usluge upravljanja, knjigovodstva, saldiranja bilanci, ugovaranja adekvatnog kapitala iz inozemnih izvora, instrumenata kapitala i dr.

**Ovo je Društvo opcionalno, te će Agencija preuzeti gorenavedene djelatnosti i funkcije: Brand GATSBY & LAUREN GLOBAL MEDIA (radno).

Brand će biti namijenjen za globalno eksploatativnu glazbu, medijske projekte u svim dobima pripreme,razvoja, proizvodnje, kapitalizacije, distribucije, naplate, izvoza, financiranja izvoza prikladnim kapitalom, a brand Gatsby & Lauren biti će prepoznatljiv kao cjelovit tvorac projekata, welfare pobornika te ikone medijskih i poslovnih usluga.
Pojmovnik Plana

PROGRAM HIT INDUSTRIA: Program čini navedeni broj projekata u medijskim i poslovnim područjima koji svojim ostvarenjima sinergično polučuju ciljeve programa;

PROJEKTI PROGRAMA HIT INDUSTRIA: Projekt je uskladjeni skup aktivnosti kojima se od odredjenog stanja dolazi do željenog stanja, pa se projekte zastupljene unutar Programa Hit Industria treba analizirati odvojeno, ali unutar zajedničkih medijskih, komercijalnih i ideoloških postavki;

PSEUDONIMI, BRANDOVI I RADNJE: Ivan Ostoja i Marijo Merien, pod pseudonimima: Ivan GATSBY & Isaac LAUREN, spremaju od 1997. godine Katalog globalno komercijalnih hit pjesama radnog naziva GATSBY & LAUREN GLOBAL HIT CATALOGUE, te ukupnu strukturu koja je potrebna za pripremu, razvoj i marketing projekta, snimanje, produkciju, identitet i vizualizaciju izvodjača, financijsku konstrukciju, kontakte, potencijalnu publiku i dr;

UPRAVLJAČI PROGRAMOM: Ivan Ostoja je izradio Program na temelju svojih iskustava i talenta koji je nerijetko praktički bio vremenski ispred ljudi u njegovu okruženju. Shodno navedenom Ivan Ostoja će koordinirati provodjenjem istog u djelo kroz projekte koji sadrži, kao i autonomne djelatnosti sa svrhom što učinkovitijeg razvoja i upravljanja projektima;

UPRAVLJAČI PROJEKTIMA: Početni se projekt zbog dostupnog kapitala, cijene, odnosa cijene s novostvorenom vrijednošću, postojanja proizvodnih uvjeta, radova, snimaka, prava i dr. odnosi na glazbena izdanja kojim se će se promovirati brand GATSBY & LAUREN. Upravljač ovim projektom koji će biti vlasništvo trgovačkog društva, po osnivanju istog, Hit Industria d.o.o., u suglasju s uvjetima i roku kapitalizacije,biti će Marijo Merdien iz Zagreba, koji je skladatelj glazbenik, zvučni inženjer i producent, a koordinator u postupku biti će Ivan Ostoja; Ivan Ostoja i Marijo Merian mogu realizirati projekte jer posjeduju iskustvo, znanje, vještinu, obrazovanje, potrebne kontakte te sposobnost stvaranja profesionalnih i konkurentnih uradaka za svjetsko tržište po izuzetno niskoj cijeni čime se stvara prva komparativna prednost i nova vrijednost u odnosu na uloženo novcem, radom, tehnologijom, prostorom i drugim troškovima.

Marijo Merien i Ivan Ostoja svakodnevno skladaju, bilježe ideje, riječi, melodije,harmonije i taktove, te stvaraju katalog pjesama koji će biti namijenjen prije svega izvodjačima GATSBY & LAUREN branda; Glazba se snima i producira (mastering,miks i dr) u studiju WHITELIGHT u Zagrebu, te je stoga cjelokupna proizvodnja i izdanja 100% HRVATSKI!!!

VRSTA GLAZBE, INOVATIVNOSTI:

Prema logaritmima svoga sustava rada i sadržaja s optimiziranjem učinaka – MEDIAMATIC* - glazba GATSBY & LAUREN branda i Kataloga hit pjesama biti će generička, strogo formulaična u sadržaju hit pjesama u odnosu na žanrove, područja, riječi i cijelu marketinšku koncepciju izvodjača. Pjesme će imati svoj izričaj, originalnost i unikatnost,a tvoriti će mješavine (crossover) vrsta glazbe, ponajviše vrsta: art brit pop, country pop, electro, power pop, bubblegum,doowop, rock, sympho rock, balansirani heavy metal, akustični recitali, neu europ-pop & dance, global sympho pop, grand epic i sl. Pjesme će sadržavati zarazne i hitoidne ključeve u harmonijama, melodijama, aranžmanu i riječima, te u načinu izvedbi. Prevladavati će pop harmonije i riječi koje osvajaju slušatelje, posjeduju emocije koje nikad ne prerastaju u jeftine klišeje i trivijalnosti, te stvaraju pretpostavke za svakoga da uživa u njima i da ih interpretira prema svojoj životnoj situaciji i željama. GATSBY & LAUREN pjesme će po svojoj autentičnosti, autohtonosti u križanju žanrova izrasti u specifičan i prepoznatljiv izričaj da će predstavljati pravi trademark zvuka i vizije. Pjesme i cijela atmosfera koju stvara GATSBY & LAUREN brand ujedinjuje generacije, otvara nove dimenzije i nišee potošača te aktivnih sudionika u ukupnosti poslovnih i kreativnih radnji koje se odnose na medije i poslovne djelatnosti.

VRSTE ANGAŽMANA I STVARANJA PROFITA / NOVIH VRIJEDNOSTI

GLAZBA (KAO POČETAK SVEGA):

Projekt: HIT INDUSTRIA (na početku mikro poduzetništvo u prikladnom  pravnom obliku,  a kad se za isto stvore materijalno-formalni preduvjeti: d.o.o.), promicati će od početka razne vrste profesionalnih angažmana Ivana Ostoje i Marija Meriena pod pseudonimima Ivan Gatsby i Isaac Lauren u glazbenoj industriji koji će biti prikladne poduzetničkoj dobi Programa i Projekta: HIT INDUSTRIA:
1. GATSBY & LAUREN skladati će, snimati, producirati, obavljati marketing i izdavati elektronskom distribucijom ili kroz licencijski ili distributerski ugovor paletu svojih izvodjača pod label-etiketom (Hit Industria; EuroVirgin, plusMedia Music; CityMedia Music; s tim da će izdavaštvo (publishing; komercijalnu skrb o pjesmama, nakon što prestanu obveze Hit Industrie, odnosno Ivana Ostoje i Marija Meriena kao uzimatelja kredita, korisnika jamstva-s pr. HAMAG-om; ili potpisnika ugovora o poslovnoj suradnji- s ulagačima, preuzet trgovačko društvo MI2 MUSIC’)),
2. GATSBY & LAUREN licencirati će pjesme interesentima za koje se smatra da njihovi izvodjači mogu prodati veliki broj primjeraka nosača zvuka i ostvariti kvalitetno emitiranje na medijskim postajama, javnim mjestima, filmovima, reklamama i dr.,
3. GATSBY & LAUREN pružati će, po potrebi, a u svrhu održavanja likvidnosti izmedju početnih termina, pružati usluge produkcije, razvoja, pripreme, savjetovanja, skladanja, managerstva i dr. za kompanije i izvodjače koji isto zatraže, a ukoliko poslovna procjena bude pozitivna i ne ugrožava temeljni proizvod branda Gatsby & Lauren (etiketu i nakladništvo-publishing),
4. GATSBY & LAUREN nuditi će za albume na kojim ase pojavljuju kao izvodjači, te za albume i derivate istih (single; video spotovi; poslovni dizjan; marketing i sl.) svoje izvodjače-projekte ili izvodjače-grupe kao zajedničko ulaganje (joint venture) za slijedeća tri albuma i jedan kompilacijski potraživanjem novčanih sredstava za razvoj, pokretanjem investicijskih fondova prema nazivu izvodjača-grupe ili izvodjača-projekta, a u čemu mogu sudjelovati i obožavatelji, te prodajom ukupne licencije s pravom skladanja i produciranja broja pjesama. Tomu, primjerice, ARIEL AKTIV FOND (vrsta index fonda), za akontativna plaćanja/rezervacije budućih izdanja, kao i pravo na daljnju prodaju ograničenog broja primjeraka za definirani broj pretplatnika i sl.
5. GATSBY & LAUREN nastojati će sekuratizirati konvertibilnim junk obveznicama svoja autorska prava kao i srodna prava (mehanička prava, izvodjačka prava, producentska prava, nakladnička prava, prava na nazive, izgled, identitet i vizualizaciju izvodjača i dr.); buduće projicirane profite; potraživanja; radove i dr. putem ponude Kataloga pjesama, s objektivnim globalnim hit i megahit potencijalom, radnog naziva: GATSBY & LAUREN GLOBAL MEGAHIT CATALOGUE BOND (skr. GATSBY & LAUREN GLOBAL MEGAHIT BOND),
6. GATSBY & LAUREN će prihode stvarati akontacijama od ugovora, kao i razvojem sustava za nano-mikro plaćanja ‘MicroPhone’ kojega će finalizirati do razvoja medijskog portala domene: www.megahits.biz , kao jedan od načina plaćanja, u zastuplejnih desetak opće dostupnih načina plaćanja, čime će proširiti potencijalnu bazu kupaca proizvoda i usluga. Projekt:Hit Industria će za potrebe očitovanja, distribucije i prodaje glazbenih uraka i usluga koristiti OS-Commerce sustave, te uprilagodjene IODA, ArtistFirst.net i slične distribucijsko-naplatne platforme/programe koji su učinkoviti i zadovoaljavaju kriterije za uvrštenje u službene top liste na svjetskim, odnosno ciljanim tržištima branda Gatsby & Lauren.
7. GATSY & LAUREN organizirati će nastupe uživo i snimke svojih izvodjača, te originalno osmišljenim turnejama i albumima uživo, kao i kompilacijama uz neprestano osvježeni marketing, prihodovati ukupnom Programu;
8. Na druge načine, putem poslovnih usluga, konverzije akontacija u investicijske fondove i druge konvertibilne vrijednosne papire s funkcijom očuvanja i multiplikacije vrijednosti, organiziranje portfelja fondova, donacija u programi ma i dr.

POČETNE RADNJE PROJEKTA HIT INDUSTRIA (d.o.o.) :

Zbog cijene i zatečenih okolnosti, Ivan Ostoja i Mario Merien predlažu žurni rad na svjetski utrživim glazbenim projektima kao načinom najbrže početne kapitalizacije unesene imovine trgovačkog društva s ograničenom odgovornošću HIT INDUSTRIA, obzirom da su započeli početni kontakti s medjunarodnim kompanijama kao mogućim ditributerima (Sony BMG, Warner, Universal, EMI i dr.), a izdanja GATSBY & LAUREN brand, kao i arhivske informacije o planiranim izdanjim, poslovnim modelima i sl. očitovane su web stranici za prodaju glazbe www.musicdock.net (tražiti na internoj tražilici: Gatsby and Lauren), kao i slušanju iste na domeni www.betarecords.com. Stoga je moguće aktivnosti Hit Industrie obavljati kao preddruštvo u osnivanju koje će pridobiti svoj konačni pravni oblik (d.o.o) kada za isto budu stečeni materijalni i formalni uvjeti.

Kao početnu vrijednost trgovačkog društva uzimaju se autorska i srodna prava te te definiranje i pro forma oblikovanje kataloga pjesama koji će neprestano rasti- početni oblik 60 pjesama – 15.siječnja 2007: s mjesečnom dinamikom rasta od 12 (dvanest) novih pjesama. Kriterij je da najmanje 3/10 (tridesetine) od ponudjenih pjesama ima globalni megahitoidni potencijal po jačini i komercijalnosti svojih melodija,harmonija, riječi, potencijalne izvedne i aranžmana, kao i društvenoj funkciji koja će im priskrbiti daljnju vrijednost.

Vlasnici autorskih i srodnih prava Kataloga, uključujući i nakladnička (publishing), te producentska i izvodjačka, radnog naziva GATSBY & LAUREN GLOBAL HIT CATALOGUE su Ivan Ostoja i Mario Merien, obojica iz Zagreba, čiji su radni pseudonimi (pennnames; registered likenesses) za ovu prigodu: Ivan GATSBY i Isaac LAUREN.

Obzirom da su Ivan Ostoja i Marijo Merien autori riječi i glazbe, zvučni inženjeri, producenti, izvodjači i suizvodjači (vokali; instrumenti; sampling; programming) obavljaju mastering i mix snimaka, dizajniraju marketinške jedinstvenosti svakog projekta i izdanja te najniže stvarno moguće troškove rada i proizvodnje profesionalno kvalitetnih i tržišno poželjnih izvoznih medijskih i inih uradaka, projicirane su dvije opcije za početnu strategiju predstavljanja pjesama i branda GATSBY & LAUREN GLOBAL (skraćeno: GATSBY & LAUREN, inicijali: G & L).

PRVA IZDANJA ZA NASTAVAK REALIZACIJE I FINALIZACIJU KOJIH JE POTREBAN KAPITAL (JAMSTVA itd.)> 100 % HRVATSKI IZVOZNI PROIZVOD!

Skladanje,snimanje, produkcija (mastering i mix) i poslovne radnje (marketing,dizajn, oprema nosača zvuka itd.) obavlja se u Zagrebu, u WHITELIGHT studiju po posebnom cjeneiku za ovaj izvozni proizvod. Stoga, sve je 100% HRVATSKO!!!

1. izdanje: Elektronska i klasična singl ploča s dvije pjesme (trake) koja zadovoljava zahtjeve uvrštenja na top liste glazbene industrije (RIAA; IFP).GATSBY & LUREN:1.Secrets of My LifeDon’t 2.Worry,Ma,Nothing Is Gonna Be AlrightNa tržištu 18.12.2006 2. izdanje: Elektronska i klasična singl ploča s dvije pjesme (trake) koja zadovoljava zahtjeve uvrštenja na top liste glazbene industrije (RIAA; IFP). DAta! DAta!:1.Kiss Me Automatic…It’s So Chick2.Proud To Be CatholiqueNa tržištu: 17. 01.2006 ALBUM:GATSBY & LAUREN: The World We Are A-Changin’ (alternat. The West of…So Very Far) —11 monster trajnih i instantnih hit pjesama u žanru akustike (protest) i epic rocka —Na tržištu: 12 .2. 2006

PLANIRANE RADNJE:

STUDENI – PROSINAC 2006:

SIJEČANJ – VELJAČA 2007

Obzirom da je u odnosu na uvjete ovaj Plan nadasve operativan, potrebno je odmah na odredjeni način barem iznijeti namjeru ili volju kreditora, poslovnog partnera ili jamca, kako bi se moglo nastaviti snimanje i produciranje pjesama za dvije single ploče i album, izdanja koja mogu konkurirati za službene top liste (chart elligible) nakon što se izdaju putem interneta (za tzv. downloading- skidanje s plaćanjem na više od 30 najposjećenijih servisa u svijetu) purem interneta, odnosno na ‘fizičkom’ tržištu na kojem je medij CD.

Snimanje i produciranje prve SUPER DOUBLE-A singlice koja označava tzv. super singlicu s dvije pjesme koje mogu biti ravnopravno hitovi, obavljena je u zagrebačkom WHITELIGHT studiju, koji posjeduje opremu vrhunske kvalitete, a sadrži dvije hit pjesme žanra tzv. Cyber Protest Acoustics, odnosno novostovorenog žanra, Country Sugar Pop Noir, koji će biti prepoznatljiva etiketa Gatsby & Lauren branda, u niski drugih:

1. SECRETS OF MY LIFE (Tajne mog života)
2. DON’T WORRY, MA, NOTHING IS GONNA BE ALRIGHT (Ne brini se, majko, ionako ništa ne će biti u redu)

Autori i izvodjači: Gatsby and Lauren

*1: Pjesme u mp3 formatu (256 kb/s s riječima, te tekstovima na uglednim glazbenim informativnim portalima, poput Music Industry Information Network – www.mi2n.com te arhivom tekstova o planovima Gatsby & Lauren dostupne su na linku: http://hit-industria.blogspot.com, odnosno na prodajnoj web stranici www.musicdock.net . Navedene pjesme i tekstovi nalaze se u Privitku/Prilogu ovom Planu.

**2: Na CD-u,koji je privitak ovom planu, nalazi se i početna tv. Demo verzija drugog hita koje Gatsby & Lauren namjeravju ponuditi distributeru u Austriji do 10. prosinca o.g, a sadržavati će pjesme KISS ME AUTOMATIC…IT’S SO CHIC (Poljubi me automatski…to je tako dobro) te kandidata za Eurosong 2007 PROUD TO BE CATHOLIQUE (Ponosni smo što smo katolici).

Gatsby & Lauren će snimiti, producirati, dizajnerski obraditi te napraviti spremnim za objavljivanje albuma, uključujući sve popratne formalne radnje poput registracije autorskih prava, barcod itd., radnog naziva THE WORLD WE ARE A-CHANGIN+ (Svijet kojeg mijenjamo).
Alternativni naziv je THE WEST OF…SO VERY FAR, cinična spojka sintagmi ’western’ i ‘best of’’.

Album će sadržavati 10+ (deset+) trajnih klasika, od kojih je broj instant hitova za relevantna tržišta SAD, Ujedinjenog kraljevstva, Njemačke, Austrije, Nizozemske, Japana, Australije, Južne i Srednje Amerike itd. te će se po smišljenoj niskotroškovnoj posrednoj reklami, koju isporučuju Gatsby & Lauren, prometnuti u vrstu klasika (all-time classics) u standardu Don McLena (American Pie), Boby Dylana, Simon and Garfunkela i sl.

Album uključuje kantautorski Singer-Songwriter stil, Cyber Acoustics; pojačan s Grand Epic stilom u dvije himne – Brothers-in-Blood, Message to the People te Country Sugar Pop Noir u pjesama Don’t Worry,Ma, Nothing Is Gonna Be Alright, The Perfect Nobodies, Secrets of My Life i dr.

Albumom prevladavaju komercijalne pop harmonije i melodije koje su usglašene s temama albuma.

PLANIRANA IZDANJA BRANDA GATSBY & LAUREN U 2007-oj GODINI:

Album THE WORLD WE ARE A-CHANGIN’ (Svijet kojeg mijenjamo) sadržavati će pjesme u sofisticiranom akustičnom izrazu, kao i Epic/Saga Rock, ali s nevjerojatno neodoljivim melodijama, harmonijama, tekstovima, aranžamanima i atmosferom. Album, po kvaliteti koja ‘prži’ od prve do zadnje sekunde, te identifikaciji, spada u megalitska izdanja po kvaliteti i hitoidnosti, te motiviranosti, poruci, izvedbi i cjelokupnoj atmosferi svake od uvrštenih pjesama, koje su himnične, intimne, veličanstvene ili predstavljaju izraz sofisticirnog cinizma uvjetovanog sve većim stupnjem praktične onemoćalosti starijih (protestnih; rock) i novijih generacija, potonjih koji ne gledaju Big Brother i slušaju (c) rap.

Album će sadržavati sljedeće pjesme u trajanju izmedju 3 (tri) do 6 (šest) minuta, s apsolutno prepoznatljivim sazvučjem i hit potencijalom, koji ujedinjava generacije, kao i ciljane niše potencijalnih kupaca:
Album: THE WORLD WE ARE A-CHANGIN’
Izvodjači: GATSBY & LAUREN
Stil/žanr: ‘Nice’n’Teasy’: Singer-Songwriter; Cyber Acoustics; Country Sugar Pop Noir; Protest Folk; Grand Epic
Pjesme-kandidati: 1. Brothers-in-Blood 2. Confessions of a Traveller 3. Secrets of My Life 4. Anywhere You Seem 5. A Town with No Name 6. Don’t Worry,Ma, Nothing Is Gonna Be Alright 7. Message to the People 7. After the Kiss…They Call It Love 8. Walk on by (And Never Stop) 9. The Perfect Nobodies 11. Storyteller against the Rain, 12. The Storm A-Comin’
i druge prema komercijalnoj potrebi.

Album kao i sva druga izdanja Gatsby & Lauren branda bit će snimani profesionalno, zvuk će u sadržaju, izvedbi, produkciji i marketingu biti atraktivan i magičan za široku publiku diljem svijeta, poglavito najvažnijih tržišta (SAD, UK, Njemačka, Japan itd). Prvi profit se nalazi u novostvorenoj vrijednosti, odnosno u cijeni novostvorene vrijednosti (gotovog albuma s potrebnim perfirerijama poput grafičkih, marketinških rješenja koja su standard svjetske glazbene industrije i tu se nalazi prvi izvor profita:
- u usporedbi s cijenom proizvodnje albuma s u žabnru pop-rock glazbe i cijenom koju će Gatsby & LaurenOm postići, prije svega zahvaljujući činjenici da su autori pjesama, inženjeri i producenti te da se staraju o svakom projektu, unutar okvira dogovora s distributerom za svjetsko tržište, od osmišljavanja do krajnje finalizacije svakog projekta i maksimiziranja njihove komercijalne utrživosti.

NAPOMENA:
Gatsby & Lauren, unutar spektra izdanja pod brandom Gatsby & Lauren biti će kao izvodjači zastupljeni na samo tri projektna albuma sveukupno, i to na albumima koji će se ugovorno i programski tretirati kao one-off projekti:

2007: planirani dan islaska na tržište 12.veljače 2007 – THE WORLD WE ARE A-CHANGIN’ (alternativni naziv: THE WEST OF…SO VERY FAR. Drugi naziv otpočinje stalni Gatsby & Lauren opravdani i suptilni cinizam, koji će postati jedan od zaštitnih znakova proizvoda G&L branda).
2008: unutar prvog tromjesečja – TURN OF THE CARDS (16 pjesama)
2008-2009: PLATINUM BY DEFAULT, album koji će upotrebljavati dotad nevidjenu tehniku procesuiranja ljudskog glasa (projekt u tehnološkom razvoju), kojom će se moći raspolagati glasovi najvećih pjevača, živih i mrtvih i, a nakon potpisanih ugovora o pravu korištenja istih.

ALBUMI IZVODJAČA KOJE STVARA, RAZVIJA I KOMERCIJALNO REALIZIRA BRAND GATSBY & LAUREN KAO STUDIJSKE (IN VITRO) PROJEKTE:

Početni album izvodjača koje izrade i razviju Gatsby & Lauren kao brand (tzv. studio projekti; in house; in vitro projects) pojavljivati će se u izdanju manje početne naklade radnog naziva:
MEGA /ST/ ART EDITION, odnosno PLATINUM BY DEFAULT* EDITION!
koja će biti proizvedena (skladane, snimljen, izvedene, producirane), uključujući omote, master disk, duplikaciju, video spot(ovi) i dr. u Republici Hrvatskoj. Stoga je riječ o 100 % hrvatskom izvoznom proizvodu, barem kad je riječ o izradi i prvoj nakladi nosača zvuka u/ili podataka.

Albumi i single-izdanja koja su podložna (chart elligible) kriterijima službenih rang lista po Federation of of Phonograph Industry (IFPI), a koja se budu izdavali s posebnim bonusima na internetu i budu dostupna konzumaciji putem kompjutera ili mobilnog telefona, izdavati će u izdanju: ‘e-njoy! e-dition’, u kojoj je odvojeno slovo ‘e’ simbol elektronike, emaila i sl

Albumi, koji sadrže već napisane hit pjesme ili hit pjesme u prvotnom grubom (rough demo) obliku, sadržavati će jedinstveni stil Gatsby & Lauren branda:
AFTER POP/ROCK MUSIC ; POP-ROCK NOIR

Navedeni opći stil glazbe i izričaja branda Gatsby & Lauren (umbrella style) implementirati će originalne izričaje postojećih ili originalnih žanrova Gatsby & Lauren branda kao što su:

Art Brit Pop; Grand Epic; Cyber Acoustics; Country Sugar Pop Noir; Epic Sympho Rock; Tabloid Melodic Punk (uključujući podžanrove: Punk’n’Pop; Protest Punk itd) ; Tabloid Techno Pop (uključujući podžanrove: Dream Pop; Electro Robot Pop); Neo Euro Pop; Global Sympho Pop; Hard Melodic Rock, itd.

Obzirom da brand Gatsby & Lauren treba promaknuti u visoku tržišnu goodwill vrijednost, poglavito u projektima iz poduzetništva i financija koje će uslijediti nakon što akontacije i drugi izvori prihoda medijskih projekata omoguće pokrivanje svih obveza i samostalan razvoj, stoga će svaki debitantski album izvodjača Gatsby & Lauren branda na svome omotu, kao i javnom predstavljanju na internetu i drugdje nositi naziv GATSBY & LAUREN s prikladnom najavom.

NAPOMENA: Sve pjesme koje postoje u grubim demonstracijskim oblicima, koje su snimljene kao demo snimke ili su notirane, posjeduju objektivno dokazive kvalitete koje pjesme honoriraju s hitoidnošću, konfekcijskom dostojanstvenošću, neodoljvošću, motiviranošću i opravdanošću u melodijama, harmonijam, riječima, aranžmanu, izvedbi i dr.
Svaki album, izvodjač i projekt posjeduju svoje jedinstvene prednosti prema žanru i kategoriji očekivane publike, s time da je svako izdanje Gatsby & Lauren branda zapravo upućeno najširoj publici i pojedincima koji znaju uživati u kvaliteti neodoljvih melodija i harmonija.
Gatsby & Lauren stil fokusira sed na onome što je najbitnije u galzbi i svakom drugom području rada – sadržaju. Zbog toga će Gatsby & Lauren brand prerasti u trajno komercijalno sredstvo i ikonu očuvanja medijskih civilizacijskih tekovina.

ALBUM 1 > ARIEL tHE TEMPLAR: WORLDS INSIDE

Riječ je o megalitnom albumu branda Gatsby & Lauren koji najspektakuarnije i najintimnije, uz one-off izdanja Gatsby and Lauren kao izvodjača, očituje senzibilitet, talent, ukus, politička i životna stajališta tvoraca branda Gatsby & Lauren.

A) album izvodjača-grupe ARIEL THE TEMPLAR naziva WORLDS INSIDE sadržavati će oko 24 (davedestčetiri) pjesme i taj će album izvodjača – grupu ARIEL tHE TEMPLAR (skr: AtT) – upraviti ka sferi visokonakladnog stadionskog benda na svako relevantnom tržištu EU,SAD i dalje.
Izvodjač: ARIEL tHE TEMPLAR;Naziv albuma: WORLDS INSIDE (Unutarnji svjetovi);Izdanje: dostruki album po cijeni jednog (G&L izdanje: DOUBLE ALBUM FOR PRICE OF ONE – (Dvostruki album za cijenu jednog).Ukoliko se ne budu na prvom albumu snimale neke od objavljenih pjesama s albuma GATSBY & LAUREN: THE WORLD WE ARE A-CHANGIN’ u novoj produkciji, što se nastavku izdanja u programu HIT INDUSTRIA može kategorizirati kao ‘G&L SECOND LIFE Edition’ (Izdanje drugog života).
Žanr: Art Brit-Pop; Acoustics; Epic / Saga Rock; American Adult Rock, i dodatno.
Pjesme-kandidati: Pjesme će biti odabrane od radnih demo snimaka za prvi album AtT-a, makar apsolutno svaka pjesma zaslužuje da udje u izbor i svak pjesma ima hitiodni ili megahitiodni potencijal:

GATSBY & LAUREN introduce sensational ARIEL THE TEMPLAR
Album: WORLDS INSIDE
Pjesme-kandidati:1. Heart of Gold (Seven Minutes) 2. Anywhere You Seem (SECOND LIFE verzija) 3. Draw the Line 4. Every Rain in the World 5. Turn Back Time 6. Secrets of My Life (SECONFD LIFE verzija) 7.Where Was My Friend When I Needed Him Most 8. Brothers-in-Blood (SECOND LIFE verzija) 9. Walking down to Heaven 10. Closing Time 11. Why Do We Talk About Love 12. The Last Train to Coast 13. Living Only for Today 14. Twist in the London Town 15. Coming Home,Finally 16.Tonight I Am Going to Die 17. Somebody Needs You Now 18.Time to Close the Door 19. The Believers 20. Sailing 21.Never Look Back 22. Money All Over 23. From Europe to America , i druge prema potrebi iz Kataloga.
MARKETINŠKE JEDINSTVENOSTI:
a) Teme koje ARIEL tHE TEMPLAR obradjuju su opećaplikativne, izvlače emocije i dobar ukus, te bude sjećanja i anagžiraju intelkt.
b) Odjeća; konfekcijska linija ’tHE TEMPLAR’ i ‘tHE TEMPLAR-SS!(čitati-templares,za žene) koja će biti takodjer hrvatski proizvod, s trakom oko rukava i varijacije znaka templarskog križa na jedrima njihovih brodova; merseyside izgled.
c) Tri himne Templara i navijača, suvremene i potresno veličanstvene, a ujedno i hiperkomercijalne za svaku radio postaju i javna mjesta u svijetu (SAD, UK, Njemačka, Austrija, Italija (Sjeverni dio), Nizozemska, Francuska (Sjeverozapadni dio).
d) Spomenute će pjesme, s videospotovima, pričom i veličanjem templarskog morala, duha, postignuća, te posebice obrane planete Zemlje od promjena (zagadjivanje itd.)) te civilizacije bijelog čovjeka od divljih Saracena i primitivnih stanovnika stegnutih režimom islama, postati će fenomen i razlog pričanju na medijima, medijski eksponirane budale diljem EUrope i SAD braniti će ‘ljudska prava’ islamista te će razbuktati diskusije o primanju Turske u EU, koracima ka spašavanju demografske situacije u ugroženim zemljama i oduševljenjem za novi baby boom val, potpomognutim fiskalnim i monetarnim mjerama i slično. Dobra reklama je skupa, loša reklama besplatna i neprocjenjivo profitabilna – PRIMJER (SHOWCASE): Film PASIJA Mel Gibsona,
i dr.

ALBUM 2 > DAta! DAta!: ONE FOREVER AFTER

Izvodjač: DAta!DAta!
Naziv albuma: ONE FOREVER AFTER (Poslije jedne vječnosti)
Žanr: Tabloid Tehno Pop (kompjuterski generirana hitoidna Dream Pop glazba)
Pjesme-kandidati: : 1. Kiss Me Automatic… It’s So Chic! 2. Life Goes On, 3. They Used to Be Robots (But We Are Robots No More) 4. Do You Ever 5. Life Goes On 6. Dance My Friend Dance 7. All Night Hallo 8. She Cried,Oh Yes! 9. How Electric We Can Get 10. Who Was That? 11. The Air That We Need 12. This Very Night 13. Unzipped Memories 14. Wishing by Numbers 15. Proud To Be Catholique 17. Hey Mister, Never Touch My Mind 18. One Forever (L)Aughter 19. ABC of Singing – So Far Away 20. Das Ist Mein, Das Kapital

Pjesme, koje pršte od melodija i harmonija, te aranžerskih rješenja, spadaju u tzv. bubblegum (sugarfree – bez šećera) vrstu instant radio hitova za publiku koja gleda vrste emisija kao što je primjerice Big Brother. Usprkos tomu, pjesme imaju senantičku zaštitu rafiniranog cinizma i noir vrste atmosfere, što je zaštitni znak proizvoda branda Gatsby & Lauren. Da uzvisuju svijet, pojedinačni i skupni, na viši stupanj postojanja, opstajanja i spoznaje!

POČETNI SINGLE:
DAta!DAta!: Kiss Me Automatic (It’s So Chic!) / Proud To Be Catholique

MARKETINŠKE PREDNOSTI :

Ivan Ostoja je jedan od ‘očeva’ tehno popa (od 1969/70), tomu i ovaj projekt koji će ‘osvojiti’ radio postaje i plesne podije Srednje Europe. Već 35 godina Ivan Ostoja i njegov bratić obradjuju sintetičke signale u nakani stvaranja posve umjetnog albuma, od glasova do glazbe. Humanoidni funkcionalni roboti postaju stvarnost, a stare robote odbacuju i spremaju u skladišta. Ali i ti roboti se smiju sjećati u dometima svojih mogućnosti, kao što i svaki čovjek živi u dometima svojih okolnosti. Takvi roboti više nikom ne trebaju,’umirovljeni su’ leže na hrpi u skladištima, trunu, ali žive sječajući se i nadajući se. Kraftwerkovske pjesme koje će osvojiti novi niše tržišta, plesne podije i inteligentnu publiku koja u jednostavnim, ali bogatom aranžiranim melodijama i robotskom ritmu, osjeća nostalgiju za robotima koji nikome ne trebaju. Konstruktori tih robota, kao i roboti-novi oblik života-tako su puno željeli, a malo mogli – analogija s starijim ljudima koje odbacujemo. S robotima na albumu koji bježe iz skladišta u novi svijet razgovaraju njihova dva tvorca, znanstvenika, koji su takodjer napušteni. Rasni hitovi, umjetnih vocaloid glasova i sintetičke glazbe. Tehnička i melodijska poslastica!

Marketing se temelji na činjenici da je sedam TV postaja, sudionika Eurosong2007, članica EBU, nije odgovorilo na ponudu koju su Gatsby & Lauren poslali, s algoritmičkim izračunom procjenjeno da će pjesma zauzeti najmanje treće mjesto!!! Znači, Proud To Be Catholique smeta bivšim kršćanima (jkkatoliciam) u EU TV postajama, naredba je da se katolike marginalizira, boje se terorizma islama kojeg žeele po savku cijenu i bez uvjeta primittu u Europu…Nadalje, posljednja dva Eurosopnga su izrodile pobjedbnike: Turke i simnpatizere Djavlla, – kičasti, dječje maskirani band Lordi. Isus je opet progonjen, nosi križ kroz ono što katolici trebaju proći dok ih masa ‘big brotheraša’ i sličnih neukih budala ismijava….

IZDANJE :
Moguće da ovaj album bude izdan isklučivo online (elektronskom; internet; mobilni telefoni) u izdanju koje će biti karakteristično za sva elektronska izdanja:

‘e!njoy-e!dition’ (Izdanje za užitak)

ALBUM 3 > THE TOUCHDOWNS (alt. COHEN): COMMUNICATION LOST

Izvodjač: THE TOUCHDOWNS (al. COHEN)
Naziv albuma: COMMUNICATION LOST (Prekinuta komunikacija)
Žanr: Tabloid Melodic Punk (s navedenim podržanrovima)
Pjesme-kandidati: 1.They Always Come Back 2.Can We Live Together 3. Nobody is Calling Your Name 5. All The Day He Was a Zero 6. Dreaming Life Away 7.The Things U Didn’t Do 8. Hard Life Goin’ On 9. Do You Feel Like Feeling Better 10. Good Morning, Oh Boy! 11. The Last Romantic on the Town 12. I Love Surfin’ Sex 13. Gimme Your Hand and Save Me Now 14. Dreams Are Broken…The World Is Open 15. Heroes on the Block 16. Claire (Have I Told You That I Love You Too) 17. Have You Seen Anything, Anything At All 18. It’s So Easy (To Fall in Love) 19. Vacant Law 20. Hallo. How Are You?

Pjesme traju izmedju 2:50 – 4:20, svaka ima veliki hitoidni potencijal i slijedi melodijske standarde branda Gatsby & Lauren.

SUPER HIT e-P:THE TOUCHDOWNS: Hallo. How Are You? / They Always Come Back / Nobody is Calling Your Name/ Have You Seen Anything At Al,

MARKETINŠKE PREDNOSTI:

Klasični Power Pop hitovi, instantne harmonije koje dovode do transa, u najboljoj maniri albuma koji pršti glazbom. Isti zadovoljava sve uzraste i očekivanja slušatelja jer kvalitetne harmonije i softirana (‘omekšana’) produkcija suvremenih novovalnih reminiscencija prouzročiti će oduševljenja u klubovima i svim mjestima gdje se bude puštala glazba The Touchdownsa.

Bez mnogo filozofije, jasno i brzo, a ujedno pun emocionalni pogodak u srca publike, uz pitke harmonije i adekvatnu produkciju. Tekstovi životniji i manje ideološki i vrhunaravno političkih pjesama-himni u izvodjenju ARIEL tHE TEMPLARA.

Pjesme su pitke, ulaze u glavu na prvom slušanju, istovremeno zadržavajući kod adolescenata lažni osjećaj buntovnosti, odnosno ekspresne misaonosti koja se očekuje od takve glazbe koja je ’naštelana’ prema vrhovima top lista.

ALBUM 4 > TESLA GIRLS!: AN EVENING ON EARTH

Album jedne od prvih svjetskih virtualnih grupa na mp3.com – TESLA GIRLS! – naziva AN EVENING ON EARTH(1998/99.)

Izvodjač: TESLA GIRLS!
Naziv albuma:AN EVENING ON EARTH
Žanr: Global Sympho Pop
Pjesme-kandidati : 1. Lennon Just Tonight 2.Alert on Planet Earth 3. Love and Fears 4. Sound of Revolution 5. (On the) Streets of London 6. Dust in Your Eyes 7. Hold the Time 8 Darkness Must Go 9 C’eST la Vie 10. Only a Call Away (featuring choir ‘Gregorian Distances’ ) 11.The Horroscope Heroes 12.Reason to Live 13. U Calling Me Aound 14. Tune the Moon 15. Goodbye…Still Seems to Be the Hardest Word 16. Summertime Cola (Hallo Hello Ola) 17. We Move! We Are the Houswives! 18. Wishing by Numbers (hit mobitel generacije)

HITOVI KOJE TREBA ODMAH IZDVOJITI SU:

ALERT ON PLANET EARTH / SUMMERTIME COLA (HALLO HELLO OLA).
Ljetni hitovi, zarazni zborni aranžmani u prvoj pjesmi koja upozorava (nastala 1983. i 1997) – ljetna superpop noir pjesma koja ‘baca’ s nogu (Summertime Cola) i koja tonom upozor.ava na vruća ljeta i klimatske promjene i katastrofe, inteligentno obradjene u pjesmi ‘Alert on Planet Earth.’

MARKETINŠKE PREDNOSTI: Djevojke pjevačice-članovi grupe su misteriozne, vide se samo najatraktivniji njihovi dijelovi, imaju svoj PR koja je medijski zahvalna osoba, video spotovi održavaju mračni glamour koji sadrži ironične odmake po čemu će biti poznat Gatsby & Lauren brand.

DODATNO- FAKULTATIVNO:

Album5:

Izvodjač: ADRIAN GOLD & HIS ELITE CAFÉ ORCHESTRA
Naziv albuma:A VIEW TO AVALANCHE (Pogled na lavinu)
Žanr: Instrumentalna, ‘Easy-listening’ orkestralna glazba – Saturday Afternoon Manhattan music (Glazba za subotnja poslijpodneva na Manhattanu)
Pjesme-kandidati: 1. The Falls of Dorian Gray 2. One Dream in a Million 3. A Cloud,Maybe 4.Champagne in the Sunset 5. The Starlight Protocol 6. Dark Days Passsed By 7. A Tear Travelling Miles 8. Late Night Tea At Manhattan 9. Very Private Rainbows 10. The History of Paperplanes 11. Fire Sleeping in the Sands

Marketing: Prava je istina da su ovi pitki radovi u Richard Clydermanskom stilu bili izgubljeni i oštećeni pri jednoj selidbi, te da će se stoga originalni radovi predstaviti samo u komprimirajućem formatu.

Napomena: Snimanje ovog albuma je uvjetno i zavisi od slobodnih termina u studiju i obveza Gatsbya & Laurena, jer je isto predvidjeno kao besplatni dodatak jednom od albuma, unutar izdanja 2 ALBUMS FOR PRICE OF ONE (Dva albuma za cijenu jednog).

KRATKI SAŽETAK-PROJEKT:HIT INDUSTRIA (d.o.o.): POSLOVANJE

Hit Industria     (mikro poduzetništvo; kasnije  d.o.o.)
Mikropoduzetništvo, Preddruštvo ili trgovačko društvo HIT INDUSTRIA d.o.o. zahtjevati će od HAMAG-a okvirno jamstvo (revolving gurantee),koje bi se odnosilo na okvirni kredit koji bi bio korišten za definirane i ugovorene projekte u odnosu na dinamiku nastajanja i poslovne komercijalizacije istih, a dinamikom koja u najkraće stvarno vrijeme omogućava promjenu statusa izvodjača projekata razvijenijim načinima financiranja (prodajom udjela, zalogom prava putem izdavanja vrijednosnih papira, fiduciji, stvaranjem novih kolaterala ugovorima i predugovorima i sl.), s prethodnom isplatom kredita i davanja na isti.

1. HIT INDUSTRIA d.o.o.:
1 (1) Početna sredstva se odnose na realizaciju glazbeno-medijskih projekata za globalno tržište pod brandom ‘Gatsby & Lauren’, a čije se djelatnosti odnose na:
~ razvoj, pripremu, realizaciju, marketing izdavanje i poslovno upravljanje originalnim glazbenim
projektima na engleskom jeziku;
1.a) Single s dvije pjesme koja je kompatibilna s kriterijima za top liste prema IFPI (International Phonograph Industry Dederation) :
Pjesme: ‘Secrets of My Life’ – ‘Don’t Worry, Ma, Nothing Is Gonna Be Alright’
Izvodjači: Gatsby & Lauren
Skladatelji, tekstopisci, snimatelji, producenti i izvodjači: Ivan Gatsby i Isaac Lauren, što su registrirani
pseudonimi za Ivana Ostoju i Marija Meriena.
1.b) Single s dvije pjesme koja je kompatibilna s kriterijima za top liste prema IFP:
Pjesme: ‘Kiss Me Automatic…It’s So Chic’ – ‘Proud To Be Catholique’
Izvodjač: DAta! DAta!
Skladatelji, tekstopisci, snimatelji, producenti i izvodjači: Ivan Gatsby i Isaac Lauren, što su reg. pseudonimi za Ivana Ostoju i Maria Meriena.
1c) Album s 10-12 hit i megahit pjesam u singer-songwriter žanru, akustična i protestna glazba s chill-out cinizmom i odmakom koji je prirodan za ovo doba, epic-saga himnični rock, a poput cijelog opusa Gatsby – Lauren branda, ugodnog zvukovlja i noir atmosfere koja ne priječi ultra-komercijalnost većine pjesama koje su sadržajne, motivirane i pretvaraju se u klasike pri prvom slušanju:

Album: The World We Are A-Changin’ (radni naziv, rezervna opcija je: ‘The West of…So Very Far’)
Izvodjači: Gatsby and Lauren (mogući prikaz: Gatsby & Lauren, ukoliko isto ne ugrozi naziv branda.
Pjesme-kandidati: 1. Brothers-in-Blood 2. Confessions of a Traveller 3. Secrets of My Life 4.Anywhere You Seem 5. A Town with No Name 6. Don’t Worry,Ma,Nothing Is Gonna Be Alright 7.Message to the People 8. After the Kiss…They Call It Love 9. Walk on by (And Never Stop) 10.The Perfect Nobodies 11. Storyteller against the Rain, 12. The Storm A-Comin’ .

Skladatelji, tekstopisci, snimatelji, producenti i izvodjači: Ivan Gatsby i Isaac Lauren, što su pseudonimi za Ivana Ostoju i Marija Meriena.

…………….

Projekti koji se u ovom trenutku razvijaju:

~ razvoj prve buduće elektronske novine-infoida- naziva ‘HrvaSTka Express!’, kao i tiskovnog tjednog, polutjednog , dnevnog izdanja- frekvencija izlaženja će se odrediti prema uvjetima;
~ pripremu i izdavanje elektronske knjige, kao i tiskovnog izdanja, naziva ‘Dead-22 Principle’ koja je mirnodopski odgovor na klasik ‘Kvaka 22’ razvoj, realizaciju i upravljanje portalom kojim bi se plasirali medjiski uratci, prodavala glazba i i obavljale aukcije za uplatu za udjele i sl;
~ uvodjenje i razvoj medijskog financiranja, ze uspostavab platforme za omogućavanje cjelovitijeg plasmana i izvoza medijskih proizvoda i usluga;

~ izradu modela financiranja putem sekuratizacije projekata ili Kataloga pjesama : GATBY & LAUREN (GLOBAL) MEGAHIT CATALOGUE koji će se dinamički razvijati i čija će se vrijednost temeljiti na intelektualnoj imovini (pravima, goodwill,potraživanjima) koja će sadržavati buduće tantijeme glazbenog nakladništva (publishing) u odnosu na autorska, mehanička, izvodjačka, producentska i srodna prava generiranih prodanim nosačima zvuka fizičkim i elektronskim načinom, marketingom, izvodjenjem na medijima i javnim mjestima, uporabi za reklame, filmove ili druge svrhe.

~ pripremu (scenarij, storyboard i projekcija troškova/dobiti parametriziranih u odredjenim opcijama), marketing i razvoj globalno komercijalnih igranih filmova te nudjenje istih specijaliziranim financijerima, osiguravajućim društvima (za Completion bond), filmskim studijima u Hollywoodu i dr;
~ izradu platforme za financiranje izvoza kulturnih i medijskih proizvoda;
~ obrascem tzv. Bowie obveznice iz 1997. godine koja je otpočela monetiziranje nefizičke (intangible) vrijednosti intelektualne imovine (medijska prava, patenti i dr.) stvorio se mehanizam udjelnog (equity) financiranja otvorenom javnom ponudom ili neposrednom javnom ponudom kao što je slučaj tzv. junk OTC obveznicom radnog naziva: GATSBY & LAUREN (GLOBAL) MEGAHIT BOND, kroz vrijednosne papire poput obveznica,dionica, opcija, repougovora, futura i sl.

~ Kontakti i predspremnosti za početak razgovora s tzv. Major (glavnih sedam) kompanijama u svezi s razvojem Gatsby & Lauren branda postoje, ali autori projekata nisu željeli smanjivati dobit ponudom medijskih djela u početnom (demo) stanju nego u kasnijem finalnom stanju, što povećava dobit i omogućuje kvalitetnije ugovore (license deals, label deals, producer deals, option deals i dr.)

PROJEKT: HIT INDUSTRIA (d.o.o.) – Poslovna strategija (sažetak) :

Projekt: HIT INDUSTRIA će se probiti i etablirati na tržištu kao jedina prava hrvatska medijska kuća u glazbi i razvoju projekta koja priprema i proizvodi isključivo izvozne proizvode i usluge, te inovira poslovne i financijske usluge u svezi s kapitalizacijom dobi medijskih projekata, i održavanja njihove vrijednosti putem reinvestiranja.

HIT INDUSTRIA (kasnije: d.o.o.) očitovati će  svoje djelatnosti kao i intelektualnu imovine, a nadasve glazbene projekte branda GATSBY & LAUREN GLOBAL MEDIA (kr. GATSBY & LAUREN) putem svog internet portala (www.megahits.biz i sl.) kao i konferencijama za medije i buduće ulagače u proizvodnju medijskih uarakaa ili u vrijednosni papir koji će se temeljiti na pravima pjesama i drugim konvertibilnim kolateralima Kataloga radnog naziva: GATSBY & LAUREN (GLOBAL) MEGAHIT CATALOGUE.HIT INDUSTRIA će se u svom početnom razvoju služiti tzv. guerilla business metodama koje smanjuju početne normativne troškove, a daljnjim apsolutnim sniženjem cijene rada i proizvoda ostvariti će unutar 90 (devedeset) dana od početka rada veliku razliku u vrijednosti izmedju nove tržišne i osnivačke vrijednosti.

HIT INDUSTRIA prvu razliku u vrijednosti stvarati će još od statusa preddruštva kada će najavom i demonstracijom prvih radova izazvati veliku pozornost kod medija u Europi i šire, ponajviše zbog projekta ARIEL tHE TEMPLAR, kojim se vraća istinski templarski duh u nemoralnu Europsku Uniju, te potiče na rasprave tko je kriv za demografsku katastrofu u većini država i masovnom naseljavanju muslimana čiji je senzibilitet stoljećima od urbanog i koji su po učenju neprijatelji kršćanstva; Krščanstva kojeg su se Chirac i Schroeder sa smješkom odrekli u Ustavu Europske Unije. Komercijalne pjesme-himne ‘Brothers in Blood’ i ‘Heart of Gold (Seven Minutes)’, te ponajviše ‘Don’t Worry, Ma, Nothing is Gonna Be Alright’ (SAD) u kratkom će roku postati ikone doba pred kojim su klimatske katastrofe, početak kraja života na koji smo navikli i osvajanja Europe od stranbe njenih vjekovnih mrzitelja i počinitelja genocida (sjeća li se još itko ako da su Turci pobili 1,5 milijuna Armenaca početkom XX stoljeća?). Loša knjiga ’Da Vinciev kod’ s potpuno krivim premisama, izazvbala je zantiželju gotovo 20 milijuna čitatelja. ARIEL tHE TEMPLAR će biti jedan od čelnih glazbenih i generički medijskih projekata s elementima modernog templarizma.Proizvodi i usluge Projekta: HIT INDUSTRIA-e d.o.o. predstavljati će osvježenje u saturiranim tržištima, a nisku operativnu cijenu jamče pokretači Ivan Ostoja i Marijo Merien,koji izvode većinu radove, posjeduju sva prava, uživaju ugled i povjerenje suradnika, čime će se ostvariti profesionalna djela najviših komercijalnih dometa za frakciju uobičajene cijene. HIT INDUSTRIA d.o.o. će kao izvoznik medijskih proizvoda i usluga uvesti nove načine financiranja, prezentiranja, distribuciji prodaje, te se promaknuti u vrstu agencije koja izvozi medijske, nadasve glazbene proizvode, poput sličnih u Njemačkoj, SAD, Velikoj Britaniji (Londonu), Australiji i drugim zemljama. HIT INDUSTRIA d.o.o. uvodi u okupirani hrvatski monetarni prostor uvesti nove kategorije vrijednosti i nove instrumente kapitala za sekuratiziranje prava i druge intelektualne imovine prema obrascu Davida Pullmana iz 1997. godine kada je plasirao tzv. Bowie obveznicu. Sekuratizacije tvore razvojnu vrst financiranja svakog projekta, pa je vrijeme da se stane na kraj neznalačkom radu relevantnih ministarstava, političara koji su svoijim neradom ili voljom koja se službeno zvala ‘nedostatak političke volje’ legalizirali počinjeni gospodarski kriminal te banaka koje svojim potrošačkim kreditima za pretežito uvoznu robu, rudimentarnim spektrom usluga i blokiranjem financiranja poduzetništva, stvaraju koloniju od Hrvatske.

PROJEKT: HIT INDUSTRIA (d.o.o.): Misija i projekti

Projekt Kataloga pjesama Gatsby & Lauren započinje s radovima na aranžmanu snimanju,produkciji,postprodukciji, sveukupnom osmišljavanju svakog detalja,poslovnim mogućnostima komercijalizacije projekta:
· Članovi (4) grupe ARIEL THE TEMPLAR biti će predstavljeni u tamnosivomodrim košuljama, kravatama i prevlaci preko desne ruke s oznakom templarskog križa i specijalnog slova A, s tekstom: ‘Welfare Is (Y)Our Mission’ (Bagostanje je (v)naša misija, koji će uskoro postati modni hit, poput šilterica, širokih hlača, kratkih majica itd. Daljnju misteriju će dodati daleka, ali ničim izazvana sličnost s nacističkom prevlakom preko rukava na kojoj je bio kukasti križ, samo je u ovom slučaju cilj posve drugačiji, a izmedju inih uz spas planete Zemlje od neminovnog uništenja i spas civilizacije bijelog čovjeka od najezde mračnih, primitivnih običaja i terora islama,
· Marketing i poslovne aplikacije prvog albuma Gatsby & Lauren branda koji će sadržavati pjesme-himne posve spremnih da uz razumnu marketinšku kampanju dosegnu vrhove relevantnih industrijskih i internetskih top lista. Nadalje već prvi uradak Gatsby & Laurenm izvodjača i branda, odredit će i profil budućih izdanja u svjetskojh glazbenoj industriji, obzirom na dodatne bonus sadržaje, koje je u ovom slučaju moguće ponuditi internetskom i klasičnom prodajom zbog činjenice što su Ivan Ostoja (pseudonim: Ivan GATSBY) i Marijo Merien (pseudonim: Isaac LAUREN) vlasnici svih prava i tvorci svih projekta unutar tog branda, kao i ukupne poslovne i ustrojne konstrukcije. Potom, autori su ujedno inženjeri zvuka i producenti, tako da mogu svirače i pjevače angažirati prema ugovoru o djelu, a grupe unutar branda Gatsby & Lauren, stvarati in vitro postupkom, što drastično smanjuje troškove pripreme, realizacije, marketinga i izdavanja albuma. Drugi album svakog Gatsby & Lauren studijskog, in vitro stvorenog izvodjača, biti će solistički i opcije za taj album, kao i naredne, biti će prodavane u odredjenoj mjeri ili posve strateškim interesentima, ali pod uvjetom da Gatsby & Lauren pišu pjesme, produciraju, inoviraju i obavljaju marketing tih grupa, kao i da sudjeluju u definiranju nastupa u živo, što je dobra garancija povrata kapitala ulagačima u tom periodu,
· UDJEL U FONDOVIMA: Inovativna je opcija da se slušatelji ili fanovi grupe učljanjuju u klubove obožavetalja na način da umjesto članske kartice dobijaju udjel u investicijskom fondu primjerice ‘ArielPlus’, TeslaPlus’ i dr.,koji bi poslovao kao drugi fondovi u istoj ili sličnoj niši ulaganja; Inovativni načini daljnje kapitalizacije putem prodaje opcija, pjesama uz dodatne gratis sadržaje ili popuste i dr.
Abstr.: ARIELplus FOND,TESLAplus FOND nastaju akontativnom uplatom za buduće albume u lotovima (1; 5; 10; 100; 1.000; 10.000; 100.000; 200.000; 500.000; 1.200.000), a iz profita fondova kompenzira za album tako da de facto fanovi, kompanije i sl. Besplatno dobivaju drugi solo album omiljene grupe ili GATSBY & LAUREN ARTIST CATALOGUE izvodjača kroz pretplatu na portalu plusMEDIA.com/biz/net, na kojem imaju besplatan posjet (glede impulsa i internet vremena) ugovorenooj količini vremena, skidanje pjesama uživo i nekih bonus pjesama, skidanje izmiksanih pjesama u realnom vremenu prije izdanja albuma, linkove i usluge kreditiranja, zapošljavanja, suradnje i dr. Važno je napomenuti s odličnim štovanjem kako se uplata odbija od, primjerice, albuma koji se može kreditirati radi dulje multiplikacije novca, a u slučaju da bude uplaćeno više novca od potrebnog (bonusi i dr.) taj se novac s drugim ostacima (restlovima) pretvara u matematičke udjele koji će biti prema postotku novca u udjelu(ime dostupno na portalu domene (radno) www.plusmedia.biz/net,tv, ili na postojećoj domeni: www.megahits.biz odnosno u linku na (radno) www.plusinvest.com/biz/net i sl.

Na taj se način stvara odredjeni instrument kapitala u uplaćenojm kapacitetu koji se može lombardno uporabiti (životno osiguranje, mali-kredit itd.) kreditirati u sljučaju potrebe, pa predstavlja dodanu vrijednost koja će pridonijeti lojalnosti izvodjačima, a obitelji tvoriti obiteljsku investiciju uz zabavu.

· Glazbeno i medijsko tržište Europske Unije, SAD, Australije, Japana, Južne Amerike, kao i nova tržišta,u razdoblju su pripreme plasiranja i distrbucije proizvoda na korektniji način nego do sada kadas su kupci morali potrošiti veliki novac za kupnju cijelog albuma zbog jedne dobre pjesme. Zanimanje za vječno intrigantnom temom vitezova templara povećao je uspjeh jeftino napisane knjige Don Browna ‘Da Vincijev kod’. Vitezovi Templari, organizacija iz SAD koje je Ivan Ostoja počasni član kao jedan od potomaka kralja Stjepana Ostoje, kao i druge moderne templarske organizacije u Velikoj Britaniji, Francuskoj i drugdje, posve drugačije od neukog pisca shvaćaju ulogu templarizma u području morala, poniznosti, vještine, znanosti, kulture, gospodarstva i politici svakog društva. Najava ulaska Turske u Europsku Uniju, kao i val islamističkog terora u svijetu, kojem treba pridodati demografski napada na izumiruće EUropsko autohtono stanovništvo, predstavljati će razlog instantnom uspjehu grupe ARIEL kao i cijelog GATSBY & LAUREN programa. Pjesme ‘Brothers in Blood’ i druge s nastupnog albuma pjevati će i usvojiti ciljana publika navijači poput primjerice nogometnih klubova Lazio, Manchester United, Borussia Dortmund, Feyenord, Barcelona, a cijeli album će postati jedan od relikata ovog vremena velike promjene kada biosfere postaju povezane.
· Broj glazbenih albuma siromašnije kvalitete nadaleko nadmašuje potražnju na svjetskom tržištu iz razloga što većina izvodjača nema kvalitetnu i cjelovitu ponudu, a Gatsby & Lauren brand će na posve komercijalan način, slati poruke upakirane u zarazne hitoidne pjesme i sukladan image – svaka pjesma će imati priču i motiv. Nakana je da Gatsby & Lauren brand, posebice u glazbi, postane ne samo medijski već i društveni fenomen obzirom da će otvoriti pitanja koja muče današnji razvijeni svijet, a o kojima zavisi opstanak svijeta kakvom poznajemo.

· REFERENCE: Ivan Ostoja je sa svojim suradnikom 1979. godine organizirao uvjete pripreme,realizacije, marketinga i čimbenika potrebne za komercijalni uspjeh pjesme nogometaš Kevina Keegana ’Head over Heels in Love’ koja je izdana pod etiketom EMI Electrola/Love&Hate Records, a dostigla je broj 5 na službenoj top listi njemačke glazbene industrije, te oko broja 30 službene top liste u Velikoj Britaniji, uz velike uspjehe na radijskim top listama.Spomenuta je single ploča bila poglavito značajna radi uvodjenja novih parametara u financijsku konstrukciju glazbene industrije. Zbog teške automobilske nesreće 1980. u Hamburgu, Ivan Ostoja se morao povući do 1989. godine kada je s tjednikom ST razbio sve granice medijskih sloboda, grafičkog i jezičnog izraza, pomogao je rušenju SFRJ, a uveo je istraživačko novinarstvo, te najavio novu medijsku scenu u Hrvatskoj. ST je stoga orijentacija, kamen-temeljac, milestone u povijesti hrvatskog novinarstva, ali daljnje vizionarske ideje i projekti Ivana Ostoje su godinama bili onemogućeni siutuacijom u Hrvatskoj .
· Hitoidni, originalni i ‘za čitanje u jednom dahu’ roman ‘Dead-22 Principle’, kojeg piše Ivan Ostoja pod psudinom Ivan Gatsby, komercijalan je hommage remek djelu Kvaka-22. Roman će biti ispočetka ovjavljen kao elektronska knjiga i paperback (putem pr. Author House-demand printing i distribucije) putem specijaliziranih servisa, a po reakciji čitatelja, uz adekvatnu reklamu, bit će izdano i tiskovno izdanje, moguće i originalno hrvatsko izdanje s drugačijim hrvatskom verzijom kao prilog nekom novinskom izdanju.

· Priprema igranih filmova: outlines, scenariji, sinopsisi,storyboards, projekcije troškova i zarade,koprodukcijske početne radnje, glazba, postprodukcijske usluge za razvoj filmskih niže-srednje-budžetnih projekata na engleskom jeziku i po principim holywoodske vještine:
‘Gate to the Shadows’, ep o tajnim društvima i potrazi za konačnim odgovorom o postojanju ili nepostojanju Satane radi skidanja vjekovne ljage s slobodnozidarskih društava i templara. Taj put studenta, od Babylona nadalje, dovodi do još stravičnijeg otkrića od Djavola, projekcija propasti svijeta od klimatskih poremećaja još iz XIV stoljeća, te snimke simulacije programa deportacije muslimana iz razzvijenih zemalja EU i SAD. Sličan film: ‘Deveta vrata’;
‘Day Double’, suspense satira o ponavljanju vremena u elitnom hotelu u Dubrovniku u koji dolazi čuvena reporterka iz američke satelitske news postaje. Slični filmovi:’Hound Dog’, ’12:05’ ;
‘The Spy across Forever: Nancy Templair Story’, špijunska saga na tragu najboljih 007 filmova, uz današnju tehnologiju, te nevjerojatno zanimljivom i neočekivanom pričom. Slični filmovi: cinični i glamurozni 007 filmovi ;
‘Blow Ups’, priča o grupi mladih ljudi koji su željeli orobiti banku, ali stjecajem okolnosti zatočeni su s taocima u istoj, a njihova priča prerasta u pravi medijski spektakl, s bandovima koji sviraju na trgu grada, stotinama tisuća ljudi koji na ulicama gledaju ekrane i iščekuju rasplet, novinarim a koji opkolili banku, helikopterima s kamerama koji nadlijetaju banku;
‘The Very Last Vampire’, priča o ubojstvima u jednom malog gradiću u SAD, za koje se pročulo da je izvedeno ispijanjem krvi na vampirski način, glasina je otišla dalje, pa su tisuće ljudi tog ljeta došle u gradić ‘na kraju svijeta’ koji postaje glavna vijest.Tijekom boravka u tom gradiću i dramatičnih iznenadjenja, glavni lik saznaje neke od najbolje čuvanih tajni poput alternativnog ‘spuštanja na Mjesec’ 1969. koje bilo snimano pored gradića u tajnosti i pripremljeno za emitiranje u slučaju da misija NASA-e ne uspije i sl.;
‘The Silenced Conspiracy’, dramatična priča o ubijanju preostalih svjedoka i slučajnom otkrivanju dokaza o uroti koja je stajala života više od 200.000 Hrvata poslije Drugog svjetskog rata, kao i 1.500.000 Armejaca tijekom Prvog svjetskog rata kada su bili masakrirani od Turaka i islamista;
‘Only a Bite Away-Two Teeth Mystery’: TV sitcom, humoristički, pilot epizode o izlasku mladjeg vampire iz groba kojeg hvataju šerif i drugi radi kršenja zakona jer je zabranjeno izlaziti iz groba, te hektični doživljati vampira ili tzv.vampira u malom gradu pored Los Angelesa gdje mu u pomoć hita novinar tamošnjeg dnevnog lista, spašava ga od linča uznemirenih susjeda i prima kod sebe u stan, i dr.
HRVASTKA EXPRESS!, prvi online tabloid – INFOID (INFOrmativni tabloID) – dostupan u klasičnim izdanjima kao tjednik ili trodnevnik, odnosno prilog postojećim izdanjima, za čije će čitatelje biti organizirana jeftina/besplatna (WI-FI ili dr.) mobitel veza za elektronskog čitača (koji će biti data na korištenje ili leasing putem banaka), čime će čitatelji mooći osvježavati vijesti tijekom cijelog danas, a imati će na raspolaganju i cijelu nisku usluga (traženje posla, kredita,inv. fondova, ponuda robe,usluga,kapitala itd.).
Poslovno savjetovanje i usluge, za stjecanje udjela u medijima (TV, radio i dr.) te suradnju s entitetima za financiranje medijskih projektaa poput osiguravajućih društava (completion bonds za igrane filmove), music business angels, agencija (Marquee itd.), za izvoz i financiranje izvozno konkurentnih medijskih proizvoda i usluga, stvaranje pozitivnog zakonskog i poreznog okružja i dr.

HIT INDUSTRIA (d.o.o.) : Planiranje Proračuna

1. Proračun programa HIT INDUSTRIA, što se poglavito odnosi na trgovačko društvo s ograničenom odgovornošču HIT INDUSTRIA uskladjen je s minimalnim zahtjevima početnog financiranja koji su zastupljeni u obrascima tzv. gerila poslovanja, čiji je cilj što brži i jeftiniji razvoj i izrada proizvoda ili usluge sa što manje redundantnih troškova od onih koji se odnose na pripremu, razvoj, proizvodnju i poslovne usluge, plasman i prodaje proizvoda ili usluge u raznim poslovnim dobima.

2. U namjeri da se razvije pravna osoba koja je odgovorna za djelatnosti unutar programa i po stjecanju odgovarajuće solventnosti pronalaženjem strateškog partnera, kreditna sredstva bi se iskoristila za pokretanje projekta HIT INDUSTRIA kroz moguće preddruštvo HIT INDUSTRIA (d.o.o.-u osnivanju). Isto bi vršilo postupak ponude za početnu kapitalizaciju i osnivanje trgovačkog društva naziva ‘Hit Industrija d.o.o.’, čije bi početno sjedište bilo (moguće) u okviru jednog od poduzetničkih ili inkubatorskih centara u zagrebačkoj županiji, postojećim medijskim pravnim entitetima ili poduzetničkim inkubatorima u Zagrebu ili okolici grada Zagreba, osnosno Varaždina. Djelatnosti bi se obavljale, uz moguću sekretaricu/tajnicu koja obavlja već poslove uz uobičajene u pravnoj osobi u kojoj radila, te uz podršku telefonske i internet linije za HIT INDUSTRIA-u d.o.o., outsourcing usluga knjigovodje i drugih aktivnosti potrebnih za rad Društva, teleworking principom – putem kompjutera i mobitela. Mogućnost je da ulagač ponudi ove usluge za premiju po tržišnoj vrijednosti ponudjenih usluga u definiranom vremenu.

3. Nominirani direktor i vlasnik Društva bio bi Marijo Merien iz Zagreba, koji je ujedno koautor pjesama, zvučni inženjer i jedan od producenata albuma Gatsby & Lauren branda. Ivan Ostoja bi kao honorarni viši izvršni savjetnik bio koordinator razvoja Projekta i programa, uz dodatne druge koji se pokreću (Projekt:Mikrobanka, Agencija za financiranje hrvatskih poduzetnika i gradjana itd.) Time se Marijo Merien i Ivan Ostoja posvetili glavnim (core) djelatnostima i smanjili ukupne početne troškove.

4. Temeljna početna imovina ‘Hit Industrije d.o.o.’ sadržavala bi ukupna prava (autorska prava na pjesme, producentska i izvodjačka kada se iste dorade ili snimke,te sva druga meritorna prava); unesenu vrijednost po kojoj je vrijednost snimljenih i produciranih pjeasama, sa svim popratnim sadržajima, po posebno pogodjenim cijenama u odnosu na slične aktivnosti i kvalitetu u svijetu i do 80 (osamdeset) posto jeftinije; pro bono ili rad s odgodjenim plaćanjem sudionika u svakoj dobi projekta; goodwill dosadašnjeg rada, znanja, kontakata i vrijednosti projekata u odnosu na situaciju u svjetskoj glazbenoj industriji i društvu općenito; potraživanja Ivana Ostoje prema Republici Hrvatskoj koja su sadržana u Ustavnoj tužbi; i drugi dogovorni kolaterali u odnosu na uloženi kapital i ročnost istoga u ugovornim pravima i obvezama.

Početni projekti koji se razvijaju kao demo snimke ili polugotove snimke, uz materijale glede marketinga, imagea, plasmana, financijskih konstrukcija i dr.

PRIHODI:

HIT INDUSTRIA, s brandom GATSBY & LAUREN u glazbi, medijima i poslovnim uslugama, te izvedenim spin-off poslovnim brandovima popupt pr. ’plus…’ na sljedeće načine ostvarivala bi prihode:

- kroz idejno osmišljavanje projekata,pripremu, razvoj, proizvodnju (snimanje, produkcija), marketing, financijske i organizacijske konstrukcije stvarali bi in vitro izvodjače i medijske projekte, obradom od ’A do Z’, koji bi publici bili predstavljeni u zadanim parametrima, a time bi autori branda stekli pravo na komercijalnu eksploataciju svih prava,uključujući i glazbeno nakladnička,
- kako su autonomno razvili projekte, nakon početnog albuma svakog od takvih izvodjača-projekata, nudili bi iste pojedinačno ili kataloški, što će ovisiti o kapacitetu i ugledu ponude zainteresiranog kupca na razne načine: ponudom opcija, licencije, kolicencije, distribucijskim ugovorom za odredjene teritorije, ugovorom o zajedničkoj suradnji (joint venture), leasingom otkupa udjela u budućim pravima i projektima, i dr.,
- prodajom glazbenih djela (pjesama, albuma, usluga, merchandisinga robe i dr.):
§ elektronskom prodajom putem svog portala (www.megahits.biz bi se odmah po ostvarenju kreditnog aranžmana otvorila web trgovina s izborom načina plaćanja, uz razvoj autonomnog sustava nano-mikro plaćanja ‘MicroPhone’, kao i specijaliziranim servisima za online prodaju robe (itunes.com, cdbaby.com, vitaminic.com i dr.,), a koji donose izmedju 75-85 % ukupnih bto prihoda,
§ putem prodaje početnog izdanja GATSBY & LAUREN MEGA (ST) ART EDITION kroz specijalizirane distributere/ CDduplikatore u vodećim tržištima, koji se zasniva na pojedinačnim narudžbama koji mogu bez problema, uz ukupnu zaradu od oko 50% (pedesetposto) maloprodajne cijene manipulirati s početnom nakladom od 20.000-30.000 primjeraka albuma THE WORLD WE ARE A-CHANGIN’ i kasnije TURN OF THE CARDS, te svakim daljnjim albumom izvodjača GATSBY & LAUREN, kao i njihovih studijskih izvodjača te drugih projekata, medijskih i poslovnih,
§ putem pretplata na nove pjesme na portalu www.megahits.biz koja će uključivati odredjene praktične ‘make profit’ bonuse, a najvažnije je da će pjesme u ranim verzijama (demo, bolji demo, gotova snimka, prva verzija snimke i sl.) biti dostupne prije albuma,kao da će iste pretplate na album ili broj albuma biti dostupne i kroz udjel u investicijskim fondovima naziva izvodjača,
§ prodajom tzv. customised albuma (internet albuma; on-demand allbuma) koji predstavljaju i jednu od budućnosti prodaje glazbe u prodavaonicama: izaberu se željene pjesme nakon 15-sekundnog slušanja svake te se iste ‘zapeču’ se na poseban CD te tako prodaju po broju pojesama, bonusima, itd.,
§ licenciranjem pjesama koje napišu Ivan Ostoja i Marijo Merien,
§ direktnom prodajom, uz angažman postojećih telefonskih servisa, trgovačkih putnika i tv kanala;prodajom jednog od albuma za iznimno nisku cijenu (ultra-low budget price) kao dodatnim albumom jednom postojećem u katalaogu distributera, odnosno kolekcijom pjesama iz branda GATSBY & LAUREN,
§ prodajom verzija pjesama putem izdanja koje prodaju tiskovine,
§ prodajom licencija, opcija na licencije pjesama,
§ operativnim leasingom na ugovoreno vrijeme davati će se u zakup odredjeni album ili projekt,organiziranjem vrijednosnog papira s osiguranjima,
§ akontacijama na kupnju slijedećih pojedinačnih albuma pojedinih izvodjača,kojom se stječe status članstva u virtualnim fan clubovima, kao i dijelovi ili udjeli u investicijskim fondovima koje će Ivan Ostoja ugovoriti s postojećim društvima za upravlj