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BLOG DESCRIPTION - OPIS BLOGA

The sole and primary purpose of this blog/site is to introduce some of the 'exotic' manners, techniques and methods of raising capital/financing the start-up enterprises, primarily those supported by Intellectual Property.
A showcase of Hit Industria LTD.(d.o.o.,u.o.) shall be placed onto this spot with the aim of more precise defining and displaying pitfalls and hallmarks of the aforementioned capital-raising methods...

Ovaj blog / site (www.securitisation.eu.tt) donosi presjek 'egzotičnijih' načina financiranja novih poduzetništava, poput primjerice sekuritizacije Intelektualne imovine: Obrazac novog poduzeća Hit Industria d.o.o. (u.o.) služi za praktičnije upoznavanje prednosti i nedostataka navedenih načina i tehnika financiranja novih poduzetništava, poglavito putem kapitaliziranja Intelektualne imovine...

SELECTED MUSIC BUSINESS / INTELLECTUAL PROPERTY / SECURITISATION INFO LINKS:

OFFICIAL MUSIC BUSINESS SITES:

International Federation of Phonographic Industry

Music biz basic info

Recording Industry Association of America

[B]SUPERB MUSIC BUSINESS INFO RESOURCE SITES:

The ultimate resource of music business information

Relevant music biz links and info

Wealthy resource of music business information

SELECTED MUSIC BUSINESS NEWS AND INFO SITES NOONE COULD AFFORD TO OVERLOOK:

Music Industry Information Network

Another superb resource of online and overall music industry info

On the musiclaw

SELECTED MUSIC EXPORT AGENCIES / MUSIC BIZ STATISTICS LINKS:

Austrian music export agency with implemented statistics relating to all the major worlwide markets

German music export agency

French music export agency

Finnish Music Export Agency[/B]

SELECTED INTELLECTUAL PROPERTY / SECURITISATION INFO SITES::

World Intellectual Property Organisation

Securitization info

Variety of securitisation info resources

Intellectual Property as an intangible asset finally gets its own evaluation mathematics[/B]

THE SELECTION OF FULLY UTILISING ARTICLES AND TEXTS ON MUSIC INDUSTRY:

The Future of Music Industry by Gerd Leonhard, at www.licencemusic.com

Structure and Profits Generated by Music Rights Exploitation, at www.ascap.com

Tail of Music Cost, Wired, 10/20004 URL, at www.wired.com

What the Music Industry is Really Like,Book Synopsis by Jon Huntress, at www.lyricalline.com

An Economist's Guide to Digital Music, locate the article by your browser

Calculation of a Pop Album, by Alex Merck

The Cost of a CD, at www.riia.com

Business /Running Music Business (Cost and Profits), at www.bemuso.com (Exceptional insider's
view into the profile of costs and revenues in the industry, covering all-rights income)

Banking on a Hit, at www.culture.gov.uk

Why Release Only a CD-Album, by Eric de Fontenay at www.musicdishcom

Sell Your Music Online, at www.theshredzone.com

Royalty Rates around the Word, at www.kurthanson.com

SELECTED TEXTS ON INTELLECTUAL PROPERTY MONETISING:

Optimizing the Value of Intellectual Property by James E. Malackovski
Special Report: Asset Based Securities - DCR Comments on Music, at
www.dcrco.com
Royalty Securitization by James K. Damron

PLEASE NOTE:

The text hereinunder on the Royalties describing the standards of Copyright and Related Music Rights in the Music Industry and Practice is displayed in the finest manner of fair use standard with the sole purpose of the brief informationa/education targeted to the ransome visitors to this informative and simulating blog.

[B]Resource/ Copyright: HowStuffWorks,Inc

The visitors to this blog are therefore strongly encouraged to gather the complete information by clicking the link to the copyrightowner site.

EXCERPTS FROM THE ORIGINAL TEXT AS DISPLAYED ON:
HOW STUFF WORKS

TEXT:
".......
Who Gets What?

The first thing we need to do is distinguish between recording-artist royalties and songwriter/publisher royalties.
In The Internet Debacle - An Alternative View, Janis Ian, a singer/songwriter, states:
If we're not songwriters, and not hugely successful commercially (as in platinum-plus), we [recording artists] don't make a dime off our recordings.

She's referring to the fact that recording artists and songwriters do not earn royalties in the same way. Recording artists earn royalties from the sale of their recordings on CDs, cassette tapes, and, in the good old days, vinyl. Recording artists don't earn royalties on public performances (when their music is played on the radio, on TV, or in bars and restaurants). This is a long-standing practice that's based on copyright law and the fact that when radio stations play the songs, more CDs and tapes are sold. Songwriters and publishers, however, do earn royalties in these instances -- as well as a small portion of the recording sales.
The only current instance in which artists earn royalties for "public performances" is when the song is played in a digital arena (like in a Webcast or on satellite radio), is non-interactive (meaning the listener doesn't pick and choose songs to hear), and the listener is a subscriber to the service. This came about with the Digital Performance Rights in Sound Recordings Act of 1995. This act gave performers of music their first performance royalties.

We'll go into more detail about the types of licenses and royalties later in this article. But first, let's look at song copyrights...

Song Copyrights

Copyrights are very important because they identify who actually owns the song and song recording and who gets to make money from it. When songwriters write songs, the songs are automatically copyrighted as soon as they are in a tangible form (like a recording, or fixed as printed sheet music). In order to sue for copyright infringement, however, the song should be registered with the copyright office at the Library of Congress. Registration should always be done before the song is set loose in the public domain (available to hear on a Web site, etc.).

Works Made for Hire
If you've written a song as a part of your job (maybe you work for an ad agency and have written a song for a commercial), you don't own that song -- the company does, because you wrote it as part of your job. This is also true if you've been commissioned to write something as part of a collective work. In this case, however, the agreement you sign will specifically state that it is a work "made for hire."
As copyright owner, you have the right to reproduce the copyrighted song, to create derivatives or variations of the song, to distribute it to the public, to perform it publicly, and to display it publicly. (Although we're not sure how you "display" a song.) If you have recorded the song with yourself as the artist, then you also hold the sound recording copyright (a different animal entirely) and have the right to publicly play or "perform" that recording by means of a digital audio transmission.

Copyright licenses

By giving someone a license, you are giving him permission to use your song. Once the song has been recorded and publicly distributed, however, compulsory licensing kicks in and everyone who wants to cover (record) the song can do so without your specific permission. They are required by law to pay you a statutory royalty rate, however, as well as notify you that they're going to release it, and send you monthly royalty statements. They are NOT allowed to make any changes to the words or melody or change the "fundamental character of the song" without the copyright owner's approval. If the song is changed, it is considered a "derivative work." Record companies rarely use compulsory licensing because they don't want to have to provide monthly royalty statements. Instead, they go to the copyright owner and get a direct license so they can negotiate the terms more freely.

Shared copyrights

If you write the lyrics to a song and your buddy writes the music, then you each own 50% of the song. You don't own all of the lyrics and your buddy doesn't own all of the music -- you each own 50% of the total song, music, lyrics and all. This means you can't give someone exclusive rights to the song on your own if you have a fight with your buddy. And, if you make any money on the song, half of that money must go to your partner.
Other forms of shared copyrights come into play when you or your publisher (typically you give control of the song's copyright to the publisher) sign over a portion of the copyright to another publisher for a sampled composition -- a song that uses a portion of another song.

Transfer of copyrights

In most music publishing agreements, there is a requirement that the songwriter assign the copyright of the written song to the publisher. This is known as a "transfer of copyright," or simply "assignment." This, in effect, transfers ownership of the song to the publisher in exchange for the payment to the songwriter of royalties in amounts and time intervals agreed upon in the publishing contract. Typically, song copyrights are held by the music publishers, while sound recordings are controlled by the record companies.

The Major Players

The major players in the recording industry are:
Songwriter - The songwriter is the person (or people) who write the lyrics and melody for songs.
Publisher - The publisher is the person (or company) who works with the songwriters to promote their songs.
Publishers usually get either partial or total ownership of the song copyright, known as "assignment" or "transfer" of the copyright. They pitch the songs to record labels, television or movie producers, or anyone else who may be interested in it. They then license the rights to use the song and charge fees. Those fees are typically split 50/50 with the songwriter.
Performer - Anyone who licenses the song in order to publicly perform it is the performer, or performing artist. The performer doesn't have control of the song (it's controlled by the songwriter or publisher) or the recording (it's controlled by the record company)....

Types of Rights and Royalties

Licenses and their corresponding royalties fall into four general categories:
Mechanical licenses and royalties - A mechanical license refers to permissions granted to mechanically reproduce music onto some type of media (e.g., cassette tape, CD, etc.) for public distribution. The music publisher grants permission for the musical composition to be reproduced. The mechanical royalty is paid to the recording artist, songwriter, and publisher based on the number of recordings sold.
Performance rights and royalties - A performance-rights license allows music to be performed live or broadcast. These licenses typically come in the form of a "blanket license," which gives the licensee the right to play a particular PRO's entire collection in exchange for a set fee. Licenses for use of individual recordings are also available. All-talk radio stations, for example, wouldn't have the need for a blanket license to play the PRO's entire collection. The performance royalty is paid to the songwriter and publisher when a song is performed live or on the radio.
Synchronization rights and royalties - A synchronization license is needed for a song to be reproduced onto a television program, film, video, commercial, radio, or even an 800 number phone message. It is called this because you are "synchronizing" the composition, as it is performed on the audio recording, to a film, TV commercial, or spoken voice-over. If a specific recorded version of a composition is used, you must also get permission from the record company in the form of a "master use" license. The synchronization royalty is paid to songwriters and publishers for use of a song used as background music for a movie, TV show, or commercial.
Print rights and royalties - This is a royalty paid to songwriters and publishers based on sales of printed sheet music.

In addition to these royalties, the Audio Home Recording Act of 1992 brought about yet another royalty payment for songwriters and performers. This act requires that the manufacturers of digital audio recording devices and the manufacturers of blank recording media (blank cassette tapes, blank CDs, blank DVDs, etc.) pay a percentage of their sales price to the Register of Copyrights to make up for loss of sales due to the possible unauthorized copying of music. There are two funds set up where this money is funneled. One is the Sound Recording Fund, which receives two-thirds of the money. This money goes to the recording artist and record company. The other fund is the Musical Works Fund, which receives the remaining one-third of the money to split 50/50 between the publisher and the songwriter.

Foreign Royalties

The licenses we mentioned above (mechanical, performance, synchronization, and print) are also issued for the use of U.S. copyrighted material in foreign countries. The foreign agents, or sub-publishers, are responsible for managing the licenses in their countries and paying royalties to the songwriter and U.S. publisher.

Royalty Pie

Let's look at an overly simplified example of how the major players we've talked about work together to produce the music you hear on the radio, buy on CDs, or download (legally) from the Internet.
A songwriter writes the lyrics and melody for a song. The songwriter records that song in his basement and sends the tape to the Library of Congress to register the copyright. Even though he knows it is automatically copyrighted when he set it in a fixed form (put it on paper and/or recorded it), he is registering it because he's sure this song has the makings of a hit, and he wants to head off any infringement problems up front.
Now, although this songwriter has recorded his own vocal version of the song, he's humble enough to know that it probably won't go very far with his voice croaking it out. In walks the publisher. Our songwriter signs a single-song agreement with a publisher who will pitch the song to the record labels. Publishers are in the business of finding and exploiting new music by issuing mechanical licenses to recording companies or others who want to use the song in some fashion. In exchange for this "administration," the publisher gets 50% of the mechanical royalties for each recording sold (minus several things they have to pay for first, which we'll talk about in the next section).

Let's say that a major record label likes the song and has the perfect recording artist to sing it. They fill out a mechanical license agreement through the Harry Fox Agency and obtain rights to record the song. The song is recorded and is promoted heavily. It becomes a hit. Now, who is making money? The songwriter and publisher split mechanical royalties 50/50 for each recording sold, and the recording artist also gets a mechanical royalty for each recording sold (although that deal is set up differently).
In addition to the mechanical royalties, however, our songwriter and publisher are also paid performance royalties, which means they make money based on how often the song is played on the radio, in restaurants or bars, or in other types of broadcasts. These royalties are monitored, collected, and paid out by a performing rights organization like ASCAP, BMI, or SESAC; our artist is paid by the organization with which he registered the song. For subscription digital "performances," the recording artist now gets paid royalties as well.
Now, let's say that a movie producer is working on a new movie and wants to use the song in a scene. Now the song is moving into the realm of synchronization royalties (where music is used in conjunction with video). When a songwriter's work is synched with a scene in a movie, played over the credits at the end of a movie, or used in a television show or commercial, the songwriter and publisher are paid a negotiated fee to use the song in the movie as well as performance royalties when the movie is shown on TV or in theaters in foreign countries. If the movie uses the specific recording of your song (known as a "master") made by the artist who made the song famous, then that artist will receive a regular royalty percentage from the fee the movie company negotiates with the record company as well as mechanical royalties if there is a movie soundtrack produced. The songwriter and publisher will also receive mechanical royalties from sales of a soundtrack.
So as you can see, a lot of people are making money off of our songwriter's creative efforts.

Mechanical Royalties

Record companies and recording artists, as well as the writers and publishers, all make money based on the sale of recordings of their songs. How those royalties are calculated, however, is about as intricate and controversial as everything else in the music industry.

Writer/publisher mechanical royalties

First, there is the calculation of mechanical royalties for writers and publishers. These royalties are paid by the record company to the publisher. The publisher then pays the writer a share of the royalty (typically split 50/50).
In the United States, the royalties are based on a "statutory rate" set by the U.S. Congress. This rate is increased to follow changes in the economy, usually based on the Consumer Price Index. Currently, the statutory rate is $.08 for songs five minutes or less in length or $.0155 per minute for songs that are over five minutes long. So, for example, a song that is eight minutes long would earn $.124 for each recording sold.
As in most areas in the business world, however, there is room for negotiation. It is not uncommon -- in fact, it is more the norm -- for record companies to negotiate a deal to pay only 75% of the statutory rate, particularly when the writer is also the recording artist. (See the "Controlled Composition Clause" below.) Although there is a statutory rate, there is no law against negotiating a deal for a lower one. Sometimes it is in the best interest of all parties to agree to a lower rate.

Recording-artist mechanical royalties

Recording-artist royalties (and contracts) are extremely complex and a hotbed of debate in the music world. From the outside, the calculation appears fairly simple. Artists are paid royalties usually somewhere between 8% and 25% of the suggested retail price of the recording. Exactly where it falls depends on the clout of the artist (a brand new artist might receive less than a well-known artist). From this percentage, a 25% deduction for packaging is taken out (even though packaging rarely costs 25% of the total price of the CD or cassette).
That sounds simple enough, but there are many more issues that affect what a recording artist actually makes in royalties.

Free goods - Recording artists only earn royalties on the actual number of recordings sold -- not those that are given away free as promotions. Rather than discounting the price to distributors, many record companies give a certain number away for free (about 5% to 10% depending on the artist). Recording companies also give away many copies to radio stations as "promo" copies. There is also a reduction in royalties made for copies of the recording sold through record clubs.

Return privilege - Recordings in the form of CDs or cassettes have a 100% return privilege. This means that record stores don't have to worry about being stuck with records they can't sell. Most other businesses don't work this way, but the music industry has to be more flexible and timed to demand. What's hot today may be forgotten tomorrow... This leads us to reserves. The recording company may hold back a portion of the artist's royalties for reserves that are returned from record stores. (Usually about 35% is held back.)

90% - Back in the days of vinyl records, there was a lot of breakage when record albums were shipped out for distribution. Because of this, recording companies only paid artists based on 90% of the shipment, assuming that 10% would be broken. Even as vinyl was phased out, this practice continued. Today it is gone for the most part, but there are still a few holdouts.
So, here is how it looks so far. Let's say a CD sells for $15. Right away we deduct 25% from that for packaging, which makes the royalty base $11.25. Now let's say our artist has a 10% royalty rate and that his CD sells one million copies. That sounds great! The artist would earn $1,125,000! Except 10% of those were actually freebies, so we really have to calculate that royalty based on 900,000, which makes the royalty $1,012,500, and of course, there are few costs we haven't talked about yet.

Advances and recoupment

They're BROKE?

Multiplatinum artists like TLC and Toni Braxton have been forced to declare bankruptcy because their recording contracts didn't pay them enough to survive.
Florence Ballard from The Supremes was on welfare when she died.
Collective Soul earned almost no money from "Shine," one of the biggest alternative rock hits of the '90s, when Atlantic Records paid almost all of their royalties to an outside production company....

Typically, when recording artists sign a recording contract or record a song (or album), the record company pays them an advance that must be paid back out of their royalties. This is called recoupment. In addition to paying back their advance, however, recording artists are usually required under their contract to pay for many other expenses. These recoupable expenses usually include recording costs, promotional and marketing costs, tour costs and music video production costs, as well as other expenses. The record company is making the upfront investment and taking the risk, but the artist eventually ends up paying for most of the costs. While all of this can be negotiated up front, it tends to be the norm that the artists pay for the bulk of expenses out of their royalties...

Let's see what these recoupable expenses do to our artist's $1,012,500 royalty we calculated earlier. Suppose the recording costs were $300,000 (100% recoupable), promotion costs were $200,000 (100% recoupable), tour costs were $200,000 (50% recoupable), and a music video cost $400,000 (50% recoupable). That comes out to:
$300,000 + $200,000 + $100,000 + $200,000 = $800,000
Suddenly our artist isn't making a million plus, he's making $212,500. But don't forget there is also a manager to be paid (usually 20%), as well as a producer and possibly several band members. The artist won't see any royalty money until all of these expenses are paid.

Controlled-composition clause

So far, it sounds like the money isn't in making the music, it's in writing it. While this is a true statement, controlled-composition clauses make it less fair to folks who are both the songwriter and recording artist of a song.
A controlled composition is a song that has been written and/or is owned by the recording artist. Because mechanical royalties paid to songwriters and publishers are not recoupable by the record company, meaning the record company can't deduct any expenses from them, record companies usually negotiate into the singer/songwriter's contract that the mechanical royalty rate he will receive as the songwriter/publisher will be 75% of the usual amount. In other words, as the writer of a song you record yourself, you get 25% less royalty money than you would get for writing a song that someone else records. But you'll get performance royalties when the song is played on the radio, TV, etc.

Internet royalties

With the explosion of the Internet and the ease of downloading music onto your computer, a whole new royalty arena has opened up in recent years. Record companies usually treat downloads as "new media/technology," which means they can reduce the royalty by 20% to 50%. This means that rather than paying artists a 10% royalty on recording sales, they can pay them a 5% to 8% rate when their song is downloaded from the Internet. In the case of downloaded music, although there is no packaging expense, many record company contracts still state that the 25% packaging fee will be deducted.

An alternative to this royalty payment method also exists for Internet music sales. While it is most often used by Internet record labels, it may still catch on as recording artists begin to push harder for it in their contracts. This other method creates an equal split of the net dollars made on music downloads between the record label and the artist. This net figure is arrived at after the costs have been deducted, including costs of the sale, digital rights management costs, bandwidth fees, transaction fees, mechanical royalties to songwriters/publishers, marketing costs, etc...

Recording company (record label) - The recording company creates, markets and distributes the recordings.

Performing rights organization (PRO) - A performing rights organization is an association, corporation, or other entity that licenses the public performance of nondramatic musical works on behalf of the copyright owners. The major performing rights societies are:The American Society of Composers, Authors and Publishers (ASCAP), Broadcast Music, Inc. (BMI) SESAC, Inc. (formerly the Society of European Stage Authors and Composers), SoundExchange

Mechanical rights agency -The right to record a song -- mechanical rights -- for most publishers is obtained through the Harry Fox Agency in the United States, or the Canadian Mechanical Rights Reproduction Agency (CMRRA) in Canada. These agencies issue the mechanical royalties for songs, keep track of them, make sure the users pay, and provide statements to the publishers. They charge a set percentage of gross royalty collections for their service.

Performance Royalties

How are performance royalties tracked and calculated? Remember that performance royalties are tracked and paid out by the performance rights organizations like ASCAP, BMI, SESAC, and SoundExchange.

The royalty trail begins when the song is registered with one of the three performing rights organizations mentioned above. Once a song is registered, it becomes part of that PRO's collection and is available to all of its users. Most of those users have a "blanket license" to use any or all of the PRO's music, however some users license on a per program basis and only pay for the music they actually use. (This is good for users who don't use that much music.) The PROs deduct money for their operating expenses and the rest goes to the songwriters and publishers.

PRO customers include just about anyone who plays music in a public place -- even those who play "hold" music for their business. These include television networks, cable television stations, radio stations, background music services like MUZAK, colleges and universities, concert presenters, symphony orchestras, Web sites, bars, restaurants, hotels, theme parks, skating rinks, bowling alleys, circuses, you name it -- if they play music, they have to have a license and pay royalties.

Tracking the playlists

The difficult thing to imagine in all of this is how these organizations track all of that music to get an accurate record of how much royalty money needs to be paid to which songwriters and publishers. Each of the PROs use a slightly different system for calculations; we'll use the ASCAP system as an example. ASCAP uses two methods for determining performances: it either counts them or does a sample survey.
For television performances, ASCAP depends on cue sheets that program producers provide them, as well as program schedules, network and station logs, and even tapes of the broadcasts. ASCAP developed its own computer program to help studios and program producers report performances.
For radio performances, ASCAP does a sample survey of all radio stations, including college stations and public radio. To do this, it uses a digital tracking system, station logs provided by the radio stations, and recordings of the actual broadcasts.
For live performances, ASCAP reviews set lists provided by concert promoters, performing artists, and others. In the case of symphony performance information, the printed programs are submitted.
Licensed Internet sites, circuses, theme parks, etc. provide ASCAP with their own music use data.
Others that use music, like restaurants and bars, are not surveyed and simply pay a flat rate that is distributed based on trends in local radio stations (based on the type of music).

Show me the money!

ASCAP's royalty calculations are based on a system of credits. Here is an example of how the money is calculated based on the ASCAP system.
First, some general information: ASCAP weights different factors in order to come up with a song's total "credits" and a fair royalty calculation. For example, the song is weighted based on the type of performance (theme, underscore, or promotional); this is known as the use weight. A song that is featured and sung by a recording artist on TV or radio gets more weight than one that was played as background music during a radio commercial. The licensee (radio station, TV station, etc.) is weighted based on its licensing fee, which in turn is based on the licensee's markets and number of stations carrying its broadcast signal. There is a weight applied to the time of day the music is performed (particularly in television). Music played during peak view/listener times receives more weight.
ASCAP also uses a follow the dollar factor, which means that songwriters and publishers are paid based on the medium from which the money came. For example, money paid out from radio stations is paid for radio performances. A general licensing allocation is figured for fees that ASCAP collects from bars, hotels and other non-broadcast licensees. These fees are distributed to songwriters and publishers based on similar radio and TV broadcasts of the individual songs. In other words, they estimate that restaurants and bars are playing the songs at a similar rate as the local radio and TV stations.

Here is an example of the calculation that ASCAP uses to determine the number of credits a song title has:

Use weight
X
Licensee weight
X
"Follow the dollar" weight
X
"Time of day" weight
X
"General licensing allocation"
+
Any radio feature premium credits (bonus credits for top played songs that reach a specific threshold within a quarter)
= Total number of credits

The total number of credits is multiplied by the shares for the song (how the royalties are split between writers and publishers). This number is multiplied by the credit value for the song. The value of one credit (credit value) is arrived at by dividing the total number of credits for all writers and publishers by the total amount of money available for distribution for that quarter. For example, if there are a total of 10 million credits for a quarter, and there have been 35 million dollars collected for distribution that quarter, then the value of one credit for that quarter is $3.50.

The final number is the royalty payment. Here is how it works:
4,000 Credits
X
50% (.5) Share
X
$3.50 Credit Value = $7,000 Royalty payment

Royalty payments are made quarterly.

These calculations are quite difficult and vary somewhat between each of the three PROs. Visit their Web sites (links are the end of this article) for additional information on how these royalty payments are calculated.

Internet royalties

For Webcasts and other digital performances, SoundExchange was formed to collect and distribute those performance royalties. Just as in traditional media, broadcasters of digital performances of music must pay royalties to the songwriters and publishers of the music they play. Because of the Digital Performance Right in Sound Recordings Act of 1995, however, they must also pay royalties to the recording artists. SoundExchange collects electronic play logs from cable and satellite subscription services, non-interactive webcasters, and satellite radio stations. They then distribute the royalty payments directly to artists and recording copyright owners (usually record labels) based on those logs..."

For more information on music royalties and related topics, see:

Copyright of the hereinabove article displayed for solely educational purposes: HowStuffWorks, Inc.

FINANCING NEW ENTERPRISE BY EXOTIC MANNERS- FINANCIRANJE NOVOG PODUZETNIŠTVA!!!

srijeda, 19.07.2006.

ABSTRACT PREVIEW: GATSBY & LAUREN'S IP SECURITISATION

Ivan Ostoja - Gatsby
-------, 10000 Zagreb, Croatia
Contact: +385 99 34 34 553
Email (temp.): hitindustria@inbox.com ;
As of August 1, 2006: business@megahits.biz; gatsby@megahits.biz; info@megahits.biz

PREVIEW OF AN ABSTRACT TARGETED AT THE ORIGINAL HIT-,MEGAHIT SONGS CATALOGUE PROCEDURE WITH AIM OF ACQURING THE EFFECTIVELY SUFFICIENT START-UP CAPITAL

ABSTRACT:
SECURITISING MUSIC AND RELATED RIGHTS AS THE COMMERCIALLY VIABLE INTELLECTUAL PROPERTY

ASSET:
a) THIS ABSTRACT IS FOCUSED UPON THE EMERGING COMMERCIALLY EXPLOITABLE CONTENT ON A GLOBAL SCALE AS DESIGNED, CREATED. RECORDED, PRODUCED, PERFORMED, MARKETED AND BUSINESSWISE ENGINEREED IN THE GOOD MASTER'S MANNER BY THE COMPOSERS, STUDIO ENGINEERS, PRODUCERS AND BUSINESS ORGANISERS LIKENESSES OF: IVAN GATSBY AND ISAAC LAUREN.
b) MUSIC AND ALL OTHER APPLICATIVE RIGHTS SHALL BE OFFERED AND ACCORDINGLY DISPLAYED THRU THE BOND TENATIVELY TERMED AT THIS STAGE: 'GATSBY & LAUREN GLOBAL HIT BOND 2006-2011. THE HEREINABOVE BOND SHALL BE SUPPORTED BY THE INTELLECTUAL PROPERTY, NAMELY THE CATALOGUE OF THE ORIGINAL POP-ROCK SONGS CLAIMING GLOBALLY EXPLOITABLE HIT AND MEGA HIT POTENTIAL TENTATIVELY ADRESSED TO AT THIS VERY STAGE AS: 'GATSBY & LAUREN GLOBAL MEGAHIT CATALOGUE 2006-2011[/B]

Terms/ Abbreviations:

'GATSBY & LAUREN GLOBAL HIT CATALOGUE 2006-2011',
hereinafter: 'CATALOGUE'
'GATSBY & LAUREN GLOBAL HIT BOND 2006-2011',
hereinafter: 'BOND'
'INTELLECTUAL PROPERTY',
hereinafter: 'IP'
'DIRECT PUBLIC OFFERING',
hereinafter: 'DPO'
'INVESTORS' (who purchase Bonds and its derivatives),
hereinafter : 'BOND-OWNERS
'IVAN GATSBY' and 'ISAAC LAUREN',
likenesses and registered pen names used for the purpose by the Content Providers

Key words:

IP as a start-up SME asset, based on Catalogue featuring copyrights of the original globally exploitable pop-rocks songs and related appplicative commercially exploatitive rights deriving therefrom such as mechanical, publisher, perfomer, broadcasting, producer, miscellaneous etc. rights attainable on the worldwide level.

Bond - Gatsby & Lauren Mega Hit Bond 2006-2011 - supported by the Music and Related Rights,
with the back-up of attached supplemental rights relating to the bonus values for the Bond-Owners shall be based on the IP assets of Catalogue, and shall be initially placed by the unofficial as the Zero-Coupon Bond and Convertible Bond, additionally collaterised by the Content Providers - Ivan Gatsby and Isaac Lauren, if so required, by the commercially transferable values with rationale of the ultimate assistance to Bond Owners.

The business construction of Catalogue shall contain the defined escalating number of globally potential and commercially viable mega hit/hit substantiated releases, backed by the innovative solutions as to the marketing, performing and business schemes covering display, distribution, pay systems and the like at the fraction of regular industry costs.

Article 1 : Projected Face Value Issuance Worth

The Face Value of the Bond's issuance shall not exceed EUR/USD 4.000.000,00 (FourMillion) for the very purpose od Bond as a special vehicle utilised for financing the global penetration of Gatsby & Lauren's product.
Ivan Gatsby and Isaac Lauren shall offer the potential Investors and Bond-Owners a high class quality and dynamically upgradebale content to be conveyed in the updateable Catalogue projected to create the relevant commercial basis of Bond besides additional collateral cathegories as listed hereinunder.

The Face Value of the Bond's issuance shall total EUR4.000.000(FourMillion) at 12% premium (Zero-Coupon Bond ) per annum. Bond shall be thus released at 28-34% nominal Face Value Price which shall be negotiable as to the framework of the overall viability of the arrangement.

(A) Bond shall be nominated at EUR 50 (FiftyEuros) - (USD par value) - to avoid the uneccessary costs arising thereby with the particular aim of the entire capital utilisation for the very core activities.

The purpose of the Bond issuance relates to collecting the funds required for/to:
a) To finalise Catalogue and shape it into a commercially exploitable and marketable product;
b) Acts development;
c) Establishing the managing units and organising the all-applicative platform for online and physical markets releases, resulting in the projected revenues, including the publishing and related rights revenues.

Article 2: The Scope of this Abstract

The very scope of this temporary Info Abstract (for the time being, until Catalogue has been completed) is reduced to the purely circumstantial information featuring the attempts to attain the highest level security to the investors, propelled by spin-off projects in the media and finance areas, aimed to enhance the commercial basis and develop it into a comprehensive platform mixing the variety of feasible basic and derivative values' marketability.

Hence, the text exposed hereinunder does not spotlight on the excessive underlying necessity towards the utilising public effects caused therefrom, and innovative models of IP Securitisation.
It rather edits the practises executed up to this point of time, and establishes the platform applicable for the new financial markets, either 'official' or alternative, with the ultimate purpose of IP's usage as the magnifying force for the start-up capital applicable to the small and medium enterprise development.

Catalogue containing the copyrights and any rights arising therefrom, such as publishing rights, mechanical rights and other rights regarded as standard profit-or-loss vehicles to the music and media industry throughout the globe, shall serve as the start-up asset of the small media development and export company 'Hit InduSTria d.o.o. (Ltd.).

The initial capacity of the Catalogue contains 65 original songs which are globally marketable and exploitable on both commercial and artistic levels, and the aforestated capacity shall leverage at the minimum 100 songs by DPO's Bond step-by-step commence in October 1, 2006

The highlight of this Offer preview relates to innovating the array of pattens referring to start-up companies with initial non-tangible IP assets being reinforced by the relevant know-how, feasibility of both the business plan and realistically projected financial performances and receivables.
We welcome the visitors of this webpage familliarise with the term 'Intellectual Property Securitisation' as defined and revealed by the World Property Organisation (www.wipo.int).

The sole purpose of the texts presented hereinunder, as well as on this blog/site, is to educate the visitors of the IP essentials[/B]:
[I]' Lending partly or wholly against intellectual property (IP) assets is a recent phenomenon even in developed countries. Collateralizing commercial loans and bank financing by granting a security interest in IP is a growing practice, especially in the music business, Internet-based SMEs and in high technology sectors.
……..Securitization normally refers to the pooling of different financial assets and the issuance of new securities backed by those assets. In principle, these assets can be any claims that have reasonably predictable cash flows, or even future receivables that are exclusive. Thus securitization is possible for future royalty payments from licensing a patent, trademark or trade secret, or from musical compositions or recording rights of a musician. In fact, one of the most famous securitizations of recent years involved the royalty payments of a rock musician in the USA, namely, Mr. David Bowie.' (for more information visit: www.wipo.int)

Article 3: Content Providers

IP (copyright and all related rights) shall be the principal asset of the start-up company, 'Hit Industria Ltd. (d.o.o. –LTD. - u.o.), which shall develop the company-holding 'plusMedia d.o.o. (Ltd.)' comprising the units such as 'MI2 Music Ltd.' and 'Gatsby & Lauren Global Media and Finance', with the particular aim of the securing the initial financing of the Catalogue's finalisation, as well as the placement and releases of the songs featured therein.

The Content Providers (Catalogue;Business Structure; Business Plan) and the designers of the initial Bond Issuance are:

Ivan Ostoja (48) (read: 'ostoja) - an entrepeneur, media innovator, the chart record-breaker who introduced tabloid press and changed the media scape in the South -Eastern European territory, causing the break-up of a federal state in 1990. – Pennamed (pseudonym,stage name) for the purpose by the public notary as the name, likeness and identity of: IVAN GATSBY];

and

Mario Merien (29) - a sophisticated and cost-friendly audio engineer, producer, composer,performer and back vocals singer - Pennamed (pseudonym,stage name) for the purpose by the public notary as the name, likeness and identity of: ISAAC LAUREN;

claiming the status of the complete content creators (including: original hit and mega hit potential songs) featured in Catalogue in each conceivable aspect, be it business-, melody-, and harmony-wise, in vitro acts creation, and the like ;

shall deliver a number of ecomomically irresistable premium bonuses to the Investors and Bond-Owners as a good faith gesture supposed to miminimise the investing risks and enable Bond-Owners to be be refunded should their investment, void of Coupon paid in advance, suffered during Bond's maturity.

Ivan Gatsby and Isaac Lauren shall provide their in depth expertise to the projects and the Investors respectively adressing each segment, be it businesswise referring to the financial construction, work and management organisation, as well as the creation of melodies, harmonies and lyrics, primarily targeted at their Project/Studio in vitro Acts, the images and marketing techniques applicable to each act projected in Catalogue.

The advantage of Ivan Gatsby and Isaac Lauren's concept is the underlying fact that they are the sole authors* (* rare and chosen coolaborators are noted in the song list to be offered within the scope of MegaHit Catalogue)]of the songs represented in Catalogue, besides claiming the exclusive rights to any asset, perfomance, artistic, mechanical, producer and publishing rights to be offered in Catalogue, and the associated derivatives thereto/collaterals, if any required, such as Convertible Bond, Goodwill values relating to the Ivan Gatsby's Damage Request adressed to the Republic of Croatia, totalling at the moment of writing up to HRK1.000.000.000(OneBillion), cca. USD170 M M or EUR140M , which occurs to be the minimal net threshold of the damage Ivan Ostoja has undergone as the result of the failed actions of the State Courts (1992-2006); .

Bond—Owners shall be further honoured by the rights offer relating to the spin-off business projects such as the premium Initial Public Offering share-prices of ArielActiveFund, Tesla!Electrified Fund, Data!plusFund and so forth, to be derived from Catalogue basic asset.

Article 4 : Business Procedures Framework

The basic workplot about finalising the content, shaping and registering Catalogue has been edited in the manner as follows hereinunder:

1. Ivan Gatsby and Isaac Lauren shall organise the workshop/atelier for the composing, notating, lyrics writing, modifying, upgrading and polishing the content on a daily basis, minimum 4 (Four) hours a day, with the aim of creating the song-upgrades and updates to regularly refreshened Catalogue, featuring the melodies, harmonies and lyrical deliverances matching the cutting-edge potentials of the hit songs algorhitms, and void of inadequacies contained in the most album releases worlwide as to the ratio of the songs quality, assuring therewith the investor friendly degree of security and profit enlargement during the Bond's lifetime,
2. As designed by the Issuer and the Content Providers, the Bond's market value and shall defy the market shifts, provided the shifts are unfavourable, by the repurchase contracts and options,thus rewarding the investors for their risk exposure and assistance in providing the content to the general public in every relevant market,
3. Ivan Gatsby and Isaac Lauren, as the Content Providers, shall provide minimum 65 (sixty-five) songs with hit and mega hit potential for the pop and rock segments to the major music and media industry markets (Germany, the United Kingdom, the United States, France, Italy, South America,Latin America, Japan, Australia, Nederland, Sweden, Austria, China, Russia, Ireland, Poland and the like) for the initial Catalogue content, as well as the Acts performing the songs contained in Catalogue.
4. Ivan Gatsby and Isaac Lauren shall be rewriting and finalising their demo tapes into the final tunes with lyrics, adding the songs which meet the Catalogue's standards of the expected song potential and profile by the minimal capacity of 10 (Ten) songs a month, which shall enhance the capacity of Catalogue to minimum 100 (OneHundred) songs by January 2007.
5. Catalogue shall be multiplied by the new songs, viable rights and commercial papers on a permanent basis throughout the duration of Bond,
6. Ivan Gatsby and Isaac Lauren shall perform their best effort to enhance the market(able) value of Catalogue's by proposing, arranging and striking agreements utilising to all parties involved in Catalogue's commercial exploitation. Such actions, as well as the marketing trials relating to the music acts performing the songs from Catalogue, shall ultimately create an extra value to the Bond- Owners, as well as otherwise Investors, provided there are any at all, for the first purchase rights and other benefits shall be made available to Bond-Owners and Investors in accordance with circumstantial reports. The first purchase rights Bond- Owners shall be entitled to to the discounted prices for the shares in the acts fund (ArielActive Fund and others), lombardian values to be created
therefrom, and so forth,
7. Ivan Gatsby and Isaac Lauren shall be using Catalogue's commercially exploitable rights as the basis for the Bond issue which in turn shall serve as the financing essential for the developing, producing, recording, marketing and releasing onto both online (Internet-Mobile) market and physical CD and other media markets at favourable price,
8. The price difference between the initial Bond's value and the actual market value during the duration of Bond may honour the Bond-Owners with additional value,

Article 5 : The Genres and Artists

All songs sported in Catalogue have been and shall be written, composed, arranged enginereed and produced by Gatsby & Lauren. The exceptions referring to the songs written by close associates or act as covers or partial covers of the selected songs shall be notified accordingly.

The songs featured on MegaHit Catalogue shall cover the most popular music forms and genres.

The principal umbrela definition of the Gatsby & Lauren style is POP-ROCK NOIR, introducing a variety of new and subgenre scalable styles ranging from ‘After Pop/Rock’, ‘Global Sympho Pop’, 'Art Country Pop',‘ Pop’n’Roll’, 'Sugar Country Pop', ‘Pop’n’Punk’ to 'Techno Robot Pop', Electro-Robot Pop', etc.

The opening in vitroActs/ Studio Projects shall cover the genres such as:

Music Style: After Pop-Rock; Neo Pop Country; Neo Brit-Pop
referring to the Act: ARIEL tHE TEMPLAR- in short: AtT,

Music Style: Electro-Robot Pop, Techno Robot Pop,
referring to the Studio Act: DAta!DAta![/B]),

Music Style : Global Sympho Pop
Referring to the first-ever female Virtual Act: TESLA GIRLS!;

Music Style: Power-Protest Pop Punk
referring to the Act: THE TOUCHDOWNS,

and others.

Ivan Gatsby and Isaac Lauren create the very best of commercially music, which happens to be comercially exploitable at any level, public- and genre-wise.
Ivan Gatsby and Isaac Lauren have created a simulation of a hit factory structure in Zagreb, Croatia, providing comprehensive work, reasearch and designing One-Off, in vitro Acts-Artists expected to evolve into self-standing Acts as of their debut releases or co-releases on Gatsby & Lauren Mega Edition.

Ivan Gatsby and Isaac Lauren have written richly textured and inspired melodies, harmonies and lyrics, besides contributing to the formulaic chart-bound song testouts, in order to acess the scientific values relating to the 'sure-fire' hit song sector as close as possible, excluding force de majeure which occasionaly helps certain songs achieve the status of a hit song.

Article 6: The Projected Outfits

Ivan Gatsby and Isaac Lauren have created the tentative imagery, pennames and likenesses of the temporarily defined acts, such as:

THE TOUCHDOWNS: Sash Darien - Joel Cassidy - Victor Sans - Francis Palmer
ARIEL tHE TEMPLAR: Simon K.T. - Savin Gregory - Richard Odell – Milo Howard
TESLA GIRLS!: Nina Picasso (PR) - Michelle Morris - Laura Kennedy - Christina M. - Zoe Kruzeiro
DATA!DATA! (virtual computer act): Getsbian – RobotKraft 32 - Robin Hall
NINA PICASSO & THE MODELIERS: Nina Picasso, guitar and vocal, supported by Maurice Adams,
the multinstrumentalist, and Denisse Alistair, backvocals.

Article 7: Potential Revenue Resources

Catalogue shall comprise the songs as stated hereinunder, initially targeted at the acts listed thereby, although Ivan Gatsby and Isaac Lauren reserve rights to any any modifications.

The songs published shall be offered to the major force of the music industry following the best practice of the publishing and copyright rules. Therefore the resource of projected revenues will proably feature a roster of the artists releasing the song on their albums, singles, electronic and physical releases widening the scope of exploitation relating to the rights income.

The resources of the income with regards to the rights implemented in Catalogue shall be described in detail in the Prospect to Bond. The potential investors at the initial stage,however,should be aware that their investment recoupment and profit engaged shall be made possible from the following resources:
1. Any agreement or contracts, not necessarily relating from the contracted Rights xploitation, made by any of the Gatsby & Lauren's unit (such as: Gatsby & Lauren Global Media & Finance Ltd., in forming) shall be complimented to the Bond-fund's income. The contracts prenegotiated to an extent and realistically expected shall relate to:
a) the advance, royalty or joint venturee agreement as to the producer
b) label deals with a major or variety of independent distributors covering different territories;
c) acts (artists);
d) composers and publishing rights and revenues;
e) miscellaneous products, services and business services such as stimulating the investment funds, proactive to the small and medium enterpreneurs, whereby the shares of the Bond-fund might account for the proportional share of the e-album or release. Such a system shall enable teenagers and actively working AOR public to assist the economical revival in their countries (Welfare cause), besides enjoying the high-rate music delivered by and Gatsby & Lauren release.
This conception shall be primarily exposed to the new generations in 20-ies, 30-ies, as well as the middle, and older-middle aged generations all over the world who will utilise the Gatsby & Lauren products and services as their tool for assisting the world's survival and development, simultaneously acquiring profit from the Bond-funds and the services to be offered by Gatsby & Lauren portal.
Most of all, the public and Bond-Owners,respectively, shall be complimented with great entertainement with substance, class, integrity and sweetening irresistability. The social role of Gatsby & Lauren brand shall by no doubts cause ascension of any values associated thereto, such as Bond, and so forth.
2. Royalties earned by the rights of a song shall be derived from the value and copies made, be it e-releases or physical releases, brodacasts, sound and video recording, advertising revenue, feature film licensing, live perfomances.
3. By the music and Intellectual Property standards, the owners of song copyright are the creators of the words and music, as well as the publisher or any Third Party honoured, such as Bond -Owners during the Bond's maturity period with aim of securing the Bond's cashflow and value sustainability.The owners of the recording copyright are usually the artist(s) or the record label, and this is the purpose Bond shall be used for – to enable the project retain as many rights for as large territories as possible. The performers of a recorded performance — the artist(s) or other musicians are the owners of these rights, yet Ivan Gatsby and Isaac Lauren by using the session or bona fide musicians and vocals reserve the revenues from these rights to the fund.
4. Ivan Gatsby and Isaac Lauren shall register a music publishing company ‘MI2 Music Ltd.’ and the revenues accomplished by the publisher shall honour the Bond-fund as well the receivables from any 'Gatsby & Lauren' legal unit associated to the media or finance markets dealing with the Bond content .

5. The main royalties are those belonging to the writers (paid to Publisher):mechanical (paid from Distributor/Label to Publisher); perfomance recording (paid to Recording rights owner) ; perfomance –perfomer (paid to Performers); artist (paid to Artists). Ivan Gatsby and Isaac Lauren as the writers, creative force (producers, engineers, musicians, backvocals), publishers and label unit shall be entitled to most of the herinabove royalties until the arists shall evolve into self-standing acts from the second album onwards. That point shall, however, produce the value difference and make up for the eventually ungainable artist or perfomer royalties or share of royalties.
6. MI2 Music Ltd. as well as Gatsby & Lauren Global Media and Finance Ltd. revenues shall develop and henceforth score the various agreements, contracts and royalty assignment with distributors, royalty collecting societies and additional sources in the shape of deals, advances, recoupments, joint venture deals, licensing grants/deals executed to the very best practise in the music industry.
7. Copyright Info: As for longevity of rights, songwriter copyright runs for 70 years after the death of the writer (or first publication if later). Recording copyright runs for 50 years from the release (first publication). Collection royalty societies will pay 100% direct to writers without publishers (self-publishers) or 50% direct to writers who have a publisher (in this case the publisher will also pay part of their 50% to the writer).
8. The other resources of the rights/recording revenues include: film and television recording sync rights; recording clearance and licensing for samples; licensing recordings for adverts.

Article 8: Additional Collaterals

Bond-Owners shall be collateralised by the following assets:

1. Catalogue rights containing the objective globally exploitable commercial multilevel potential of the songs featured therein,as well as the business activities initiated and performed as to the Catalogue's extensive feasibility,
2. Marketing innovations targeting at the specific niche audiences ,
3. Initial low-cost value of the rights, projects and operative business framework structure are supposed to create the bonus premium to the Bond-Owners from the outstart of their involvement therein,
4. Zero-Coupon Bond, Five- Year Maturity, coupon face value annuities provided instantly,
5. Convertible Bond with Goodwill and other relevant supplemental values related to the content of Bond and esteems derived therefrom,
6. Dynamically modifying Bond content, with the initial 65 (SixtyFive) songs, principally of hit and mega hit appeal, being added to Catalogue each year during Bond life, advances the commercial potential of the Catalogue's revenues,
7. Early termination option possible provided the Bond Issuer or the Content Providers want to repurchase the Bond ownerships before its maturity,
8. Life, injury and business liability, as well as other applicable insurances by the Content Providers matching the risk capacity of the Bond's Face Value issue,
9. Extensive commercially exploitable rights of the books, screenplays, media projects and other values, to be displayed at www.megahitzs.biz web site (out on September 1, 2006),
10. The Right for Damage Compensation of Ivan Gatsby totalling to HRK1Billion, as claimed in the process versus the Republic of Croatia),
10. Know-how], results and visionary milestones by Ivan Gatsby and expertise by Isaac Lauren apply as the managing and creative force.

Article 9: The Overview - Projected Tentative Songs and Releases

The songs to be included in Catalogue,thus the basic asset of Bond, shall be as follows hereinunder. The artists/projects noted thereby are projected to have the first option on each song
Due to the circumstances,and contrary to the original projections, Ivan Gatsby and Isaac Lauren shall open the roster with the Acts:

1. DAta! DAta! and 2. ARIEL tHE TEMPLAR for the opening songs/e-releases (to be available at : www.megahits.biz as of September 1,2006)

1 - KISS ME AUTOMATIC…IT'S SO CHIC and 2 - DON'T WORRY, MA, NOTHING IS GONNA BE ALRIGHT

caused interest by the business angel company in Austria already at the songs' demo stage.

The Act DAta! DAta!, cherishing the very finest of Techno-, and Robot Pop, shall be out with e-Album, tentatively titled PERFECT DARKNESS by November 1, 2006:

The e-Album, as an edition of GATSBY & LAUREN'S e-njoy! shall contain songs:
Songs - Candidates: 1. Kiss Me Automatic… It’s So Chic! 2. ABC of Singing – So Far Away 3. Life Goes On 4. Proud To Be Catholique 5. They Used to Be Robots (But We Are Robots No More) 6. How Electric We Can Get 7. Who Was That 8. We'll Meet Tonight 9. Dass Ist Mein, Dass Kapital 10. The Air That We Need 11. This Very Night 12. Unzipped Memories 13. C'eST la Vie

Modifications with aim of achieving commercial and artistic perfection possible.

The Act ARIEL tHE TEMPLAR shall record and release the debut album titled FROM THE SHADOWS
THEY CAME in accordance with the aggreement signed with the strategic investors, Bond-Owners and otherwise investors.

If no agreements shall be defined, the releases shall be tentatively as follows:
(Single releases not listed)

GATSBY & LAUREN EDITIONS

A. ' e-njoy!' e-albums containg at the later stage data and song bonuses such as: 'Almost 3 albums for price of One!'
B. 'Mega (ST)Art Edition' – initial home made CD editions with valuable supplements
C. Gatsby & Lauren Classic Gold and Platinum EDition – global market CD and likewise editions.

ALBUMS PROJECTED/DEVELOPED:

1. GATSBY & LAUREN (I): THE WORLD WE ARE A-CHANGIN'
featuring sensational denovo groups ARIEL tHE TEMPLAR and TESLA GIRLS!
2. GATSBY & LAUREN (II): TURN OF THE CARDS
introducing breathtaking THE TOUCHDOWNS and ELECTRIC PARK ORCHESTRA

Act: ARIEL tHE TEMPLAR Album: FROM THE SHADOWS THEY CAME
Songs - Canditates: 1. Heart of Gold (Seven Minutes) 2. Anywhere You Seem 3. Draw the Line 4. Every Rain in the World 5. Message to the People 6. (Turn Back Time) 7. Secrets of My Life 8. Walk on by (And Never Stop) 9. Don't Worry, Ma, Nothing Is Gonna Be Alright, 10. Confessions of a Traveller 11. Evidence of Mind 12.Where Was My Friend When I Needed Him Most 13. Brothers in Blood 14. Walking down to Heaven 15. Closing Time 16. Why Do We Talk about Love 17. The Storm A-Comin’ 18. Pater Noster (Young Person’s Guide to Suicide), featuring Sir George Lawrence, DJ Marcel Le Catolique, Soldier of Allahu and Black Pearl 19. Living Only for Today 20. All Night Hallo 21. A Town with No Name

Act: TESLA GIRLS! Album: AN EVENING ON EARTH
Songs-Candidates: 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 . Only a Call Away (featuring choir ‘Gregorian Distances’ ) 10.The Horroscope Heroes 11.Reason to Live 12. U Calling Me Around 13. Tune to the Moon, and I Am Gonna Visit You 14. Goodbye...Still Seems to Be the Hardest Word 15. Summertime Cola (Halo Hello Ola) 16. Proud To Be a Housewife 17. Wishing by Numbers 18.After the Kisss...They Call It Love

Act: THE TOUCHDOWNS Album: COMMUNICATION LOST
Songs – Candidates: 1.They Always Come Back 2. Can We Live Together 3. The Cross and Wine
4. Nobody is Calling Your Name (5 .Ring My Bell (2006) 6. All The Day He Was a Zero 7.Dreaming Life Away 8.The Things U Didn't Do 9. Hey Mister, Never Touch My Mind 10. Do You Feel Like Feeling Better 11.Good Morning, Oh Boy! 12. The Last Romantic on the Town 13. Twisting in the London Town 14. I Love Surfin' Sex 15. Gimme Your Hand and Save Me Now 17. Dreams Are Broken...The World Is Open 18. Heroes on the Block 19. Claire (Have I Told You That I Love You Too) 19. Have You Seen Anything, Anything At All 20. It's So Easy (To Fall in Love) 21. Vacant Law 22. Hallo. How Are You?

Act: ELECTRIC PARK ORCHESTRA Album: THE FINAL DAYS OF A LONELY HEART
Songs -Candidates: 1. Fly Back Tonight 2. Someday Never Comes 3. At First It Looked Like Love 4. Selling Time 5. One of a Kind 6. The Boulevard Where Hearts Break 7. Sailing over Ages 8. Slowdowns 9. Sweet Silence of the Roman Empire 10. Call It a Day 11. Feel the Troubled Waters

Act: ADRIAN GOLD & HIS ELITE CAFÉ ORCHESTRA Album: A VIEW TO AVALANCHE
Note: Easy listening instrumental album to be added to GATSBY & LAUREN I or II MEGA ALBUMS as bonus:
Themes: 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 Rainbow 10. The History of Paperplanes 11. Fire Sleeping in the Sands

Act: ARIEL tHE TEMPLAR Album II (solo album) : ONE FOREVER AFTER
Songs – Candidates: 1. Coming Home, Finally 2. The Perfect Nobodies 3. Tonight I Am Going to Die 4. One Forever After 5. Somebody Needs You Now 6. Turn of the Cards 7. Saved and Sealed by the Bell 8. Time to Close the Door 9. The Believers 10. Sailing 11. The Last Train to Coast 12. Never Look Back 13. Money All Over 14. From Europe to America 15. Running Out of the West 16. The Princess

Act: NINA PICASSO & THE MODELIERS Album: PSST! A CLOUD,MAYBE (At the Time Like This)
Note: This album of recital--poems in the Cohenesque style shall be a bonus on Gatsby & Lauren II or III album
Songs: 1. Pale Sort of Blue 2. Cafe d’ Europe 3. Two Million Years from Home 4. At the Time Like This 5. Storyteller against the Rain 6. Ships Never Meet in the Night 7. He Didn’t Call Back 8. Visitor and the Roses 9. Black Angel Falling 10. Go Go Go...Go Away from Me 11. Jerusalem on Fire 12. This Planet According to the Snowman 13. Into the Matters

Act: TESLA GIRLS! Album II ( a solo album): THEORY OF MIDNIGHT
Songs: 1. Dark Horses 2. A Heart Full of Love Never Dies 3. Take It to the Limit 4. Sometimes When We Know 5. It's Been So Long 6. We Gotta Move 7. I Am Late. And You? 8. Strangers Coming out of the Night 9. Not Afraid To Move On 10. After We Have Touched 11. Where the Love Has Gone

ALBUMS PROJECTED TO BE RELEASED DURING BOND DURATION ENGAGING ORIGINAL RECORDING AND SUITABLE COMPILATION ISSUES FEATURING GATSBY & LAUREN ORIGINAL ARTISTS, AS WELL AS POSSIBLE COVERS OF GATSBY & LAUREN SONGS:

1. GATSBY & LAUREN COMPILATION ONE:
HITSTERIA! (OH!plugged, Semiplugged, Overplugged)
2. GATSBY & LAUREN: SPECIAL CHISTMASS ISSUE!: ACOUSTICALLY YOURS

GATSBY & LAUREN RELEASES AND ACTS DEMO DEVELOPMENTS CURRENTLY UNDERWAY:
a. ‘Double Pleasure (For Single Price) by ‘
b. ‘The Very First Internet Pop Opera: Almost Forever’ by ‘Various Artists’
c. ’Interview with a Saint’ by ‘Nexxxt to Madonna’
d. ‘The First Touch’ by Eurozone

GATSBY & LAUREN REGISTERED IN VITRO ACTS GALLERY FEATURE THE FOLLOWING (2006-2016):
Ariel the Templar/ Tesla Girls! / The Touchdowns/ T-Bees/ Data!Data!/ Eurozone/ Electric Park Orchestra/ Protocol ‘69/ Dream Committee/ Amen Now/ Dream Index/ Yes-S/ Frappe/ Mr.Vampire Project/ Electric Sister 2007/ K-Plus/ Adrian Gold and His Elite Orchestra/ Yv / Nexxxt to Madonna/ Nina Picasso and the Modeliers/ Merien/ d’Accord / L’Avvocato / Marcel Le Catholique/ The Priorities / The Nominees/ James and the Outsiders/ Edisson, a.s.f.

TENTATIVE TIMETIBLE OF THE ORIGINAL RELEASES PROJECTED (working titles):
ARIEL tHE TEMPLAR: 2006/07 – From the Shadows They Came / 2007/08 – One Forever After /
2008 –The Breaking News
TESLA GIRLS!: 2007 – An Evening on Earth / 2008 Theory of Midnight / 2008 - They
aLive (So OH!Plugged )
THE TOUCHDOWNS: 2007 - Communication Lost / 2008 – Physical Evidence / 2008 – When the
Days Stop
DATA!DATA: 2006/07 – Perfect Darkness / 2007 –Future of the Time / 2009- Privileged
Information
ADRIEN GOLD & HIS ELITE CAFFE ORCHESTRA: 2007-2010: So Far-The Ultimate Net Collection (
inc. albums: A View to Avalanche - Cold Sky and a Piano –Darkness Falling on Manhattan )
NINA PICASSO & THE MODELIERS: 2008 - Pssst! A Cloud,Maybe / 2009 – Yesterdays of Never /
2011 - Into This World We Were Born
ELECTRIC PARK ORCHESTRA: 2007 – The Final Days of a Lonely Heart / 2008 - Somebody Long Ago
T-BEES: 2008 – Lovecution / 2011 - Thunders and TV -Show

AMEN NOW: A Remote Bible View (Another Story of Heaven) – The Pilgrims Who Drew the Crowds
(releases dates not specified)

THE VERY FIRST INTERNET POP OPERA (versatile acts): 2008 – Almost Forever (accompanied by
the hit book ‘Earthernal C..00medy’)

The projected Bond shall be supported by the registered original songs featured in Catalogue, assuming the commercial exploitation of all the rights arising therefrom, as well as the derivative direct, and indirect commercial activities relating to the Gatsby & Lauren brand, the names of the Acts, and and other copyrighted or IP protected items relating to the Bond's life.

- to continue upon interest -

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