A Brief Note On The Race And Ethnicity - 850 Words

Race and ethnicity have always been a difficult topic to talk about, but not because I am embarrassed, but because to this date I’m still confused. Most of the time I find myself confused and asking questions such as, who am I? Where do I belong? When I get asked about my race I always say Hispanic or Latina; I don’t even know what I am. In high school my Spanish teacher once told me that Hispanic and Latina is not the same thing. Hispanics are individuals who are related to Spain and Latinos are individuals who are related to Latin America. However, there is also Chicano/ Chicana, a person who is born in the U.S but their parents were born in Mexico. Society identifies me as Hispanic or Latina because I speak Spanish and by the way I look, they can already know that I’m from Mexico, which I don’t mind at all. I can also be classified as Chicana because I’ am a U.S citizen and my parents were born in Mexico, but I do have a problem with being called Chicana. This is because of my past experiences, when I was called Chicana they meant to call me a chola, a wetback, a gang member along with other names that disrespects who I am. I have also been called pocha by friends or family members from Mexico because I was born in the U.S and even though I come from Mexican parents I don’t â€Å"act or speak like them†. In Mexico I’m not seen as Latina, Hispanic, Chicana or Mexican. For my Mexican relatives I’m just seen as an â€Å"American† or as they would say a â€Å"pocha†. Coming from twoShow MoreRelatedJust Plain Data Analysis : Measuring Racial And Ethnic Inequality991 Words   |  4 Pagesethnic disparities in different spheres such as income and wealth, health, education, and criminal justice. After summarizing the chapter, Klass’s methodology and findings can be discussed and evaluated. Klass introduces the chapter by telling a brief anecdote about Bill Cosby and how he responded to criticism he received regarding a speech he gave to commemorate the Brown v. Board of Education case. In his speech, Cosby made a lot of claims about issues such as African Americans dropping out ofRead MoreMeasuring Racial And Ethnic Inequality1508 Words   |  7 Pagesdifferent spheres such as income and wealth, health, education, and criminal justice. After summarizing the content covered in the chapter, Klass’s methodology and findings can be discussed and evaluated. Klass introduces the chapter by telling a brief anecdote about Bill Cosby and how he responded to criticism he received regarding a speech he gave to commemorate the Brown v. Board of Education case. In his speech, Cosby made a lot of claims about issues such as African Americans dropping out ofRead MoreLaney Computer Lab Case Study1275 Words   |  6 Pagesdirected at studying, it was a calm, well lit room, with a cool temperature, and not too loud. A few people asked me some questions related to their work while I was there, but I noticed they seemed slightly, nervous, and the conversation was kept brief. I felt comfortable, safe, and a little stressed in the computer lab, because I could tell that most people did not want to be disturbed. At some points all I could hear was the keys on the keyboards with some printing in the background, and it madeRead MoreThe Development Of The Fisheries And Tourism On The Monterey Coast Essay1312 Words   |  6 Pagesaquarium celebrating the environment and Monterey’s past. Central to the social story are the conflicts and interactions between people of different gender, class, race, and ethnicity. While Chiang beautifully intersects the two historical subfields, attention to the intersection of social categories was lacking. Throughout the book, there were brief moments of intersectional analysis that greatly contributed to the text. However, these were few and far between. I demonstrate that had Chiang used the richRead MoreHigh School Graduation Rates in California and the United States Based on Race and Ethnicity 1379 Words   |  6 PagesBetween 1990 and 2012, high school graduation rates in 25-29-year-olds have increased from 86 to 90 percent; this overall national rise is reflected in each of the ethnicities, White, Hispanic, Black, and Asian/Pacific Islander (National Center for Education Statistics [NCES], 2013a). Prior to 2012, nationwide standardized objective measures did not exist for measuring fo ur-year high school graduation rates; tracking educational progress varied from state to state. Thus, state education data collectedRead MoreMy Goals As A Social Worker Practitioner1737 Words   |  7 Pages Reflective Paper Liza M. De Jesus Cleveland State University Author note This paper was prepared for SWK 607, Section 480, taught by Professor Deborah Willis Abstract Postmodern viewpoints emphasize the constructed nature of reality and the need for collaborative relationships between client and social worker/therapist. Social workers that use postmodern approach examine socio cultural issues such as how client problems and beliefs become socially constructedRead More1.2.3 Bone Detectives1718 Words   |  7 Pagesmuscles to produce movement and how they protect our internal organs. But the 206 bones of the human skeleton can also tell a story. The specific structure of your bones reveals information about your gender, your height, your age and even your ethnicity. These biological clues are often the first pieces of evidence scientists look to in identifying the remains of a missing person. Specialists called forensic anthropologists are trained to analyze the secrets locked in a bone’s shape and structureRead MoreA Brief Note On Environmental Racism Of Los Angeles1623 Words   |  7 Pagesof racial division of its land. The city of angeles continues to favor elites at the expense of the minorities. This paper will demonstrate how disadvantages can affect communities while providing some possible solutions for these disparities. A BRIEF HISTORY Racism is a broad issue. It isn’t clear when it began, as different forms of racism exist. Environmental racism, for instance, started to become a national issue in 1982 when civil rights activists wanted to block the state of North CarolinaRead MoreThe Unique And Additive Associations Of Family Functioning And Parenting Practices With Disordered Eating Behaviors Essay1599 Words   |  7 Pagesage, with a range of 11-19 years, was 14.4. years. 46.1% of the adolescents studied were in middle school (6-8th grade) and 53.9 % were in high school (9-12th grade). Based off gender population, 46.8% were boys and 53.2% were girls. Based off race/ethnicity population, 18.9% of students identified as white, 29.0% identified as African American or Black, 19.9% identified as Asian American, 16.9% identified as Hispanic, 3.7% identified as Native American, and 11.6% identified as mixed or other. BasedRead MoreAffirmative Action : Equal Employment Opportunity1004 Words   |  5 Pages ma ny other acts and lawsuits have been pursued and removed, even as recent as last year. These acts are not only likely to damage race relations, but demonstrate that mandatory diversity training will backfire, and despite cross-race relationships displaying benefits, these benefits vanish when put into action. Affirmative action is much more likely to damage race relations because it imposes an â€Å"us† versus â€Å"them† mindset, creates academic disparity among minorities, and unbeknowingly creates self-segregation

Understand Partnership Working Essay - 1334 Words

UNIT A6023189 1.1 The features of effective partnership working are to ensure there is good communication between all parties that ensure a high standard of care is delivered to the individual involved at all times. It ensures each party is covering all area’s and that all needs are met and that all partys have a good knowledge of who is delivering what to the individual and the contacts they have if other issues may arise and the access they have to these. 1.2 Partnership working with colleaugues is extremely important and is a must in all roles, this ensures that the service is delivered as a team and that all members of the team contribute their strengths to deliver a high standard of care to the individuals. It ensures that all†¦show more content†¦I ensure staff are kept safe within their day to day work by ensuring that they work to Health and Safety Law and Legislation and that this is kept up to date. I ensure risk assessments are in place and reviewed regularly for any changes or updates. I ensure staff are all treated equally and are given the same choices. 2.2 Common objectives are developed by working together to ensure Team building is done and that the team runs affectively with all members using their strengths. The evaluate each individuals strengths and weakness’s and bear these in mind when allocating tasks. Agree with team members the tasks they have been set and ensure they are confident and trained to carry them out. Ask for suggestions and brainstorm for idea’s from the team and allow them to have an input as long as it is safe and possible to do so. 2.3 I have a close working relationship with colleagues I ensure they feel I am approachable and that they can approach me with any problems. I also ensure colleaugues feel supported by myself and can ask me for help and advice if they need it. I treat my colleagues with respect as do they me and do not judge them on their opions should they differ from my own. My working relationship with colleagues is always professional and we do not let our personal lifes conflict with our working lives. 2.4 I deal with conflict constructively should it arise with colleagues by listening to their point of view and respecting them as I wouldShow MoreRelatedUnderstand Partnership Working in Services for Children and Young People L 21736 Words   |  7 PagesWorking in partnership with others is very important for children and young people; it will help them to have consistent routines, which is very essential it provides them with a sense of security and structure to their day. 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Understand working relationships in social care settings. 1.1 Explain how a working relationship is different from a personal relationship. Working relationships are based on formal policies and procedures and agreed ways of working. They are bound by contracts of employment and also have codes of practice to be followed so they are professional based. My responsibility as a care assistant is to deliver a very high standard service to individuals. This includes support for everyday livingRead MoreStandard 1 Understand Your Role1598 Words   |  7 PagesStandard 1 Understand Your Role Question 1 Understand your own role The element/s below are the main themes incorporated in my job description and role [ ] Assisting individuals in developing their skills, facilitating access and enrolment in further education/community education, college course and assisting individual to maintain and develop a range of relationships within the community including friends, neighbours and other social contact. [ ] Pursuing the individual’s desire for paid or unpaidRead MoreWork in Partnership988 Words   |  4 PagesUnit M2c Working in partnership in health and social care or children and young people’s settings 1. Understand partnership working 2.1 Identify the features of effective partnership working. One key motivation for working in partnership is to achieve more than could possibly be achieved by any stand-alone organisation – the whole being greater than the sum of the parts. Characteristics of successful partnerships: * Fill knowledge and skills gap-learning and innovationRead MoreHow Different Professionals From Different Sectors Work Together Essay1658 Words   |  7 PagesIntroduction In this report I aim going to explain, assess and describe how different professionals from different sectors work together in partnership benefit the individual by catering for an individuals needs such as Mike Henning. Mike is physically disabled, having a prosthetic leg and he also has schizophrenia, so he has various different needs that need to be met by staff in the care home that he is currently living in. Holistic Care Holistic care is where the whole total patient of theRead MoreEssay on Health and Social Care1063 Words   |  5 PagesUnit 206 understand the role of the social worker Outcome 1understand working relationships in social care settings 1.1 explain how a working relationship is different from a personal relationship There are many different personal relationships that we have within our lives and we act differently to each of those it may be from a family relationship or a work friendship. It is the same with our working relationship with the individuals that we meet, some over step boundaries and turn intoRead MoreWorking in Partnership in Social Care1087 Words   |  5 PagesUnit 505 Working in partnership in Health and Social care or children and young people’s settings Outcome 1 1.1 Identify the features of effective partnership working A partnership is an arrangement between two or more groups, organizations or individuals who work together to achieve common aims or who have common interests. It is sometimes applied to situations where one powerful organization is doing no more than consulting with others, or where one organization is simply buying somethingRead MoreChildhood and Young People Essay686 Words   |  3 Pagesï » ¿MU 2.9 1.1 Explain why working in partnership with others is important for children and young people When childcare settings and anyone involved in working with children and young people come together and work in partnership with one another, the outcome can only be a positive one for both the children and young people and those providing a duty of care to a child. Working in partnership with others is important for children and young people so outcomes can be improved for children and their

The Return Shadow Souls Chapter 13 Free Essays

The Demon Gate. Elena glanced over her shoulder at the backseat of the Prius. Bonnie was blinking sleepily. We will write a custom essay sample on The Return: Shadow Souls Chapter 13 or any similar topic only for you Order Now Meredith, who’d gotten much less sleep but heard much more alarming news, was looking like a razor blade: keen, sharp as ice, and ready. There was nothing else to see except Damon with his paper bags on the seat beside him, driving the Prius. Out the windows, where an arid Arizona dawn should be blinding its way across the horizon, was nothing but fog. It was frightening and disorienting. They had taken a small road off Highway 179 and, gradually, the fog had crept in, sending tendrils of mist around the car, and finally engulfing it whole. It seemed to Elena that they were being deliberately cut off from the old ordinary world of McDonald’s and Target, and were crossing a border into a place they weren’t meant to know about, much less go. There was no traffic in the other direction. None at all. And as hard as Elena peered out of her window, it was like trying to look through fast-moving clouds. â€Å"Aren’t we going too fast?† Bonnie asked, rubbing her eyes. â€Å"No,† Damon said. â€Å"It would be – a remarkable coincidence – if anyone else were on the same route at the same time we are.† â€Å"It looks a lot like Arizona,† she said, disappointed. â€Å"It may be Arizona, for all I know,† Damon replied. â€Å"But we haven’t crossed the Gate yet. And this isn’t anywhere in Arizona you could just accidentally walk into. The path always has its little tricks and traps. The problem is that you never know what you’ll be facing. â€Å"Now listen,† he added, looking at Elena with an expression she had gotten to know. It meant: I’m not joking around; I’m talking to you as an equal; I’m serious. â€Å"You’ve gotten very good at showing only a human-sized aura,† Damon said. â€Å"But that means that if you can learn one more thing before we go in, you can actually use your aura, make it do you some good when you want it to, instead of just hiding it until it pops up out of control and lifts three-thousand-pound cars.† â€Å"Like what kind of good?† â€Å"Like what I’m going to show you. First of all just relax and let me control it. Then, little by little, I’ll slacken the controls and you’ll take them up. By the end, you should be able to send your Powers to your eyes – and see much better; to your ears – and hear much better; to your limbs – and move much more quickly and precisely. All right?† â€Å"You couldn’t have taught me this before we started on this little excursion?† He smiled at her, a wild, reckless smile that made her smile, too, even if she didn’t know what it was about. â€Å"Until you showed how well you could control your aura throughout the path – the way here – I didn’t think you were ready,† he said bluntly. â€Å"Now I do. There are things in your mind just waiting to be unlocked. You’ll understand when we unlock them.† And we unlock them – with what? A kiss? Elena thought suspiciously. â€Å"No. No. And that’s the other reason you’ve got to learn this. Your telepathy is getting out of hand. If you don’t learn how to keep from projecting your thoughts, you’ll never make it past the checkpoint at the Gate as a human.† Checkpoint. That sounded ominous. Elena nodded and said, â€Å"All right; what do we do?† â€Å"What we did before. Like I said, relax. Try to trust me.† He put his right hand just to the left of her breastbone, not touching the cloth of her deep gold top. Elena could feel herself flushing, and she wondered what Bonnie and Meredith must think of this if they were watching. And then Elena felt something else. It wasn’t cold; it wasn’t heat, but it was something like the furthest extremities of both of them. It was pure Power. It would have knocked her over if Damon hadn’t been holding her by the arm with his other hand. She thought, he’s using his own Power to prime mine, to do something – – something that hurt – No! Elena tried, vocally and telepathically, to tell Damon that the Power was too much, that it hurt. But Damon ignored her pleas even as he ignored the tears that spilled onto her cheeks. His Power was leading hers now, painfully, throughout her body. It was in her bloodstream, dragging her own Power behind it like a comet’s tail. It was forcing her to take the Power to different parts of her body and let it build and build there, not letting her exhale it, not letting her move it on. I’m going to burst – All this time her eyes had been fixed on Damon’s, broadcasting her feelings to him: from indignant anger to shock to agonized pain – and now†¦to†¦ Her mind exploded. The rest of her Power went on circling, without causing any pain. Each new breath she drew added more Power to it, but it simply circulated through her bloodstream, not increasing her aura, but increasing the Power that was inside her. After two or three more quick breaths she realized that she was doing it effortlessly. Now Elena’s Power wasn’t simply sliding around smoothly inside her, looking from the outside like any other human’s. It was also filling several burst swollen nodes inside her and where it did that, it changed things. She realized that she was looking at Damon with round eyes. He might have told her about how this would feel, rather than letting her go into it blind. You really are a total bastard, aren’t you? Elena thought, and, amazingly, she could feel Damon receive the thought, and could feel his automatic response, which was pleased agreement, rather than otherwise. Then Elena forgot about him in the dawning of a new understanding. She was realizing that she could keep circulating her Power inside her, and even build it higher and higher, getting ready for a truly explosive burst, and show nothing of what it was doing on the surface. And as for the nodes†¦ Elena looked around her at what a few minutes ago had been barren wilderness. It was like taking bullets of light through both her eyes. She was dazzled; she was enthralled. Colors seemed to come to life in a painful glory. She felt that she could see much farther than she ever had, on and on into the desert, and at the same time, she could distinguish Damon’s pupils from his irises. Why, they’re both black, but different shades of black, she thought. Of course, they go together – Damon would never have irises that didn’t complement his pupils. But the irises are more velvety, where his pupils are more silky and shiny. And yet it’s a velvet that can hold light inside it – almost like the night sky with stars – like those kitsune star balls that Meredith told me about. Right now those pupils were wide and set unyieldingly on her face, as if Damon didn’t want to miss a moment of her reaction. Suddenly, the corner of his lip quirked in a faint smile. â€Å"You did it. You learned to channel your Power to your eyes.† He spoke in a bare whisper that she could never have detected before. â€Å"And to my ears,† she whispered back, listening to the amazing symphony of tiny sounds around her. High in the air, a bat squeaked on a frequency too high for any ordinary human ear to notice. As for the fall of grains of sand around her, they formed something like a tiny concerto as they struck rock and bounced with a tiny ping before falling to the ground below. This is amazing, she told Damon, hearing the smugness in her own telepathic voice. And I can talk to you this way any time now? She would have to watch out for that – telepathy threatened to reveal more than she might want to send to a recipient. It’s best to be careful, Damon agreed, confirming her suspicions. She’d sent more than she’d meant to. But Damon – can Bonnie do this, too? Should I try to show her? â€Å"Who knows?† Damon replied aloud, making Elena wince. â€Å"Teaching humans how to use Power isn’t exactly my forte.† And what about my different Wings Powers? Will I be able to control them, now? â€Å"About those I have absolutely no idea. I’ve never seen anything like them.† Damon looked thoughtful for a moment and then shook his head. â€Å"I think you’d need someone with more experience than I have to learn to control those.† Before Elena could say anything else, he added, â€Å"We’d better get back to the others. We’re almost at the Gate.† â€Å"And I suppose I shouldn’t be using telepathy then.† â€Å"Well, it is a rather obvious giveaway – â€Å" â€Å"But you’ll teach me later, won’t you? As much as you know about controlling Power?† â€Å"Maybe your boyfriend should be doing that,† Damon said almost roughly. He’s afraid, Elena thought, trying to keep her thoughts hidden under a wall of white noise so that Damon wouldn’t pick them up. He’s just as afraid that he’ll reveal too much to me as I am afraid of him. How to cite The Return: Shadow Souls Chapter 13, Essay examples

Music Publisher free essay sample

They discover the great songs and composers that we listen to today. They work hard to exploit these songs into the market and make money for both himself and his client. During this essay I plan to explore further into this career, I intend to discover more about the different aspects, such as, the role the publisher plays within the industry, the salary, and qualifications needed. I hope to look at some of the legal aspects also, including the contract between publisher and writer.I am interested to mind out exactly what it is that a music publisher does, especially on a day to day basis. The music publisher stands at the crossroads of Art and Commerce, where enthusiasm for the art and business sense meet or miss each other. My mall alma throughout this essay is too discuss this much debate question. I would like to include an interview from a music publisher and hear their view on this matter, and through my research conclude the matter with my own opinion. Music Publishing Music publishing is where the copyright creator (Songwriter) allows the business person (Music Publisher) to take on the responsibility of maximizing the earning attention of the creators endeavors. -Johnny Lapin. The mall purpose of a music publisher is to exploit, administer and collect royalties for its copyright properties. They acquire the rights to songs from lyricists, songwriters and composers; this is done through an agreement called a publishing contract.The publisher will license the composition, this helps monitor when and where the music is used, the publisher will then collect any royalties due for this usage. The publisher sells the rights to record companies (to make records), to sheet music publishers (to make sheet music kooks or digital sheet music to sell over the internet) and to the makers of film and adverts (synch). * There are five rights to which the music publisher has control of: ; Mechanical Rights Permission is needed to mechanically reproduce a licensed work.The money that is paid and collected for this licensing is called a Mechanical Royalty. Synchronization Rights This Is the rights to the use of music used In synchronization to a visual. Such as, In commercial advertising. The publisher would need to negotiate and issue a synchronization license so that the copyright can be used. * Print Rights usually publishers will issue sheet music of all copyrighted works, especially that of a major songwriter they represent. * Digital Print Rights It is now possible for publishers to make digital copies of all a songwriters sheet music and artists recordings.This can then be sold online through MIDI files, PDF files etc. * Public Performance Rights Public Performance Rights such as, IMPORT, collect royalties on the behalf of the publisher. They collect from Radio, Television, Retail stores and nightclubs etc. Which use music in an effort to enhance their music. Before the days of the singer/songwriter, music publishing was the music business. Publishers would acquire the copyrights to writers work and would then try to get the Nor exploited. Due to the fact that a lot of artists started writing their own music, the relationship between the publisher and the rest of the Industry began to change. Record Companies began to realize that if they singed an artist that write their own stuff they would not have any problems finding songs for the artist, and so they began looking for artists that could offer them this single package. An artist/ composer can hire a publisher or they can publish their music themselves. It costs round ?1 50 to register your own publishing company but not all artists have the time or skill to run this and can often end up going broke. He publisher handles the administrative aspects of the business, contracts need to be drawn up, collecting societies such as IMPORT in Ireland need to be dealt with, offices have to be run etc. They make sure that all the legal and financial areas of {Our song writing are under control. The publisher works to place songs in its catalogue with other recording artists to gain royalties for themselves and the writer. Publishers always work hard to promote the back catalogue of songs. In recent years there has been a trend to use old classics in T.V programmer and adverts; this has made a lot of money for publishers. However, publishing work is not Just about promoting a back catalogue of songs; they also need to keep in the present day. There are new artists and writers emerging all the time and it is vitally important for the publisher to keep in contact with AR departments and with the live music scene. Publishers often need to provide new songwriters and composers with the facilities they need to produce music and offering them advice in writing for particular markets.Typical Working day of a Publisher Open the mail, which will include letters and bills from Lawyers, record companies, managers, artists etc. The post will of course also include demo tapes. Ere publisher should listen to these tapes straight away or as soon as possible. They should then return the ones they do not like and keep the ones they do for further listening and investigation. * They then continue on with regular business, such as, drawing up new publishing deals, or renewing old ones. They may also have to deal Ninth staff issues. Large companies may employ between 50- 100 staff and smaller companies will only employ a handful. The publisher may have some business inch appointments with clients, their clients managers, potential clients etc. This lunch will be used to try and develop a relationship with these people. * When the lunch is finished the publisher may have to return phone calls, have more tapes to listen to. She/he may also have some songs to try and pitch, to be heard by singers, managers, record companies and basically anyone who is in the music business. * During the evening, while most people go home after their days work, the publisher Nil go out and try to find new acts to sign.For many songwriters and composers the truth is that when getting their first entrant they become so overwhelmed and excited, that they forget to read the small print and sign without thoroughly examining the contract. You should always read and make sure you understand a contract before signing it, or get the contract Checked by a professional body, such as, a solicitor preferably one qualified in music law. * There are three important points that must be negotiated between both parties before signing. These are: * The Term of the Agreement. * The Royalty Split between writer and publisher. The Territories covered by the contract. Ere Term he term covers the length of the agreement between the songwriter/composer and the publisher. The duration of the agreement can be based on years or on albums/ songs. The agreement may be for one, three, or five years or it might cover specific songs for the Life of Copyright; this is the life of the author plus seventy years. One ere important point to take notice of is that although some contracts might contract the writer for a period of time e. G. Three years, the works may be signed for life of copyright.The Royalty Split between writer and publisher There is no standard royalty split between writer and publisher, although according AAA practice dating back to 1914, a publisher cannot take more than 50%. The deal is always in favor of the writer. Modern contract would usually have a split of between 60/40 and 85/1 5, depending on a number of factors e. G. How good the song is. The Territories covered by the contract Ere Territory refers to the countries governed by the contract. This can depend on the nature of, and where exploitation can take place.Publishing deals can cover the Nor or can be broken down on a country by country basis. On the following page please find a sample of a music publishing contract, there is o such thing as a standard publishing contract as they are all different but this is a general sample of what one should appear as. EXCLUSIVE SONGWRITER AGREEMENT THIS AGREEMENT is made and entered into this day of between _(name) of _(address) by and (hereinafter referred to as Publisher), and _(name) Of _(address) hereinafter individually referred to as writer).FOR AND IN CONSIDERATION OF mutual covenants set forth, the parties do hereby agree as follows: 1 . Employment. Publisher hereby employs Writer to render his services as a songwriter and composer and otherwise as may be hereinafter set forth. Writer hereby accepts such employment and agrees to render such services exclusively for Publisher during the term hereof, upon the terms and conditions set forth herein. 2. Term. The term of this Agreement shall commence upon the date hereof and shall continue until 199_. 3. Grant of Rights. Writer hereby irrevocably and absolutely assigns, transfers, sets over, and grants to Publisher, its successors, and assigns each and every and all rights and interests of every kind, nature and description in and to the titles, words, and music of any and all original arrangements of musical compositions in the public domain in any and all licenses relating thereto, together tit all worldwide copyrights and renewals and extensions thereof, which musical works have been written, composed, created, or conceived, in whole or in part, by Writer alone or in collaboration with another or others, and which are now owned or controlled, directly or indirectly, by Writer, alone or with others, or as the employer or transferee, directly or indirectly, of the writers or composition, ad all worldwide copyrights and renewals and extensions thereof, all of which Writer does hereby represent are and shall at all times be Publishers sole and exclusive property as the winner thereof free from any adv erse claims or rights therein by any other person, firm or corporation. Attached hereto as Exhibit A is a list of musical compositions written and made a part of this Agreement.Writer acknowledges that, included within the rights and interests hereinabove referred to, but without limiting the generality of the foregoing, is Writers irrevocable grant to Publisher, its successors, licenses, subsequences and assigns, of the sole and exclusive right license, privilege, and authority throughout the entire world with respect to the said original musical impositions and original arrangements of compositions under the public domain, whether now in existence or hereafter created during the term hereof as follows: (a) To perform said musical compositions publicly, whether for profit or otherwise, by means of public or private performance, radio broadcasting, television, or any and all means, whether now known or which may hereafter come into existence; (b) To substitute a new title or titles for said compositions or any of them and to make any arrangement, adaptation, translation, determination or transportation of said impositions or any of them, in whole or part, and in connection with any other literary, musical or dramatic material, and to add new lyrics to the music of any said compositions or new music to the lyrics of any of said compositions, all as Publisher may deem expedient or desirable; provided, however, anything to the contrary notwithstanding, nothing contained herein shall be construed to allow Publisher to make any changes in Writers recorded performances. In the event Publisher is directly involved in the printing of sheet music containing Writers musical compositions Publisher agrees to make all reasonable effort to produce a production of Writers original recording of such composition as accurately as possible. C) To secure copyright registration and protection of said compositions in Publishers name or otherwise as Publisher may desire at Publisher s own cost and expense and at Publishers election, including any and all renewals and extensions of copyrights, and to have and hold said copyrights, renewals, extensions and all rights of whatsoever nature thereunto existing, for and during the full term of all said copyrights and all renewals and extensions thereof; (d) To make or cause to be made, ND to license others to make, master records, transcriptions, sound tracks, pressings, and any other mechanical, electrical or other productions of said compositions, in whole or part, in such form or manner and as frequently as Publishers sole and uncontrolled discretion shall determine, including the right to synchronize the same with sound motion pictures, and the right to manufacture, advertise, license or sell such reproductions for any and all purposes, including, without limitation, private pictures, wired radio or cable television, phonograph records and any and all other means or devices whether now known or which may hereafter come into existence. To print, publish and sell, and to license others to print, publish and sell, sheet music, orchestrations, arrangements and other editions of the said compositions in all forms, including, without limitation, the inclusion of any or all of said compositions in song folios, song books, mixed or lyric magazines with or without music; and (f) Any and all other rights of every and any nature now or hereafter existing under any by dirtied of any common law rights and copyrights and renewals and extensions thereof in any and all such compositions.Writer grants Publisher, without any compensation other than specified herein, the perpetual right to use and publish and to permit others to use and publish Writers name (including any professional name heretofore or hereafter adopted by Writer), Writers photograph or any other likeness, which shall be approved by Writers logos and trademarks whether now in existence or created during the term hereof and biographical materi al concerning Writer, and the titles of any and all of the compositions hereunder, in connection with the printing, sale, advertising, performance, distribution and other exploitation of the impositions hereunder, and for any other purpose related to the music business of Publisher, its affiliated and related companies, or the refrain therefore. This right shall be exclusive during the term hereof and nonexclusive thereafter. Writer grants Publisher the right to refer to Writer as Publishers Exclusive Songwriter and Composer or any other similar appropriate appellation, during the term hereof. 4.Narrates, Representations, Covenants and Agreements: Writer hereby warrants, represents, covenants and agrees as follows: Writer had the full right, power and authority to enter into and perform this Agreement and to grant to and vest in Publisher all the rights herein set forth, free and clear of any and all claims, rights and obligations whatsoever; all of the compositions and all other results and proceeds of the services of the Writer hereunder, including all the titles, lyrics and music of the musical compositions, and each and every part therefore, delivered and to be delivered by Writer hereunder are and shall be new and original and capable of copyright protections throughout the entire world; no musical composition reminder nor any part thereof shall be an imitation or copy of, or shall infringe upon any other material, of shall violate or infringe upon any common law or statutory rights of any part including without limitation, contractual rights and copyrights and rights of privacy, and Writer has not sold, assigned, leased, licensed or in any way disposed of or encumbered any composition or rights herein granted to Publisher, not shall Writer sell, assign, lease, license or in any other way dispose of or encumber any of the compositions or said rights. 5.Power of Attorney: Writer does robbery irrevocably constitute, authorize, empower and appoint Publisher, or any of TTS officers, Writers true and lawful attorney (with full power of substitution and delegation), in Writers name, and in Writers place and stead, or in Publishers name, and to take and do such action, and to make, sign, execute, acknowledge and deliver all instruments or document, which Publisher, or its, successors, assigns and licens es, all of the rights or interests granted by Writer hereunder, including, without limitation, such documents as Publisher may deem desirable or necessary to secure entire term of copyright and for any and all renewals and extensions. 6. Compensation : Provided the Writer shall faithfully and completely perform the terms, covenants and conditions of this Agreement, Publisher hereby agrees to pay Writer for the services to be rendered by Writer under this Agreement, and for the rights acquired hereunder, the following compensation based on the musical compositions Inch are the subject hereof: (a) Ten percent (10%) of the wholesale selling price per copy for each piano copy and dance orchestration printed, published and sold in the United States and Canada by Publisher or it;s licensees, for which payment has been received by Publisher, after deduction of returns. B) Twelve and on-half (12-112%) of the wholesale selling price upon each printed copy of each other arrangement and edition printed, published and sold in the United States and Canada by Publisher or TTS licensees, for which payment has been received by Publisher, after the deduction of return, except that in the event that any compositions shall be used or caused to be used, in whole or part, in conjunction with one or more musical composition in a folio, album or any other publication. Writer shall be entitled to receive that proportion of said twelve and one-half percent (12 1/2%) which the subject compositions shall bear to the total number of musical compositions contained in each folio, album, or publication. C) Fifty percent (50%) of any and all net sums actually received (less any costs for collection) by Publisher in the United States from the exploitation in the United States or Canada by the licensees of Publisher of mechanical rights, electrical transcription and reproduction rights, motion picture and television synchronization rights and all other rights(excepting printing rights ND public performing rights) therein, whether or not such licensees are affiliated Ninth, owned in whole or part by, or controlled by Publisher. (d) Writer shall receive his public performance royalties throughout the world directly from the perf orming rights to which he is affiliated (I. E. American Society of Composers, Authors and Publishers, Broadcast Music Inc. .. ) and shall have not claim whatsoever against Publisher for any royalties received by Publisher from any performing rights society Inch makes payments directly (or indirectly other than through the Publisher) to Miters, authors and composers. ) Fifty percent (50%) of any and all net sums, after deduction of foreign taxes, actually received (less any costs for collection) by Publisher in the United States from sales, licenses and other uses of the subject musical compositions in countries outside the United States and Canada (other than public performance royalties as herein mentioned in (d) above) from collection agents, licensees, sub publishers or others, whether or not same are affiliated with, owned in whole or part by, or controlled by Publisher. (f) Publisher shall not be required to pay any royalties on professional or complimentary copies or any copies casual derivatives which are distributed gratuitously to performing artists, orchestra leaders and disc Jockeys or for adv ertising, promotional or exploitation purposes.Furthermore, no royalties shall be payable to Writer of consigned copies unless paid for, and not until such time as an accounting therefore can be properly made. (g) Royalties as hereinabove specified shall be payable solely to Writer in instances here Writer is the sole author of the entire composition, including the words and music thereof. However, in the event that one or more other songwriters are authors Publisher to add, change, or translate the words or to revise or change the music), the foregoing royalties shall be divided equally between Writer and the other songwriters unless another division of royalties is agreed upon in writing between the parties concerned and such written agreement is submitted to publisher prior to payment. 7.ACCOUNTING: Publisher shall compute the total composite royalties earned by Inkier pursuant to this Agreement and pursuant to any other agreement between Inkier and Publisher, whether now in existence or entered into at any time subsequent hereto, on or before September 30th for the semi-annual period ending he preceding June 30th, and shall thereupon submit to Writer the royalty statement for each period together with the net amount of such royalties, if any, as shall be payable after deducting any and all recouped advances and chargeable costs under this Agreement or any other ag reement between Writer and Publisher. Upon the submission of each statement, Publisher shall have the right to retain, with respect to print sales as a reserve against subsequent charges, credits or returns, such portion of payable royalties as shall be necessary and appropriate in its best business Judgment.All statements rendered by Publisher to Writer shall be binding upon Inkier and not subject to any objection by Writer for any reason unless specific rewritten objection, stating the basis thereof, is submitted by Writer to Publisher within one (1) year from the date rendered. Writer or a certified public accountant in his behalf may, at Writers expense, and at reasonable intervals, examine Publishers books relating to activities during the accounting period for said statement. 8. ACTIONS: Publisher may take such action as it deems necessary, either in Writers name or in its own name, against any person to protect all rights and interests acquired by Publisher hereunder. Writer will, at Publishers request, cooperate fully Ninth Publisher in any controversy which may arise or litigation which may be brought concerning Publishers rights and interests obtained hereunder.Publisher shall have the right to, in its absolute discretion, to employ attorneys and to institute or defend any action or proceeding and to take any other proper steps to protect the right, title and interest of Publisher in and to each musical composition hereunder and every oration thereof and in that connection, to settle, compromise or in any other manner dispose of any matter, claim, action or proceeding and to satisfy any Judgment that may be rendered, in action brought by Publisher against any alleged infringer of any musical composition shall be initiated and prosecuted as a result ther eof after deduction of the expense of litigation, including but not limited to attorneys fees and court cost, a sum equal to fifty percent (50%) of such net proceeds shall be paid to Inkier. Writer agrees to and does hereby indemnify, save and hold Publisher armless from any and all loss connected with any claim by a third party which is inconsistent with any in this Agreement, and Writer agrees to reimburse Publisher, on demand, respect to any liability or claim to which the foregoing indemnity applies. Pending the determination of any such claim, Publisher may withhold payment of royalties or other monies hereunder. 9.NOTICES: Any written notices which Publisher Nil desire to give Writer hereunder and all statements, royalties and other payments Inch shall be due to Writer hereunder shall be addressed to Writer at the address et forth on Page 1 hereof until Writer shall give Publisher written notice of a new addressed to Publisher at the address set forth on Page 1 hereof until Pu blisher shall give Writer written notice of a new address. All notices shall be delivered by hand or served by mail, postage prepaid, or telegraph office, whichever shall be first, shall be deemed the date of service. 10. ENTIRE AGREEMENT. This Agreement supersedes any and all prior negotiations, understandings, and agreements between the parties hereto with respect to the subject matter hereof.Each of the parties acknowledges ND agrees that neither party has made any representations or promises in connection with this Agreement nor the subject matter hereof not contained herein. 11. COLLABORATION AND SEPARATE AGREEMENTS: Whenever Writer shall collaborate with any other person in the creation of any musical composition, and such musical composition shall be subject to the terms and conditions of this Agreement, and Writer warrants, represents and agrees that prior to the collaboration with any other person, such other person shall be advised of this exclusive agreement and advised that all such composition must be published and wend by Publ isher. In the event of such collaboration with any other person, Writer shall cause such other person to execute a separate songwriters agreement with respect thereto, which agreement shall set forth the division of the songwriters share of income between Writer and such other person, and Publisher shall make payment accordingly. (b) If Publisher so desires, Publisher may request Writer to execute a separate agreement in Publishers customary form with respect to each musical composition hereunder. Upon such request Writer shall promptly execute and deliver such separate agreement. Publisher shall have the right, pursuant to the terms and conditions hereof, to execute such separate agreement in behalf of the Inkier hereunder.Such separate agreement shall supplement and not supersede this Agreement. In the event of any conflict between the provisions of such separate agreement and this Agreement, the provisions of this Agreement shall govern.. 12. Nerves SERVICES: Writer agrees to perform the services required hereunder conscientiously and solely and exclusively for and as requested by Publisher. Writer shall promptly and faithfully comply with all requirements and requests made by Publisher in connection with its business as set forth herein. Writer shall deliver a manuscript copy of each material composition hereunder immediately upon the completion or acquisition of such musical composition.Publisher shall use its reasonable efforts in its best business Judgment to exploit all compositions hereunder, but Publishers failure to exploit any or all said compositions shall not be deemed a breach hereof. 13. MODIFICATION, WAIVER, INVALIDITY, AND CONTROLLING LAW: This Agreement may not be cancelled, altered, modified, amended or waived, in Manhole or in part, in any way, except by instrument in writing signed by the party ought to be bound. The waiver by either party of any breach of this Agreement in any one or more instances shall in no way be construed as a waiver of any subsequent breach of this Agreement. (Whether or not similar in nature).If any part of this Agreement shall be held to be void, invalid or unenforceable, it shall not affect the validity of the balance of this Agreement. This Agreement shall be deemed to have been made in the State of and its validity, construction and effect shall be governed by the laws of the State of _(state)_ applicable to agreement wholly and executed by Writer. 14. UNIQUE SERVICE: Writer acknowledges that the services rendered hereunder are of a special, unique, unusual, extraordinary and intellectual character which gives them a particular value, the loss of which cannot be reasonably or adequately compensated in damages in any action at law, and that a breach by the Writer of any of the provisions of this Agreement will cause Publisher great and irreparable injury and damag e.Writer expressly agrees that Publisher shall be entitled to the remedies of injunction and other equitable relief to prevent a breach of this Agreement or any provision hereof which relief shall be in addition to any there remedies for damages or otherwise, which shall be available to the Publisher. 15. ASSIGNMENT: Publisher shall have the right to assign this Agreement or any of its rights hereunder to any party. Writer does not have the right to assign this Agreement. 16. DEFINITION: For the purpose of this Agreement, the word person means and refers to any individual, corporation, partnership, association or any other organized group of persons legal successors or representatives of the foregoing.Never the expressions the term of this Agreement or period hereof or words f similar connotation are included herein, they shall be deemed to mean and refer to the initial term of this Agreement and any and all renewals, extensions, substitutions or replacements of this Agreement, whether expressly indicated or otherwise. Where more than one person shall comprise Writer, the singular shall also Include the plural, as applicable. 17. RESENTMENTS: It is understood and acknowledged that any and all charges or advances against royalties under this Agreement may be recouped only from the royalties earned hereunder. No cross collateralizing exits between this Agreement and any other facet of the Writers equines or career. A) In respect of all rights herein granted Publisher in and to any and all musical compositions written by Writer which are not recorded and released as a commercial record prior to the termination of this Agreement, it is understood and agreed that all such rights shall revert to Writer automatically upon the termination of this Agreement. (b) In respect of any and all musical compositions Inch are released as a commercial record for sale to the public, it is understood and agreed that all such rights herein granted to Publisher shall terminate fifty (50) years room the date of creation as such date is shown on the copyright registration form and the copyright ownership shall revert to Writer a nd/or his/her heirs.IN WITNESS NOWHERE, the parties hereto have executed this Agreement as of the date and year above written. Publisher Inkier Qualifications Needed There are no specific qualifications needed for a career in music publishing. Some knowledge or qualification in music, especially in the Music Industry will be a major help in getting you on your way. One of the best ways to break into the music publishing area is to get a position, no matter how small in a publishing company. His is where you will learn most of the skills needed to become a publisher, for example, when and where a piece of music can be exploited. Legal qualifications of copyright works.The majority of Jobs in music publishing would be considered administrative, these include, royalty manager, financial controller, business affairs etc. Creative Jobs in this area would include, Managing Director, Creative Director and A;R. The main aim for anyone who wishes to work in music publishing is to run their own company. In this case, one of the first things you should do is sign Ursula up with a performance rights society, such as, IMPORT. You should then choose a name for your company and get name clearance; performance rights companies will not let you use the name if it is similar to another. Using your own name will establish uniqueness.Complete an application with a performance rights organization, with the help of a solicitor who is qualified in the music industry. One of the most important things to do is to make contacts within the music industry. You Nil need to have a good ear and eye for songs and music that will have a high chance of being published. Salary off Publisher It is difficult to determine the salary off publisher. Their income can vary depending on a number of factors, including, the number of songs he has recorded, how successful the songs are etc. Publishers usually take a cut of the royalties earned by their writers. An 80:20 or 88:15 split in the writers favor is usually common.Some top selling songs receive 100% royalties but the publisher is depending on these top sellers to attract other writers to sign up with them. To be creative and to earn more money, publishers often invest in a back catalogue which can be re-exploited in a ewe way. One of the most exciting things about music publishing is that at any moment a good song can become a hit, bringing in thousands. A publishers salary can go from nothing too million or more in a year. Interview with Johnny Lapin Ionian Lapin began his career in Music Publishing in 1976. He has been one of the key fugues in Irish Publishing since dealing with the publishing interests of Cleaned during their most successful time.