From: owner-ammf-digest@smoe.org (alt.music.moxy-fruvous digest) To: ammf-digest@smoe.org Subject: alt.music.moxy-fruvous digest V14 #4342 Reply-To: ammf@fruvous.com Sender: owner-ammf-digest@smoe.org Errors-To: owner-ammf-digest@smoe.org Precedence: bulk alt.music.moxy-fruvous digest Monday, June 15 2020 Volume 14 : Number 4342 Today's Subjects: ----------------- Get Help with Medicare ["Easy Medicare" ] Get Your Limited Edition 2020 Re-Elect President Trump Golf Ball! ["Trump] Operating the Neck Relax is Easy! ["Cervical Pain" Subject: Get Help with Medicare Get Help with Medicare http://maxxd.guru/kDopVamDNGKxtJOEQpN9MIrTqgoEr1Oj4LfexR9VHRKNSFdE http://maxxd.guru/5toXibZCn88Npxz-mUWQakL5i7B42YYPKhKCntYYE-1h72Nl Physical media (such as CDs or vinyl records) are sold by music retailers and are owned by the consumers after they buy them. Buyers do not typically have the right to make digital copies from CDs or other media they buy, or rent or lease the CDs, because they do not own the recording on the CD, they only own the individual physical CD. A music distributor delivers crates of the packaged physical media from the manufacturer to the retailer and maintains commercial relationships with retailers and record companies. The music retailer pays the distributor, who in turn pays the record company for the recordings. The record company pays mechanical royalties to the publisher and composer via a collection society. The record company then pays royalties, if contractually obligated, to the recording artist. In the case of digital downloads or online streaming of music, there is no physical media other than the consumer's computer memory on his or her portable media player or laptop. For this reason, artists such as Taylor Swift, Paul McCartney, Kings of Leon, and others have called for legal changes that would deny social media the right to stream their music without paying them royalties. In the digital and online music market of the 2000s, the distributor becomes optional. Large online shops may pay the labels directly, but digital distributors do exist to provide distribution services for vendors large and small. When purchasing digital downloads or listening to music streaming, the consumer may be required to agree to record company and vendor licensing terms beyond those which are inherent in copyright; for example, some services may allow consumers to freely share the recording, but others may restrict the user to storing the music on a specific number of hard drives or devices. Broadcast, soundtrack and streaming When a recording is broadcast (either on radio or by a background music service such as Muzak), performance rights organisations (such as the ASCAP and BMI in the US, SOCAN in Canada, or MCPS and PRS in the UK), collect a third type of royalty known as a performance royalty, which is paid to songwriters, composers and recording artists. This royalty is typically much smaller than publishing or mechanical royalties. Within the past decade, more than "15 to 30 percent" of tracks on streaming services are unidentified with a specific artist. Jeff Price says "Audiam, an online music streaming service, has made over several hundred thousand dollars in the past year from collecting royalties from online streaming. According to Ken Levitan, manager from Kings of Leon, Cheap Trick and others, "Youtube has become radio for kids". Because of the overuse of YouTube and offline streaming, album sales have fallen by 60 percent in the past few years. When recordings are used in television and film, the composer and their publishing company are typically paid through a synchronization license. In the 2000s, online subscription services (such as Rhapsody) also provide an income stream directly to record companies, and through them, to artists, contracts permitting. Live music A live musical performance at Cologne Pride, 2013. A promoter brings together a performing artist and a venue owner and arranges contracts. A booking agency represents the artist to promoters, makes deals and books performances. Consumers usually buy tickets either from the venue or from a ticket distribution service such as Ticketmaster. In the US, Live Nation is the dominant company in all of these roles: they own most of the large venues in the US, they are the largest promoter, and they own Ticketmaster. Choices about where and when to tour are decided by the artist's management and the artist, sometimes in consultation with the record company. Record companies may finance a tour in the hopes that it will help promote the sale of recordings. However, in the 21st century, it has become more common to release recordings to promote ticket sales for live shows, rather than book tours to promote the sales of recordings. Major, successful artists will usually employ a road crew: a semi-permanent touring organization that travels with the artist during concert series. The road crew is headed by a tour manager. Crew members provides stage lighting, live sound reinforcement, musical instrument tuning and maintenance, bodyguard for the artist and transportation of the equipment and music ensemble members. On large tours, the road crew may also include an accountant, stage manager, hairdressers, makeup artists and catering staff. Local crews are typically hired to help move equipment on and off stage. On a small tour with less financial backing, all of these jobs may be handled by just a few roadies or by the musicians themselves. Bands signed with small "indie" labels and bands in genres such as hardcore punk are more likely to do tours without a road crew, or with minimal support. ------------------------------ Date: Mon, 15 Jun 2020 06:25:31 -0400 From: "Trump Golf Ball!" Subject: Get Your Limited Edition 2020 Re-Elect President Trump Golf Ball! Get Your Limited Edition 2020 Re-Elect President Trump Golf Ball! http://woodthe.guru/6JfhT1ZCw20e672FlzZIUVUZQBKVx6W7WWenUKPGFrw8y-Y http://woodthe.guru/axZEqN8T-fZSLpYCrQbIv59ruqtOs_Bkdp9SWqWgCKomhZRd some more venerable retailers (such as Tower Records) out of business and forced record companies, record producers, studios, recording engineers and musicians to seek new business models. In response to the rise of widespread illegal file sharing of digital music-recordings, the record industry took aggressive legal action. In 2001 it succeeded in shutting down the popular music-website Napster, and threatened legal action against thousands of individuals who participated in sharing music-song sound-files. However, this failed to slow the decline in music-recording revenue and proved a public-relations disaster for the music industry. Some academic studies have even suggested that downloads did not cause the decline in sales of recordings. The 2008 British Music Rights survey showed that 80% of people in Britain wanted a legal peer-to-peer (P2P) file-sharing service, however only half of the respondents thought that the music's creators should be paid. The survey was consistent with the results of earlier research conducted in the United States, upon which the Open Music Model was based. Legal digital downloads became widely available with the debut of the Apple iTunes Store in 2003. The popularity of music distribution over the Internet has increased, and by 2011 digital music sales topped physical sales of music. Atlantic Records reports that digital sales have surpassed physical sales. However, as The Economist reported, "paid digital downloads grew rapidly, but did not begin to make up for the loss of revenue from CDs". After 2010, Internet-based services such as Deezer, Pandora, Spotify, and Apple's iTunes Radio began to offer subscription-based "pay to stream" services over the Internet. With streaming services, the user pays a subscription to a company for the right to listen to songs and other media from a library. Whereas with legal digital download services, the purchaser owns a digital copy of the song (which they can keep on their computer or on a digital media player), with streaming services, the user never downloads the song file or owns the song file. The subscriber can only listen to the song for as long as they continue to pay the streaming subscription. Once the user stops paying the subscription, they cannot listen to audio from the company's repositories anymore. Streaming services began to have a serious impact on the industry in 2014. Spotify, together with the music-streaming industry in general, faces some criticism from artists claiming they are not being fairly compensated for their work as downloaded-music sales decline and music-streaming increases. Unlike physical or download sales, which pay a fixed price per song or album, Spotify pays artists based on their "market share" (the number of streams for their songs as a proportion of total songs streamed on the service). Spotify distributes approximately 70% to rights-holders, who will then pay artists based on their individual agreements. The variable, and (some say) inadequate nature of this compensation, has led to criticism. Spotify reports paying on average US$0.006 to US$0.008 per stream. In response to concerns, Spotify claims that they are benefiting the music business by migrating "them away from piracy and less monetised platforms and allowing them to generate far greater royalties than before" by encouraging users to use their paid service. The Recording Industry Association of America (RIAA) revealed in its 2015 earnings report that streaming services were responsible for 34.3 percent of the year's U.S. recorded-music-industry revenue, growing 29 percent from the previous year and becoming the largest source of income, pulling in around $2.4 billion. US streaming revenue grew 57 percent to $1.6 billion in the first half of 2016 and accounted for almost half of industry sales. This contrasts with the $14.6 billion in revenue that was received in 1999 by the U.S. music industry from the sale of CDs. The turmoil in the recorded-music industry in the 2000s altered the historically anomalous twentieth-century balance between artists, record companies, promoters, retail music-stores and consumers. As of 2010, big-box stores such as Wal-Mart and Best Buy sell more records than music-only CD stores, which have ceased to function as a major player in the music industry. Music-performing artists now rely on live performance and merchandise sales (T-shirts, sweatshirts, etc.) for the majority of their income, which in turn has made them more dependent - like pre-20th-century musicians - on patrons, now exemplified by music promoters such as Live Nation (which dominates tour promotion and owns or manages a large number of music venues). In order to benefit from all of an artist's income streams, record companies increasingly rely on the "360 deal", a new business-relationship pioneered by Robbie Williams and EMI in 2007. At the other extreme, record companies can offer a simple manufacturing- and distribution-deal, which gives a higher percentage to the artist, but does not cover the expenses of marketing and promotion. ------------------------------ Date: Mon, 15 Jun 2020 07:07:16 -0400 From: "Cervical Pain" Subject: Operating the Neck Relax is Easy! Operating the Neck Relax is Easy! http://necksonu.today/5xMcw8T04WCVaFCCi7Jb4hTLIbukN9_J3ACWT4VKbS0itT6U http://necksonu.today/eYubRlbR8QqRrcl584KDEUHqec6VwVj3O0vHUfQf2K6cmijI In the UK, there are several ways to achieve a personal training qualification. Most personal training qualifications are accredited through awarding bodies like CYQ (Central YMCA Qualifications), Active IQ (Active International Qualifications) and City and Guilds. These qualifications are generally delivered by Further Education (FE) establishments like colleges, or by private training providers. Upon successful completion of an accredited awarding body qualification, candidates become eligible for Level 3 REPs(Register of Exercise Professionals) status. University graduates with an appropriate honours degree can also apply to become an approved by REPs through Accreditation of Prior Learning (APL) and Accreditation of Prior Achievement (APA). REPs is the professional body for the UK health and fitness industry, and does not award qualifications directly. Most health and fitness qualifications endorsed by REPs vary in levels from 1 - 5, 1 being basic GCSE level and 5 being advanced specialized training professionals. For a qualification to become eligible for endorsement by REPs, it must conform to the National Occupational Standards (NOS), which are set at governmental level by the Sector Skills Council (SSC) Skills Active. There is no legal restriction on the title of Personal Trainer nor any formal body associated with regulating Personal Training. United States A number of certifications are available in the U.S., although a number are not accredited. Most require a high school diploma, cardiopulmonary resuscitation (CPR) and automated external defibrillator (AED) certification, and some type of examination. The United States Registry of Exercise Professionals (USREPS) is the official registry of exercise professionals in the United States and provides clients, employers, healthcare practitioners, policymakers, and insurance providers a single source for finding well-qualified exercise professionals in specific locations or to verify credentials. A 2002 investigation evaluated a random sample of 115 personal trainers using the Fitness Instructors Knowledge Assessment (FIKA) (which measures knowledge in nutrition, health screening, testing protocols, exercise prescription, and special populations). The study described that: 70% of those surveyed did not have a degree in any field related to exercise science. Those who did not have a bachelor's degree in an exercise science-related field scored 31% less on average than those with a bachelor's degree or higher in the field. Those holding one of two specific certifications (the American College of Sports Medicine (ACSM) or the National Strength and Conditioning Association (NSCA) certification) scored 83% of the questions correctly on average. Those holding any certification other than ACSM or NSCA answered only 38% of the questions correctly. Years of experience was not found to be predictive of personal trainer knowledge. In partnership with the fitness industry, the International Health, Racquet & Sportsclub Association (IHRSA), which represents over 9,000 health and fitness facilities, started an initiative in 2002 to improve standards for both its own clubs and the industry as a whole. In January 2006, IHRSA implemented a recommendation that its facilities only accept personal trainers with certifications recognized by the National Commission for Certifying Agencies (NCCA) if recognized either by the Council for Higher Education Accreditation (CHEA) and/or the U.S. Department of Education (USDE). As a result, the Distance Education and Training Council (DETC) was recognized by IHRSA as a recognized accreditor of fitness professional certification organizations. Since then, the DETC has accredited several personal trainer certification organizations, including the Aerobics and Fitness Association of America (AFAA) and the International Sports Sciences Association (ISSA) among others. As of now, NASM, ISSA, AFAA, ACSM, ACE, and NSCA certifications are among the 16 accredited certifications recognized by IHRSA, three of which are accredited by the Distance Education Training Council (DETC). Various organizations within the profession have lobbied for the adoption of more stringent criteria for certification developed by the NSF International. There remains no national legal restriction on the ------------------------------ End of alt.music.moxy-fruvous digest V14 #4342 **********************************************