Contracts and so on

[kln@sirius.com (Karen)]

RE: previous post of my message to Dongerous,  I think there are some
interesting issues here.  He asks why they should do anything for Kate, and
in spite of our emotional attachment to her work, I'm curious about the
implications of his question.  They do something because they have a
contract.  But how does that work?

What does a typical contract look like? Has anyone out there seen one?
What might be different about Kate's, or has does anyone have any inside
info on her deal with the studios?

What DOES it cost to produce and promote a CD?  What kind of return do
Columbia and EMI make?  We know Kate isn't destitute, and we know the
studios probably get the biggest cut, but how does that work?

With the fragmentation of the US music scene along age and ethnic lines,
can we expect to see more artists over time? Or  will costs drive a massive
consolidation to a few well known artists? If (as Don posulates) they lost
money on Kate in the US, why on earth do they put out albums that must sell
many fewer copies like Tish Hinojosa and Sheila Chandra?

Anyone want to tackle any of these?

"Inquiring Mind" Newcombe  kln@staralliance.com