Examples Of Character Development In The Epic Of Gilgamesh

Characters that are in stories or poems, usually the protagonist or even the antagonist, show some kind of change and characteristics throughout a story. This can include the rising or the falling of a character. You can see these changes during series of events going on in the poem; such as battles or Mofits. Character analysis shows us a timeline on where and how the character has evolved. An example of this is the ancient Mesopotamia epic poem â€Å" The Epic of Gilgamesh†. There is no known author for this work, however, it is often known as the earliest surviving great works of literature. It’s not called â€Å"The Epic of Gilgamesh† for nothing, Gilgamesh is shown in almost every part of the Poem. Him being the protagonist, really shows us,†¦show more content†¦This shows us that Gilgamesh felt powerless, and was scared about being shown that he was. In my opinion, I do not think that we were shown that the dream was only to predict something betwe en the two characters, Gilgamesh and Enkidu. But, I feel as if this dream also gave us a hint of how lonely Gilgamesh was. It talked about that the only thing Gilgamesh love was the throne, now because it was being threatened, he has crippling exaggerating of not being loved by others, also a sense of loneliness lingers inside him. However, this is the reason the authors put Enkidu into this story. It not only starts helping with Gilgamesh mental state by gaining a friend but his personality as well. Next, there are many parts in the poem that go hand-in-hand to make up event two. Gilgamesh as a whole realizes that he has to gain respect for himself to be known as a great king. We see this at the end of tablet I and the start of tablet II. In the second dream that Gilgamesh has, he lusts over the crown So much, that in fact go to mash is blind to his people. He foresees that if he does not change his ways then once he does no one will, in fact, remember him, let alone be known as, one of the greats. (Pg106) At first, Gilgamesh saw Enkidu as a threat to his throne, it was not long until Gilgamesh and Enkidu fought. Surprisingly, Gilgamesh lost this battle between Enkidu, Leaving Gilgamesh embarrassed and ashamed. Enkidu did put Gilgamesh into his place. In myShow MoreRelatedThe Heros Journey In The Epic Of Gilgamesh And The Matrix1291 Words   |  6 Pagesrecurring characters, actions, and situations. Even when pieces of literature that seem to have no connection to each other ar e examined, such as The Matrix directed by Lana and Lilly Wachowski, and The Epic of Gilgamesh by N.K. Sanders, the monomyth, the heros journey, and archetypes are efficient ways to help compare and match pieces of literature and publications; all while helping to reflect on current societys fears of power, technology, and fulfillment of life. In the Epic of Gilgamesh as wellRead MoreAthanasia: Human Impermanence and the Journey for Eternal Life in the Epic of Gilgamesh1740 Words   |  7 PagesAthanasia: Human Impermanence and the Journey for Eternal Life in the Epic of Gilgamesh â€Å"Will you too die as Enkidu did? Will grief become your food? Will we both fear the lonely hills, so vacant? I now race from place to place, dissatisfied with whereever I am and turn my step toward Utnapishtim, godchild of Ubaratutu† (Jackson â€Å"Gilgamesh Tablet IX† 4-9) Gilgamesh so much feared death that he threw away his honor as a warrior in order to obtain immortality. For centuries there have existed individualsRead More Lessons Learned From the Epic of Gilgamesh Essay1448 Words   |  6 Pages The Epic of Gilgamesh, a Mesopotamian epic poem with no known author, is the story of the brute King of Uruk, Gilgamesh, who was two-thirds divine and one-third human, which teaches readers the unstoppable force of death, the wrath of the gods, and also the power of friendship, which are illustrated to readers through the characters journeys, and those encountered along the way. The poem, which is divided into twelve tablets, starts off with Gilgamesh being a vicious tyrant, one who â€Å"wouldRead MoreEpic of Gilgamesh Essay915 Words   |  4 PagesThe Epic of Gilgamesh is one of earliest known pieces of literature. Through years of storytelling and translation, The Epic of Gilgamesh became a timeless classic. This story is believed to have originated from Sumerian poems and legends about the king of Uruk, Gilgamesh. Throughout the epic, many t hemes arose about women, love, and journeys and the one I would like to discuss is the theme of death. Also, I will discuss if Gilgamesh accepts morality at the end of the story and the development ofRead MoreThe Heros Journey1704 Words   |  7 Pagesalmost every hero-quest goes through (no matter what culture the myth is a part of). He calls this common structure â€Å"the monomyth† (Hero’s Journey). The â€Å"hero’s journey† appears in drama, storytelling, myth, religious ritual, and psychological development. It describes the typical adventure of The Hero, who goes out and achieves great deeds on behalf of the family, group, tribe, or civilization. There are twelve steps, or stages, of the typical â€Å"Hero’s Journey†. The twelve steps are: The ordinaryRead MoreA Critical Appraisal of: Beowulf and Gilgamesh Essay examples1640 Words   |  7 PagesA Critical Appraisal of: Beowulf and Gilgamesh There are many differences and critical comparisons that can be drawn between the epics of Beowulf and Gilgamesh. Both are historical poems which shape their respected culture and both have major social, cultural, and political impacts on the development of western civilization literature and writing. Before any analysis is made, it is vital that some kind of a foundation be established so that a further, in-depth exploration of the complex natureRead MoreAnalysis Of The Epic Of Gilgamesh 1449 Words   |  6 Pagesbeginning in The Epic of Gilgamesh, Gilgamesh is a bully king who frightens and annoys the people of Uruk. After the gathering with Enkidu and becoming his friend does Gilgamesh transform, into a hero worthy of history. The brotherly or â€Å"bromantic† ( considering the questionable relationship they have) love the two have for each other helps Gilgamesh become an better leader to his people by permitting him to better understand and identify with them. Even though the myth of Gilgamesh is very ancientRead MoreRole Of Civilization In The Epic Of Gilgamesh1194 Words   |  5 Pagescommunity, The Epic of Gilgamesh has challenged that idea and suggests that whether or not a Sumerian was civilized or not, determined their relationship with the environment and community. In The Epic of Gilgamesh, representation of the best and worst of humanity is presented through the characters, Enkidu and King Gilgamesh. From the beginning, Enkidu is portrayed as an uncivilized, wild man who is living harmoniously with the environment in which he resides, whereas King Gilgamesh is portrayed asRead MoreThe Epic Of Gilgamesh Essay1801 Words   |  8 PagesTonisia Tutt Professor Andre World Literature 1 October 11, 2015 The Epic of Gilgamesh does not quite have a happy end. Truthfully, Gilgamesh is not successful in his mission. It is shortsighted and deceived to expect that Gilgamesh, the saint, must be effective in his journey to hold the characteristics of courage. An unsuccessful journey not harsh any more than a courageous ending is essentially joyful. For recognitions of this, we need to look no more distant than the plenty of thoughtful legendsRead MoreThe Epic Of Gilgamesh, By Yusef Komunyakaa1808 Words   |  8 PagesThe epic of Gilgamesh is one of the oldest heroic epics . It plays a important role throughout the human history. Written between 2150-1400 BCE, the Babylonian Gilgamesh Epic is seen as the greatest legacy of the ancient Mesopotamian culture. It has been translated into hundreds of languages and spread all around the world. Thousands of versions and adaptations were made since we found the charm of this poetic work. In 2006, theatre producer Chad Gracia and poet Yusef Komunyak aa presented us with

The Scarlet Letter By Nathaniel Hawthorne - 1574 Words

The Scarlet Letter, by Nathaniel Hawthorne, narrates the events of young adulteress Hester Prynne and her secret lover Arthur Dimmesdale – telling a story of lust, guilt, and betrayal. Despite her affair being more passionate than her legal marriage to Roger Chillingworth, Hester’s sinful act ends with a pregnancy which results in disastrous consequences. She is thrown into a crowd of ravenous puritans, vying to save themselves from eternal damnation, and is forced to endure the harsh hypocritical criticism of her peers. Through this emotional pain and suffering Hester raises her child, Pearl, to the best of her abilities, only to be surprised when she ends up as wild and free as the act that conceived her. Pearl’s untamed character is†¦show more content†¦She is described as being â€Å"sprung, by the inscrutable decree of Providence, a lovely and immortal flower, out of the rank luxuriance of a guilty passion† (Hawthorne 80). Even though Pearl h erself has not committed any crime, due to her parents being â€Å"guilty†, she is also punished and treated as an outcast. The diction of â€Å"rank luxuriance† indicates that Hester and Dimmesdale s act of adoration is more complex than a naive impulse. As a result, though their behavior is considered foul, it has a sense of beauty - being extravagant and rich - like Pearl. By being compared directly to a â€Å"lovely and immortal flower,† she gains the characteristics of youth, beauty, and innocence, which will last not only to the end of her existence, but to the end of time. She is born into a society of strict rules and traditional values, and being a child, she should have been molded into the monochrome individual similar to her peers, however, that was not the case. Pearl is a rare beauty, blossoming in the infertile soil of her rigid environment, flourishing for all to see. As a member of the next generation, Pearl is representative of the future, welc oming the budding roses ready to sprout, and is displaying an everlasting time of imperfections and grace. Despite that, Pearl is trapped in a community persistent on tired doctrine and is resistant to change. While at the governor’s mansion, Pearl spots a garden through a window – one that is desperately trying to

Miss story free essay sample

Having a sense of being different makes it difficult to belong. Good afternoon fellow Melbourne City Counsel members I will be presenting my opening statement about girls involved in gang activities in regards to the National Crime Prevention Counsel Im apart of. My name is Christina and I have worked with many organizations in the past to educate and help the community gain understanding and awareness of the recent dangerous and risky behavior taking place between girls as young as 12 years of age which as Im sure you know is becoming a growing problem within society. According to NEWS Bureau of Crime Statistic Data, the number of Juvenile female offenders has increased by 36% in the last decade, compared to an 8% increase for Juvenile males. 75 % of runaways are females which leads to girls aged 12-18 becoming at risk of being homeless. These shocking statistics are the reason my aim is not only to provide awareness but also to consider solutions or ideas to implement as a counsel. Theft, underage drinking, violence and gang activity has resulted in teens across Australia to personally victimize individuals within the community. Factors that have influenced the way hose girls are behaving include peer pressure, family conflict, masking their true identity and creating more interesting personae of themselves, which could easily be a defense mechanism to belong within a group or to be a member of something. Girls are acting out and developing these new identities usually because of something horrific that has happened in their lives. They are victims; we should not judge somebody actions before getting to the source of the problem. These girls have had influences and have been raised differently to your average teenager. They ay never have been taught right from wrong or understood basic human morals since usually they have an absence of role models in their lives. They also may never have felt as though they belonged with their family members especially if the parents they are currently living with are not their own. Abandonment is something teenagers fear the most, to feel as if nobody is there for them and that nobody cares what happens to them may cause these girls to stop caring and to mask the fear they are feeling with distractions like violence, drugs and alcohol. Back in 2011 Alley and Jamie let the public into their lives by speaking about their taxation. The background of the girls explained why they were behaving recklessly. Alley spoke about how she had grown up on a public housing estate with seventeen siblings. Alley has been in and out of Juvenile detention centre. When she was asked about the detention centre she described it as A bucking paradise and admitted to participating in these crimes to get back into their centre. Although Alley had numerous siblings, she still felt as if she didnt belong and had not yet met somebody who could completely understand her. Alley met Jamie who happened to be a cousin she had no knowledge existed. They quickly became close and together they Joined to take part in these ruthless activities. Joining with her cousin helped Alley to tell as though she mattered to somebody. Jamie on the other hand, clarified she was thirteen years of age when she was in care of an aunt, where she was forced to shoplift. She had run away from her aunt and lived with an uncle for three weeks before he was arrested and Jailed for drug abuse. Jamie was then placed in a foster family, which lasted for three days before running away to another relative who again demented that she steal. The moving had left psychological damage to Jamie and made her question where she really belonged and who she belonged with. Alley and Jasmines problems within themselves are from various types of neglect. The problem these teenagers often face is homelessness. Being able to have a place to call home is important in adolescence not only for a sense of direction but also to feel part of a family union and to feel love. If these girls are getting abused at home and experiencing ghastly experiences like incest or having parents addicted to crack, then home becomes a place that these teens would rather not go to. They have realized in their minds that running away, forming gangs and abusing drugs is often better for them then being abused at home. Parents can literally make or break a child. Recently a fifteen year old, lets call her Jodie moved back in with her mother and stepfather after they passed all safety checks with the Department of Community Service only to discover that they had established an unlicensed brothel in the home and expected the daughter to service clients. The fifteen year old did not want the life she lives but unfortunately it was out of her control. We can only control so much f our lives, we cannot control or change who our parents are. The violent and illegal behaviors these girls take a part in is often due to poor parenting and feeling as though forming gangs with people you have experiences in common with will help them feel a part of something and feel as though they belong within a group which they may never have felt at home before. We cannot as allow ourselves to Judge the actions of these girls when they have experienced more in their twelve to eighteen years of life then some do in a lifetime. As a community we need to understand that people in these circumstances are citing out because in reality they are scared. Placing them into these detention centre will only encourage them to keep committing crimes to gain a spot back into the centre. We as a community should be alarmed that these young girls already expect to either go to Jail or encounter teen pregnancy in their future. Taking drastic action is necessary to ensure that the girls get help and have somebody to listen to, they are lacking in a sense of belonging. The persona they are creating for themselves looks tough, threatening and rough on the outside but inside they must be feeling anything but tough. Remember they are only kids. I am by no meaner saying this behavior should be tolerated but I do believe in not coming to a conclusion to punish but rather to look a little deeper into the real issues and help by implementing solutions and ideas that could help save the lives of young people within our community. Try to recall what your teenage years were like and what friends and family you had by your side. Could you imagine your life without them? It is a natural desire to want love, support and affection and when we dont receive these essentials we start to lose ourselves. Please do not hesitate to ask any , ones.

Music in the Digital age free essay sample

The Leon Journal of undergraduate Research in Communications ; Volvo. 1, No. 2 ; Fall 2010 Music in the Digital Age: The Emergence of Digital Music and Its Repercussions on the Music Industry Sadie A. Stafford* Senior Majoring in Broadcast and New Media Leon University Abstract The clearly ubiquitous evolution of digital music has created an apparent and drastic shift in the way consumers and producers view and use the music industry.The presence of these music files that have been digitally compressed, thus making them easily attainable to all for a small fee or Illegally downloaded for free, has made the USIA industry reevaluate how they are to make a profit off their art form. Social media web sites have also created a visible demand from consumers for artists to maintain a consumer-artist digital relationship, making the Internet not only a promotional vehicle for artists, but also a necessity for profit. These new means of music distributing and marketing have not only pushed the music industry to new levels, but has created a whirlwind of changes as record labels are losing control, with artists and consumers having the upper hand. We will write a custom essay sample on Music in the Digital age or any similar topic specifically for you Do Not WasteYour Time HIRE WRITER Only 13.90 / page L. Introduction The inspirational Bob Marble once said, One good thing about music, is that when it its you, you feel no pain. But in our current state of being In a digital age, it is the music and the people who create this music that seem to be feeling all the pain.As the digital age encroaches on our lives, consumers are demanding the music industry to keep up with these changes, which in turn, has led to financially devastating consequences for this industry. In a world that Is full of conflict, economic despair, war and constant turbulence among nations, there Is only one entity that few can say they genuinely hate and that is music. Music is an integral art of our society as well as a part of societies throughout the world. It is art that strives to feed the soul and paint a canopy of emotions through song. With this being said, It Is Important to note that we have reached a time when music has become so easily attainable that anyone who has a computer can potentially become an overnight phenomenon. Much of this shift can be attributed to the digital age and its undeniable presence in the music world. According to Rick Cranes, president of the Songwriters Guild of America, Digital music has become the ubiquitous soundtrack of American 2008).This rapid emergence of new technologies has caused huge alterations in what was once a straightforward business model for success in the music industry, causing many industry leaders to take a second look at music to be so simple that the value is diminishing? Does our obsessive Internet usage lend itself towards a shrinking level of respect for music art* Keywords: Digital Age, Music Industry, Social Networking, Interactive Music Marketing, Music Pirating and Sampl ing Email: Sadie. [emailprotected] Com Music in the Digital Age by Sadie Stafford -? 113 sits because practically anyone can become a music star?The digital age has created both a luxury and a monster for consumers and producers alike because it has come upon us so rapidly that at times, it seems to get ahead of what we know how to handle. This article will look to analyze the introduction of new technologies in regards to music production through a literature review and expert interviews, as well as investigate the inventive marketing tools artists are now using to promote their music. But the true goal of this research is to see what repercussions this technology has on music artists and their labels and of course, what we can expect or the future of the music industry.As technology and new media advance and improve, so do the means for marketing and promoting of anything and everything. The music industry is no exception to this ever-changing whirlwind that has scooped up artists and their music and has moved them to an entirely different level of sharing, purchasing, marketing and distributing. The pressure consumers have placed on the music industry to keep up with their demands is enormous. It is expected that record companies and independent artists develop new means of communication and distribution of their m usic as the Internet ND online databases explode with popularity.In this digital age, labels are losing much of their importance and artists are more capable of promoting themselves, granting them more ownership over their own work (Halogen-Kuwaiti and Regna, 2004). II. Music Pirating and Amps The real growth in emerging technologies began in 1998 with the evolution of the MPH player. This allowed for a new type of audio-compression that was at the time, a revolutionary means for listening to music. What the creators of MPH files and music industry experts didnt know was that this technology that they thought would help hem, would actually hurt them in the long run.By developing a type of music file that is so compressed it takes up less space yet maintains the integrity of the audio quality, music personnel predicted that this technology would make it much easier to distribute and enjoy music across many outlets (computers, Pods, MPH players, etc. ). But this creation actually led to the development of the infamous online file sharing sites such as Anapest and Aziza, inspiring the birth of peer-to-peer (POP) transfers of music free of charge. From the introduction of these file-sharing sites, pirated music or music downloaded illegally) skyrocketed.In attempts to combat this music stealing, this inadvertently led to the development of online music stores such as tunes in 2000 (Copal, Lowercase, Marksmen Telling, 2007). Because of these rising technologies, not only are record labels looking at new means of music distribution, online. Before all this though, it is important to look into how the digital world has made a splash in the lives of musicians and labels in terms of POP file sharing. The main concern is not how we play the music, but where it comes from and what we do with t. (Whats the Controversy, hotheadedness. Com). According to Jeffery Valises of Business World, many believe that, online music has led to illegal sharing of music files to the detriment of the industry (Valises, 2009). These technologies have led to a decline in cost of music for consumers as well as an increase in their knowledge of artists, which are two of the reasons why this POP file sharing has blossomed so quickly (Copal, Lowercase, Marksmen Telling, 2007). So although services such as tunes are completely legal and actually promoted, it is what happens to the music after it lands in the hands of the purchaser that music aficionados are worried about.Once that music leaves the hand of its owner in the form of a burned CD, on an pod player or through a flash drive, it is considered stolen music and the artist will not receive a cent of profit. The individuals downloading these music files are many times referred to as free-riders, who are individuals who consume a public good without actually paying for it [which can] unde rmine the market efficiencies (Copal and Patriarchates, 2006). This illegal file sharing is not a minute problem, it is one that resents an incredible concern to many musicians and labels alike.According to the Digital Music Report 2009, 40 billion music files were illegally shared worldwide last year (Valises, 2009). This number is of course astounding, but when one looks at the financial backlash of these downloads, it is even more devastating to the music industry. According to the Recording Industry Association of America (ARIA), two kinds of losses were attributed to piracy, losses from street piracy- the manufacture and sale of counterfeit CDC- and losses from online piracy (ARIA Web Site FAQ).ARIA also obtained a report from the Institute for Policy Innovation that does a breakdown of how drastic the economic losses have been from these forms of piracy. According to the site: Global music piracy causes $12. 5 billion of economic losses every year, 71,060 U. S. Jobs 114 -? The Leon Journal of Undergraduate Research in Communications ; Volvo. 1, No. 2 ; Fall 2010 lost, a loss of $2. 7 billion in workers earnings, and a loss of $422 million in tax revenues, $291 million in personal income tax and $131 million in lost corporate income and production taxes (ARIA Web Site FAQ). Ill. The Power of Music Sampling and SharingDue to music pirating, record companies are losing money and many artists believe that this is indirectly forcing record companies to be more hesitant to take on new talent, preferring to stick with the talent they have to dodge their losses (Valises, 2009). Research done in the Chicago Journal titled Do Artists Benefit from Online Music Sharing concluded that consumers are more likely to sample first rather than directly purchase (Copal and Patriarchates, 2006). This implies that sampling is the future to music sales and can be used as a truth-revelation mechanism to determine how a consumer values a piece of music. It was found that the more the becomes for them. If the consumer has relatively little vested interest in the artist though, that sampling can turn into decreased revenues for that particular artist and label because of pirating. The gravity of this music stealing has forced the authorities to become involved in attempts to bring a stop to this uncontrollable theft. Organizations like the Recording Industry Association of America (ARIA), the Digital Media Association (Dime) and the National Music Publishers Association (AMP) are actively searching for ways to combat this threat to the music industry.For example, in the ARIA mission statement they mention that they work to protect intellectual property rights worldwide and the First Amendment rights of artists (Dime Press Release, 2008). In attempts to act upon their promises, ARIA has begun to initiate lawsuits against people that are illegally downloading music. The association stresses the fact that if you steal music online, you m ight as well Just go to the store and steal and actual CD because the difference between these two choices is nonexistent. Another interesting aspect of music sharing and illegal downloading is how it has effected a songs survival time on the music charts.A study done by four college professors called The Effect of Digital Sharing Technologies on Music Markets looked Into this very topic. They predicted that with the emergence of file sharing, well- known artists would decrease in popularity (which they refer to as the dilution of the superstar effect) and newer artists would emerge from below to produce chart hits. Nat they found was slightly different than what they expected. The study showed that sharing has relatively little effect on top albums and their survival on the charts.Smaller, lesser-known artists on the other hand, are hurt from this sharing and experience less sales than before POP sharing was developed. Because of this, minor labels are looking for ways to use file sharing as a beneficial tool to popularize their albums as opposed to hurt their sales with pirated music downloads (Copal, Lowercase, Marksmen and Telling 2007). This love-hate relationship, along with artists desire to enhance their digital relationships with consumers is all part of the new age of music, something that is Just on the verge of being explored. IV. What the Musicians ThinkSpeaking of artists, it is interesting to note where they stand on this issue of illegal digital downloading because it is them who are inevitably the ones affected by this Issue. Obviously, a majority of the artists are opposed to this form of music listening because, the more illegal downloading is taking off, the more the record companies are suffering, the more that theyre only concentrating on the big artists (Artist Buzz, NNW. hotheadedness. Com). Bigger artists like John Legend believe that many people illegally download because consumers feel that artists as successful asLegend, Madonna or the Battles dont need more money so they dont see the big deal in downloading a few of their songs free of charge. But Legend points out that theres a whole industry that thrives off of those 99 cents you pay for your download (Artist Buzz, wmwwhatsthedownload. Com). Before all of this digital music existed, it was pretty common for children and young people to make mix tapes for their friends, but as Sarah McClellan puts it, Its one thing when we were kids and En made tapes for our friends of songs.But it went to five people and now it goes to Music in the Digital Age by Sadie Stafford -? 115 Artist Buzz, wmwwhatsthedownload. Com). So the concern is not that people are sharing one song with a few people; the problem is that once music files get online, there are an endless number of people who can access them, which is Just what people do. The ARIA clearly states on their Web site that, we have embraced the technological advances that have allowed millions upon millions of people around the world to enjoy the music we create. We want fans to enjoy their Pods, CD burners, and other devices, but we want them to do so responsibly, respectfully, and Nothing the law. Surprisingly enough, there are also artists who feel that this illegal downloading is somewhat of a good thing and are completely supportive of the digital era of music. Piracy acts as promotion for an artist because once the consumer has downloaded an unknown song, it is said that they are more likely to purchase something from that artist in the future (Copal and Patriarchates, 2006).The Black Eyed Peas for example believe that downloading music is a good way for newer artists to get their music out there if they dont have a big record company backing them. The band feels that if people download a portion of an unknown bands music and enjoy it, they will eventually purchase the whole CD or download their music legally to further enjoy it. Jason Mrs. also shares this same appreciation for illegal downloading in the sense that he can see some of the benefits it serves. l cant yet complain about downloading because of my fan base, says Mrs.. L would probably say half of my fan base that comes to our concerts, heard about me because of illegal downloading (Artist Buzz, wry. hotheadedness. Com). V. The Digital Epidemic It is also interesting to note who the most frequent perpetrators of music piracy are cause once those individuals and motives behind why people steal music are discovered, it makes the industry that much closer to putting an end to this epidemic. Ere Chicago Journal did an in-depth study of online music sharing and looked into these statistics.They found that the people least likely to illegally download music are females, older people and individuals with an ethical predisposition toward legal lustier (Copal and Patriarchates, 2006). It was also found that an individuals income has a relatively insignificant effect on whether they decide to illegally download music. Many believed that a lower income individual would be more likely to steal music than one more well off because they lacked the superfluous funds for purchasing that particular song or CD.But according to research, it suggested that the true value of the music is solely established by the listener and how much loyalty they have to that artist. In turn, this directly affects how much money they are willing to spend on that artist. This is beneficial research because now the industries are charged with ways to target those specific demographics when looking for wa ys to encourage legal music purchasing. The goal of the music industry is to simply make buying music easier than stealing music (Copal and Patriarchates, 2006), which is something that is far from solved.The only hypothesis that industry experts have is music as well as subsequent music from an artist. This has major implications for the music industry, in that the industry can potentially reverse the effects of online audio piracy by providing more legal and efficient sampling techniques that consumers could use (Copal and Patriarchates, 2006). The Internet can be a Needful tool if the music industry could Just learn how to maximize their profits via USIA sampling because that is where the bulk of music is now being obtained.As of 2008, Atlantic Records was the first major record company to have over half of their income attributed to digital sales (51% of sales). This was a huge milestone for the company, which is owned by Warner Music Group, because it made them realize that the digital world is rapidly taking over th e familiar world of CDC. This is something that newspapers and television stations have already noticed in the sense that much of their viewers look at their content via the Web, as opposed to on TV or in the papers. Now the music industry is realizing that they are no exception to this digital transition.It was originally believed that when digital sales surpassed the sale of CDC, that revenue would make up for lost revenue in stores. But according to Forrester Research, music sales are expected to fall from $10. 1 billion in 2008 to $9. 2 billion in 2013, implying that digital sales will be incapable of making up for this deficit in CD sales (Arrange, 2008). 116 -? The Leon Journal of Undergraduate Research in Communications ; Volvo. 1, No. 2 VI. Social Networking Influences and the Role of Music Labels Music piracy and illegal unloading are not the only challenges that the digital age has brought upon music artists and their labels.The explosive popularity of social networking sites has made huge splash in the lives of musicians and has greatly altered the way marketing teams work towards promoting artists. In a time where terms like Backbone and Namespace are everyday lingo, social media and online marketing have never been so ITIL. Olivia Tortilla, the Executive Vice President of Marketing at Atlantic Records says that although they once viewed the Internet as a promotional vehicle to highlight ewe artists and albums, they now see artist sites as a way to generate online advertising revenues and sell tickets, t-shirts and even music (Holman, 2008).The online pre-sale of music is becoming a huge source of revenue for companies like Atlantic Records because fans know now to go straight to the artists personal Web page to get their music first, sometimes before it is even out in stores. Ere success of an artist is no longer measured in how much money they make on their albums or during a tour. Today, artists are expected to have not only a presence in the real world but in the online world as well. Fans are now demanding relationships with their favorite bands because of these social networking sites.The goal that labels and artists now have in tackling the new means of marketing is embracing the use of technologies to brand and reach out to potential customers (Shih Ray UK, 2002). Today, labels are beginning to lose their importance, as artists are able to promote themselves online. Because of this increased artist power, there is reduced ownership of music copyrights by labels and more by the Ere old model for the music industry was to allow the artists to make the music and hen pass that music off to their respective label to promote them and distribute their work to the masses.But as artists become more technologically savvy and recording studios can be purchased for a small fee via your Mac computer, are labels really going to be necessary in the future? Before the d evelopment of social media sites, there were really only a few different ways to discover new artists as well as follow artists that you were already a fan of. Music was discovered through the radio, through television such as MET and VHF, or your friends and family would inform you f a new band or artist they thought you might like and you could then borrow a CD or pick up a copy of your own at the nearest Best Buy. But now with social media sites, discovering new music is easier than ever. There are four basic ways in which music can be discovered and artists and labels alike are beginning to realize the potential these methods of artist promotion could have in the future of their success. One way consumers are discovering an artist is through simply browsing on the Internet and finding artists through links or genre categories that sort out popular artists. Then there is the stumble-upon method of discovering an artist, which simply means you accidentally encounter an artist you like via the Internet and the sites you visit.Of course there is also the peer-to-peer way of discovering music in Inch a friend can send you music suggestions that they perhaps received through other friends. And lastly, there are the social media and networking sites that open up endless possibilities for sharing, blobbing and promoting of favorite artists or bands to anyone and everyone on the Web. These four differ ent options for discovering music provide countless opportunities or artists to capitalize on if they are intelligent and know how to use the Internet to their advantage. What artists and labels are beginning to see as the most beneficial means of promotion is in establishing a community around the artist through drawing in listeners and fans via popular social media sites (Peters, 2008). With sites like upcoming. Org, last. FM, Namespace. Com and Backbone. Com, artists have an unlimited number of fans they can reach out to and pull in without ever leaving their computers for a performance. The ease that these networks have created for artists o share their music with anyone who is willing to listen is incredible. Not only are the artists and labels promoting their music, but fans are also promoting artists through user-generated content. Once a fan posts a link to a video on their Backbone page, blob, Namespace, or whatever social media site they choose, that automatically generates content and directly promotes the artist without that artist or label spending a penny. There is also the creation of sites such as Namespace Music, which Nas created in 2008 in partnership with three of the top labels, Sony BMW, Universal Music Group, and Warner Music Group as a new way to combine music labels with social media sites.The goals of this partnership was to create an outlet for the artists represented by these labels as well as generate ad revenue on the artists home page. This makes it a win-win situation for Namespace and the labels that are both capitalizing on the deal. The idea behind Music in the Digital Age by Sadie Stafford -? 117 around an albums release (Holman, 2008). But although this rev enue is expected to help the continuing deficit of CD sales by bringing in an estimated $1 billion in venue by 2012, the anticipated monetary loss from CD sales at that point is expected to be at $3 billion a year. This means that although digital sales will help the revenue generated from music sales, they still wont make up for the revenue lost from the CD sale deficit. This ease in marketing and promotion does not come Introit a cost. Because it is now so easy to put your work out there for millions to see, the competition in the music industry is tougher than ever. Although labels are beginning to lose their importance, they havent disappeared quite yet because once o are signed to that label, the chances of your band making it generally increases greatly.The financial backing and publicity you receive through a label deal are still highly valuable in this cut-throat market and will continue to be until someone comes Jp with an alternative way to make yourself known to the public. Ill. Interactive Music Marketing Ninth that being said, it is not too far from the time when other artists will act as a type of label for newer, up and coming artists. We are already seeing this type of promotional model with mentors and third party promoters forming a partnership. Is means that an established, already famous artist can provide the newcomer Ninth exposure and funds (Halogen-Kuwaiti and Regna, 2004). In doing this, there is no record company that owns the copyright privileges to the newer artist and the more established artist is like a sort of venture capitalist investing in an artist they believe in. There are also services such as the one developed by Clear Channel Radio and Front Line Management called artist personal experience radio or a. P. E.This service allows individual artists to create a radio channel that features close to 1,000 ones of their choice, which are then mixed with their commentary and personal stories. This type of radio station is intended to be a marketing tool for both the artist themselves and the music that they are in a way, endorsing by putting on their personal playbills (Reuters, 2009). These types of marketing are only the beginning of what we are starting to see in attempts to get coverage of an artist.Through an interview with Rob Beauty, Product Development Coordinator in the Digital Media Department at Atlantic Records, Online presence is key in the digital age. Artist placement on the Internet is a cornerstone to heir success in the music industry. For example, blob placement is a major factor in online marketing of artists as well as the different viral placements of contests and competitions that exist online for each artist. Consumers will register for contest after contest to get entered in a chance to win free concert tickets, backstage passes, t- shirts and anything else you can imagine.Once they enter that contest, the record company or marketing department h as that individuals email address and will begin sending them email after email promoting that artist, or any other similar artists for hat matter. So labels and artists use these contests to promote their music and draw in more listeners to their fan base. The newest forefront of music in the digital age is interactive music. We have all heard of interactive media and seen the rapid growth of this form of marketing in the past few years, but music is Just now becoming a part then enjoyed by the listener.But now we are beginning to see the listener becoming involved in the actual music because of interactive technologies such as Romper. This cell phone application allows listeners to rearrange their favorite songs by taking retain parts of the song apart and then rearranging those pieces to their liking to create a whole new piece of music. Then they are able to share their new creation Ninth friends, inadvertently stirring up publicity and promotion for that band. Fans can now connect to artists music in a whole new personal way by creating their own erosion of a song and being part of the creative process(Biotech Business Wee k, 2009). Bands such as Radioed are aggressively tackling this type of interactivity and are being recognized for it throughout the media, giving them even more publicity. What Radioed did was similar to Romper in that they created a remix competition with their single Nude. They began by selling five different parts of Nude on tunes for . 99 cents, vocals, guitar, bass, strings/fix and drums. Then listeners could mix each part of that song however they wanted to create their own remix of the song via radiochemical. Com.After their personal mix was created and uploaded, other users could then listen to those remixes and vote for their favorite one, which in turn, allowed fans to be involved with their music on a whole other level. What this did was give listeners a greater appreciation for the music production process, which is thought to possibly reduce levels of piracy and encourage fans to purchase their music instead of stealing it. Radioed is also flourishing in the 118 -? The Leon Journal of Undergraduate Research in Communications ; Volvo. 1, No. ; Fall 2010 digital age because they released their most recent album on tunes with pay what you want deal, as well as allowed fans to create a music video from a song of their choice and then submit it for a competition. All of these new media approaches are things that are Just being explored by labels and artists together. But at times, the inventiveness of each new outlet is overwhelming for producers who cling to the old music business model. It is quite apparent that we live in a society that cherishes their new technology, constantly searching for and stumbling upon new and improved ways to do even the simplest things. We also are a culture that values our music and are surrounded by this medium in our everyday lives. The challenge that we now face is how to combine these two deep loves in a way that compliments one another as opposed to impairing the success of each other. This is a difficult forefront that music artists and record labels must aggressively tackle, because if they ignore these technological advances, the music industry could end up in a detrimental place. Unfortunately, our culture is one that values one thing above all else and that thing is money.Although many say that money is not the end all and be all, it cannot be argued that money plays a huge role in the decisions that corporate America as well as all other people of this nation make. Because of this, it is important to understand how technology is effecting the music world so we can continue to allow this art form to thrive the artists, there would be no music. Bottom line, there exists a constant battle between consumer a nd producer; the consumer wants their purchase to be cheap but the producer needs to make a profit. So this tug-a-war creates the very familiar cycle that we see on a daily basis, all of which goes back to the basic principle of capitalism. So what will music do next? Will we reach an age where live concerts no longer exist because we can simply watch a live feed of them on our computers while En have a discussion board open on our screen? Will CDC be the equivalent to vinyl records in that they are a collectors item because they are an item of the past? And Inhere will the bulk of an artists revenue come from five, ten years down the road?