Articoli di riviste sul tema "Hartmann Brothers Manufacturing Company"

Learning outcomes After completion of the case study, students will be able to understand key stakeholders’ current and future role in a family business using techniques like Gersick 3 Axes Model, understand the power dynamics in a family business, understand the power struggles seen in the family business and understand the challenges in the implementation of a deed of family settlement (DFS) with multiple stakeholders. Case overview/synopsis Kirloskar group was established in 1888 by Laxmanrao Kirloskar. He started with farm manufacturing equipment and later diversified into various kinds of engine manufacturing units. Kirloskar Group today is an Indian conglomerate multinational company with its headquarters in Pune, Maharashtra; India exports to more than 70 countries, most of which are from Africa, Southeast Asia and Europe. The group was managed as a cohesive unit until Chandrakant Kirloskar was at the helm as the chairman. Each brother’s family was managing a business and companies in the fold in which they started. The Kirloskar Group had first split in 2000 when Bengaluru-based Vijay Kirloskar (Ravindra Kirloskar’s son, fourth son of Laxmanrao Kirloskar) moved out of the group with Kirloskar Electrical while the Pune-based Kirloskar brothers moved out with Kirloskar Oil Engine Engines, Kirloskar Brothers, Kirloskar Pneumatics and related subsidiaries. In 2009, a DFS was signed among the family members, including a noncompete clause against each other regarding the usage of the Kirloskar brand name and the tagline “Kirloskar Enriching Lives.” The current dispute started in 2020 when first Vijay filed a suit against his nephews regarding illegal usage of the Kirloskar brand name for the companies not eligible to use it and second when Sanjay Kirloskar also filed a similar lawsuit against his brothers for illegally using the brand name and violating the noncompete clause. The high court, in its judgment, sent the case for arbitration, but Sanjay approached the Supreme Court of India regarding the stipulated arbitration process. With both sides taking a hard stance, there did not seem to be a quick resolution to this dispute. Complexity academic level This case study is suitable for both undergraduate and postgraduate level in entrepreneurship course and family business course. Subject code CSS 3: Entrepreneurship Supplementary materials Teaching notes are available for educators only.

Cost volume profit is concerned with determining the sales volume and product mix needed to achieve the level of profit. This analysis is a tool that will provide information to management about the relationship between costs, profits, product mix and sales volume based on the following assumptions: that all costs can be separated into part variable and part fixed, and that the total fixed costs are constant throughout the range analysis, and total variable costs change proportionately to changes in volume. The purpose of this study was to find a level of significance, the analysis reports in a vertical Income, Profit and Loss report analyzes horizontal and analytical results reported in the Profit and Loss concern cost volume profit at PT. Hadinata BROTHERSThe research method used is a case study method. This method covers the activities carried out by conducting research directly to the location to obtain the necessary data in connection with the problem under study. The study was conducted at the manufacturing company PT Hadinata BROTHERSFrom the results of research conducted, that the PT Hadinata BROTHERS January sales of 100%, February 77.02%, March 69.63%, 69.96% April, May 38.23%, 41.92% June decline highly significant, while the price of goods sold in January 97.65%, February 98.73%, March 90.59%, 97.66% April, May 177.40%, 112.25% in June and operating costs of January 2, 87% February 2.84% March 2.57% April 3.22% May 5.64% June 6.22%. Resulting in profits in January -0.53% February -1.67% March 6.83% -0.88% April, May -83.05%, -18.47% in June. So the calculation of break even point analysis (BEP) for January Rp. 1.884.750.000, February Rp. 1.6245 billion, in March Rp. 1.953.437.500, In April Rp. 1.889.750.000, May Rp. 1.323.000.000, June Rp. 1211370000.The results of the evaluation in this study that Analysis on the Income Statement in a vertical, PT Hadinata BROTHERS unprofitable can be said because it has not shown the numbers increased continuously. Overall in each unit of the income statement is presented there are irregularities that occurred at the Cost of Goods Sold which almost every month figures show a drop sales Cost of Goods or small. Analysis on the income statement horizontally, PT. Hadinata BROTHERS is a graph showing a decline in the percentage of each month. Overall figures on Cost of Goods Sold problems are large, while the sales figures showed a decline in every month. To anticipate the losses the company needs to make cost accounting system is organized so it can be budgeted revenues, expenses and profits as well. Key words: cost analysis of volume, profitability profit

David Whiffen is best known for his early work on both infrared (IR) spectroscopy and electron spin resonance (ESR) spectroscopy. But he also made substantial and far-reaching contributions to nuclear magnetic resonance (NMR) spectroscopy and other fields of study. His research encompassed a remarkably wide range of subjects while he delighted in discussing any area of physical chemistry, always in a deeply analytical manner. He combined a sharp scientific mind with an informed religious faith. Although he remained a strong practising Christian throughout his life this was a private matter within the family and many who knew him for long periods were unaware of his commitment.He was born in Esher, Surrey, into a family with strong scientific and religious traditions. His great–grandfather originated in Dorset and moved to London to found a manufacturing company of fine chemicals, Whiffen and Sons. This operated in Southall, then Battersea and next Fulham, before being acquired in 1947 by Fisons Ltd and moving to Loughborough where it was finally completely subsumed into that company. David's grandfather, Thomas J. Whiffen, and his great uncle George followed the founder into the business, and in the next generation three of his sons, Goodman, Stanley and David's father Noël Hardy Whiffen (known as Timothy), were all involved with it. Mr. Noël, as he was known in the company, was born on Christmas day 1894. He became the practical partner on the chemistry side, while Goodman was an engineer and Stanley ran the office.Another brother, Harold, became a fruit farmer, and the eldest, Thomas, roamed the world, including the upper Amazon at the start of the twentieth century; family tradition has it that he originated the World War I poster with the pointing finger that told the onlooker ‘Your Country Needs You’. There were also four sisters, Jessie, Mabel, Olive and Dorothy, none of whom married but who, together with their brothers, were much involved in charitable and good works.

World War I proved air forces to be a critical driver for warfare outcomes. Mastery of the latest technology appeared to be crucial to the battle’s success. The combat capabilities of airplanes improved manifold due to the increased power of aircraft engines, thus initiating a new era in aeronautics. By July 1917, the aviation of the Russian Empire included 91 air squadrons and 5 units of heavy multi-engine aircraft known as Ilya Muromets. Several enterprises, including the town of Aleksandrovsk, were manufacturing engines for these planes. The origin of engine production in Aleksandrovsk was associated with the establishment of a branch of Petrograd Joint Stock Company of Electromechanical Structures called Deka. The article aims at analyzing the prerequisites and conditions for the foundation of an aircraft engine enterprise in Ukraine. While drafting the article, the authors relied on chronological, historiographical, and other historical methods of research, which have been widely used both in considering the contribution and influence of certain individuals and reviewing the stages of creation and development of separate enterprises, as well as specific industries. Based on the retrospective analysis, the prerequisites and conditions of the foundation of the aircraft engine enterprise in Aleksandrovsk, Ukraine, were considered. There was a severe gap between the Russian Empire and European countries in the development pace of the aviation industry during World War I. This prompted the Russian Empire to raise foreign capital, as well as attract technologies and specialists to develop aircraft engineering and other industries. By 1917, the plant had gained the status of Russia’s largest engine-building enterprise in terms of building area and one of the best in equipment. It is evident that the beginning of aircraft engine production in Aleksandrovsk relates to the establishment of a branch of Petrograd Joint Stock Company of Electromechanical Structures and the plant’s purchase from the Moznaim brothers.

Purpose – This paper aims to present a “Q&A interview” conducted by Joanne Pransky of Industrial Robot Journal as a method to impart the combined technological, business and personal experiences of a prominent robotic industry engineer-turned entrepreneur regarding the evolution, commercialization and challenges of bringing a technological invention to market. Design/methodology/approach – The interviewee is Russ Angold, Co-Founder and President of Ekso™ Labs. Mr Angold has a bachelor’s degree in BioResource and Agricultural Engineering from California Polytechnic State University, San Luis Obispo. He is a California-registered Professional Mechanical Engineer and has two granted patents and another seven pending. Findings – In 2004, two weeks after Mr Angold was hired by a former colleague to work on exoskeletons (Exos) at the University of California, Berkeley, one of Mr Angold’s six brothers has an accident that leaves him as an incomplete quadriplegic. This is the catalyst that eventually leads him and the company to design and create robotic Exos for medical applications in addition to military applications. Originality/value – Russ Angold, via a personal tragedy, becomes a bionic entrepreneur who provides many of the concepts that shape the current inventions and intellectual property of Ekso Bionics, a pioneer in the field of robotic Exos. Ekso was selected as WIRED magazine’s number two “Most Significant Gadget of 2010”, was included in Time magazine’s “50 Best Innovations of 2010” and was also featured in Inc. Magazine as one of the “5 Big Ideas for the Next 15 Years”. Ekso is listed on the US over-the-counter QB securities.

UD Bangkit Tiga Brothers is one of the SMEs engaged in the furniture manufacturing industry with antique products. The problem that occurs in this company is that it cannot estimate the exact number of orders for raw materials because the number of sales varies each period. So that every time you place an order, you sometimes exaggerate the product to be used as stock and save on ordering costs in the transportation section. At a certain time when there is a demand but the stock in the warehouse runs out so you have to reorder and excess orders for stock supplies. One solution that is applied to overcome this problem is the Lot Sizing method. By applying this method, the raw material procurement system can be identified by predicting the demand for raw materials and using the Lot Sizing method in order to obtain the optimum raw material procurement. Optimul forecasting results were obtained using the Exponential Smoothing method with a MAPE of 20.34%. The forecasting value obtained is 45.62 46 pcs in August 2022 with an accuracy value of 79.66% of the results then calculated using the Lot Sizing method. The results of the calculation of the Lot Sizing method obtained the optimal method, namely the Period Order Quantity (POQ) which is Rp. 58.130.923,-. The resulting difference with the value of the company is Rp. 4,217,240, - or 6.76%. From the figures obtained, it results in cost savings that are very profitable for the company.

A trained businessman, Giorgio E. Curradini joined Protek AG in 1976 as an accountant. In 1980, the Board of Directors officially appointed him as a member of the Executive Board, and in 1983 as Deputy Director. Curradini remained responsible for accounting and was in charge of sales in Italy and France. From 1988 to 1992, he managed Protek AG as Director and in 1992 and 1993 as Delegate of the Board of Directors. In 1993, Curradini left the company, which by then belonged to Sulzer Brothers Ltd, but remained active in the prosthesis business. Maurice E. Müller had transferred the distribution rights of Protek AG in Italy to him. From 1993 to 1997, Curradini was CEO of Italpro SPA, which distributed the prostheses of Protek AG and Sulzer Medica in Italy. In the course of the merger of Protek AG and Allo Pro AG, Sulzer Medica AG insisted on the sale of Italpro SPA to it. Curradini became active for Sulzer Medica. After Zimmer took over the company, which had since been renamed Centerpulse, in 2004, Curradini moved to Plus Orthopedics. In 2007 and 2008, he was General Manager of the orthopaedics division of Smith & Nephew in Milan. In 2009, he founded the company Examedical srl in Milan, which develops prostheses and supports the G. I. C. C. A. (Gruppo italiano di chirurgia conservativa dell'anca) foundation.

Manfred K. Semlitsch, a chemist with a doctorate from Graz in Austria, joined Gebrüder Sulzer AG in Winterthur in 1966 and researched and developed materials for hip prostheses from 1967 to 1996. Semlitsch became involved in prosthetics in 1967 after Hans-Georg Willert, who later became a professor of orthopaedics in Göttingen, approached Sulzer with histopathological problems that had arisen with the first prostheses manufactured by the precision foundry for Arnold Huggler and implanted at the Balgrist Orthopaedic University Clinic in Zurich in 1961/62. The collaboration with Willert led to around thirty years of research into biomaterials for hip joint prostheses. From 1970, Semlitsch headed the research and development group for implant materials in the newly created Medical Technology Product Division of Sulzer Brothers Ltd. Claude B. Rieker, who holds a doctorate in materials science, is Director of Scientific Affairs at Zimmer Biomet GmbH in Zug and Winterthur. He joined Protek AG in 1990 as a development engineer. Over the next three decades, he held various positions during the integration of Protek AG into the gradually independent Sulzer Medica AG, then the complete separation from the Sulzer Group in 2001 and the takeover of the company, now operating under the name Centerpulse, by the then Zimmer Holding in 2003 and finally the acquisition of its competitor Biomet by Zimmer in 2015. Rieker was Head of Product Management at Protek from 1992 and Head of Hip Development from 1995, Director of Tribology at Sulzer Medica, Centerpulse and Zimmer from 1996 and Director of European External Research at Zimmer in 2005 and 2006.

As a result of the improvements made to the camera obscura and the study of light sensitivity of silver salts, photography is a product of the 19th century, and by definition an image produced by the effect of light on a foto-sensitized surface. The genesis of the term is closely related to the discovery of the journal of Antoine Hércules Romuald Florence, a French-brazilian painter and a few years later, to Sir John Herschel who for the first time proposed the term “Photography” for the image obtained in the camera obscura in his private correspondence of 28th February 1839.Around the year 1800, Thomas Wegdwood, son of the renowned manufacturer of potery, Josiah Wegdwood, conducted the first experiments which were completed by obtaining multiple images on paper or textiles, sensitized with silver salts in advance. The process of Wegdwood was revealed in 1802, along with the details necessary to achieve it, by the British chemist Humphry Davy in a paper presented to the Royal Society of Sciences in London.Regardless, a number of other researchers have addressed the issue to enthusiasts in other countries, particularly in France. Joseph Nicéphore Niépce, son of a Royal Adviser, born in Chalon-sur-Saône, with numerous scientific pursuits was fascinated by the experiments with light-sensitive substances. His discovery has become an innovative technique for reproduction and the first photo-mechanical process that revolutionized the graphic arts, being known by the name of “heliography”. In the summer of 1827, Niépce manages to obtain the first image in the camera obscura, on a tin plate by 16,5 × 20,3 cm, with an exposure of over 8 hours which left a pale but identifiable image of the inner court of his estate, “Le Gras”.In September 1827, Niépce meets for the first time with Louis Jacques Mandé Daguerre and two years later as a result of their correspondence, they start an offcial partnership. The document is signed on December 14, 1829, with an extension for a period of two years, and was intended to promote the process of Niépce, initially with the help of improvements made later on by Daguerre. After Niepce’s death in 1833, Daguerre is awarded such merit in the discovery process, to be known in the future as the “Daguerreotype”.Shortly, after the opening of the first daguerrian studios in New York, the example was taken over in major European capitals, including London, Paris and Vienna. In the British Capital, the first studio of its kind was opened by the great industrialist Richard Beard, who managed to obtain the licence of practice from Daguerre. In June of the same year, François Arago presented before the plenary of the Academy of Sciences in Paris, several portraits obtained in only 10 – 12 seconds by the Bisson brothers. Interested at the beginning in Daguerre's method, Hyppolite Bayard, offcial of the Ministry of Finance in Paris, started his own investigations using different substances and mediums.After the daguerreotype, the Tintype, although it was a variant of wet collodion process, it was invented by amateur photographer Adolphe Alexandre Martin and improved at the same time in England, France and America, by several enthusiasts of photography, being used as an alternative to daguerreotype and it was much more accessible financially.Along with the daguerreotype, it was discovered a new way to obtain images, through a method which had origins in the work of Thomas Wegdwood at the turn of the century, subsequently perfected through the experiments of the Englishman William Henry Fox Talbot after 1835. In 1835, with a pinhole camera fitted with a microscopelens, Talbot manages to capture a window of Lacock Abbey’s library to reside on a small paper and with a longtime exposure. His presentation of the new invention was followed by a statement on 31 January at the Royal Society in London entitled: “Some accounts of the Art of Photogenic Drawing”, and later he called the improved process: the “Calotype”.Louis-Désiré Blanquart Evrard experimented with the photographic paper and his work was revealed by acommunication presented at the French Academy on May 27, 1850, in which he proposes two ways of dealing with paper, one with serum and the other with albumin. Another improved process, one embodiment of the calotype became, with the introduction in 1851 of the paper coated with wax by the Gustave Le Gray, who called it: “waxed paper processing method”. In March of 1851, a British sculptor and calotipist, Frederick Scott Archer, described for the first time in the publication “The Chemist”, a new photographic process based on collodion entitled: “On the use of collodion in Photography”.André-Adolphe Eugene Disderi, discovered after moving to Paris in 1853 new ways of experimenting withwet collodion and the waxed paper of Le Gray. The method produced the photographic cartes-de-visite, which represented another application of collodion technique and consisted in making several frames on a single glass plate treated with this emulsion. A total of 4, 6, 8 or even 12 different frames were made using a camera equipped with as many lenses in the front. One of Disderi’s main competitors proved to be Nadar, who in 1853 opened a photographic studio in Paris in partnership with his brother Adrien.After 1860, new trends in the field of fine art photography were emerging and led to some controversy concerning the so-called “pure photography”, which previously sought faithful representation of reality and the new concepts of pictorial photography that was already taking shape through the work of Oscar Gustav Rejlanderand Henry Peach Robinson. Charles Ludwig Dodgson, known by the pseudonym Lewis Carroll, also became famousfor the volume of stories “Alice in Wonderland” and practiced photography as a personal hobby since 1856. Julia Margaret Cameron manipulated the photographic negatives to achieve the desired eects by scratches or by the fingerprints left on the printed images, which was often criticized for this by contemporary photographers.The first satisfactory method using dry collodion was attributed to Dr. Richard Leach Maddox from London, who published on 8 September 1871 a brief overview of the process in the publication "British Journal ofPhotography”. Eadweard Muybridge, a British employee as a topographic photographer in California, began to study the various stages of movement of a galloping horse and continued the experiments in collaboration with Leland Stanford, in order to obtain visual information about both the movement of animals and humans.In London, Leon Warneke perfected a camera in 1875 which used flexible celluloid film, using a costly substance, which was composed of India Rubber and collodion and which was subsequently applied to the surface of paper.In last quarter of the century, George Eastman became interested in photography and followed the initiation courses in this area in a local photographer’s studio. In 1879 he patented the first automatic device producing dry plates and his first commercial success was obtained in 1880 with the American company known for photographic accessories, E. & HT Anthony.His first camera model was launched in 1888 as the “Brownie” and had integrated from the manufacturing stage a roll film holder inside. Roll film became very popular in the coming period, especially among amateur photographers and was known as the “American film”. Commercial slogan used by the Eastman’s company Kodak monopolized the global photographic market to mid-twentieth century with the message content: “You push the button, we do the rest”.

In the 2019 documentary Chasing Happiness, recording artist/musician Joe Jonas tells audiences that the band was “living the dream”. Similarly, in the 2012 documentary Artifact, lead singer Jared Leto remarks that at the height of Thirty Seconds to Mars’s success, they “were living the dream”. However, for both the Jonas Brothers and Thirty Seconds to Mars, their experiences of the music industry (much like other commercially successful recording artists) soon transformed into nightmares. Similar to other commercially successful recording artists, the Jonas Brothers and Thirty Seconds to Mars, came up against the constraints of the industry which inevitably led to a forfeiting of authenticity, a loss of creative control, increased exploitation, and unequal remuneration. This work will consider how working in the music industry is not always a dream come true and can instead be viewed as a proverbial nightmare. Living the DreamIn his book Dreams, Carl Gustav Jung discusses how that which is experienced in sleep, speaks of a person’s wishes: that which might be desired in reality but may not actually happen. In his earlier work, The Interpretation of Dreams, Freud argued that the dream is representative of fulfilling a repressed wish. However, the creative industries suggest that a dream need not be a repressed wish; it can become a reality. Jon Bon Jovi believes that his success in the music industry has surpassed his wildest dreams (Atkinson). Jennifer Lopez considers the fact that she held big dreams, had a focussed passion, and strong aspirations the reason why she pursued a creative career that took her out of the Bronx (Thomas). In a Twitter post from 23 April 2018, Bruno Mars declared that he “use [sic] to dream of this shit,” in referring to a picture of him performing for a sold out arena, while in 2019 Shawn Mendes informed his 24.4 million Twitter followers that his “life is a dream”. These are but a few examples of successful music industry artists who are seeing their ‘wishes’ come true and living the American Dream.Endemic to the American culture (and a characteristic of the identity of the country) is the “American Dream”. It centres on “a land in which life should be better and richer and fuller for every man, with opportunity for each according to his ability and achievement” (Adams, 404). Although initially used to describe having a nice house, money, stability and a reasonable standard of living, the American Dream has since evolved to what the scholar Florida believes is the new ‘aspiration of people’: doing work that is enjoyable and relies on human creativity. At its core, the original American Dream required striving to meet individual goals, and was promoted as possible for anyone regardless of their cultural, socio-economic and political background (Samuel), because it encourages the celebrating of the self and personal uniqueness (Gamson). Florida’s conceptualisation of the New American dream, however, tends to emphasise obtaining success, fame and fortune in what Neff, Wissinger, and Zukin (310) consider “hot”, “creative” industries where “the jobs are cool”.Whether old or new, the American Dream has perpetuated and reinforced celebrity culture, with many of the young generation reporting that fame and fortune were their priorities, as they sought to emulate the success of their famous role models (Florida). The rag to riches stories of iconic recording artists can inevitably glorify and make appealing the struggle that permits achieving one’s dream, with celebrities offering young, aspiring creative people a means of identification for helping them to aspire to meet their dreams (Florida; Samuel). For example, a young Demi Lovato spoke of how she idolised and looked up to singer Beyonce Knowles, describing Knowles as a role model because of the way she carries herself (Tishgart). Similarly, American Idol winner Kelly Clarkson cited Aretha Franklin as her musical inspiration and the reason that she sings from a place deep within (Nilles). It is unsurprising then, that popular media has tended to portray artists working in the creative industries and being paid to follow their passions as “a much-vaunted career dream” (Duffy and Wissinger, 4656). Movies such as A Star Is Born (2018), The Coal Miner’s Daughter (1980), Dreamgirls (2006), Begin Again (2013) and La La Land (2016) exalt the perception that creativity, talent, sacrifice and determination will mean dreams come true (Nicolaou). In concert with the American dream is the drive among creative people pursuing creative success to achieve their dreams because of the perceived autonomy they will gain, the chance of self-actualisation and social rewards, and the opportunity to fulfil intrinsic motivations (Amabile; Auger and Woodman; Cohen). For these workers, the love of creation and the happiness that accompanies new discoveries (Csikszentmihalyi) can offset the tight budgets and timelines, precarious labour (Blair, Grey, and Randle; Hesmondhalgh and Baker), uncertain demand (Caves; Shultz), sacrifice of personal relationships (Eikhof and Haunschild), the demand for high quality products (Gil & Spiller), and the tense relationships with administrators (Bilton) which are known to plague these industries. In some cases, young, up and coming creative people overlook these pitfalls, instead romanticising creative careers as ideal and worthwhile. They willingly take on roles and cede control to big corporations to “realize their passions [and] uncover their personal talent” (Bill, 50). Of course, as Ursell argues in discussing television employees, such idealisation can mean creatives, especially those who are young and unfamiliar with the constraints of the industry, end up immersed in and victims of the “vampiric” industry that exploits workers (816). They are socialised towards believing, in this case, that the record label is a necessary component to obtain fame and fortune and whether willing or unwilling, creative workers become complicit in their own exploitation (Cohen). Loss of Control and No CompensationThe music industry itself has been considered by some to typify the cultural industries (Chambers). Popular music has potency in that it is perceived as speaking a universal language (Burnett), engaging the emotions and thoughts of listeners, and assisting in their identity construction (Burnett; Gardikiotis and Baltzis). Given the place of music within society, it is not surprising that in 2018, the global music industry was worth US$19.1billion (IFPI). The music industry is necessarily underpinned by a commercial agenda. At present, six major recording companies exist and between them, they own between 70-80 per cent of the recordings produced globally (Konsor). They also act as gatekeepers, setting trends by defining what and who is worth following and listening to (Csikszentmihalyi; Jones, Anand, and Alvarez). In essence, to be successful in the music industry is to be affiliated with a record label. This is because the highly competitive nature and cluttered environment makes it harder to gain traction in the market without worthwhile representation (Moiso and Rockman). In the 2012 documentary about Thirty Seconds to Mars, Artifact, front man Jared Leto even questions whether it is possible to have “success without a label”. The recording company, he determines, “deal with the crappy jobs”. In a financially uncertain industry that makes money from subjective or experience-based goods (Caves), having a label affords an artist access to “economic capital for production and promotion” that enables “wider recognition” of creative work (Scott, 239). With the support of a record label, creative entrepreneurs are given the chance to be promoted and distributed in the creative marketplace (Scott; Shultz). To have a record label, then, is to be perceived as legitimate and credible (Shultz).However, the commercial music industry is just that, commercial. Accordingly, the desire to make money can see the intrinsic desires of musicians forfeited in favour of standardised products and a lack of remuneration for artists (Negus). To see this standardisation in practice, one need not look further than those contestants appearing on shows such as American Idol or The Voice. Nowhere is the standardisation of the music industry more evident than in Holmes’s 2004 article on Pop Idol. Pop Idol first aired in Britain from 2001-2003 and paved the way for a slew of similar shows around the world such as Australia’s Popstars Live in 2004 and the global Idol phenomena. According to Holmes, audiences are divested of the illusion of talent and stardom when they witness the obvious manufacturing of musical talent. The contestants receive training, are dressed according to a prescribed image, and the show emphasises those melodramatic moments that are commercially enticing to audiences. Her sentiments suggest these shows emphasise the artifice of the music industry by undermining artistic authenticity in favour of generating celebrities. The standardisation is typified in the post Idol careers of Kelly Clarkson and Adam Lambert. Kelly Clarkson parted with the recording company RCA when her manager and producer Clive Davis told her that her album My December (2007) was “not commercial enough” and that Clarkson, who had written most of the songs, was a “shitty writer… who should just shut up and sing” (Nied). Adam Lambert left RCA because they wanted him to make a full length 80s album comprised of covers. Lambert commented that, “while there are lots of great songs from that decade, my heart is simply not in doing a covers album” (Lee). In these instances, winning the show and signing contracts led to both Clarkson and Lambert forfeiting a degree of creative control over their work in favour of formulaic songs that ultimately left both artists unsatisfied. The standardisation and lack of remuneration is notable when signing recording artists to 360° contracts. These 360° contracts have become commonplace in the music industry (Gulchardaz, Bach, and Penin) and see both the material and immaterial labour (such as personal identities) of recording artists become controlled by record labels (Stahl and Meier). These labels determine the aesthetics of the musicians as well as where and how frequently they tour. Furthermore, the labels become owners of any intellectual property generated by an artist during the tenure of the contract (Sanders; Stahl and Meier). For example, in their documentary Show Em What You’re Made Of (2015), the Backstreet Boys lament their affiliation with manager Lou Pearlman. Not only did Pearlman manufacture the group in a way that prevented creative exploration by the members (Sanders), but he withheld profits to the point that the Backstreet Boys had to sue Pearlman in order to gain access to money they deserved. In 2002 the members of the Backstreet Boys had stated that “it wasn’t our destinies that we had to worry about in the past, it was our souls” (Sanders, 541). They were not writing their own music, which came across in the documentary Show Em What You’re Made Of when singer Howie Dorough demanded that if they were to collaborate as a group again in 2013, that everything was to be produced, managed and created by the five group members. Such a demand speaks to creative individuals being tied to their work both personally and emotionally (Bain). The angst encountered by music artists also signals the identity dissonance and conflict felt when they are betraying their true or authentic creative selves (Ashforth and Mael; Ashforth and Humphrey). Performing and abiding by the rules and regulations of others led to frustration because the members felt they were “being passed off as something we aren’t” (Sanders 539). The Backstreet Boys were not the only musicians who were intensely controlled and not adequately compensated by Pearlman. In the documentary The Boy Band Con: The Lou Pearlman Story 2019, Lance Bass of N*Sync and recording artist Aaron Carter admitted that the experience of working with Pearlman became a nightmare when they too, were receiving cheques that were so small that Bass describes them as making his heart sink. For these groups, the dream of making music was undone by contracts that stifled creativity and paid a pittance.In a similar vein, Thirty Seconds to Mars sought to cut ties with their record label when they felt that they were not being adequately compensated for their work. In retaliation EMI issued Mars with a US$30 million lawsuit for breach of contract. The tense renegotiations that followed took a toll on the creative drive of the group. At one point in the documentary Artifact (2012), Leto claims “I can’t sing it right now… You couldn’t pay me all the money in the world to sing this song the way it needs to be sung right now. I’m not ready”. The contract subordination (Phillips; Stahl and Meier) that had led to the need to renegotiate financial terms came at not only a financial cost to the band, but also a physical and emotional one. The negativity impacted the development of the songs for the new album. To make music requires evoking necessary and appropriate emotions in the recording studio (Wood, Duffy, and Smith), so Leto being unable to deliver the song proved problematic. Essentially, the stress of the lawsuit and negotiations damaged the motivation of the band (Amabile; Elsbach and Hargadon; Hallowell) and interfered with their creative approach, which could have produced standardised and poor quality work (Farr and Ford). The dream of making music was almost lost because of the EMI lawsuit. Young creatives often lack bargaining power when entering into contracts with corporations, which can prove disadvantaging when it comes to retaining control over their lives (Phillips; Stahl and Meier). Singer Demi Lovato’s big break came in the 2008 Disney film Camp Rock. As her then manager Phil McIntyre states in the documentary Simply Complicated (2017), Camp Rock was “perceived as the vehicle to becoming a superstar … overnight she became a household name”. However, as “authentic and believable” as Lovato’s edginess appeared, the speed with which her success came took a toll on Lovato. The pressure she experienced having to tour, write songs that were approved by others, star in Disney channel shows and movies, and look a certain way, became too much and to compensate, Lovato engaged in regular drug use to feel free. Accordingly, she developed a hybrid identity to ensure that the squeaky clean image required by the moral clauses of her contract, was not tarnished by her out-of-control lifestyle. The nightmare came from becoming famous at a young age and not being able to handle the expectations that accompanied it, coupled with a stringent contract that exploited her creative talent. Lovato’s is not a unique story. Research has found that musicians are more inclined than those in other workforces to use psychotherapy and psychotropic drugs (Vaag, Bjørngaard, and Bjerkeset) and that fame and money can provide musicians more opportunities to take risks, including drug-use that leads to mortality (Bellis, Hughes, Sharples, Hennell, and Hardcastle). For Lovato, living the dream at a young age ultimately became overwhelming with drugs her only means of escape. AuthenticityThe challenges then for music artists is that the dream of pursuing music can come at the cost of a musician’s authentic self. According to Hughes, “to be authentic is to be in some sense real and true to something ... It is not simply an imitation, but it is sincere, real, true, and original expression of its creator, and is believable or credible representations or example of what it appears to be” (190). For Nick Jonas of the Jonas Brothers, being in the spotlight and abiding by the demands of Disney was “non-stop” and prevented his personal and musical growth (Chasing Happiness). As Kevin Jonas put it, Nick “wanted the Jonas Brothers to be no more”. The extensive promotion that accompanies success and fame, which is designed to drive celebrity culture and financial motivations (Currid-Halkett and Scott; King), can lead to cynical performances and dissatisfaction (Hughes) if the identity work of the creative creates a disjoin between their perceived self and aspirational self (Beech, Gilmore, Cochrane, and Greig). Promoting the band (and having to film a television show and movies he was not invested in all because of contractual obligations) impacted on Nick’s authentic self to the point that the Jonas Brothers made him feel deeply upset and anxious. For Nick, being stifled creatively led to feeling inauthentic, thereby resulting in the demise of the band as his only recourse.In her documentary Gaga: Five Foot Two (2017), Lady Gaga discusses the extent she had to go to maintain a sense of authenticity in response to producer control. As she puts it, “when producers wanted me to be sexy, I always put some absurd spin on it, that made me feel like I was still in control”. Her words reaffirm the perception amongst scholars (Currid-Halkett and Scott; King; Meyers) that in playing the information game, industry leaders will construct an artist’s persona in ways that are most beneficial for, in this case, the record label. That will mean, for example, establishing a coherent life story for musicians that endears them to audiences and engaging recording artists in co-branding opportunities to raise their profile and to legitimise them in the marketplace. Such behaviour can potentially influence the preferences and purchases of audiences and fans, can create favourability, originality and clarity around artists (Loroz and Braig), and can establish competitive advantage that leads to producers being able to charge higher prices for the artists’ work (Hernando and Campo). But what impact does that have on the musician? Lady Gaga could not continue living someone else’s dream. She found herself needing to make changes in order to avoid quitting music altogether. As Gaga told a class of university students at the Emotion Revolution Summit hosted by Yale University:I don’t like being used to make people money. It feels sad when I am overworked and that I have just become a money-making machine and that my passion and creativity take a backseat. That makes me unhappy.According to Eikof and Haunschild, economic necessity can threaten creative motivation. Gaga’s reaction to the commercial demands of the music industry signal an identity conflict because her desire to create, clashed with the need to be commercial, with the outcome imposing “inconsistent demands upon” her (Ashforth and Mael, 29). Therefore, to reduce what could be considered feelings of dissonance and inconsistency (Ashforth and Mael; Ashforth and Humphrey) Gaga started saying “no” to prevent further loss of her identity and sense of authentic self. Taking back control could be seen as a means of reorienting her dream and overcoming what had become dissatisfaction with the commercial processes of the music industry. ConclusionsFor many creatives working in the creative industries – and specifically the music industry – is constructed as a dream come true; the working conditions and expectations experienced by recording artists are far from liberating and instead can become nightmares to which they want to escape. The case studies above, although likely ‘constructed’ retellings of the unfortunate circumstances encountered working in the music industry, nevertheless offer an inside account that contradicts the prevailing ideology that pursuing creative passions leads to a dream career (Florida; Samuel). If anything, the case studies explored above involving 30 Seconds to Mars, the Jonas Brothers, Lady Gaga, Kelly Clarkson, Adam Lambert and the Backstreet Boys, acknowledge what many scholars writing in the creative industries have already identified; that exploitation, subordination, identity conflict and loss of control are the unspoken or lesser known consequences of pursuing the creative dream. That said, the conundrum for creatives is that for success in the industry big “creative” businesses, such as recording labels, are still considered necessary in order to break into the market and to have prolonged success. This is simply because their resources far exceed those at the disposal of independent and up-and-coming creative entrepreneurs. Therefore, it can be argued that this friction of need between creative industry business versus artists will be on-going leading to more of these ‘dream to nightmare’ stories. The struggle will continue manifesting in the relationship between business and artist for long as the recording artists fight for greater equality, independence of creativity and respect for their work, image and identities. 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