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Case DescriptionMartin is encouraged by the progress you have made so far.As promised, he forwards you an e-mail from one of the keymembers of his staff, Pat Smith (an artist manager). He also providesyou with an e-mail from Shannon Howard, a prospectiveartist who might use FAME’s services.E-mail from Pat Smith, Artist ManagerI am Pat Smith, and I am one of the 20 artist managers workingfor Mr. Forondo. I have worked for him for 15 years, and I amone of the most senior managers within the company. I enjoyworking here because Mr. Forondo trusts me and knows thatI will be doing my job. One area we have been lacking in during thelast 10-15 years is the use of computers to support our jobs,and it is great to hear and notice that something is happeningin this area.There are two areas that I find particularly important forme. First, I would like to have a system that would help metrack prospective artists. There are so many talented musiciansaround the world that it is almost impossible to know whois doing what and where without keeping very good recordsand it seems that this would be an area where computersreally could help. There are a lot of sources from which I gethints about young artists whose career I should start to follow.Sometimes my friends who are music critics call me and recommenda particular young artist they have heard; sometimesI myself hear a promising artist perform; sometimes we find ajewel among the unsolicited recordings that are sent or referredto us; and we also follow a large number of newspapers, magazines,and websites that review performances. Over the yearswe have learned to value the opinions of certain critics whowrite reviews, thus it is very important to know the source of arecommendation or an opinion. Sometimes I deal with dozensor even hundreds of recommendations per day and thus thelists that I maintain in a Word file on my laptop just are not veryeasy to use and organize.The system for managing prospective artists should keeptrack of the artists (including their name, gender, year of birth,instrument(s), university degrees, address, phone number,e-mail, honors, etc.) and all the situations in which we haveheard of them (including the source, a brief summary, a briefquality evaluation, and space for storing the original story or areference to it if it was a review either in a newspaper or on theWeb). It is essential that I can get this data reported quickly andin an easy-to-read format. It would be fantastic if I could querythe database from my personal tablet and smartphone; I definitelyneed access to my laptop while on the road. This infowould be maintained by any of the managers in the company ortheir administrative assistants (the assistants take care of mostof the work with the reviews). I don’t know if Mr. Forondo toldyou but he makes the final decisions regarding who becomesthe artist manager for a new artist if there is any question aboutthe contributions in recruiting the artist.The second system I would find very helpful would be anapplication that reports the revenues my artists have earned in the past (we should be able to choose the period freely) and arepredicted to earn in the future based on the contracts we havesigned for them with our clients. This way, I would know howmuch I am earning and going to earn in the future. Somehow,it would be great if the system could also tell how much moneyI have spent on travel; as you might have learned, we managerspay our own travel costs from the 60 percent of royalties wereceive. I am really happy we don’t need to pay the assistant’ssalaries, too.E-mail from Shannon Howard, Prospective ArtistI am Shannon Howard, a soprano from Bloomington, Indiana,and I have had some initial discussions with Pat Smith atFAME regarding the possibility that they might take me undermanagement. I feel that having a good manager would bevery important for my career, and I believe that FAME wouldprovideexcellent service for me.One area where FAME is not yet very strong is marketingtheir artists on the Internet, and maybe your project could havesome impact in this area. I think it would be an excellent idea ifprospective concert organizers could see an artist’s informationon the Web and also hear samples of his/her music. In addition,information about an artist’s availability should be available onthe Internet. By the way, has anybody remembered to tell youthat an artist may be prevented from performing somewherenot only because of an earlier commitment to perform but alsobecause of rehearsals or time needed for travel? Sometimeslarge productions need long practice times and transcontinentaltravel also can take several days away from an artist’s schedule.For me it is very important that I can personally negotiate withmy manager what I will perform and what I won’t, and I thinkit would be great if my manager would know what repertoireI have already prepared and what I am not willing or able toperform at this time. Also, it would be great if I could blocktime away from my calendar in different priority groups so thatI could say that certain days I am definitely not available, certaindays are not very good but I can perform if Pat can findan excellent opportunity for me, and on certain days I can takeany work. I don’t know if this is realistic technologically andwhether or not Pat would accept the idea, but it sure would benice from my perspective.The smoother all types of practical issues go, the betterI can focus on my actual work, i.e., singing. Therefore, I feel thatit is very important that FAME has a good computer system tohelp them in their work for me (assuming I can sign up withthem—wish me luck!). I would find it very helpful if they couldtell me at the end of the year how much money I have made andfrom whom I received it—it won’t be a long list in the beginningbut hopefully it will become much more extensive over time.I don’t know if you have thought about it but just in caseI have gigs around the world it would be very nice if the systemcould also tell how much (if anything) each of the governmentswithheld from my pay at the source before it was forwardedto FAME and if the payments could be sorted and subtotaledby country. If you wonder what this could mean in practice, letme give you an example. Let’s say I am performing in Finland and Finland has an at-the-source tax for artists of 15 percent. Ifmy fee there is $2,000, my employer in Finland has to withdraw15 percent of my fee and pay it to the Finnish government; therefore,FAME will receive only $1,700, and if their royalty is 30percent, I will receive only $1,190. At the end of the year, FAMEshould give me a report including four columns: my originalfee (i.e., $2,000 in this case), tax-at-source ($300), FAME’s share($510), and finally my share ($1,190). The math is simple but it isessential that this is done correctly so that I won’t be in troublewith the tax authorities either in foreign countries or here in theUnited States.Project Questions3-44. Create EER diagram for FAME that extends the E-Rdiagram you developed in Chapter 2, 2-60, but accommodatesthe information gleaned from the e-mails fromPat Smith and Shannon Howard.3-45. Document your thought process around what changesyou made to the model developed in Chapter 2, 2-60, toaccommodate the new information. Pay particular attentionto what changes you had to make to the originalmodel to accommodate the need for supertype/subtyperelationships that emerged from the new information.3-46. Use the narratives in Chapters 1, 2, and above to identifythe typical outputs (reports and displays) the variousstakeholders might want to retrieve from your database.Now, revisit the EER diagram you created in 3-45 toensure that your model has captured the informationnecessaryto generate the outputs desired. Update yourEER diagram as necessary.3-47. Create plan for reviewing your deliverables with theappropriate stakeholders. Which stakeholders should youmeet with? Would you conduct the reviews separately ortogether? Who do you think should sign off on your EERmodel before you move to the next phase of the project? Engineering & Technology Computer Science ITS 360