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A rack jobber orders inventory from a distributor and then negotiates space to display and sell the merchandise in third-party retail outlets.

. Deals may include leasing space for a price paid to the store owner and/or paying the owner a percentage of the sales. Because there is limited space to display and stock merchandise, this person carefully selects albums or games to purchase and resell based on popularity and the client demographics of the areas he or she services. In other words, you won’t see a rack jobber pushing country records in a Hot Topic or BioShock at a truck stop. This person also assumes all of the risk of the venture by agreeing to take back any items that are not purchased.

Digital identity refers to the ways and means that identity is created and perceived in the digital world, i.e., online. It includes unique descriptive data, as well as information about relationships. That is, it defines a thing both in and of itself and in relationship to other things. Both a person and a company can have a digital identity and while a person always has a concrete identity in the world, businesses may have a storefront identity and establish a digital presence as they establish an online presence in order to do business online. Alternatively, the digital identity may be the one and only identity. Barnes & Noble® is an example of the first type of business; Amazon® is an example of the second

Digital identity is the data that uniquely describes a person or a thing and contains information about the subject's relationships.[1] The social identity that an internet user establishes through digital identities in cyberspace is referred to as online identity. A critical problem in cyberspace is knowing with whom one is interacting. Currently there are no ways to precisely determine the identity of a person in digital space. Even though there are attributes associated to a person's digital identity, these attributes or even identities can be changed, masked or dumped and new ones created. Despite the fact that there are many authentication systems and digital identifiers that try to address these problems, there is still a need for a unified and verified identification system.[2][not in citation given] Thus, there are issues of privacy and security related to digital identity. Contents  [hide]  1 Related terms 1.1 Subject and entity 1.2 Attributes, preferences and traits 2 Technical aspects 2.1 Trust, authentication and authorisation 2.1.1 Authentication 2.1.2 Authorisation 2.2 Digital identifiers 2.3 Digital Object Architecture 2.4 Handle System 2.5 Extensible Resource Identifiers 2.6 Policy aspects of digital identity 2.7 Taxonomies of identity 2.8 Networked identity 3 Security issues and privacy 3.1 Anonymous/pseudonymous attribute systems 4 Legal issues 5 Business aspects 6 See also 7 References 8 External links

A digital native is a person who was born during or after the general introduction of digital technologies and through interacting with digital technology from an early age, has a greater comfort level using it. Alternatively, this term can describe people born during or after the 2000s, as the Digital Age began at that time; but in most cases, the term focuses on people who grew up with the technology that became prevalent in the latter part of the 20th century and continues to evolve today.[citation needed] Other discourse identifies a digital native as a person who understands the value of digital technology and uses this to seek out opportunities for implementing it. This term has been used in several different contexts, such as education (Bennett, Maton & Kervin 2008), higher education (Jones & Shao 2011) and in association with the term New Millennium Learners (OECD 2008). The opposite of digital native is digital immigrant, an individual who was born before the existence of digital technology and adopted it to some extent later in life. Contents  [hide]  1 Origins 2 Conflicts between generations 3 Discourse 4 See also 5 References 6 Notes 7 Further reading 8 External links

Like writers, composers labor over single stanzas through dozens of iterations until the notation on the page reflects the symphony in their head. When this person is commissioned, he or she may be given some basis of inspiration to draw from ahead of time—a script, film or video footage, or storyboards—but often the composer is the last on board and works to a finished, edited film. From this material and collaboration with the director and producer, the composer cultivates a sense of time, place, action, and emotion, which must be reflected and translated through the score.

the musical director begins work by attending creative meetings with the director and choreographer to develop the overall vision of the show and determine the mood and theme to be portrayed. This person studies the script and music, then participates in auditions to evaluate the vocal abilities of each potential cast member and offer suggestions on which individuals might be best suited for a particular role, based on the vocal performance required.

The program director is responsible for selecting the format, shows, and schedule for a radio station. This person also has final approval over the station’s music playlist. He or she hires disc jockeys and supervises the on-air talent. The station’s listening area demographics and ratings drive the program director’s decisions on format, the ultimate goal being to find the most profitable and popular formula that attracts a high volume of listeners, thereby driving up advertising revenue. Higher-rated programs command higher ad rates.

tation engineer, or radio promotions manager can lead to a program director gig. Those who attain the position will typically seek to move up into larger markets and more prestigious stations.  

This person will organize each session based on the preferences of the engineer with dividers, Pro Tools options, and input samples. The recording assistant will also bounce down backgrounds or backup instruments to keep the console clean of clutter. Next he or she will strip silence the tracks to streamline the arrangement profile, clean up tracks to eliminate bleed and draw out clicks and pops. Cleaning vocals may also be required.

The production coordinator works within a record label and contributes to the creation of art and written copy assets for packaging, promotional materials, and other consumer-targeted products. This person is the chief point of contact in monitoring the completion of these assets and assists senior-level managers within multiple departments.

A person born or brought up during the age of digital technology and therefore familiar with computers and the Internet from an early age: the digital tools that are reshaping our economy make more sense to young digital natives than to members of older generations