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What is stopping you from believing in the business of your dreams? Insecurity? Fear? Lack of confidence? All of the above? How can you overcome these obstructions?

Your Mantras

You may be wondering if you have the necessary skills, time, connections, and a million other things in order to create the business of your dreams. If you let your uncertainty and insecurity overpower you, you won't ever be able to unleash your true business potential. To unlock the positive forces of your creativity and drive that will yield amazing results, make these your mantras:
''I will abandon all negative thoughts that prevent me from realizing my business objectives.''
''I will focus my energy on growing the business of my dreams.''

A Dreamer and a Doer

It is important to take time to develop your vision; and your practical thinking should be geared to this vision. You need to work with conviction. Being a dreamer does not mean that you can't also be a doer. In fact, having a dream is the starting point for building your dream business. The problem starts when you stop there instead of setting realizable immediate targets. Success cannot come from one day to the next. So you need to build your dream business bit by bit. When your dreams begin to be transformed into reality thanks to your actions, you become aware of the power you possess for catalyzing success; and this further strengthens your determination to reach every single one of your business goals.

Make It Happen

Nothing can happen without tenacity, fortitude, and courage. Be bold enough to make choices; don't just let things happen to you. Though you cannot have control over everything, you can focus on what you can handle and influence with your actions in a given situation. You have the power to make decisions that will move your business forward. You should not feel daunted by your lack of knowledge of business strategies either. You learn and grow while building your business. No women entrepreneur/mompreneur possesses absolute knowledge; there are so many examples of hugely successful businesswomen who started out without having any clue about business promotion techniques. Their motivation to learn, their unwavering belief that they could create the business of their dreams, and their steadfastness were key factors for their success.

3 Responses

  1. 케이팝) is a genre of popular music originating in South Korea. It is influenced by styles and genres from around the world, such as experimental, rock, jazz, gospel, hip hop, R&B, reggae, electronic dance, folk, country, and classical on top of its traditional Korean music roots. The more modern form of the genre emerged with the formation of one of the earliest K-pop groups, Seo Taiji and Boys, in 1992. Their experimentation with different styles and genres of music and integration of foreign musical elements helped reshape and modernize South Korea's contemporary music scene. Modern K-pop "idol" culture began with the boy band H.O.T. in 1996, as K-pop grew into a subculture that amassed enormous fandoms of teenagers and young adults.After a slump in early K-pop, from 2003 TVXQ and BoA started a new generation of K-pop idols that broke the music genre into the neighboring Japanese market and continue to popularize K-pop internationally today. With the advent of online social networking services and Korean TV shows, the current spread of K-pop and Korean entertainment, known as the Korean Wave, is seen not only in East Asia and Southeast Asia, but also in Pakistan, Bangladesh, India, Latin America, North Africa, Southern Africa, the Middle East and throughout the Western world, gaining a widespread global audience. The term "K-pop" became popular since the 2000s. Previously, South Korean pop music was called Gayo (가요).[8][9] While "K-pop" is a general term for popular music in South Korea, it is often used in a narrower sense for the genre described here. In 2018, K-pop experienced significant growth and became a 'power player', marking a 17.9% increase in revenue growth. As of 2019, K-pop is ranked at number six among the top ten music markets worldwide according to the International Federation of the Phonographic Industry's "Global Music Report 2019", with BTS and Blackpink cited as artists leading the market growth
    • left|quote="[A-Beat C, Time, Delta] have been with us for years now, and they believed in us. Without them, we couldn't have made it happen."|source=—avex trax's Haji Taniguchi (2000)<ref name=Steve>McClure, Steve. "Midem 2000: JAPAN: Execs Stress Dance & Urban". ''Billboard'' (Nielsen Business Media, Inc.). Jan 22, 2000. Page 80. ISSN 0006-2510. Quote: "[T]o maintain an existing relationship with our clients we want to show our special appreciation to our collaborators for the success of 'Super Eurobeat Volume 100,' which has sold more than a half-million units since being released in August," says Avex's Haji Taniguchi. [...] Taniguchi says the three companies to which Avex feels especially grateful for their support over the years are A-Beat C, Time, and Delta, all of which are from Italy."</ref>|width=30em}} Meanwhile, in Japan in 1985, the term "Eurobeat" was applied to all continental-European dance music imports. These were mainly Italian and German-produced [[Italo disco]] releases. That sound became the soundtrack of the [[Para Para]] nightclub culture, which has existed since the early 1980s. Japan experienced Italo disco through the success of the German group [[Arabesque (group)|Arabesque]], which broke up in 1984. This did not prevent the release of two Italo disco-sounding singles in 1985 and 1986, produced and mixed by [[Michael Cretu]] (of [[Enigma (German band)|Enigma]]). The later solo success of Arabesque's lead singer [[Sandra Cretu|Sandra]] further introduced this sound to Japan. This attracted the attention of many Italo disco producers (mostly Italians and Germans), and by the late 1980s while the Germans faded out of the outdated Italo disco scene and went for other newly rising popular scenes, mainly [[Trance music|trance]]. The Italians went on to create a new sound especially for Japan, but it was virtually unknown in the rest of the world.{{Citation needed|date=August 2013}}{{awkward|reason=long and unwieldy|date=October 2020}} In Japan, this music is called "Eurobeat", "Super Eurobeat", and "Eurobeat Flash". [[File:Dsc 1150 Mantua.jpg|thumb|right|200px|The majority of Eurobeat labels have been based in [[Northern Italy]], including [[Lugagnano Val d'Arda|Lugagnano]], [[Brescia]] and [[Mantua]] (pictured)]] [[File:Velfarre floor 3.jpg|thumb|right|200px|[[Velfarre]], a discothèque located in Tokyo, was considered a [[mecca]] of Eurobeat during the 1990s and 2000s.]] In the early 1990s, when Eurobeat's popularity was gradually decreasing in Japan, two Japanese men, the owner and a managing director of [[Avex Group|Avex]], a small import record shop at the time, decided to release a [[compilation CD]]. They went to Italy and met Giancarlo Pasquini (later known as [[Dave Rodgers]]), then a member of the Italo disco band [[Aleph (musician)|Aleph]], and eventually released the compilation CD, the first ''[[Super Eurobeat]]'', which proved an instant success and re-sparked Eurobeat's popularity in Japan.<ref>[http://triplei.hp.infoseek.co.jp/s-page/eurobeat.html] {{dead link|date=September 2020}}</ref>{{awkward|reason=overly long|date=October 2020}} Avex also collaborated with foundational Eurobeat labels A-Beat C, [[Time Records|Time]], and Delta long after Eurobeat's mainstream popularity peak.<ref name=Steve/> Eurobeat's sound (in the Japanese market) is its main link to its Italo disco origins, where it was just one of many different experiments in pure [[Electronic dance music|electronic dance]]. There are certain synth instruments that recur across the entire genre: a sequenced octave bass, the energetic (sometimes wild) and heavy use of synths, distinctive brass and harp sounds, and tight, predictable percussion in the background. These sounds are layered with vocals and natural instruments (guitar and piano are common) into complex, ever-shifting melodies that burst with energy.{{Citation needed|date=August 2013}} {{listen |pos=left | filename = I Wanna Dance by Domino, from Super Eurobeat Vol. 90.ogg | title = Intro of "I Wanna Dance" | description = "I Wanna Dance", [[Alessandra Mirka Gatti|Domino]]'s Eurobeat song, from ''[[Super Eurobeat|Super Eurobeat Vol. 90 Anniversary]]'' | format = [[Ogg]] }} The [[anime]] series ''[[Initial D]]'', based on the [[manga]] by [[Shuichi Shigeno]], uses Eurobeat music regularly<ref name=Stuck>Stuckmann, Chris (2018) "Anime Impact: The Movies and Shows that Changed the World of Japanese Animation". Vincent R. Siciliano segment. Mango Media Inc. {{ISBN|9781633537330}}.</ref> in its episodes during racing scenes between the characters, and because of this it has come to the attention of some anime fans outside Japan. The series as well as the [[video games]] use a large playlist of Eurobeat songs including some by [[Dave Rodgers]], like "Deja Vu" and other artists such as [[Maurizio De Jorio|Max Coveri]] with songs like "Running in the 90s". (Many of these songs also became [[Internet Meme|memes]].) There are also many Eurobeat songs based on the series itself, including: "Takumi" by Neo, "Speed Car" by D-Team, "Initial D Hell" by Dave Rodgers and "DDD Initial D (My Car is Fantasy)" by Mega NRG Man. In the [[New Initial D the Movie|movie version]] of this anime (Legend 1 Awakening, Legend 2, and 3) there is no Eurobeat and it has been criticised by fans for this reason.{{Citation needed|date=October 2020}} The songs used in the films are instead modern-day [[Japanese rock|J-rock]] songs. In 1998, Bemani, a branch of the video game company [[Konami]] made a hit video dance machine, ''[[Dance Dance Revolution]]''. The game acquired Eurobeat songs from the ''[[Dancemania]]'' compilation series from [[Toshiba EMI]].{{awkward|reason=use of the word "from" twice in quick succession|date=October 2020}} Over time, DDR has featured Eurobeat songs on-and-off in their song lists. However, their number has dwindled due to efforts to make DDR more marketable to North American markets.{{Citation needed|date=August 2013}} Currently, there has been a push to add more Eurobeat into DDR, most recently with the addition of Super Eurobeat tracks in the latest arcade release, ''[[Dance Dance Revolution X2]]''. Other music games in Konami's lineup feature a large number of Eurobeat tracks, including ''[[Beatmania]]'', ''[[Beatmania IIDX]]'', ''[[StepMania]]'',<ref name=Stuck/> ''[[jubeat]], and many more''. The popularity of the genre also led Konami to create a [[Para Para]] game; ''[[ParaParaParadise]]''.
  2. a great hybrid with Motown-style lyrics, an Italian-style melody, and a Eurobeat. It sounds really great on the radio."|source=—Waterman (1986) on Bananarama "I Heard a Rumour".<ref name=BMI>BMI: The Many Worlds of Music. [[Broadcast Music, Inc.|Broadcast Music, Incorporated]], 1986. p. 17.</ref>|width=30em}} The trio of British record producers, songwriters, and former DJs Mike Stock, Matt Aitken, and Pete Waterman were involved in the British underground club culture, encountering the Black American soul music-focused scene called [[northern soul|Northern Soul]], Italian pop-Eurodisco, and sped-up Motown Sound-inspired tracks. As underground record producers, they sought to recapture the "nostalgia" of Motown Sound with a hint of campy playfulness where the simplicity of musical structures, like in Italian disco, was preferred. This musical formula was proven to be successful enough to be capitalized on as they had a string of top 10 UK hits in the 1980s to the point of their version of Eurobeat becoming synonymous with British pop music as a whole.<ref>Manning, Sean (2008). "Rock and Roll Cage Match: Music's Greatest Rivalries, Decided". Crown/Archetype, Aug 26, 2008. Page 69. {{ISBN|9780307449658}}.</ref> [[Pete Burns]] of [[Dead or Alive (band)|Dead or Alive]] regularly fought the production team over "[having to adhere] to their production methods and concepts" which SAW were "quite firm about". Burns went on making a next album, produced by Burns and Dead or Alive drummer Steve Coy, without them, called ''[[Nude (Dead or Alive album)|Nude]]''. Epic (licensed by Sony Europe) was reluctant about releasing the album but it turned out to be so successful in Japan that it was awarded the [[Japan Record Award]] Grand Prix for Best International Album of 1989 in the 'Pop' or 'Popular' Category.<ref name=Arena>{{cite book |last=Arena |first=James |year=2017 |title=Europe's Stars of '80s Dance Pop |url=https://books.google.com/books?id=zMYtDwAAQBAJ&pg=PT225 |publisher=[[McFarland & Company|McFarland]] |page=85 |isbn=9781476630144 |access-date=2020-01-29}}. Relevant pages 29-32 (Pete Burns), Pages 44 & 85 (high-energy music). Page 29 quote: "I got really sick working with them during the making of the ''[[Mad, Bad, and Dangerous to Know (Dead or Alive album)|Mad, Bad]]'' album. I got really, really sick." [...] The Stock Aitken Waterman team was reportedly quite firm about adhering to their production methods and concepts, which Burns said was a major source of friction. "We would butt heads so fucking badly; it was unbelievable. That's why we eventually walked away from them. For instance, there was a lyric from 'Something in My House' [from the follow-up album, ''Mad, Bad and Dangerous to Know''] where I make a reference to a 'wicked queen.' The actual producer, Mike Stock, stopped me and said I couldn't use the term because it would mean the record is about gay people. I was like, 'Fuck this; it's going on!' They actually wiped the original vocal, but then Pete Waterman came back and said, 'Let [Burns] do it the way he wants to.' There you go."</ref>

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