4 Reconstruct the following sentences from the negotiation extracts in 3 by

putting the words in bold in the correct order. Then listen again and check ~-our
answers.
a
h
c
d
:e
f
g
h

I
k

I
m
n
o
p
q

OK, so, do take agreement we're in on I it volume?

\\buldn't it be a idea before talk to good we prices go any further?
But in happy principle taking about you're forty cases, right?
Look, price back getting to a for moment.
Can you give us some what idea of of kind figure were you thinking of?
There seems slight a been have to misunderstanding.
With prices respect simply are your not competitive.
fm afraid that absolute really bottom our is line.
Let's set the price side moment the issue to one for, shall we?
I'll throw free service 12 parts and months' as in well.
Now, I can't fairer that say than, now can I?
\\1hat we'd really like to movement see is more on bit a price.
A 6% discount quite is had not what in we mind.
\Ve were closer hoping something for bit a to 10%.
Idon't think stretch far could I as as that.
Surely sort we something out can here.
Would meet willing be you to LIS halfway?
We might position be a increase to in our order.
We'd need to bit on flexibility see a more terms of payment.
I suppose manoeuvre room there be may some for there.

Look back at the expressions in 4 and answer the following questions.

Find two phrases which mean 'bad news coming'.

c::::,."
Explain the use of the word seems in f.
If you change sentences e and 11 into the present tense, does this make them sound more or less
negotiable?
d Do the question tags in i and k make it easier or more difficult to disagree?
e Does the negative ,9.I::!estiol1
form in b make the suggestion
more persuasive? U more diplomatic?
both?
f Why do you think the speakers use words like slight, some, a bit and qllite?
g What is the overall effect of changing wouldn't to isn't in b, can to will in e, cOllld to can in 0, wOllld
to are in q, might to are in r and may to is in t?
a
b
c

6. The following expressions from the negotiations in 3 show strong disapproval, but think twice before
using them yourself as they may cause offence. Complete them using the pairs of words in the box.
~; joke ;~omething
~", .';:i

"C"

", ...
,

lot + that
:.:

other + time

way + e~rth

.'

a Is this meant to be some kind of

Of
?
b There's no
on.. .
l'm paying you 4.
c Oh, come on! You'll have to do a .. . better than ..
d Frankly, I think we're wasting each .. . .'5
here.
7

Speaker
Speaker
Speaker
Speaker

4.20-4.24

Listen to five experienced negotiato..rs talking about strategy and answer the questions.

1
2
3
4

What does T.I.E. stand for?

How can a friendly attitude be qmnter-productive?
Why is silence more powerful than talking?
How do yOll avoid pointless debates?
What are the two most useful phrases in a negotiation?
Speaker 5 What did the Hllthwaite Research Group discover?
The speaker mentions three things it's better to phrase as questions. \Vhat are they?
8

Discuss the meaning of the following idioms with a partner. They were c"illin 7.

a
b
c

Gi"e them an inch and they'll take a mile.

Play your cards close to your chest.
Don't take 'no' for an answer.

2 Work with a partner to answer the following questions. If you've no idea, just have a guess! Then
check your answers in the article.
a
b
c
d
e

Who are the worlel's wealthiest rock band?

\Vho are the world's four most bankable solo performers?
What is the bestselling album of all time?
What are the two bestselling singles of all tim~?
\~Thich pop song has been recorded in over 2,000 versions?

The world's biggest band

Whep.Mick,K~ith, Charlie and Ronnie come on stage at
the Giants Stadiliinin New York to 40,000 adoring fans,
they have the satisfaction of knowing that the Rolling
Stones are easilythe:-,o~ld's wealthiest rock band. Having
generated more iliari$~5 billion in gross revenues since

fact, dead Elvis started out-earning live Elvis in 198"~:.",:;,:

The version of Candle in the Wind Elton John sang-~(th~~, ..
funeral of Princess Diana recen9y oyert6ok~igg' Ctbsby's
White Christmas to become the "world's bestselling single
of all time and the most recorded pop song ever is The
.,.Beatles'y~it;rd~y,whi~h
exists in over 2,000 different.
;

i\,

1989/t;vo tq.irdse>ftb;lt e~rned on tour, they have mad~Jd.:~:,;;);'\'::,;~rs,kJl~s.

B;;t'the real money has always been in albums;
more:rnoney tharieven: fellow megastars U2, i3n.lcep'(c~J\/< ';, ':not singles. The top-selleris Michael Jackson's Thriller,
Spr'ing~teen andSti{{g:
_.'~'
which has sold over 100 million units worldwide, more

::'~;i;;";;::: ' -.\--;.

Finandai~c~~~~~-i'
,

....

';""

..'

"':"]':'~;rf;,ii{~"
};F';';:;'
., ," '.' . "

Nowfirmlyestabhshed
rock legends, the Stones are also
..a rock-s~iid bU~irie~'s.It'was their chief financial advisor,
London banker Prince Rupert zu Loewenstein, who was
first to see that,~hilst

concerts make the most money,

m~sicEights providethe steadiest income stream. And

though the Stones may never have produced a real
blockbuster On the s't~e of Fleetwood Mac's Rumours or
,"PinkFloyd's Dark Side of th~ Moon, Jagger and Richards
.havem~de over 40 albums a~d written more than 200
songs. Each time ,they get airplay, they collect 50 per cent
"of the royalties. According to Fortune magazine, that"

to

J..

<,

than double the most successful albums ofrunners-up

AC/DC, Eagles and Backstreet Boys.
Rights and rip-offs
With this kind of money at~take, it';'not

sUJrprisingthat

the "relationship between artist and record company can

'be an uneasy one, with yo~-;;g up-andccoming bands often
too dazzled by the prospect of stardom to look;closely
at the small print in their contracts, Even established
performers like Prince and George Michael have had wellpublicised clashes with their management, Courtney Love
went so far as to file a lawsuit against Geffen Records to
be released from her contract, And Mariah Carey foun~'O:'

amounts
$56 m~i~n i~ the past decade. Microsoft
alone paid them $4miliion to use Start Me Up in the
,\yinclows 95 comnlerciaL

herself in the opposite situation, reputedly being p~aidoff

to the tune of 19.5 million when Virgin Records decided
it didn't Want to record her after all.

Big business

The future of music

But soon it may be the record companies themselves who
start losing out, Piracy already costs the industry $4.3
billion a year, and with the arrival of MP3, only sound

The music business

come a long way since the Stones
started out in the 60s. In those days record labels like
Motown, Island and Elektra all had their own distinctive
sound, and you could have a string of top ten hits but still
barely be able to afford the b~s fare home from your latest
sell..:out'gig. These days j~st five major musi~ companies -

UMG, Sony, Warner, EMI and BMG - control 75 to 80 per

cent of all commercially released recordings and the sums
of money involved are huge.
.
Bankability
Today's'most profitable solo performers remain Madonna,
Elton John, Celine Dion and Garth Brooks. The back
catalogues of Sinatra and Elvis also bring i~ millions. In

quality stands in the way of all music being burned onto

CD on personal computers. Some 'Indie' music labels
like Bombco produce albums exclusively on the Internet
and artists as high-profile as Dayid Bowie and Coldplay
have experimented with websit~ lalI~ches of their latest
recordings. Of course, the major music companies have
fought back by creating downloadable music services of
their own, but with more direct access to the consumer,
bands may yet be able to fulfil their dream of being
immortalised without first having to sell their soul.

2 Work with a partner to answer the following questions. If you've no idea, just have a guess! Then
check your answers in the article.
.
a
b
c
d
e

Who are the world's wealthiest rock band?

Who are the world's four most bankable solo performers?
What is the bestselling album of all time?
What are the two bestselling singles of all tim~?
Which pop song has been recorded in over 2,000 versions?

The world's biggest band

When Mick, Keith, Charlie and Ronnie come on stage at

.. ' the Giants Stadi~m in New York to 40,000 adoring fans,
they h~ve the sa,l:isfaction of knowing that the Rolling
Stones are easily the world's wealthiest rock band. Having
generated more than$J)), billion in gross revenues since
1989"t;wo thirds of thfl-tearned on tour, they have made
morem()nq
than even fellow megastars U2, Bruce "-',:'
Springsteen; and Sting,
"
Financial ~cum~n "

., .--_." .;

Now,fiITlllyestablished rock legends, the Stones are also

- a rock-solid business. It was their chief financial advisor,
. London banker Prince Rupert zu Loewenstein, who was

funeral of Princess Diana recen~Jy overtooki3ing cr~sby's

White Christmas to become the w()rld'; bestselling single
of all time and the'most recorded pop song ever is The
Beatles' Y~;'i:erday, whi~h exists in over 2,000 different
,~v'ersi!Jns. But'the real money has always been in albums,
not'~ingles. The top-seller is Michael Jackson's Thriller,
which has sold over 100 million units worldwide, more
than double the most successful albums of runners-up'

<.

AC/DC, Eagles and Backstreet Boys.

Rights and rip-offs
..
With this kind of money at stake, it'S'not surprisi~g'that

, first to see that, ""hilst concerts make the most money,

the'relationship

muskrights
provide the steadiest income stream. And
though the Stones may never have produced a real
blockbuster On the sc;u.eof Fleetwood Mac's Rumours or
PinkFl?yd's Dark Side of the Moon, Jagger and Richards
,havemade over 40 albums and written more than 200
'songs. Each time they get airplay, they collect 50 per cent

be an uneasy One, with young up-and-coming bands often

too dazzled by the prospect of stardom to lookclosely
at the small print in their contracts, Even established
performers like Prince and George Michael have had wellpublici sed clashes with their management. Courtney Love

.of the royalties. Accordi~g to Fortune magazine, that

am<;JUntsto $56 million i~ the past decade. Microsoft
alone paid them $4 million to use Start Me Up in the
'Yinclows 95 commercial.
Big business
The music business has come a long way since the Stones
started out in the 60s. In those days record labels like
Motown, Island and Elektra all had their own distinctive
sound, and you could have a string of top ten hits but still
barely be able to afford the bus fare home from your latest
sell"-out gig. These days just five major music companies UMG, Sony, Warner, EMI and BMG '::'contro175 to 80 per
cent of all commercially released recordings and the sums
of money inv~lved are huge.
Bankability
Today's'most profitable solo performers remain Madonna,
Elton John, Celine Dion and Garth Brooks. The back
. catalogues of Sinatra and Elvis also bring i~ millions. In

~-J I:-17:EG~T:T1NGDE~LS----------.:~~-;..:;.:;,;rii(.9.,;/,:><

fact, dead Elvis started out-earning live Elvis in 198? .. .The version of Candle in the Wind Elton John sang it the,;,..

.~~~~~

__. ---

Mm~'lftlM~~f5Ar.im~.'_811l:r.~~~.!..cm:IR~~~~.'nSm.\IIl,~Y.'DIt-~

between' artist and record compa~y can

went so far as to file a lawsuit against Geffen Records to

be released from her contract. And Mariah Carey fqund
herself in the opposite situation, reputedly being p'aid ~ff
to the tune of 19.5 million when Virgin Records decided
it didn't Want to record her after alL
The future of music
But soon it may be the record companies themselves who
start losing out. Piracy already costs the industry $4.3
billion a year, and with the arrival of MP3, only sound
quality stands in the way of all music being burned onto
CD on personal computers. Some 'Indie' music labels
like Bombco produce albums exclusively on the Internet
and artists as high-profile as Dayid Bowie and Coldplay
have experimented with website launches of their latest
recordings. Of course, the major music companies have
fought back by creating downloadable music services of
their own, but with more direct access to the consumer,
bands may yet be able to fulfil their dream of being
immortalised without first having to sell their souL

.....__ ""~.~

- .. . ..
_'=, -'.~-

<

Find words and phrases in the article which mean:

money earned before tax and costs (paragraph 1)

the most regular source of 1110ney(paragraph 2)
highly sllccessful album, book or film (paragraph 2)
money paid to artists each time their work is sold or performed (paragraph 2)
a series of bestselling records (paragraph 3)
a musical performance to which all the tickets are sold (paragraph 3)
eaming more than (paragraph 4)
likely to become popular soon (paragraph 5)
excitecl at the chance of becoming stars (paragraph 5)
l the details in a contract - often limiting your rights (paragraph 5)
k angry disagreements (paragraph 5)
I wd~-kllown (paragraph 6)
m becoming famous (paragraph 6)
n do anything to win fame (paragraph 6)
a
b
c
d'
e
f
g
h

4 ;:;

4.25 A major record label is considering signing a new band. Listen to an extract from a meeting
between their A&R people (talent scouts) and senior management.

a
b
c
d

Why does Kate think they have to sign the band CJuickly?
What are the band's strengths?
Why isn't Ronnie as impressecl as Kate?
\Vhy does Ronnie sound more enthusiastic at the end of the meeting~

5 \Vark in two teams to negotiate a recording contract between the record company and the up-andcoming rock band you heard about in 4.
Team A you are representatives from the band The Penitents and their managers. The high-profile
rec-ord company StaTburst is interested in signing your banel. See page 146 for your negotiating
objectives.
Team B you are executives from the record company Starburst and their lawyers. You are interested in
signing the promising new band The Penitents. See page 158 for your negQtiating objectives.

Find words and phrases in the article which mean:

a
b
c
d'
e
f
g
h

money earned before tax and costs (paragraph 1)

the most regular source of Inoney (paragraph 2)
highly successful album, book or film (paragraph 2)
money paid to artists each time their work is sold or performed (paragraph 2)
a series of bestselling records (paragraph 3)
a musical performance to which all the tickets are sold (paragraph 3)
earning more than (paragraph 4)
likely to become popular soon (paragraph 5)
excited at the chance of becoming stars (paragraph 5)
I the details in a contract - often limiting your rights (pdfagraph 5)
k allgry disagreements (paragraph 5)
I weH-:known(paragraph 6)
m becoming famous (paragraph 6)
n do anything to win fame (paragraph 6)

4 ~

4.25 A major record label is considering signing a new band. Listen to an extract from a meeting
between their A&R people (talent scouts) and senior management.

a
b
c
d

Why does Kate think they have to sign the band quickly?
What are the band's strengths?
Why isn't Ronnie as impressed as Kate?
\Vhy does Ronnie sound more enthusiastic at the end of the meetingc

5 Work in hvo teams to negotiate a recording contract between the record company and the up-andcoming rock band you heard about in 4.
Team A you are representatives from the band The Penitents and their managers. The high-profile
recor.d company Starburst is interested in signing your banel. See page 146 for your negotiating
objectives.
Team B you are executives from the record company Starburst and their lawyers. You are interested in
signing the promising new band The Penitents. See page 158 for your negqtiating objectives.

17 NEGOTIATING DEALS

Negotiating procedure

LAliuUAGE LINKS

Complete the phases of a negotiation using the nouns in

the box. Two of them have been done for you.

Vocabulary: Negotiations

~
~.! atmosphere

Sounding out your opponent

~t:" deadlock

rt~

procedure

Complete the questions using the prepositions in the Qox.

"breakthrough
details
interests
proposals -~.'

-.- -.. --- .....

champagne
"concessions
options
phase" position
tabl::.:~~e-out

II

What sort of ...

a figure were you thinking...?
b terms would you be happy'
c discount were you hoping
?
d delivery time are we talking
?
e time-scale are we looking
.?
f deadline are we working ........?

Discussing terms

return to the
negotiating

agree on
a basic
... prQ~~d~r~

trade

1 These are all key points you may want to discuss in a

negotiation. Write in the missing vowels.
pr_c_
. d_sc __ nt
cr_d_t
v_Lm_
tr_TIsp_rt_t__ n
p_ck_~ng
CLC_l11_11Ct
__ n
~ _U1t~ _

c_ns~nm_nts
m__ nLn_nc_
d_l_v_~-,-m_
p_Yl11_ntt_rms
sp_r_ p_rts
Jch_n~
ct_
_ft_r-s_Ls s_rv_c_
p_n_Ity cL _s_s

2 Complete the negotiator's proposal using the words

and phrases in 1. Which one is not needed?
'Well, on a repeat order of this (1) ..
.
- 20,000
units::" we'd be able to offer you what 1 think you'll agree
is a very generous (2)
of 17%. 1 think you'd
also find Qur (3)
extremely
favourable - 120 days' (4)
..., of course - and
we'd CQverany fluctuations in the (5) ..
................ between the dollar and the euro.
'We'd also be prepared to include in our quoted
(6)
all (7)....
. costs. That is to
say, we'd handle the shipping charges, insurance and all
the necessary (8) ....
..... to save you doing the
papenvork yourself. We would have to use the same
carrier for each delivery, however, which means the
(9)
would be 14 days. 1
hope that's acceptable to you.
'Now, .all Qll[ products come with a three-year
(10)
. which includes full (11) ..
and( 12)
There's also a
free 24~holl[ customer helpline, so your customers would
be getting excellent (13) ..
.
'1 think we could also be fairly flexible on
(14 ).......
if you decided to increase or
'reduce your order from time to time.
'So, that just leaves the question of (15) ...
We normally use styrofoam containers ...'

II

state your
opening

reach a

expiore each
other's

'----enter the
bargaining

'---------' L'_'"
rethink your

..... ?tre\t.egy.

crack open
the

Grammar: Diplomacy and persuasion

Look at the negotiation extracts. Make the direct remarks
more diplomatic and persuasive using the words in
brackets to help you.
Negotiation 1
A This is still too expensive.
(afraid/would stillla little out of/price range)

I'm afraid that would still he a little Qut

of our price range.
B Well, how much do you want to pay?
(what sort/figure/did/in mind)
A $12 per unit.
(were thinking/somewhere/the
region of/$12 per unit)
B I can't go as low as that.
(be honest/not/a position/quitellow/this stage)

Negotiation 2
A You said we'd get 90 days' free credit.
(were promised/90 days' free credit)
B Yes, but you said you'd be placing a larger order.
(respect/was understoodlrather. larger)
A Look, this is getting us nowhere: We want free credit.
(doesn't seem/getting/very far/afraid/must insist/ free
credit)
B Well, I can't offer you that unless you increase your
order.
(unfortunately/unable/offerlyou're
prepared/sligh tly)
Negotiation 3
A We rieed a commitment from you today.
(had/hoping/some kind)
B Impossible! We're still unhappy about these service
charges ..
(th is point/might/a bit difficult/not entirely/service
charges)
A But you oaid you were OK about those!
(was assumed)
B 'Not at all. Look, I think we should go over these figures
agam.
(afraid/shouldn't we/figures/again)
Modal verbs (would/mightlcould, etc) are often used to
soften the verb.
'.

Continuous

forms keep your options open (e.g. We were

wondering; We had been hoping).

Introductory softeners (e.g. I'm afraid) warn that bad news
is coming!
Negative adjectives like expensive are often avoided.

seem is comlllon (e.g. We don't seem to agree.)

There's a lot of approximation (e.g. sort on.
Quali~ring phrases are common (e.g. at the moment).

~Phras~~arik: Negotiating'

i$3000.

MACEERENT
d

So, in pic

e, you're happy with the proposal,

right? '
e

So" do I take we're in are

instalments?

PROCIMOSEM
f Would yOll be
g

Surely, we can s

e. t on payment in

i
to meet us halfway?
something out here.

TEXIFLIBLYI
h

I suppose there may be some room for ,

m ~.n eve
there.
I llon't think I could s r t h as far as that.
'J .. We might be in a pst.
0 .: to increase our offer. .
.k What.~e'd really like to see is a bit more'
m ._v 111 n on price.
We'd need to see a little more f. e 1 01.. i _ Y in ,
terms of interest rates.

ESSONCONICS
m OK, I'll t

w in free service and maintei1ance as

'3~,e11.
n

I .can't say fie

than that, now can I?

EJECTORIN
o
p
q

3'%is not quite what we had in m n

I'm afraid that really is our absolute bottom 1. n
With r set,
your terms are simply not
competitive.

The passive sounds less like an accusation (not You

USINGFOREC

promised us ..., but We were fJromised ...).

r
s

Look, g t i g back to price for a moment.

Let's set the issue of discounts to one s d
for the
moment.

COMl\USUNIMIONCAT

II

, -<. -~.

I ..;u;;;..

aean
you give us some i e .of delivery times?
b What k '. n of figure you were thinking of?_
.c We iveni hoping for something a bit c 0 e to

i He;.

c::::::<

BOPRING

Alternatives are preferred to can'tandll'on't.

Suggestions are often phrased as negative questions (e.g.

Wouldn't it be better to ... ?).

. "t'~';)',"'.:>':,",~

:Thefoll?wing negotiation expressions are grouped

;according to their function. Alternate letters are missing
from. keiwords. Complete them. Then rearrange the
headings.

There seems to have been a slight

Illsnesacln'
I think we may be talking at c '0
here.

.. s-p

i
.!