Title: Label Fandango
Content:  In late 2005, Label Fandango Records, was set up in order to release music from new and up-and-coming bands based in the UK. It began through Andy Macleod and Simon Williams, of Pointy Records and Fierce Panda Records respectively, who together were the creators of London live music promotions company Club Fandango. Williams had previously released the debut singles by Coldplay and Keane. The no-budget record company has a strictly DIY theme to it, with the tag line "No frills, All thrills". Inspired by other indie labels Transgressive, Marquis Cha Cha and Dance To The Radio, it specialises in limited edition seven-inch vinyls, released in a generic black and while sleeve branded with the "Label Fandango" logo. It complements its Fierce Panda parent, who recently ceased producing limited singles to focus on full-length releases. The records are designed to project bands on to further opportunities with more major record labels, examples being Royworld and Air Traffic (who have since signed to Virgin Records and Tiny Consumer of EMI respectively). The label has released 24 limited edition singles to date.
Title: Ministry of Sound
Content:  The Artist & Repertoire division was established in the early 1990s with releases on a 'Sound of Ministry' label imprint. Sound of Ministry was superseded by in-house labels Open, Data, Substance, Smoove and Rulin', which between them released a string of UK and international chart hits. In 2009, the artist labels were consolidated under 'Ministry of Sound Recordings'. The first artist signed was Example, who achieved two UK number 1 records, three top 10s, two top 20s, two gold albums and one platinum number 1 selling album, Playing in the Shadows. Other notable label signings include Wretch 32, DJ Fresh and, 
Title: Festival Records
Content:  vinyl and cassette pressing business was and because of the lack of CD manufacturing facilities for Festival, whose revenue was also dented by the loss of many of the successful independent overseas labels it had formerly distributed, notably Island Records, A&M and Chrysalis; some deals ended due to overseas labels opening local branches, while others were lost when these former independents (e.g. Virgin, Charisma) were taken over by major labels like PolyGram, BMG (Bertelsmann Music Group), Sony Music, Warner Music Group (which would absorb Festival), and EMI. The loss of these overseas labels took a sizeable chunk out of Festival's profits, a 
Title: Festival Records
Content:  deal with Alpert's label A&M Records, who supplied Festival with a stream of top-selling U.S. acts such as the Carpenters. Under the astute direction of long-serving company chairman Alan Hely, Festival quickly rose to become one of the top pop labels in Australasia (although the New Zealand operation was a standalone company with differing ownership and management), and through the late 1960s and early 1970s it rivalled and often surpassed the local market leader EMI. Hely built up a strong roster by cultivating Australian talent and establishing distribution deals with important local independent labels like Spin Records and Clarion Records in the Sixties and Mushroom Records 
Title: Music Kickup
Content:  Music Kickup act as a label cloud service for the artist to use it as their own. Music Kickup handles all contracts, rights management, and industry connections – potentially leaving the artist to concentrate on their art. The cloud label offers them support typical to major labels and specialized tools for creating, collaborating and commercially publishing with global physical and digital distribution. The artist or band can end the contract freely at will. Cutting ties with the cloud label will not involve any fines, and any created content can be taken elsewhere immediately, or in case of recent commercially release, after a short sales curfew.
Title: Festival Records
Content:  a group of prestige Australian independent labels including W.Minc, Half a Cow, Reliant Records, Global Records, and Psy-Harmonics as well as international licences including TVT Records, Walt Disney Records/Hollywood Records/Mammoth Records, Chris Blackwell's Palm Pictures, V2 Records and later on prestigious Australian label Albert Productions, the home of AC/DC Under Grierson and Murdoch's management, Festival bought out Michael Gudinski's controlling 51% share of Mushroom Records in 1999. The two companies were then merged and renamed Festival Mushroom Records (FMR). Several notable industry figures were hired as executives, including Jeremy Fabinyi (former artist manager and ex-head of AMCOS), Paul Dickson, former head 
Title: Actress (musician)
Content:  up for a grant programme run by the PFA (Professional Footballers Association). In 2004, Following his early experiences in music and his subsequent immersion into the London club scene, Actress founded the label Werk Discs (later spelt Werkdiscs from 2012). The label started as a club night and has gone on to discover and release music by widely-talked about artists such as Helena Hauff, disrupt, Zomby, and Cunningham’s own releases. During this early period of Cunningham’s career, he remixed various productions, wrote for the ‘seminal techno imprint Soma Records’ and ‘put out singles and EPs through Prime Numbers and Nonplus.’
Title: Festival Records
Content:  director Jim White, and also thanks in part to its alliance with the Melbourne-based Mushroom Records label and the Sydney-based Regular Records label, whose roster included top selling bands such as Icehouse, Mental As Anything and the Cockroaches (which later evolved into the hugely successful children's act the Wiggles). Both Mushroom and Regular recorded much of the best new Australian music of the time. In the late 1980s change swept through the music industry and vinyl was rapidly supplanted by the new compact disc format which Festival embraced. However it started to lose manufacturing revenue at this point because of how predominant 
Title: Festival Distribution
Content:  Festival Distribution was a Canadian independent record label and music distributor, specializing in folk, blues and world music artists. The company was formed in 1993 when it purchased the music distribution arm of the Vancouver Folk Music Festival. At its zenith, there were over 3,000 titles offered. The distribution company marketed the music from many important Canadian artists including Stan Rogers, Connie Kaldor, Roy Forbes, Kobo Town, and Kiran Ahluwalia. The company's imprint Jericho Beach Music is still active with releases by James Keelaghan, Alpha Yaya Diallo, The Wailin' Jennys, Kim Barlow, e.s.l., Ndidi Onukwulu and Geoff Berner in the active catalogue. Festival was also the Canadian distributor for American and international labels in the genres, including Righteous Babe, Red House, Hightone, Delmark, Waterlily Acoustic, Moment and Music for Little People. The distribution operation closed its doors in 2008 owing to the general downturn in the market for physical CDs.
Title: Fidelity Records
Content:  2003 and by 2004, the two had added We're All Broken and Race The Sun to the label's roster. Because of Fidelity Records' success with The Escape Engine, the label came to be known as one of the most perplexing music industry occurrences of 2003; a small label, started by a 20-something from New Jersey with almost no prior record industry experience, who signed a band for their first release and seemingly from out of nowhere the band is a buzz and appearing on MTV. Although the success was a gift by putting Fidelity on the map, it was just as much a 

Question: Verify the following claims with "True" or "False": I imagined that a musical artist started as a solo singer, plays Festival, Sporting Event and his record label is the Mission Label.
Answer: True