DOCSLIB.ORG

Antonio “La” Reid

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Antonio “La” Reid ICON words DOMINIQUE CARSON L.A. Reid has many titles under his belt: musician, songwriter, record producer, music executive, former music judge, and now chairman and CEO of Epic Records. The entertainment industry undeniably recognizes his contributions in music, business, and entrepreneurship. The Grammy Award- winning executive has mentored some of the biggest names in music including P!nk, TLC, Toni Braxton, Mariah Carey, Usher, Donnell Jones, and Outkast. His work is commended because he understands the importance of being business ANTONIO savvy, turning a prospective artist’s dream into a reality, and composing and recording material that will leave the world stunned. L.A Reid turned his life- long passion of music into a business empire emulated by aspiring business men. But achievements didn’t come automatically--he took risks, embraced his humble beginnings as an artist, believed in his former record label, and wasn’t afraid of “LA” REID change and the process of evolution. Reid’s musical debut began when he was a member of the R&B band, The Deele, which also included Kenneth “Babyface” Edmonds. The group recorded their groundbreaking hit, “Two Occasions” in the 1980s. Even though the group disbanded before the single was released, it is still considered one of the greatest R&B tracks of all time. The group performs the single occasionally at concerts because it will always be a Top 10 hit for listeners. Fans can sing the lyrics to a significant other when trying to reconcile. After his stint in Deele ended, Reid launched LaFace Records with Babyface in Atlanta, Georgia in 1989. Reid’s professional accomplishments show how he utilized his gifts and talents to help others make names for themselves in the music industry. Already knowing the “ins and outs” of the music business, he reached out to Clive Davis, founder of Arista Records, for funding to start his label. From that point on, Reid and Babyface received mainstream success as executives and LaFace was one of the biggest record labels in the 1990s. Reid handled all of the business affairs and Babyface was a prolific songwriter for their musical acts. Aspiring artists were intrigued by the success and record sales of the artists who were signed to the label at the time. The label had experienced a few stumbling blocks (bankruptcy and lawsuits from Braxton and TLC), but it will always be known for creating memorable moments in R&B history. After a number of business affairs, Reid teamed up with Arista Records and One of became CEO of the label for four years. While there, he sharpened up his expertise as a lead businessman. Under his leadership, artists experienced overnight success. Usher released his diamond selling album, Confessions in 2004, P!nk’s Missundastood sold five million records, Avril Lavigne’s debut album,Let Go sold Music’s Biggest six million records and Outkast’s Grammy Award-winning album Speakerboxx/ The Love Below sold 10 million records. Unfortunately, Reid was released from his contract in 2004. But one failed professional endeavor didn’t stop him from helping other artists regain their prominence. Eventually, he became Chairman and CEO of Island Def Jam Music Group. During his time at Island Def Jam, Innovators Mariah released her multi-platinum selling album, The Emancipation of Mimi and was responsible for other artists’ success including Rihanna, Jay-Z, Ne-Yo, and former teen sensation, Justin Bieber. As Chairman and CEO of Epic Records, Reid is embarking on a new journey in his life as he discovers up and coming artists for the near future. Reid mentioned his future musical endeavors with journalist Roy Trakin: “My greatest joy is in seeing an unknown become somebody. By taking this Epic job, I needed to do that again. Doug [Morris] told me there’s a place for people like me… it’s called the insane asylum.” As the music industry continues to evolve, there will always be unfinished business for Reid. He knows consumers are waiting to hear about his next move or what musical act he will place on the scene. Indeed, we shall see. Issue 37 95.
Load more

Recommended publications
  • Responsibilities of the Music Executive
    Chapter II Responsibilities of the Music Executive Frederick Miller, Dean Emeritus School of Music, DePaul University Administrative Organization in Academia In virtually all academic institutions, ultimate authority rests with a governing board, that is, trustees, regents, whatever. As a practical matter, much of the board’s authority is delegated to the president, who retains as much as he or she needs to do the job and passes along the rest to the next person in the institutional chain of command, typically the provost. That person, in turn, keeps what is needed for that office and gives the rest to the deans and department chairs in this downward flow of authority in academia. Whatever title the music executive may hold—dean, chair, and so on—the position will typically be thought of as “middle management.” Others in the academic hierarchy— president, provost, vice presidents—are seen as “upper management,” and as some cynics might view it, hardly anyone is lower than a dean. However accurate this may be, mid-level administrative positions in higher education possess an unmistakable fragility. It stems from the fact that while we may be tenured in our faculty positions, at some professorial rank, we are not tenured in our administrative positions. We are positioned in the hierarchy between faculty, many or most of whom are tenured in their roles, and the upper administration, who typically are less subject to periodic, formal review. We spend much of our time in adversarial relationships with one of these groups on behalf of the other. That is, we may be pressing the upper administration on behalf of some faculty need.
    [Show full text]
  • To Download a PDF of a Letter from Clive Davis, Chief Creative Officer, Sony
    Letters From Leaders Life doesn’t just go up, up and up. We all have to confront and deal with adversity at different times in our life. Determination to get through it is very important as is belief that you will get through it. I faced my toughest challenge in my life when both my parents passed away, within a year of each other, when I was 18. I had to leave my home in Brooklyn during my sophomore year at N.Y.U and go to live with my sister, her husband and their one-year-old daughter in Bayside, Queens. Because of them and an active support group of friends at N.Y.U – where I became President of the college’s Student Council – I didn’t face my loneliness and feelings of being an “orphan” until I was living alone at Harvard Law School a few years later. Given I had a lifetime aggregate sum of $4,000 to my name, I was dependent on a full tuition scholarship which I would lose if I didn’t maintain at least a “B” average. With no one from my support group present to help me get through this period of deep anxiety, I turned to the law school’s psychiatrist for a year to help get me through this dark transitional period. During this time, I learned a critical life lesson: it is certainly no sign of weakness to get professional help when needed. My next major life turning point occurred in the year 1960. I was an associate at the law fi rm of Rosenman, Colin, Petschek and Freund servicing clients such as CBS, CBS founder William Paley and other major corporations.
    [Show full text]
  • AP1 Companies Affiliates
    AP1 COMPANIES & AFFILIATES 100% RECORDS BIG MUSIC CONNOISSEUR 130701 LTD INTERNATIONAL COLLECTIONS 3 BEAT LABEL BLAIRHILL MEDIA LTD (FIRST NIGHT RECORDS) MANAGEMENT LTD BLIX STREET RECORDS COOKING VINYL LTD A&G PRODUCTIONS LTD (TOON COOL RECORDS) LTD BLUEPRINT RECORDING CR2 RECORDS ABSOLUTE MARKETING CORP CREATION RECORDS INTERNATIONAL LTD BOROUGH MUSIC LTD CREOLE RECORDS ABSOLUTE MARKETING BRAVOUR LTD CUMBANCHA LTD & DISTRIBUTION LTD BREAKBEAT KAOS CURB RECORDS LTD ACE RECORDS LTD BROWNSWOOD D RECORDS LTD (BEAT GOES PUBLIC, BIG RECORDINGS DE ANGELIS RECORDS BEAT, BLUE HORIZON, BUZZIN FLY RECORDS LTD BLUESVILLE, BOPLICITY, CARLTON VIDEO DEAGOSTINI CHISWICK, CONTEMPARY, DEATH IN VEGAS FANTASY, GALAXY, CEEDEE MAIL T/A GLOBESTYLE, JAZZLAND, ANGEL AIR RECS DECLAN COLGAN KENT, MILESTONE, NEW JAZZ, CENTURY MEDIA MUSIC ORIGINAL BLUES, BLUES (PONEGYRIC, DGM) CLASSICS, PABLO, PRESTIGE, CHAMPION RECORDS DEEPER SUBSTANCE (CHEEKY MUSIC, BADBOY, RIVERSIDE, SOUTHBOUND, RECORDS LTD SPECIALTY, STAX) MADHOUSE ) ADA GLOBAL LTD CHANDOS RECORDS DEFECTED RECORDS LTD ADVENTURE RECORDS LTD (2 FOR 1 BEAR ESSENTIALS, (ITH, FLUENTIAL) AIM LTD T/A INDEPENDENTS BRASS, CHACONNE, DELPHIAN RECORDS LTD DAY RECORDINGS COLLECT, FLYBACK, DELTA LEISURE GROPU PLC AIR MUSIC AND MEDIA HISTORIC, SACD) DEMON MUSIC GROUP AIR RECORDINGS LTD CHANNEL FOUR LTD ALBERT PRODUCTIONS TELEVISON (IMP RECORDS) ALL AROUND THE CHAPTER ONE DEUX-ELLES WORLD PRODUCTIONS RECORDS LTD DHARMA RECORDS LTD LTD CHEMIKAL- DISTINCTIVE RECORDS AMG LTD UNDERGROUND LTD (BETTER THE DEVIL) RECORDS DISKY COMMUNICATIONS
    [Show full text]
  • Adult Contemporary Radio at the End of the Twentieth Century
    University of Kentucky UKnowledge Theses and Dissertations--Music Music 2019 Gender, Politics, Market Segmentation, and Taste: Adult Contemporary Radio at the End of the Twentieth Century Saesha Senger University of Kentucky, [email protected] Digital Object Identifier: https://doi.org/10.13023/etd.2020.011 Right click to open a feedback form in a new tab to let us know how this document benefits ou.y Recommended Citation Senger, Saesha, "Gender, Politics, Market Segmentation, and Taste: Adult Contemporary Radio at the End of the Twentieth Century" (2019). Theses and Dissertations--Music. 150. https://uknowledge.uky.edu/music_etds/150 This Doctoral Dissertation is brought to you for free and open access by the Music at UKnowledge. It has been accepted for inclusion in Theses and Dissertations--Music by an authorized administrator of UKnowledge. For more information, please contact [email protected]. STUDENT AGREEMENT: I represent that my thesis or dissertation and abstract are my original work. Proper attribution has been given to all outside sources. I understand that I am solely responsible for obtaining any needed copyright permissions. I have obtained needed written permission statement(s) from the owner(s) of each third-party copyrighted matter to be included in my work, allowing electronic distribution (if such use is not permitted by the fair use doctrine) which will be submitted to UKnowledge as Additional File. I hereby grant to The University of Kentucky and its agents the irrevocable, non-exclusive, and royalty-free license to archive and make accessible my work in whole or in part in all forms of media, now or hereafter known.
    [Show full text]
  • Panelists Biographies
    Public Workshop on Competition in Licensing Music Public Performance Rights July 28-29, 2020 Panelist Biographies July 28, 2020 Session 1: Remarks from Stakeholders on the Consent Decrees David Israelite, President and CEO, National Music Publishers’ Association (NMPA) David Mark Israelite is the President and Chief Executive Officer of the National Music Publishers’ Association. The National Music Publishers' Association (NMPA) is the premier trade association representing American music publishers and their songwriter partners. The NMPA's mandate is to protect and advance the interests of music publishers and their songwriter partners in matters relating to the domestic and global protection of music copyrights. From 2001 through 2005, Israelite served as Deputy Chief of Staff and Counselor to the Attorney General of the United States. In this capacity he served as the Attorney General’s personal advisor on all legal, strategic and public affairs issues. In March of 2004, the Attorney General appointed Israelite Chairman of the Department’s Task Force on Intellectual Property. Prior to joining the Department of Justice, he served as the Director of Political and Governmental Affairs for the Republican National Committee. In that role he was the senior advisor to the Chairman of the National Republican Party. From 1997 through 1998, he served as Missouri Senator Kit Bond’s Administrative Assistant, making him the youngest AA in the United States Senate. He also served as Campaign Manager for Senator Bond’s successful 1998 re-election campaign. From 1994 through 1997, Israelite practiced law in the Commercial Litigation Department at the firm of Bryan Cave, LLP in Kansas City, Missouri.
    [Show full text]
  • Top 40 Singles Top 40 Albums
    04 July 2005 CHART #1467 Top 40 Singles Top 40 Albums Lonely If There's Any Justice In Your Honor Never Gone 1 Akon 21 Lemar 1 Foo Fighters 21 Backstreet Boys Last week 1 / 8 weeks Gold x1 / Universal Last week 28 / 4 weeks SBME Last week 1 / 3 weeks Platinum x1 / SBME Last week 22 / 2 weeks SBME Don't Phunk With My Heart Beautiful Soul X&Y The Emancipation Of Mimi 2 Black Eyed Peas 22 Jesse McCartney 2 Coldplay 22 Mariah Carey Last week 2 / 8 weeks Gold x1 / Universal Last week 18 / 17 weeks Gold x1 / Hollywood/FMR Last week 2 / 4 weeks Platinum x2 / Capitol/EMI Last week 23 / 6 weeks Gold x1 / Universal Das Kleine Krokodil Yours Truly Available Light The Sound Inside 3 Schnappi 23 Blindspott 3 Dave Dobbyn 23 Breaks Co-Op Last week 4 / 11 weeks Gold x1 / Universal Last week 19 / 12 weeks Capitol/EMI Last week 3 / 3 weeks Platinum x1 / SBME Last week 19 / 15 weeks Platinum x1 / Capitol/EMI Feel Good Inc Dakota War Of The Worlds Songs About Jane 4 Gorillaz 24 Stereophonics 4 Jeff Wayne 24 Maroon 5 Last week 5 / 5 weeks Capitol/EMI Last week 20 / 4 weeks V2/FMR Last week 0 / 60 weeks Platinum x13 / SBME Last week 21 / 58 weeks Platinum x5 / SBME Hollaback Girl Since U Been Gone In Between Dreams The Future Embrace 5 Gwen Stefani 25 Kelly Clarkson 5 Jack Johnson 25 Billy Corgan Last week 3 / 5 weeks Universal Last week 22 / 16 weeks SBME Last week 6 / 18 weeks Platinum x3 / Universal Last week 0 / 1 weeks WEA/Warner Switch Hold You Down Monkey Business The Documentary 6 Will Smith 26 Jennifer Lopez 6 Black Eyed Peas 26 The Game Last week 8 / 14 weeks Gold x1 / Universal Last week 21 / 6 weeks SBME Last week 4 / 5 weeks Platinum x1 / Universal Last week 28 / 22 weeks Platinum x1 / Universal Behind These Hazel Eyes Rich Girl Mezmerize Karma And Effect 7 Kelly Clarkson 27 Gwen Stefani feat.
    [Show full text]
  • The Top Dance Songs of 1988
    THE TOP DANCE SONGS OF 1988 1. TOGETHER FOREVER/NEVER GONNA GIVE YOU UP - Rick Astley (RCA) 51. GET OUTTA MY DREAMS, GET INTO MY CAR - Billy Ocean (Jive/Arista) 2. JUST GOT PAID-Johnny Kemp (Columbia) 52. LOVE WILL SAVE THE DAY - Whitney Houston (Arista) 3. IT TAKES TWO - Rob Base & D.J. E-Z Rock (Profile) 53. BIG FUN - Inner City (Virgin) 4. BREAK 4 LOVE - Raze (Columbia) 54. THE ONLY WAY IS UP - Yazz and the Plastic Population (Elektra) 5. PUMP UP THE VOLUME - M/A/R/R/S (4th & B'way) 55. SWEET CHILD O MINE - Guns & Roses (Geffen) 6. BOY, I'VE BEEN TOLD - Sa-Fire (Cutting/Mercury) 56. TEARS MAY FALL - TKA (Tommy Boy) 7. SPRING LOVE -Stevie B. (LMR) 57. LATIN LOVE - Trilogy (Prism) 8. SAYIN' SORRY - Denise Lopez (Vendetta) 58. WHEN EVER YOU NEED SOMEBODY - Rick Astley (RCA) 9. WHAT'S ON YOUR MIND - Information Society (Tommy Boy) 59. FANTASY GIRL - Johnny O (Mic Mac) 10. NAUGHTY GIRLS/I WANNA HAVE SOME FUN - Samantha Fox (Jive/RCA) 60. SIMPLY IRRESISTIBLE - Robert Palmer (EMI/Manhattan) 11. PROVE YOUR LOVE/TELL IT TO MY HEART - Taylor Dayne (Arista) 61. JUST A MIRAGE/JINGO-Jellybean (Chrysalis) 12. THE LOCO-MOTION - Kylie Minogue (Geffen) 62. WHAT HAVE I DONE TO DESERVE THIS? - Pet Shop Boys & Dusty Springfield (EMI/Manhattan) 13. PINK CADILLAC - Natalie Cole (EMI/Manhattan) 63. DREAMIN' OF LOVE - Stevie B (LMR) 14. PUSH IT - Salt-N-Pepa (Next Plateau) 64. DOMINO DANCING - Pet Shop Boys (EMI/Manhattan) 15. PARTY PEOPLE - Royal House (Idlers) 65.
    [Show full text]
  • JSON - Fetch in an Class - Querying REST Apis - Form Submission
    CS193X: Web Programming Fundamentals Spring 2017 Victoria Kirst ([email protected]) Schedule Today: - Fetch - JSON - Fetch in an class - Querying REST APIs - Form submission - HW4 out! GitHub repo for today's lecture examples: https://github.com/yayinternet/lecture17 / live Loading data from files Loading data from a file What if you had a list of URLs in a text file that you wanted to load as images in your web page? Fetch API Fetch API fetch(): Function to load resources in JavaScript fetch(pathToResource) .then(onResponse) .then(onResourceReady); onResponse: ● Return response.text() from this function to get the resource as a string in onResourceReady onResourceReady: ● Gets the resource as a parameter when it's ready Fetch API function onTextReady(text) { // do something with text } function onResponse(response) { return response.text(); } fetch('images.txt') .then(onResponse) .then(onTextReady); Completed example function onTextReady(text) { const urls = text.split('\n'); for (const url of urls) { const image = document.createElement('img'); image.src = url; document.body.append(image); } } function onResponse(response) { return response.text(); } fetch('images.txt') .then(onResponse) .then(onTextReady); Completed example function onTextReady(text) { const urls = text.split('\n'); for (const url of urls) { const image = new Image(); image.src = url; document.body.append(image); } Live example / } GitHub function onResponse(response) { return response.text(); } fetch('images.txt') .then(onResponse) .then(onTextReady); fetch() limitations ● You cannot fetch a resource that is hosted on file:// ○ You must serve your resource over HTTP / HTTPS Serve over HTTP We can run a program to serve our local files over HTTP: $ python -m SimpleHTTPServer Serving HTTP on 0.0.0.0 port 8000 ..
    [Show full text]
  • Stony Brook Juniors and Seniors and Civility at Stony Brook
    zorKaR oyDF OOK . October 19, 1993 ONE NATION Volume 28, Number 2 - I CRISIS IN SOMALIA The political and socio-eco- Colonialism was a factor which nomic crisis in Somalia has brought created problems at the time of inde- world-wide attention to that corner of THE HORN OF AFRICA pendence (1960). The northern sec- the world, the horn of Africa. For the tion was part of the British empire past year, the public has been bom- Somall ethnic limits (Somaliland) and the southern section barded with images and mass informa- ........ International frontiers was part of the Italian imperial system tion being relayed by news correspon- con- -..............-Annroximate boundaries of (Italian Somaliland); the French dents. What the televised media has trolled what is now present day Djibouti failed to do, however, is to provide an (French Somaliland). When the Brit- adequate background and assessment ish and Italian sections became the of the situation in order for the viewer new independent Somalia, it brought to have a clearer point of view. The many problems with it. There was a problems of Somalia did not begin with question of which type of political sys- the outbreak of civil war in 1991, nor tern to use, having two different colo- when the cameras of various television nial legacies of government, and which stations began its coverage. language shouldbe made official(Brit- First, to understand why there ish , Italian or Somali). Also, the new is political instability, one must under- state only comprised two sections of stand the importance of clan affilia- Somali habitation and the other three tions within the context of various other sections where Somalis also inhabited factors: colonial legacies, problems of were alienated: Northern Frontier Dis- post-independence and the cold war.
    [Show full text]
  • Deborah Roberts: the Evolution of Mimi Rebecca Dimling Cochran March 2019
    Art Papers Deborah Roberts: The Evolution of Mimi Rebecca Dimling Cochran March 2019 Deborah Roberts: The Evolution of Mimi Spelman College Museum of Fine Art, Atlanta Deborah Roberts, “The Guard,” 2017, mixed-media and found photocollage on paper, 30 x 22 inches [courtesy of the artist and Fort Gansevoort] The sharp angles, contrasting patterns and colors, and outsized body parts in Deborah Roberts’ collages of young girls are a telling metaphor for the challenges encountered by young black women as they strive to define their identity. In more than 50 collages, paintings, and hand-painted seriographs brought together for The Evolution of Mimi at the Spelman College Museum of Fine Art [January 25, 2018 – May 19, 2018], Roberts simultaneously reflects the strength and resilience as well as vulnerability and insecurity of her subjects. This multiplicity is typified by the exhibition’s title, which is a riff on Roberts’ collage series The Miseducation of Mimi—a confluence of Lauryn Hill’s album “The Miseducation of Lauryn Hill” and Mariah Carey’s album “The Emancipation of Mimi.” Both popular in Roberts’ younger days, Hill typified the proud, black, unapologetic artist while Carey represented the pop culture mainstream. Together they characterize the decision faced during this adolescent period of how to balance the pressure to conform to social constructs and the need to assert individuality. Robert’s early collages began as a very personal investigation. One of eight children, Roberts often felt overlooked or not fully recognized growing up. In works like The Miseducation of Mimi (2011), Roberts conveys those feelings of anonymity by obscuring a photograph of herself as a young girl with paint and mixed media Art Papers Deborah Roberts: The Evolution of Mimi Rebecca Dimling Cochran March 2019 techniques.
    [Show full text]
  • Babyface - a Collection of His Greatest Hits
    Babyface - A Collection of His Greatest Hits Product Aspects Sales Get ranking: #13399 in Songs Revealed upon: 2000-11-14 History: NR (Never Graded) Range of dvds: Just one Number of products: A person Length and width: .Fifty m back button 5.80 watts y 5 various.Double zero d,.21 excess fat Babyface: An accumulation of Their Greatest Traffic is among the most greatest ideal traffic collections Concerning purchased. He / she contains great traffic which include With the Great Within your, It is not Crime, Whip Charm, When May i Assist you to Once more, Through the The actual Mate Within your, Modify the Planet, and in what ways Appear How much time. Moreover a great many others. The actual album goes very well, and it is a great concept album I'm able to keep in doing my Compact disc competitor, devoid of to exchange tracks. This particular lp testifies which Babyface has become the ideal performers/songwriters Previously. Your album has new music through numerous periods of time with R&M, and also Babyface's popular music explained those people. The brand new rails on here i will discuss fantastic, in addition to Grounds for Deep breathing should be one among definitely the melodies these days. You should shop for this unique Mp3 right away, due to the fact Babyface is deserving of a great deal more honor as compared with he / she gets for a lot of his efforts plus creativity! That individual is so good you don't see any phrases to spell it out the pup.
    [Show full text]
  • How to Use Inclusion Riders to Increase Gender Diversity in the Music Industry
    Seton Hall University eRepository @ Seton Hall Law School Student Scholarship Seton Hall Law 2019 Can't Hold Us Down”1: How to Use Inclusion Riders to Increase Gender Diversity in the Music Industry Laura Kozel Follow this and additional works at: https://scholarship.shu.edu/student_scholarship Part of the Law Commons Recommended Citation Kozel, Laura, "Can't Hold Us Down”1: How to Use Inclusion Riders to Increase Gender Diversity in the Music Industry" (2019). Law School Student Scholarship. 1019. https://scholarship.shu.edu/student_scholarship/1019 ABSTRACT Despite improvements in female visibility and a number of movements pushing for equality in recent years, gender imbalance continues to plague the world of entertainment. While strides have been made to achieve parity in the film industry, little progress has been made to achieve the same in music where the disproportionality of females is even worse. Females are chronically underrepresented across virtually all aspects of music, both on-stage and off-stage, whether it be as musicians or as executives, which subsequently effects the amount of nominations, as well as awards that females in music receive. The implementation of inclusion riders in Hollywood has demonstrably improved female representation in popular films, but until now inclusion riders have not been applied to the music industry. This paper explores the application of inclusion riders to the music industry in order to remedy a long-standing history of female exclusion, as well as increase visibility for the vast number of talented females in the music industry that deserve the same opportunities and recognition, but until now have remained invisible.
    [Show full text]