Pine Mountain Music Festival Records MS-892 This Finding Aid Was Produced Using Archivesspace on June 04, 2021
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Great Britain's Best Sellers States Again in February with Dates in New York, Los Angeles, Detroit and Philadelphia
,,..... man 4/Y\m.\ out rrw:,\ r wu HUM CaehBox CashBox France Urn \I Z=iin eMUMi `siir Great Britain WWI/ \\vm Tiffuawm roni The Rolling Stones will produce and star in a major TV program to be 2 months before its opening, MIDEM 1969 is beating all records. To date, called "The Rolling Stones Rock 'n' Roll Show" which will be distributed on a about 30 offices are left in the Hotel Martinez. 2,500 participants are already global basis. It is the group's first small -screen spectacular and filming will attending MIDEM. This number represents 2/3's of last year's participation. be Michael Lindsay -Hogg who was connected with the now defunct independent MIDEM expects an increase of 25 to 30%, i.e. 4,000 to 4,500 participants. At TV series "Ready Steady Go" and also directed the Stones in their "Jumping this moment, delegates from the technical department are in Cannes studying Jack Flash" TV movie. Already booked as guests are Traffic, American blues the best way to adapt the Martinez to the expected rush. The participants singer -guitarist Taj Mahal and Indian swamp music specialist Dr. John. The will discover with the greatest pleasure that Bernard Chevry has organized long delayed "Beggar's Banquet" LP by the Rolling Stones was finally re- in the Martinez a very important and up-to-date telephone installation. An leased November 22nd by Decca with revised artwork. exchange located at each level will enable the MIDEM participants to obtain Latest Board of Trade figures just released show that total sales of gramo- without any delay long distance and local calls. -
Gerry Mulligan Discography
GERRY MULLIGAN DISCOGRAPHY GERRY MULLIGAN RECORDINGS, CONCERTS AND WHEREABOUTS by Gérard Dugelay, France and Kenneth Hallqvist, Sweden January 2011 Gerry Mulligan DISCOGRAPHY - Recordings, Concerts and Whereabouts by Gérard Dugelay & Kenneth Hallqvist - page No. 1 PREFACE BY GERARD DUGELAY I fell in love when I was younger I was a young jazz fan, when I discovered the music of Gerry Mulligan through a birthday gift from my father. This album was “Gerry Mulligan & Astor Piazzolla”. But it was through “Song for Strayhorn” (Carnegie Hall concert CTI album) I fell in love with the music of Gerry Mulligan. My impressions were: “How great this man is to be able to compose so nicely!, to improvise so marvellously! and to give us such feelings!” Step by step my interest for the music increased I bought regularly his albums and I became crazy from the Concert Jazz Band LPs. Then I appreciated the pianoless Quartets with Bob Brookmeyer (The Pleyel Concerts, which are easily available in France) and with Chet Baker. Just married with Danielle, I spent some days of our honey moon at Antwerp (Belgium) and I had the chance to see the Gerry Mulligan Orchestra in concert. After the concert my wife said: “During some songs I had lost you, you were with the music of Gerry Mulligan!!!” During these 30 years of travel in the music of Jeru, I bought many bootleg albums. One was very important, because it gave me a new direction in my passion: the discographical part. This was the album “Gerry Mulligan – Vol. 2, Live in Stockholm, May 1957”. -
Journal of the Music & Entertainment Industry Educators Association
Journal of the Music & Entertainment Industry Educators Association Volume 18, Number 1 (2018) Bruce Ronkin, Editor Northeastern University Paul Linden, Associate Editor Butler University Ben O’Hara, Associate Editor (Book Reviews) Australian College of the Arts Published with Support from The Journal of the Music & Entertainment Industry Educators As- sociation (the MEIEA Journal) is published annually by MEIEA in order to increase public awareness of the music and entertainment industry and to foster music and entertainment business research and education. The MEIEA Journal provides a scholarly analysis of technological, legal, historical, educational, and business trends within the music and entertainment industries and is designed as a resource for anyone currently involved or interested in these industries. Topics include issues that affect music and entertainment industry education and the music and entertain- ment industry such as curriculum design, pedagogy, technological innova- tion, intellectual property matters, industry-related legislation, arts admin- istration, industry analysis, and historical perspectives. Ideas and opinions expressed in the Journal of the Music & Enter- tainment Industry Educators Association do not necessarily reflect those of MEIEA. MEIEA disclaims responsibility for statements of fact or opin- ions expressed in individual contributions. Permission for reprint or reproduction must be obtained in writing and the proper credit line given. Music & Entertainment Industry Educators Association 1900 Belmont Boulevard Nashville, TN 37212 U.S.A. www.meiea.org The MEIEA Journal (ISSN: 1559-7334) © Copyright 2018 Music & Entertainment Industry Educators Association All rights reserved Editorial Advisory Board Bruce Ronkin, Editor, Northeastern University Paul Linden, Associate Editor, Butler University Ben O’Hara, Associate Editor, Australian College of the Arts (Collarts) Timothy Channell, Radford University Mark J. -
WARNER BROS. / WEA RECORDS 1970 to 1982
AUSTRALIAN RECORD LABELS WARNER BROS. / WEA RECORDS 1970 to 1982 COMPILED BY MICHAEL DE LOOPER © BIG THREE PUBLICATIONS, APRIL 2019 WARNER BROS. / WEA RECORDS, 1970–1982 A BRIEF WARNER BROS. / WEA HISTORY WIKIPEDIA TELLS US THAT... WEA’S ROOTS DATE BACK TO THE FOUNDING OF WARNER BROS. RECORDS IN 1958 AS A DIVISION OF WARNER BROS. PICTURES. IN 1963, WARNER BROS. RECORDS PURCHASED FRANK SINATRA’S REPRISE RECORDS. AFTER WARNER BROS. WAS SOLD TO SEVEN ARTS PRODUCTIONS IN 1967 (FORMING WARNER BROS.-SEVEN ARTS), IT PURCHASED ATLANTIC RECORDS AS WELL AS ITS SUBSIDIARY ATCO RECORDS. IN 1969, THE WARNER BROS.-SEVEN ARTS COMPANY WAS SOLD TO THE KINNEY NATIONAL COMPANY. KINNEY MUSIC INTERNATIONAL (LATER CHANGING ITS NAME TO WARNER COMMUNICATIONS) COMBINED THE OPERATIONS OF ALL OF ITS RECORD LABELS, AND KINNEY CEO STEVE ROSS LED THE GROUP THROUGH ITS MOST SUCCESSFUL PERIOD, UNTIL HIS DEATH IN 1994. IN 1969, ELEKTRA RECORDS BOSS JAC HOLZMAN APPROACHED ATLANTIC'S JERRY WEXLER TO SET UP A JOINT DISTRIBUTION NETWORK FOR WARNER, ELEKTRA, AND ATLANTIC. ATLANTIC RECORDS ALSO AGREED TO ASSIST WARNER BROS. IN ESTABLISHING OVERSEAS DIVISIONS, BUT RIVALRY WAS STILL A FACTOR —WHEN WARNER EXECUTIVE PHIL ROSE ARRIVED IN AUSTRALIA TO BEGIN SETTING UP AN AUSTRALIAN SUBSIDIARY, HE DISCOVERED THAT ONLY ONE WEEK EARLIER ATLANTIC HAD SIGNED A NEW FOUR-YEAR DISTRIBUTION DEAL WITH FESTIVAL RECORDS. IN MARCH 1972, KINNEY MUSIC INTERNATIONAL WAS RENAMED WEA MUSIC INTERNATIONAL. DURING THE 1970S, THE WARNER GROUP BUILT UP A COMMANDING POSITION IN THE MUSIC INDUSTRY. IN 1970, IT BOUGHT ELEKTRA (FOUNDED BY HOLZMAN IN 1950) FOR $10 MILLION, ALONG WITH THE BUDGET CLASSICAL MUSIC LABEL NONESUCH RECORDS. -
The Festival Records Story by Brendan Hancock and Matthew J Schelle
The Festival Records Story by Brendan Hancock and Matthew J Schelle Introduction John, Peter Allen and The Bee Gees. After decades at the top of the Music And it was also Festival Records, which Industry in Australia, Festival Records was instrumental in shaping the (now Festival Mushroom Records, after Australian Rock and Roll scene. a recent merger with the Mushroom With what was initially a simple label), are now celebrating their 50th investment from a group of old war anniversary. It’s hard to believe that an buddies working together, the label independent label such as Fcestival, went through ups and downs, but the which had an inconspicuous beginning company always bounced back, due to as a high risk-fast gain investment the combination of off-beat thinking opportunity, has steered its way past and sheer luck. numerous obstacles to become Although the Festival Records story Australia’s biggest ever independent does go beyond the years of 1977, it’s record label. It was Festival Records the early days that the real story, the which took the chances and as such, it real magic took place. From the people was Festival Records which was working behind the scenes to the artists Festival’s ‘REX’ label was created to house the best of the new young artist responsible in launching the careers of themselves, the following will give you who had joined the Festival Records countless Australian Artists such as enough information to understand how and why the famous label became what Family. The brain child of L. J Hooker. Johnny O’Keefe, Col Joye, Dig It produced hits from Noeline Batley, it is today. -
Music Business and the Experience Economy the Australasian Case Music Business and the Experience Economy
Peter Tschmuck Philip L. Pearce Steven Campbell Editors Music Business and the Experience Economy The Australasian Case Music Business and the Experience Economy . Peter Tschmuck • Philip L. Pearce • Steven Campbell Editors Music Business and the Experience Economy The Australasian Case Editors Peter Tschmuck Philip L. Pearce Institute for Cultural Management and School of Business Cultural Studies James Cook University Townsville University of Music and Townsville, Queensland Performing Arts Vienna Australia Vienna, Austria Steven Campbell School of Creative Arts James Cook University Townsville Townsville, Queensland Australia ISBN 978-3-642-27897-6 ISBN 978-3-642-27898-3 (eBook) DOI 10.1007/978-3-642-27898-3 Springer Heidelberg New York Dordrecht London Library of Congress Control Number: 2013936544 # Springer-Verlag Berlin Heidelberg 2013 This work is subject to copyright. All rights are reserved by the Publisher, whether the whole or part of the material is concerned, specifically the rights of translation, reprinting, reuse of illustrations, recitation, broadcasting, reproduction on microfilms or in any other physical way, and transmission or information storage and retrieval, electronic adaptation, computer software, or by similar or dissimilar methodology now known or hereafter developed. Exempted from this legal reservation are brief excerpts in connection with reviews or scholarly analysis or material supplied specifically for the purpose of being entered and executed on a computer system, for exclusive use by the purchaser of the work. Duplication of this publication or parts thereof is permitted only under the provisions of the Copyright Law of the Publisher’s location, in its current version, and permission for use must always be obtained from Springer. -
ARIA Licensors
ARIA Licensors Licensing Copyright Owners BMG AUSTRALIA LIMITED 194 Miller Street, North Sydney NSW 2060 COLOSSAL RECORDS OF AUSTRALIA PTY LTD 14-16 Wilson Avenue, Brunswick VIC 3056 EMI MUSIC (AUSTRALIA) PTY LTD 98-100 Glover Street, Cremorne NSW 2090 * FESTIVAL RECORDS PTY LTD 235 Pyrmont Street, Pyrmont NSW 2009 * MUSHROOM DISTRIBUTION SERVICES PTY LTD 55 Danks Street, Port Melbourne VIC 3207 JANDA RECORDS (AUST) PTY LTD 2/17 Tennyson Road, Mortlake NSW 2137 LARRIKIN ENTERTAINMENT PTY LTD 235 Pyrmont Street, Pyrmont NSW 2009 SHOCK RECORDS PTY LTD 200 Beavers Road, Northcote VIC 3070 SONY MUSIC ENTERTAINMENT (AUSTRALIA) LTD 11 Hargrave Street, East Sydney NSW 2010 UNIVERSAL MUSIC AUSTRALIA LIMITED 3 Munn Reserve, Millers Point NSW 2000 WARNER MUSIC AUSTRALIA PTY LTD 39-47 Albany Street, Crows Nest NSW 2065 * Trading as Festival Mushroom Records Please note that the following sound recordings are expressly excluded from this Agreement: AC/DC: and EMI Music owned or controlled sound recordings by the Beatles (and solo members), Queen (and solo members) and Rolling Stones (and solo members). ARIA Labels Licensing Copyright Owner Labels 1500 Records (Universal) Alligator (Shock) 415 Records (Sony) Almo Sounds (Universal) 4AD (Shock) Alternative Tentacles (Shock) 4TH & Broadway (Universal) Amadeo (Universal) 510 Records (Universal) Ambient Sound (Shock) 550 Music (Sony) American Clave (Shock) A Star Academy (Zomba) American Decca Jazz (Universal) A&E Records Ltd (FMR) American Explorer (Warner) A&M (Universal) Anchor & Hope (Shock) A&M Records -
Marlboro Music School and Festival Records Ms
Marlboro Music School and Festival records Ms. Coll. 950 Finding aid prepared by Marissa Hendriks. Last updated on May 15, 2020. University of Pennsylvania, Kislak Center for Special Collections, Rare Books and Manuscripts 2015 June 25 Marlboro Music School and Festival records Table of Contents Summary Information....................................................................................................................................3 Biography/History..........................................................................................................................................4 Scope and Contents....................................................................................................................................... 5 Administrative Information........................................................................................................................... 7 Related Materials........................................................................................................................................... 7 Controlled Access Headings..........................................................................................................................8 Collection Inventory.................................................................................................................................... 10 Series I. Administrative files.................................................................................................................10 Series II. Photographs..........................................................................................................................117 -
PPCA Licensors Phonographic Performance Company of Australia Limited Control of Music on Hold and Public Performance Rights
PPCA Licensors Phonographic Performance Company of Australia Limited Control of Music on Hold and Public Performance Rights 88dB Bowles Production *ABC Music Brian Lord Entertainment ACMEC Bridge, Billy Adams, Clelia Broad Music AGR Television Records Buckley, Russell Aitken, Gregory A. Budimir, Mary Michelle AITP Records Bullbar P/L aJaymusic Bulletproof Records t/a Fighterpilot AJO Services Bulmer, Grant Matthew Allan, Jane Bunza Entertainment International Pty Ltd Aloha Management Pty Ltd Butler Brown P/L t/a The John Butler Trio Alter Ego Promotions Byrne, Craig Alston, Chris Byrne, Janine Alston, Mark *CAAMA Music Amber Records Aust. Pty Ltd. Cameron Bracken Concepts Amphibian *Care Factor Zero Recordz Anamoe Productions Celtic Records Anderson, James Gordon SA 5006 Angelik Central Station Pty Ltd Angell, Matt Charlie Chan Music Pty Ltd Anthem Pty Ltd Chart Records and Publishing Anvil Records Chase Corporation P/L Anvil Lane Records Chatterbox Records P/L Appleseed Cheshire, Kim Armchair Circus Music Chester, John Armchair Productions t/a Artworks Recorded Circle Records Music CJJM Australian Music Promotions Artistocrat P/L Clarke, Denise Pamela Arvidson, Daniel Clifton, Jane Ascension World Music Productions House Coggan, Darren Attar, Lior Col Millington Prodcutions *Australian Music Centre Collins, Andrew James B.E. Cooper Pty Ltd *Colossal Records of Australia Pty Ltd B(if)tek Conlaw (No. 16) Pty Ltd t/a Sundown Records Backtrack Music Coo-ee Music Band Camp Cooper, Jacki Bellbird Music Pty Ltd Coulson, Greg Below Par Records -
How Music Companies Discover, Develop
How music companies discover, develop & promote talent Front Cover: Photographer credits Little Boots Daniel Sannwald Mark Ronson David Hughes Deadmau5 Spiros Politis Coldplay Kevin Tachman Jamie Cullum Deborah Anderson contents 4 Introduction 5 Executive Summary 6 Section 1: The Circle of Investment 10 Section 2: Discovering and Nurturing Talent 16 Section 3: Putting the Release Together 20 Section 4: Marketing and Promotion 27 A Broad Range of Artists 30 Recorded and Live Music Left: Deutsche Grammophon artist Anna Netrebko’s classical music is being brought to new audiences. Esther Haase/DG introduction BY JoHn KennedY & Alison WenHAm We have been fortunate to have had long by the challenges of running a business, which careers in the music industry. Over different requires totally different skills. Artists generally career paths, we have worked with great prefer to leave the complex administration artists and great record labels, and witnessed of a rights based business to someone else. first hand the unique combination of talent and teamwork that best reflects the A few years into the digital revolution, it has music business. now become clear that the internet is by itself no guaranteed route to commercial success. Today, we head organisations that together MySpace has more than 2.5 registered million represent virtually all the record companies hip hop acts, 1.8 million rock acts, 720,000 in the world. These range from the largest pop acts, and 470,000 punk acts. The gulf international major, with a roster of thousands between acclaim and anonymity, where of acts, to the smallest indie with a roster of record labels do their essential work, one or two. -
Narelle Gee Thesis
MAINTAINING OUR RAGE: INSIDE AUSTRALIA’S LONGEST-RUNNING MUSIC VIDEO PROGRAM. By Narelle Gee BA/DipEd (University of NSW) A thesis submitted in fulfilment of the requirements for the degree of Doctor of Philosophy (Creative Industries) School of Media, Entertainment, Creative Arts, Film, Screen and Animation Creative Industries Faculty Queensland University of Technology 2015 Key Words ABC Music Television Alternative Music Music Videos Australian Broadcasting Corporation Popular Music Australian Cultural Industries Production Cultures Australian Television Public Service Broadcasting Creative Labour rage Cultural Production Television Broadcasting Media Culture Television Production Music Industry TV Programs 2 Abstract The thesis, “Maintaining our rage: inside Australia’s longest-running music video program”, takes a reflective and reflexive narrative journey across the decades of rage, from its 1987 creation through to the program’s current incarnation, providing unique insider perspectives and affordances. Australia’s longest-running music video program is also, arguably, the most sustained such program globally (Bodey, 2012; Helper, 2012). Despite its longevity, there has been scarce scholarly analysis of rage, and of what has underpinned its unusual endurance; many music video programs have come and gone during the program’s long-held tenure. How has rage survived the vicissitudes of network programming – particularly within the capricious space of music video programming - and maintained its cultural place and role, for more than a quarter of a century? The significance of this research is that it explores rage’s unusual durability, examines the program’s unique elements, and answers three key research questions: What has been the history of rage as a program and a cultural entity? What has been the cultural significance of rage? How did rage create a shift within the music industry ecology of Australia? This thesis presents an insider’s account of rage, exploring it within its ABC TV and public broadcasting context. -
Women in Music Mentor Program 2020 Advisory Committee
Women In Music Mentor Program 2020 Advisory Committee Ali Tomoana A proud Māori/Samoan woman and Mother, Ali is the Co-Founder/Director of Brisbane-based Indie Record Label and Artist Management agency, Soul Has No Tempo. With a joint passion for cultivating and supporting local music, Ali & her husband Gavin created SHNT as a one-stop-shop for emerging artists to perform, create and release music. Managing breakthrough Australian artist Jordan Rakei through his early development and reloca- tion to London, Ali now proudly represents Ladi6, Tiana Khasi and Ella Haber, along with Melbourne-based singer-songwriter, Laneous, and is inspired daily by the qualities that make each artist unique. As a label, SHNT dive deep into music that pushes the boundaries of Soul, while exploring new methods in which their artists can control their freedom of expression as creators. Anne Wiberg Anne established her own business as a freelance promoter, music programmer and event and project producer in late 2017. Recent clients have included AIR Awards (Australian Independent Records), State Government for the annual Ruby Awards, South Australia’s premier arts awards, Darwin Festival as Music Programmer, Adelaide Festival as Producer of “Picaresque” with Robyn Archer for the 2019 season, Insite Arts, Mercury Cinema, and Adelaide Fringe Festival as content producer in 2018 and Gala Director for the 2020 event. For the past twelve months, she has worked as a consultant for the Adelaide Botanic Gardens and State Herbarium to assist the organisation with developing a public arts program for winter months. As well as starting to promote her own live music events, she also produces programs and talent for private and corporate events.