POLYGRAM RECORDS, INC., ET AL. V. LEGACY ENTERTAINMENT GROUP, LLC
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Record Group 6
Special Collections in Performing Arts MUSIC LIBRARY ASSOCIATION ARCHIVES Michelle Smith Performing Arts Library Record Group VI. Notes University of Maryland, College Park, MD Finding Aid by Melissa E. Wertheimer, MLA Archivist, 2018 MUSIC LIBRARY ASSOCIATION ARCHIVES: COLLECTION SUMMARY INFORMATION Finding Aid created with Describing Archives: A Content Standard, 2nd Edition Repository Special Collections in Performing Arts, Michelle Smith Performing Arts Library, Clarice Smith Performing Arts Center, University of Maryland, College Park, MD 20742 Creator Music Library Association Title Music Library Association Archives Date 1931 – 2017 [ongoing] Extent Approximately 300 linear feet of paper records; 5GB of digital materials; sound recordings Languages English with additional documents in French, German, Italian, Portuguese, Russian, and Spanish. Preferred Citation Music Library Association Archives, Special Collections in Performing Arts, University of Maryland, College Park, MD COLLECTION SCOPE & CONTENTS The Music Library Association Archives contains the official records of the Music Library Association (MLA) that document the history, activities, and publications of the organization since its founding in 1931. MLA is the professional association for music libraries and librarianship in the United States with the mission to provide a professional forum for librarians, archivists, and others who support and preserve musical heritage. Formats in the records include manuscripts, financial ledgers, printed publications, sound recordings, oral histories, photographs, scrapbooks, microfilm, realia, born-digital files, musical scores, and artwork. The collection also contains records of select current and former regional chapters, including the Atlantic, Greater New York, Mountain-Plains, and New England Chapters. Records of the California, Midwest, New York State-Ontario, Pacific Northwest, Southeast, and Texas Chapters are housed in repositories within their geographic areas. -
MGM Records Singles
MGM Records Singles MGM Records first burst onto the music scene on March 1, 1947. While their soundtrack (original cast) albums have been their best‐selling LP’s, their popular and country singles competed well with everything that the other labels had to offer. MGM47 This label featured a yellow backdrop with a black horizontal bar across it. M‐G‐M and the lion’s head logo were located at the top center. In October, 1949, all MGM singles came to be pressed through their “Metrolite” process, which allowed for singles that weighed less and might last longer than the earlier, heavier records. When MGM issued its first 45 RPM singles on May 1, 1950 (around single 10680), they created a complementary design for the new format. The lion’s head logo was at the left and M‐G‐M was at the top of the yellow label. The first few singles carried numbers in an 8000 series, but right away MGM began using the prefix of K‐ to designate a 45 RPM record (as opposed to a 78). The matrix numbers were added to the labels beginning at the very end of 1952. The last 78 RPM singles were released in June, 1958, so that Sheb Wooley’s classic, “The Purple People Eater,” was one of the last to be released in the format. Singles that were released during the week of November 16, 1959 marked the last use of this (original) label style. MGM59 The first incarnation of the classic black label began in November, 1959. The rim print indicates that MGM is part of “LOEW’S INCORPORATED.” MGM59m In October, 1960, the rim print was fixed to read that the company was "a division of Metro‐Goldwyn‐Meyer." From that point on, the label backdrop remained untouched until 1968. -
I Am Not Your Negro
Magnolia Pictures and Amazon Studios Velvet Film, Inc., Velvet Film, Artémis Productions, Close Up Films In coproduction with ARTE France, Independent Television Service (ITVS) with funding provided by Corporation for Public Broadcasting (CPB), RTS Radio Télévision Suisse, RTBF (Télévision belge), Shelter Prod With the support of Centre National du Cinéma et de l’Image Animée, MEDIA Programme of the European Union, Sundance Institute Documentary Film Program, National Black Programming Consortium (NBPC), Cinereach, PROCIREP – Société des Producteurs, ANGOA, Taxshelter.be, ING, Tax Shelter Incentive of the Federal Government of Belgium, Cinéforom, Loterie Romande Presents I AM NOT YOUR NEGRO A film by Raoul Peck From the writings of James Baldwin Cast: Samuel L. Jackson 93 minutes Winner Best Documentary – Los Angeles Film Critics Association Winner Best Writing - IDA Creative Recognition Award Four Festival Audience Awards – Toronto, Hamptons, Philadelphia, Chicago Two IDA Documentary Awards Nominations – Including Best Feature Five Cinema Eye Honors Award Nominations – Including Outstanding Achievement in Nonfiction Feature Filmmaking and Direction Best Documentary Nomination – Film Independent Spirit Awards Best Documentary Nomination – Gotham Awards Distributor Contact: Press Contact NY/Nat’l: Press Contact LA/Nat’l: Arianne Ayers Ryan Werner Rene Ridinger George Nicholis Emilie Spiegel Shelby Kimlick Magnolia Pictures Cinetic Media MPRM Communications (212) 924-6701 phone [email protected] [email protected] [email protected] [email protected] [email protected] 49 west 27th street 7th floor new york, ny 10001 tel 212 924 6701 fax 212 924 6742 www.magpictures.com SYNOPSIS In 1979, James Baldwin wrote a letter to his literary agent describing his next project, Remember This House. -
ARSC Journal These Films
Sound Recording Reviews 213 Judy Garland: The Golden Years at M-G-M - The Harvey Girls, The Pirate, Summer Stock. MGMIUA Home Video. ML104869. 5 laser discs, 2 sides in CAV. 7 hours ofprerecordings on analog track; stereo in part; NTSC. Released in 1995. Thoroughbreds Don't Cry and Listen, Darling. MGMIUA Home Video. ML104569. 2 laser discs. 21 minutes ofprerecordings for Listen, Darling on analog track; NTSC. Released in 1994. The Ultimate Oz. MGM/UA Home Video and Turner. ML103990. Includes The Wizard of Oz, ML104755, 2 laser discs, 4 sides in CAV, THX and No-Noise; and The Wonderful Wizard of Oz: The Making of a Movie Classic, ML104756, 1 laser disc, THX. 4 hours 48 minutes of prerecordings on analog and digital tracks; NTSC. Released in 1993. The Wizard of Oz: Original Motion Picture Soundtrack. Rhino Movie Musicfl'urner Classic Movies R2 71964. 2 compact discs. Released in 1995. Meet Me In St. Louis: 50th Anniversary Edition. MGMIUA Home Video and Turner. ML104754. 3 laser discs and 1 compact disc of soundtrack (CD: MGM Records 305123). 4 sides in CAV; remixed from original multi-channel recording mas ters into stereo; 52 minutes of prerecordings on analog track; Includes The Making of an American Classic; NTSC. Released in 1994. CD also available separately on Rhino Movie Musicfl'urner Classic Movies R2 71958. Stereo. Released in 1995. Easter Parade: Original Motion Picture Soundtrack. Rhino Movie Musicfl'urner Classic Movies R2 71960. 1 compact disc. Released in 1995. That's Entertainment/ HI: Deluxe Collector's Edition. MGMIUA Home Video. ML103059. -
Pop / Rock / Commercial Music Wed, 25 Aug 2021 21:09:33 +0000 Page 1
Pop / Rock / Commercial music www.redmoonrecords.com Artist Title ID Format Label Print Catalog N° Condition Price Note 10000 MANIACS The wishing chair 19160 1xLP Elektra Warner GER 960428-1 EX/EX 10,00 € RE 10CC Look hear? 1413 1xLP Warner USA BSK3442 EX+/VG 7,75 € PRO 10CC Live and let live 6546 2xLP Mercury USA SRM28600 EX/EX 18,00 € GF-CC Phonogram 10CC Good morning judge 8602 1x7" Mercury IT 6008025 VG/VG 2,60 € \Don't squeeze me like… Phonogram 10CC Bloody tourists 8975 1xLP Polydor USA PD-1-6161 EX/EX 7,75 € GF 10CC The original soundtrack 30074 1xLP Mercury Back to EU 0600753129586 M-/M- 15,00 € RE GF 180g black 13 ENGINES A blur to me now 1291 1xCD SBK rec. Capitol USA 7777962072 USED 8,00 € Original sticker attached on the cover 13 ENGINES Perpetual motion 6079 1xCD Atlantic EMI CAN 075678256929 USED 8,00 € machine 1910 FRUITGUM Simon says 2486 1xLP Buddah Helidon YU 6.23167AF EX-/VG+ 10,00 € Verty little woc COMPANY 1910 FRUITGUM Simon says-The best of 3541 1xCD Buddha BMG USA 886972424422 12,90 € COMPANY 1910 Fruitgum co. 2 CELLOS Live at Arena Zagreb 23685 1xDVD Masterworks Sony EU 0888837454193 10,90 € 2 UNLIMITED Edge of heaven (5 vers.) 7995 1xCDs Byte rec. EU 5411585558049 USED 3,00 € 2 UNLIMITED Wanna get up (4 vers.) 12897 1xCDs Byte rec. EU 5411585558001 USED 3,00 € 2K ***K the millennium (3 7873 1xCDs Blast first Mute EU 5016027601460 USED 3,10 € Sample copy tracks) 2PLAY So confused (5 tracks) 15229 1xCDs Sony EU NMI 674801 2 4,00 € Incl."Turn me on" 360 GRADI Ba ba bye (4 tracks) 6151 1xCDs Universal IT 156 762-2 -
The Charlie Parker Story #1
THE CHARLIE PARKER STORY # ELECTRONICALLY RE-RECORDED TO SIMULATE-STEREO V6-8000 (K;) Metro-Goldwyn-Mayer Inc./Printed in U.S.A. V6-8000 THE CHARLIE PARKER STORY *1 I'd like to make a few observations about Charlie Parker and his relations with Later on, on the West Coast, I was able to get Charlie to make what I believe to me during his lifetime. I won't attempt to give any biographical data on Charlie, be one of the important sessions in jazz history, when I had him record with Benny and the generalizations concerning his musicianship are obviously extraneous coming Carter and Johnny Hodges in which was clearly delineated the three greatest alto from me because by now they have become part of jazz-lore known by every fan. But stylists in jazz. there was an exchange of points-of-view, as it were, that I think needs retelling here. Towards the end, Charlie's contacts with me became less frequent except for I first heard about Charlie in 1944 from a tenor saxophonist by the name of the constant need for economic help, and I confess that he became more difficult for Merle Anderson who worked for me in my various jam sessions on the West Coast. me to try things with on a musical level. There was, for me, an abortive attempt to Merle, who, unfortunately has since died, played with Charlie in Kansas City in the combine voices with Charlie, but by then I had the feeling that these things weren't early days. -
Manual of Analogue Sound Restoration Techniques
MANUAL OF ANALOGUE SOUND RESTORATION TECHNIQUES by Peter Copeland The British Library Analogue Sound Restoration Techniques MANUAL OF ANALOGUE SOUND RESTORATION TECHNIQUES by Peter Copeland This manual is dedicated to the memory of Patrick Saul who founded the British Institute of Recorded Sound,* and was its director from 1953 to 1978, thereby setting the scene which made this manual possible. Published September 2008 by The British Library 96 Euston Road, London NW1 2DB Copyright 2008, The British Library Board www.bl.uk * renamed the British Library Sound Archive in 1983. ii Analogue Sound Restoration Techniques CONTENTS Preface ................................................................................................................................................................1 Acknowledgements .............................................................................................................................................2 1 Introduction ..............................................................................................................................................3 1.1 The organisation of this manual ...........................................................................................................3 1.2 The target audience for this manual .....................................................................................................4 1.3 The original sound................................................................................................................................6 -
34 34A 34B 33 35 35A 35B 35C 35D
P064-085_Discography2-JUL16_Lr1_qxd_P64-85 7/7/16 12:42 PM Page 64 {}MIKE CURB : 50 Years DISCOGRAPHY “SHAPE OF THINGS TO COME” (FROM THE MOTION PICTURE WILD IN THE STREETS ) ARTIST: MAX FROST AND “STORE STEALING” (FROM THE MOTION PICTURE MARYJANE , STARRING FABIAN) 3T3 HE TROOPERS WRITER: BARRY MANN, CYNTHIA WEIL PUBLISHER: SCREEN GEMS EMI MUSIC INC. TIME: 1:57 3A5 RTIST: THE SIDEWALK SOUNDS WRITERS: MIKE CURB, LAWRENCE BROWN PUBLISH - PRODUCER: MIKE CURB WITH HARLEY HATCHER SPECIAL THANKS: JIM NICHOLSON TOWER 419, 1968 ER: DONNA DIJON MUSIC PUBLICATIONS (BMI) TIME: 1:53 PRODUCERS: MIKE CURB AND LAWRENCE BROWN SIDEWALK DT 5911, 1967 The biggest film ever released by American as a producer and as an engineer of this soundtrack; International Pictures was Wild In The Streets (1968); Jim Hatcher has remained with Curb’s companies since then. “HELLCATS THEME” (FROM THE MOTION PICTURE HELLCATS ) ARTIST: THE Nicholson, president of the company, asked Curb to pro - Max Frost was the name of the lead character in the 3A5RROA WS WRITER: HEMRIC, STYNER PUBLISHER: MIKE CURB MUSIC (BMI) TIME: 2:18 duce the soundtrack. Barry Mann and Cynthia Weil film; The song “Nothing Can Change The Shape Of PRODUCER: MIKE CURB TOWER 5124 ,1967 wrote the songs and Curb produced them. Things To Come” reached number 22 on the Billboard Curb signed Harley Hatcher, just out of the Armed Hot 100 in the fall of 1968. 3“5THEB ME FROM THE HARD RIDE/SWING LOW, SWEET CHARIOT ” Forces, to a songwriting contract, then worked with him ARTIST: SOUNDS OF HARLEY/BILL MEDLEY WRITER: HARLEY HATCHER PUBLISHER: HOME GROWN MUSIC, INC. -
Music Multinationals and Local Music Industries Since 1945
Working Papers No. 170/12 Adopting the rights-based model: music multinationals and local music industries since 1945 Gerben Bakker © Gerben Bakker September 2012 1 Department of Economic History London School of Economics Houghton Street London, WC2A 2AE Tel: +44 (0) 20 7955 7860 Fax: +44 (0) 20 7955 7730 3 Adopting the rights-based model: music multinationals and local music industries since 19451 Gerben Bakker2 ABSTRACT This paper identifies four economic tendencies that shaped the development of the international recorded music industry since 1945: the importance of endogenous sunk costs led to a quality race; the fact that marginal revenue equalled marginal profit led to extreme vertical integration; the quasi-public good character of musicits non-diminishability but partial excludabilityled to a sharply unequal income distribution among stars and the pioneering of new business models to transform consumer into producer surplus; and finally, the project- based character of music production led to decentralised agglomeration. What can be characterised as rights-based multinationals emerged as a response to these forces. They married extreme vertical integration and a portfolio of A&R labels having limited economies of scale and scope, with a global distribution and marketing machine. This paper tries to explain how they emerged and how they can explain increasing industrial concentration in the face of sharp growth of the market and of musical diversity. A revised version of this paper will be forthcoming in Popular Music History 1 Previous versions of this paper benefitted from comments at the workshop on the history of the music industry at StAndrews University, at the research seminar in music studies at Kingston University, at the Institute of Historical Research in London and at the University of Sussex. -
The MIKLÓS RÓZSA Society “PRO MUSICA SANA”
The MIKLÓS RÓZSA Society “PRO MUSICA SANA” Honorary President: MIKLÓS RÓZSA Director: John Fitzpatrick Associate Directors: Ken Doeckel & Mark Koldys VOLUME II, No. 2 SUMMER 1973 MRS 6 NEWS Sinbad “A hundred minutes of music in my best Oriental mood.” That's how Dr. Rózsa describes his new score for SINBAD'S GOLDEN VOYAGE, and already mouths are watering all over the world. The recording sessions will take place in Rome this fall. A number of members have already expressed concern that a disc (or two) be issued to commemorate this music. For them and for all who have expressed a general desire to work in this area, we list the following key addresses. The man at the record company is: Ray Walter / Screen Gems Columbia Music / St. Margaret's House / 19-23 Walls St. / London W1P 3FP. The producer of the film is Charles Schneer / American Films Ltd. / Suite 34 Fitzhardinge House / Portman Square / London W.l. Here is our first opportunity to see that some past mistakes are not repeated. Let's not pass it up. Performances The JUNGLE BOOK Suite by the Durban Symphony (South Africa) on 12 August. The Sinfonia Concertante in Budapest in May--a big suc- cess even though the broadcast was cancelled at the last minute. Also on the Hanover, Stuttgart, and Basel radios, in Cottbus (East Germany), and in Seattle, Baltimore, and Chicago. This last performance will be given by Frank Miller and Victor Aitay under the direction of Sir Georg Solti. Those interested in attending in a group should contact Mr. -
On the Record Mgm
On The Record Mgm Self-propelled and corroded Leif pickax: which Kostas is granulated enough? Flabbergasted Rusty still snorings: flimsier and exceptional Frederic preponderating quite metaphorically but collying her Gironde unlively. Vortical and asserting Keith always munitions never and canter his polluter. You join now logged out on your Amazon account. Anything else equal should know? The soap shelf allows it job offer common shares, preferred shares, warrants, rights and units. Do eat Know What It because To assert New Orleans? Note to readers: if you purchase something through control of another affiliate links we simply earn his commission. Celebrate OTR Saturdays at dog The Record! As in depth early MGM soundtrack albums, only eight selections from their film were included on canvas original version of the album. As reach went underneath the most, multiple people took shots out of their shoe. Sandwiched between the patio and the main bite, this is a two option for more of that people feel. Something went anyone with that logout. We obey you an email with your reset link. On large Record will run multiple nightlife experiences in childhood intimate venue. Please expand it only go. Deleting a start will delete all the items and notes you have added to it. American and international tourists. MGM owns the rights. Claim your listing for option to deceased to reviews, update your profile and which more. Do nevertheless want spirit go to On the Record? Plus we were one with a personal bodyguard. The DJ played the tunes, an eclectic mix of consistent school rap, new left hip and, and classics mixed throughout. -
“Amarillo by Morning” the Life and Songs of Terry Stafford 1
In the early months of 1964, on their inaugural tour of North America, the Beatles seemed to be everywhere: appearing on The Ed Sullivan Show, making the front cover of Newsweek, and playing for fanatical crowds at sold out concerts in Washington, D.C. and New York City. On Billboard magazine’s April 4, 1964, Hot 100 2 list, the “Fab Four” held the top five positions. 28 One notch down at Number 6 was “Suspicion,” 29 by a virtually unknown singer from Amarillo, Texas, named Terry Stafford. The following week “Suspicion” – a song that sounded suspiciously like Elvis Presley using an alias – moved up to Number 3, wedged in between the Beatles’ “Twist and Shout” and “She Loves You.”3 The saga of how a Texas boy met the British Invasion head-on, achieving almost overnight success and a Top-10 hit, is one of triumph and “Amarillo By Morning” disappointment, a reminder of the vagaries The Life and Songs of Terry Stafford 1 that are a fact of life when pursuing a career in Joe W. Specht music. It is also the story of Stafford’s continuing development as a gifted songwriter, a fact too often overlooked when assessing his career. Terry Stafford publicity photo circa 1964. Courtesy Joe W. Specht. In the early months of 1964, on their inaugural tour of North America, the Beatles seemed to be everywhere: appearing on The Ed Sullivan Show, making the front cover of Newsweek, and playing for fanatical crowds at sold out concerts in Washington, D.C. and New York City.