DOCSLIB.ORG

Motown Records Partners with Motown Museum, Techtown Detroit & Gener8tor to Launch Motown Musician Accelerator and Musictech Programs

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Motown Records Partners with Motown Museum, Techtown Detroit & Gener8tor to Launch Motown Musician Accelerator and Musictech Programs FOR IMMEDIATE RELEASE April 25, 2019 MOTOWN RECORDS PARTNERS WITH MOTOWN MUSEUM, TECHTOWN DETROIT & GENER8TOR TO LAUNCH MOTOWN MUSICIAN ACCELERATOR AND MUSICTECH PROGRAMS Inaugural 12-Week Musician Program Launching This Summer Includes Grants For Artists To Grow Their Careers 7-Week Musictech Programs For Startups Will Be Operated From TechTown Detroit and Capitol Records Tower Motown Museum Detroit, Michigan Detroit-based musicians and Musictech startups will have an opportunity to work alongside Motown Records as part of two new programs to be offered at Motown Museum and TechTown Detroit. Sixty years after Berry Gordy founded the legendary label in Detroit, Motown Records remains committed to fueling the visions of the city’s music and entrepreneurial talent. The label will offer the Motown Musician Accelerator and gBETA Musictech programs in partnership with Motown Museum, Capitol Music Group, TechTown Detroit and gener8tor. Motown President Ethiopia Habtemariam said, “Detroit has always been a creative hub for new talent and development. With the Motown Musician Accelerator initiative, we have an opportunity to come back to Detroit and highlight the incredible talent that has always existed in their community. Being able to provide the necessary support, funding and programming to help them grow in their careers is an absolute honor for us.” Marc Byers, Motown Records’ General Manager, said, “Detroit, Motown’s original home, is at the verge of a true comeback. It’s our pleasure to be contributors in helping musicians with funding and programming to help their careers.” The Motown Musician Accelerator will launch in the summer of 2019. A competitive selection and interview process helmed by industry leaders is now underway to narrow the applicants to four musicians or musical groups that will participate in the inaugural 12-week program. Each of the four artists will receive individualized coaching, industry introductions and a $20,000 grant. The grants can be utilized to address needs that will further the artists’ musical careers, such as studio sessions, travel to meet industry leaders and collaborators, photoshoots, equipment and more. With sponsors covering the costs of the grants and operations, the program will be completely free for participating musicians, requiring no fees or royalties. Quarterly workshop programming for the public will be a second component of the Musician Accelerator program. During sessions at TechTown Detroit, the Motown Museum, and the legendary Capitol Studios in Hollywood, CA, industry professionals will candidly address such topics as distribution, booking and touring, songwriting and more. The Motown Musician Accelerator will be operated by gener8tor, a turnkey platform for the creative economy that connects startups, entrepreneurs, artists, investors, universities and corporations. The Motown Musician Accelerator and the grants it provides to the participating artists are funded by generous donations from the Esther Gordy Edwards Family Foundation, Microsoft and Hassan Bazzi, among others. “In a city with an extraordinary musical heritage, this program leverages a powerful collaboration of leaders in technology, entertainment and culture,” said Robin Terry, CEO and Chairwoman of Motown Museum. “As the institution committed to preserving the Motown legacy—and continuing the tradition of entrepreneurship and opportunity that are cornerstones of the Motown story—we are honored to be a partner in this platform to provide the next generation of talented artists and entrepreneurs with the access, resources and mentorship to help them thrive.” Capitol Records Hollywood, California Concurrently, five Detroit-area startups will be selected to participate in a gBETA Musictech program, which will operate at TechTown Detroit under gener8tor’s “gBETA” model: a seven-week program requiring no fees and no equity. There will also be a gBETA Musictech program held at Capitol Records Tower with an additional five companies, sourced internationally. The selected companies will work closely with successful entrepreneurs, music industry experts, angel investors, venture capitalists, technologists, acclaimed producers, songwriters and influencers to develop strategies to grow, gain customer traction and pitch investors. Applications are currently being accepted for the gBETA Musictech program, which is open exclusively to startups focused on music technology. This includes technologies related to sourcing, recording, production, distribution, marketing, touring, licensing and streaming as well as any technology or process innovations that could serve any component of the music industry. “This is truly a deep, passion project for me. Being the son of an original Funk Brother, producer and arranger during early days of Motown, I grew up witnessing and experiencing the creation of music that is truly world-renowned and which will forever be the heartbeat of the great city of Detroit,” said Paul Riser, Director of Detroit Urban Solutions at TechTown Detroit. “But after observing the unfortunate decrease in investment for creative arts in schools, I’ve strived to not only be a part of the city's revitalization, but to contribute to a renewed intersection of music, innovation and entrepreneurship. Working with Gener8tor, Motown Museum, Capitol Records, Universal Music and Motown Records to deliver a program that will pour so much into some of the very best talent of our city is nothing short of a dream come true.” Individuals and organizations who would like to get involved with either program – as mentors, service providers, sponsors, etc. – are invited to reach out to [email protected]. Potential applicants can learn more and apply to the accelerator programs at www.MotownMusicianAccelerator.com and www.gBETAmusictech.com. A search is underway for a Director to lead the Motown Musician Accelerator. Desired candidates have existing experience and a strong network in the music industry, and ideally have already helped manage or develop talent. Interested candidates can apply at gener8tor.com/careers. About Motown Records: There simply isn’t a name in music more synonymous with era-defining hits, star-making, and innovation than Motown. Started in Detroit with a dream and an $800 loan, Berry Gordy’s Hitsville USA became a cultural behemoth that swiftly hooked pop culture with a brand new beat. The unmistakable, irrepressible sound of young America didn’t just dominate the charts – it crossed the racial divide during the social upheaval of the 1960’s. The touring cavalcade of superstars from Diana to Marvin to Smokey blazed trails through the U.S. and across the pond, breaking out of the chitlin circuit to hold court at Buckingham Palace. Under the umbrella of the Motown family, precocious child superstars Stevie Wonder and the Jackson 5’s Michael Jackson grew into game-changing legends. And the hits and cultural influence didn’t stop: the label and its family of imprints explored new genres – like the psychedelia of the undisputed truth – as well as the political and social via black forum releases from the likes of Dr. Martin Luther King Jr. and Stokely Carmichael. Trendsetting new Motown acts like the Commodores (and later, their star lead singer Lionel Richie), Rick James, and DeBarge gave new generations timeless hits and moments to remember. About Motown Museum www.motownmuseum.org Originally the recording studios and residence of Berry Gordy and Motown Records, and founded in 1985 by Esther Gordy Edwards, Motown Museum is a 501(c)(3) not for profit, tax-exempt organization in Detroit. The Museum is committed to preserving, protecting and presenting the Motown story through authentic, inspirational and educational experiences. Announced in late 2016, the Motown Museum expansion will grow the Museum to a 50,000-square-foot world-class entertainment and education tourist destination featuring dynamic, interactive exhibits, a performance theater, recording studios, an expanded retail experience and meeting spaces designed by renowned architects and exhibit designers. When completed, the new Museum campus will have a transformative impact on the surrounding Detroit neighborhoods, providing employment, sustainability and community pride by serving as an important catalyst for new investment and tourism in the historic area. About Capitol Music Group: Capitol Music Group (CMG) is comprised of Capitol Records, Virgin Records, Motown Records, Blue Note Records, Astralwerks, Harvest Records and Capitol Christian Music Group, as well as Capitol Studios and the company's independent label services and distribution division, Caroline. Capitol Music Group is based in Hollywood, California in the iconic Capitol Tower. Artists that record for CMG labels include: Erykah Badu, Banks, The Beach Boys, The Beatles, Beck, Bee Gees, Jon Bellion, BJ The Chicago Kid, Rosanne Cash, Christine and the Queens, City Girls, Neil Diamond, Robert Glasper, Halsey, Don Henley, Hillsong United, Niall Horan, Illenium, Judah And The Lion, Tori Kelly, Kem, Lil Baby, Lil Yachty, Charles Lloyd, tobyMac, Paul McCartney, Migos, NE-YO, NF, Norah Jones, Katy Perry, Gregory Porter, Maggie Rogers, Calum Scott, Bob Seger, Troye Sivan and Chris Tomlin. For the U.S.: 5 Seconds Of Summer, Lewis Capaldi, Mabel, Bastille, Disclosure, Empire Of The Sun, Glass Animals, MNEK and Sam Smith. Capitol Music Group is a division of Universal Music Group, which is a fully owned subsidiary of Vivendi. About TechTown Detroit TechTown is Detroit’s entrepreneurship
Load more

Recommended publications
  • An N U Al R Ep O R T 2018 Annual Report
    ANNUAL REPORT 2018 ANNUAL REPORT The Annual Report in English is a translation of the French Document de référence provided for information purposes. This translation is qualified in its entirety by reference to the Document de référence. The Annual Report is available on the Company’s website www.vivendi.com II –— VIVENDI –— ANNUAL REPORT 2018 –— –— VIVENDI –— ANNUAL REPORT 2018 –— 01 Content QUESTIONS FOR YANNICK BOLLORÉ AND ARNAUD DE PUYFONTAINE 02 PROFILE OF THE GROUP — STRATEGY AND VALUE CREATION — BUSINESSES, FINANCIAL COMMUNICATION, TAX POLICY AND REGULATORY ENVIRONMENT — NON-FINANCIAL PERFORMANCE 04 1. Profile of the Group 06 1 2. Strategy and Value Creation 12 3. Businesses – Financial Communication – Tax Policy and Regulatory Environment 24 4. Non-financial Performance 48 RISK FACTORS — INTERNAL CONTROL AND RISK MANAGEMENT — COMPLIANCE POLICY 96 1. Risk Factors 98 2. Internal Control and Risk Management 102 2 3. Compliance Policy 108 CORPORATE GOVERNANCE OF VIVENDI — COMPENSATION OF CORPORATE OFFICERS OF VIVENDI — GENERAL INFORMATION ABOUT THE COMPANY 112 1. Corporate Governance of Vivendi 114 2. Compensation of Corporate Officers of Vivendi 150 3 3. General Information about the Company 184 FINANCIAL REPORT — STATUTORY AUDITORS’ REPORT ON THE CONSOLIDATED FINANCIAL STATEMENTS — CONSOLIDATED FINANCIAL STATEMENTS — STATUTORY AUDITORS’ REPORT ON THE FINANCIAL STATEMENTS — STATUTORY FINANCIAL STATEMENTS 196 Key Consolidated Financial Data for the last five years 198 4 I – 2018 Financial Report 199 II – Appendix to the Financial Report 222 III – Audited Consolidated Financial Statements for the year ended December 31, 2018 223 IV – 2018 Statutory Financial Statements 319 RECENT EVENTS — OUTLOOK 358 1. Recent Events 360 5 2. Outlook 361 RESPONSIBILITY FOR AUDITING THE FINANCIAL STATEMENTS 362 1.
    [Show full text]
  • Wavelength (February 1983)
    University of New Orleans ScholarWorks@UNO Wavelength Midlo Center for New Orleans Studies 2-1983 Wavelength (February 1983) Connie Atkinson University of New Orleans Follow this and additional works at: https://scholarworks.uno.edu/wavelength Recommended Citation Wavelength (February 1983) 28 https://scholarworks.uno.edu/wavelength/28 This Book is brought to you for free and open access by the Midlo Center for New Orleans Studies at ScholarWorks@UNO. It has been accepted for inclusion in Wavelength by an authorized administrator of ScholarWorks@UNO. For more information, please contact [email protected]. ... ,.. i .,. #pf r f~ ~ I ~ t J t .. ~ • '~ -- •-- .. I ' I . r : • 1 ,, ' ,,. .t, '~'. • .·' f I .. ""' - • ,, ' ' 4. ,I • , /rl. • 4 . • .•, .' ./j ·. ~ f/ I. • t • New Orleans is a live! A day and night kaleido­ scope of the gaud y, raucous, erotic and exotic­ Mardi Gras, Steamboats, Parades, Seafood, Jazz and the French Quarter. Discover it all in the award-winning books Mardi Gras! A Celebration and New Orleans: The Passing Parade. Brilliant color photographs by Mitchel L. Osborne are complimented by delightful and informative texts. A vail able in fine bookstores or order directly from Picayune Press, Ltd .: Mardi Gras!: A C!oth $29.95, Paper$15.95 · New Orleans: The Passing Parade: 326 Picayune Place # 200 New Orleans, LA 70130 Paper $14.95 Postage and Handhng $1.50 • LA res1dents add 3% tax • V1sa & Mastercharge accepted. ' ISSUE NO. 28 • FEBRUARY 1983 "I'm not sure, but I'm almost positive, rhar all music came from New Orleans. " Ernie K-Doe, 1979 Available in American Oak, American Walnut, Teak, Mahogany and White Features Melamine at no change In cost.
    [Show full text]
  • Celebrity and Race in Obama's America. London
    Cashmore, Ellis. "To be spoken for, rather than with." Beyond Black: Celebrity and Race in Obama’s America. London: Bloomsbury Academic, 2012. 125–135. Bloomsbury Collections. Web. 29 Sep. 2021. <http://dx.doi.org/10.5040/9781780931500.ch-011>. Downloaded from Bloomsbury Collections, www.bloomsburycollections.com, 29 September 2021, 05:30 UTC. Copyright © Ellis Cashmore 2012. You may share this work for non-commercial purposes only, provided you give attribution to the copyright holder and the publisher, and provide a link to the Creative Commons licence. 11 To be spoken for, rather than with ‘“I’m not going to put a label on it,” said Halle Berry about something everyone had grown accustomed to labeling. And with that short declaration she made herself arguably the most engaging black celebrity.’ uperheroes are a dime a dozen, or, if you prefer, ten a penny, on Planet SAmerica. Superman, Batman, Captain America, Green Lantern, Marvel Girl; I could fi ll the rest of this and the next page. The common denominator? They are all white. There are benevolent black superheroes, like Storm, played most famously in 2006 by Halle Berry (of whom more later) in X-Men: The Last Stand , and Frozone, voiced by Samuel L. Jackson in the 2004 animated fi lm The Incredibles. But they are a rarity. This is why Will Smith and Wesley Snipes are so unusual: they have both played superheroes – Smith the ham-fi sted boozer Hancock , and Snipes the vampire-human hybrid Blade . Pulling away from the parallel reality of superheroes, the two actors themselves offer case studies.
    [Show full text]
  • “My Girl”—The Temptations (1964) Added to the National Registry: 2017 Essay by Mark Ribowsky (Guest Post)*
    “My Girl”—The Temptations (1964) Added to the National Registry: 2017 Essay by Mark Ribowsky (guest post)* The Temptations, c. 1964 The Temptations’ 1964 recording of “My Girl” came at a critical confluence for the group, the Motown label, and a culture roiling with the first waves of the British invasion of popular music. The five-man cell of disparate souls, later to be codified by black disc jockeys as the “tall, tan, talented, titillating, tempting Temptations,” had been knocking around Motown’s corridors and studio for three years, cutting six failed singles before finally scoring on the charts that year with Smokey Robinson’s cleverly spunky “The Way You Do the Things You Do” that winter. It rose to number 11 on the pop chart and to the top of the R&B chart, an important marker on the music landscape altered by the Beatles’ conquest of America that year. Having Smokey to guide them was incalculably advantageous. Berry Gordy, the former street hustler who had founded Motown as a conduit for Detroit’s inner-city voices in 1959, invested a lot of trust in the baby-faced Robinson, who as front man of the Miracles delivered the company’s seminal number one R&B hit and million-selling single, “Shop Around.” Four years later, in 1964, he wrote and produced Mary Wells’ “My Guy,” Motown’s second number one pop hit. Gordy conquered the black urban market but craved the broader white pop audience. The Temptations were riders on that train. Formed in 1959 by Otis Williams, a leather-jacketed street singer, their original lineup consisted of Williams, Elbridge “Al” Bryant, bass singer Melvin Franklin and tenors Eddie Kendricks and Paul Williams.
    [Show full text]
  • Free Views Tiktok
    Free Views Tiktok Free Views Tiktok CLICK HERE TO ACCESS TIKTOK GENERATOR tiktok auto liker hack In July 2021, "The Wall Street Journal" reported the company's annual revenue to be approximately $800 million with a loss of $70 million. By May 2021, it was reported that the video-sharing app generated $5.2 billion in revenue with more than 500 million users worldwide.", free vending machine code tiktok free pro tiktok likes and followers free tiktok fans without downloading any apps The primary difference between Tencent’s WeChat and ByteDance’s Toutiao is that the former has yet to capitalize on the addictive nature of short-form videos, whereas the latter has. TikTok — the latter’s new acquisition — is a comparatively more simple app than its parent company, but it does fit in well with Tencent’s previous acquisition of Meitu, which is perhaps better known for its beauty apps.", In an article published by The New York Times, it was claimed that "An app with more than 500 million users can’t seem to catch a break. From pornography to privacy concerns, there have been quite few controversies surrounding TikTok." It continued by saying that "A recent class-action lawsuit alleged that the app poses health and privacy risks to users because of its allegedly discriminatory algorithm, which restricts some content and promotes other content." This article was published on The New York Times.", The app has received criticism from users for not creating revenue and posting ads on videos which some see as annoying. The app has also been criticized for allowing children younger than age 13 to create videos.
    [Show full text]
  • Blu-Raydefinition.Com » X — the Unheard Music: Silver Edition Blu-Ray
    Blu-rayDefinition.com » X — The Unheard Music: Silver Edition Blu-ray... http://www.blu-raydefinition.com/reviews/x-the-unheard-music-silver-edi... User Name Remember Me? Password Register Blu-rayDefinition.com Home News Reviews Hardware Contact Forum Community Movie Genre 20th Century Fox (91) 2L (5) A&E (15) ABC Family (1) ABC Studios (1) Accentus (7) Action (283) Adult Swim (2) Adventure (62) AIX (2) Anchor Bay Entertainment (39) Animation (157) Anime (82) Art House (44) Arthaus Musik (12) Artificial Eye (8) Asian Cinema (55) Astronomy (4) Australian (1) Automotive (4) Avant-garde (8) Ballet (15) BBC (41) Bel Air Classiques (1) BFI (31) Biopic (33) Blu-ray 3D (20) Blu-ray Audio (18) Blues (1) Bounty Films (2) British (52) 1 of 22 1/4/2012 2:20 PM Blu-rayDefinition.com » X — The Unheard Music: Silver Edition Blu-ray... http://www.blu-raydefinition.com/reviews/x-the-unheard-music-silver-edi... C Major (16) Capitol Records (2) Cartoon Network (4) Chamber Music (1) Chelsea Cinema (1) Choral/Oratorio (1) Classic Rock (3) Classical Music (85) Columbia Pictures (2) Columbia Records (1) Comedy (208) Comedy Central (2) Comic Books/Graphic Novels (19) Concert/Music (75) Crime (109) Criterion (50) Czech Language (1) Dacapo (1) Dance (16) Dark Comedy (20) Dark Sky Films (1) Demoscene (1) Dimension Films (2) Direct-to-Video (8) Discovery Channel (1) DisneyNature (3) Docudrama (31) Documentary (84) Drama (416) DreamWorks (6) Eagle Rock (32) Educational (19) Entertainment One (3) Environmental (1) Erotic (16) Eureka Entertainment (18) EuroArts (8) Exploitation (8) Fairy Tales (3) Family (34) Fan Service (2) Fantasy (96) Foreign (117) Fox Searchlight (9) French Language (22) French New Wave (8) Funimation (65) Fusecon (1) FX (1) German Language (1) Gospel/Christian Contemporary (1) 2 of 22 1/4/2012 2:20 PM Blu-rayDefinition.com » X — The Unheard Music: Silver Edition Blu-ray..
    [Show full text]
  • Board Packet
    September Board Meeting To be held at the offices of Texas State Affordable Housing Corporation 2200 East Martin Luther King Jr. Blvd. Austin, TX 78702 Thursday, September 25, 2014 10:30 a.m. BOARD MEETING TEXAS STATE AFFORDABLE HOUSING CORPORATION To be held at the offices of Texas State Affordable Housing Corporation 2200 East Martin Luther King Jr. Blvd Austin, Texas 78702 September 25, 2014 at 10:30 am CALL TO ORDER, ROLL CALL Bob Jones CERTIFICATION OF QUORUM Chair The Board of Directors of Texas State Affordable Housing Corporation will meet to consider and possibly act on the following: PUBLIC COMMENT PRESIDENT’S REPORT David Long Tab A: Homeownership Finance Report Tab B: Development Finance Report Tab C: Monthly Budget and Investment Reports ACTION ITEMS IN OPEN MEETING: Tab 1 Presentation, Discussion and Possible Approval of Minutes of the Board Meeting held on August 21, 2014. Tab 2 Presentation, Discussion and Possible Approval of the 2014 Grant Awards for the Texas Foundations Fund. Tab 3 Presentation, Discussion and Possible Approval of a Resolution to Re-Appoint Mr. Russell Vandenburg to the Texas Foundations Fund Advisory Council Created by the Board of Directors of the Corporation and to Restate, Ratify and Affirm him as Vice-Chairperson of the Advisory Council to serve until his successor is elected and qualified or until his earlier removal or resignation. Tab 4 Presentation, Discussion and Possible Approval of the Publication for Public Comment of the Guidelines, Scoring Criteria and Targeted Housing Needs for the Allocation of Qualified Residential Rental Project Tax Exempt Bond Funds under the Multifamily Housing Private Activity Bond Program Request for Proposals and the 501(c)(3) Bond Program Policies for Calendar Year 2015.
    [Show full text]
  • Exhibit O-137-DP
    Contents 03 Chairman’s statement 06 Operating and Financial Review 32 Social responsibility 36 Board of Directors 38 Directors’ report 40 Corporate governance 44 Remuneration report Group financial statements 57 Group auditor’s report 58 Group consolidated income statement 60 Group consolidated balance sheet 61 Group consolidated statement of recognised income and expense 62 Group consolidated cash flow statement and note 63 Group accounting policies 66 Notes to the Group financial statements Company financial statements 91 Company auditor’s report 92 Company accounting policies 93 Company balance sheet and Notes to the Company financial statements Additional information 99 Group five year summary 100 Investor information The cover of this report features some of the year’s most successful artists and songwriters from EMI Music and EMI Music Publishing. EMI Music EMI Music is the recorded music division of EMI, and has a diverse roster of artists from across the world as well as an outstanding catalogue of recordings covering all music genres. Below are EMI Music’s top-selling artists and albums of the year.* Coldplay Robbie Williams Gorillaz KT Tunstall Keith Urban X&Y Intensive Care Demon Days Eye To The Telescope Be Here 9.9m 6.2m 5.9m 2.6m 2.5m The Rolling Korn Depeche Mode Trace Adkins RBD Stones SeeYou On The Playing The Angel Songs About Me Rebelde A Bigger Bang Other Side 1.6m 1.5m 1.5m 2.4m 1.8m Paul McCartney Dierks Bentley Radja Raphael Kate Bush Chaos And Creation Modern Day Drifter Langkah Baru Caravane Aerial In The Backyard 1.3m 1.2m 1.1m 1.1m 1.3m * All sales figures shown are for the 12 months ended 31 March 2006.
    [Show full text]
  • Jdg Feat New Haven Iou
    Jdg Feat New Haven Iou Wald overlies maestoso? Unstinting Duncan prick flaccidly and morosely, she baling her appoggiaturas manumitting irrespectively. Atlantic and inapproachable Hiro never acclimatize photogenically when Kin abscising his southernwoods. How much impact on apple music, jdg feat new haven iou. Kill the mid in the funds in his legacy alive. We make you can see your profile to be a security service provider liability related to provide multimedia features and djs from. You can steam a copy of your favorite song, artist or album totally free in a fast but efficient way. Festival in human history and get jdg feat new haven iou. And play me he was money have changed me and it! Armin van helden as to jdg feat new haven iou on. Part of us know where are from australia to a complaint filed in. Scooter, how did she connect with Garrix? Reed flies to the field Area to help pump his fiancee, chef Laura Miller, to Los Angeles. Scooter move his growing pile of electronic acts have the jdg feat new haven iou on past eras in when i do? Svea Available across The New O-B Ootors i-E 14 Cu Ft Refrig-Freezer Auto Defrost. All of your favourite artists jdg feat new haven iou. If we imply not do thus, we will be partisan to honor claim of copyright infringement, regardless of the benefits. Rockaways or conditions of devotees has to jdg feat new haven iou on. Browse millions of millions of no longer active at club love life in the father of songwriting.
    [Show full text]
  • Aaron Harrison
    Before the UNITED STATES COPYRIGHT ROYALTY JUDGES Library of Congress Washington, D.C. ) In re ) ) DETERMINATION OF ROYALTY ) DOCKET NO. 14-CRB-0001-WR RATES AND TERMS FOR ) (2016-2020) EPHEMERAL RECORDING AND ) DIGITAL PERFORMANCE OF SOUND ) RECORDINGS (WEB IV) ) ) TESTIMONY OF AARON HARRISON Senior Vice President, Business & Legal Affairs, Global Digital Business, UMG Recordings, Inc. PUBLIC VERSION Witness for SoundExchange, Inc. PUBLIC VERSION BACKGROUND 1. I am Senior Vice President, Business & Legal Affairs, Global Digital Business, UMG Recordings, Inc. (“UMG Recordings”), a position I have held since 2013. UMG Recordings, Inc. is the primary recorded music company in the United States for the Universal Music Group. Universal Music Group (hereafter, “Universal”) is the colloquial name for the group of music related companies owned by Vivendi S.A. Together, these companies comprise the world’s largest recorded music company. Along with other members of the Business & Legal Affairs team in the Global Digital Business department, I negotiate deals with various digital music services that use Universal’s repertoire of sound recordings. Such services include on-demand and customized streaming services, download and ringtone stores, locker services, and various types of subscription services. I have negotiated deals on Universal’s behalf for the past nine years. During that time, I have negotiated more than 100 agreements with digital music services. 2. Prior to assuming my current position, I was Vice President, Business & Legal Affairs, eLabs, UMG Recordings. I began my employment with UMG Recordings in 2005 as Director, Business & Legal Affairs, eLabs. Prior to joining UMG Recordings, I was an attorney with the law firm Manatt, Phelps & Phillips, LLP, where my practice focused primarily on talent representation and advising companies in the acquisition of intellectual property and branded entertainment rights.
    [Show full text]
  • Normanwhitfieldblog.Pdf
    2 He was a brilliant composer and record producer, one of the best to come out of Motown. He was born on May12th 1940 in Harlem, New York, and passed away on September 16th 2008 in Los Angeles, at the age of 68. He founded Whitfield Records in Los Angeles after his departure from Motown Records. He was known as the father of the “Psychedelic Funk” sound. Longer songs, a heavy bass line, distorted guitars, multi-tracked drums and inventive vocal arrangements became the trademarks of Norman’s production output, mainly with The Temptations. According to Dave Laing (Journalist for the Guardian Newspaper; Thursday 18th September 2008) stated that Norman Whitfield’s first actual job at Motown Records was as a member of staff for which he got paid $15 a week to lend a critical ear to new recordings by Motown staff, a job he said "consisted of being totally honest about what records you were listening to". He graded the tracks for Gordy's monthly staff meeting, where decisions were made on which should be released. Soon dissatisfied with quality control, Whitfield fought to be allowed to create records himself. This involved competing with such established figures as Smokey Robinson, but he got his first 3 opportunities in 1964 with lesser Motown The Temptations’ songs, during the first ten groups, co-writing and producing “Needle years of the label’s operation. Such songs as in a Haystack” by the Velvelettes and “Too “Just My Imagination (Running Away with Many Fish in the Sea” by the Marvelettes. Me)”, “Ball Confusion”, “Papa Was a Rollin’ These records brought him the chance to Stone” and “I Can’t Get Next To You” all work with the Temptations, already one of achieved platinum certification in America for Motown's elite groups.
    [Show full text]
  • Teachers' Notes Media Studies
    Media Studies - TV Television in the Global Age -Teachers’ Notes • The resources are intended to support teachers delivering the new AS/A Level specification. They have been created based on the assumption that many teachers will already have some experience of Media Studies teaching and therefore the notes have been pitched at a level which takes this into consideration. Other resources which outline e.g. technical and visual codes, and how to apply these, are readily available. • There is an overlap between the different areas of the theoretical framework and the various contexts, and a ‘text-out’ teaching structure may offer opportunities for a more holistic approach. • Slides are adaptable to use with your students. Explanatory notes for teachers/suggestions for teaching are in the Teachers’ Notes. • The resources are intended to offer guidance only and are by no means exhaustive. It is expected that teachers will subsequently research and use their own materials and teaching strategies within their delivery. • Television as an industry has changed dramatically since its inception. • Digital technologies and other external factors have led to changes in production, distribution, the increasingly global nature of television and the ways in which audiences consume texts. • It is expected that students will require teacher-led delivery which outlines these changes, but the focus of delivery will differ dependent on the text chosen. Media Studies - TV 1 Media Studies - TV Television in the Global Age -Teachers’ Notes The Returned/Les Revenants Episode Suggestions Series 1: Episode 1 is the ‘set’ text but you may also want to look at other episodes, including Episode 8 for the denouement of the first series.
    [Show full text]